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

It's 33 years since its premiere in Brussels, and in its eighth season in New York at the Brooklyn Academy of Music, this irreverent American classic is still firing on all cylinders.

With choreographers like Ronald K. Brown and Kyle Abraham working with the company, the repertory might finally match the talents of the dancers.

Tamara Rojo's English National Ballet takes Akram Khan's version of Giselle, created on the company, to the Brooklyn Academy of Music.

Pianist Lada Valešová was the anchor of the performance where Janáček's song cycle gets the van Hove treatment.

Dido and Aeneas was triumphant and had all those great moments that make Morris’s choreography among the most musical I’ve seen.

Citizen is about many things and, while race is certainly central, there is also the question of what it means to belong, not to belong and to not even want to belong.

If you’re only going to one holiday show, this is the one you want.

Faye Driscoll's Thank You For Coming: Play is the second in a series of three works that ask the audience to imagine a different kind of participation than they are used to.

Anne Teresa De Keersmaeker's company Rosas and the Ictus ensemble bring Vortex Temporum to New York, performed as part of Brooklyn Academy of Music's 2016 Next Wave Festival.

John Jasperse once more proves himself the master of form, function and, in this case, danceable art history.

David Lang’s new opera the loser opened the Next Wave Festival at the Brooklyn Academy of Music on Wednesday night, but simply lacked theatricality.

In a première and a work from last year, choreographer Ben Munisteri demonstates his mastery of symmetry, unexpected juxtaposition and ensemble dynamics.

Valery Gergiev led an athletic pilgrimage through composer-pianist Sergei Prokofiev’s five Piano Concerti, in numerical order, at the Brooklyn Academy of Music.

I’ve never seen an audience enjoy another Nutcracker production as much as this one.

Hwanhee Hwang excels in Sasha Watlz and Guests' Continu.

Wendy Whelan is proving that there’s plenty of life for older dancers if there are new works that can make use of their special abilities and lifetime of experience.

Ivan Talijancic shares his observations on Sankai Juku's production of Umusuna at BAM Next Wave Festival 2015.

William Kentridge’s chamber opera Refuse the Hour emerged amid a hurricane of clashing out-of-sync metronomes, frenetic choreography, African drumming, brass glissandi, and sound-making contraptions. 

Blanca Li’s Robot at BAM is a fun but often muddled piece of dance theater, with a particularly unusual cast: half humans, half tiny (only a couple feet tall) robots. 

Rachel Rizzuto reviews Cedar Lake's final performances as a company at BAM in New York City.

The Mark Morris Dance Group delights at the Brooklyn Academy of Music.

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

For its tenth anniversary season at BAM, Kate Weare Dance Company presents a part retrospective part forward looking program, reflective of the many facets of the choreographer's work

Of all the dance companies I’ve seen in the past year, this is the one I would most like to see over and over again.

Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.

The Mariinsky Theatre's Swan Lake is both entertaining and refreshing to watch . Reviewed at the Brooklyn Academy of Music, New York.

Shchedrin’s opera The Enchanted Wanderer is the complete opposite of shocking and director Alexei Stepanyuk’s staging alongside Valery Gergiev’s command over the Mariinsky Theatre Orchestra revealed something of a translucid daydream.

Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.

This weekend saw the New York première of Philip Glass' complete Piano Etudes. Produced by Glass’ long-time collaborator Linda Brumbach, the dazzling showcase divided the 20 etudes equally among the ten performers.

Ohad Naharin's internationally acclaimed Batsheva dance company brings Sadeh21</em> to New York (As part of BAM's Next Wave Festivial 2014)  

Rachel Rizzuto reviews Pina Bausch's Kontakthof (1974) at BAM in Brooklyn.

Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.

QUANTUM, a collaboration between choreogrpaher Gilles Jobin and visual artist Julius von Bismarck, unfortunately remains ' stuck in the realms of ideas' (Crossing The Line 2014 & Next Wave Festival, BAM) 

Alan Smithee Directed This Play at the Brooklyn Academy of Music is another quirky, and inventive piece , by Big Dance Theater.

New Yorkers flocked to BAM on Thursday to celebrate the beginning of the Next Wave Festival 2014. Even more discerning audiences were just around the corner at BAM’s Harvey Theater for a program that featured soprano Dawn Upshaw and pianist Gilbert Kalish.

David Dorfman and Korhan Başaran bring Unsettled to New York, a collaborative and culminative performance fusing American, Turkish and Armenian influences, at Bam Fisher.

Rachel Rizzuto reviews Cedar Lake Contemporary Ballet's Program C at BAM Howard Gilman Opera House.

Helen Simoneau Danse's triple bill at BAM Fisher includes two New York premieres, which are carefully crafted but could do with some carelessness.

Rachel Rizzuto reviews The Nouveau Classical Project and Trio Dance Collective's "Potential Energies" at BAM Fisher.

In their fifth season at BAM Fisher, Satellite Collective performs choreography by Esme Boyce and Manuel Vignoulle.

This was one of those shows where it paid to do your homework. The first thing you need to know is that Lyon Opera Ballet is not a ballet company. Secondly, Joseph Melillo, Executive Producer at BAM, chose to book Christian Rizzo’s ni fleurs, ni ford-mustang at BAM precisely because it was challenging. 

This BAM production of Benjamin Britten’s Billy Budd, imported from Glyndebourne, achieves the rare distinction of making a great performance out of a decidedly mediocre work.

Rachel Rizzuto reviews Tere O'Connor's Bleed at BAM Fisher, where ritual, reverie and humor collide wonderfully.

Part of the Next Wave Festival, 21c Liderabend achieved a delicate balance that, more times than not, New York’s larger performing arts venues fail to accomplish: an intimate experience in an extravagant, larger-scale setting.

Almost exactly a year ago, Hofesh Shechter Company graced the stage of Brooklyn Academy of Music’s Howard Gilman Opera House, with the choreographer’s explosive Political Mother. Bringing a deafening sound score (the audience was handed ear plugs on their way to the auditorium), vigorous dancing and impactful political slant, that work remains a highlight of BAM’s 2012 Next Wave Festival.

When brainstorming ideas for his 2010 production of And then, one thousand years of peace, a co-production with Moscow’s revered Bolshoi Theatre, the French-Albanian choreographer Angelin Preljocaj stumbled upon reading the Apocalypse of St John.

Kate Weare is the inaugural artist-in-residence at BAM Fisher. The product of that residency, Dark Lark, is a confusing mix of set design, attention-grabbing costumes, whimsical props and an all-too-spare movement vocabulary.

When Japanese Manga cartoons meet Latvian opera singers in a Danish theatre company’s cauldron, one imagines that the sum total of it all could easily translate into a massive train wreck. And yet, this doesn't.

John Heginbotham’s new piece Dark Theater is an intriguingly ambiguous bit of narrative that makes very careful use of musical phrasing – unfortunately, often to the point of predictability. But his movement is fresh and welcomingly idiosyncratic, and certainly no one can accuse him of not making full use of the BAM Fisher theater.

In the current climate of bombastic choreographers, who will pack a piece with far too much movement and thematic material to absorb in one or even many sittings, Brian Brooks’ minimalist style is a welcome change. I like to think of Mr Brooks as the Steve Reich of choreographers: he is able to draw seemingly infinite variations out of a single idea.