En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Emma Von Enck

A gala to be remembered for the sheer number of stellar performances both in classical music and all forms of dance.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

A wonderfully varied triple bill for NYCB allowing the company to shine across all ranks.

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.

Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?

After the cancellation of New York City Ballet’s Nutcracker season in 2020, the warhorse to end all warhorses returns to delight holiday audiences. 

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.