Sala: Lincoln Center, Nueva York

El estreno de Iolanta y El castillo de Barbazul, retrasado a causa de la nieve, abrió con un poderoso canto y una escena muy efectiva. Los roles principales en Iolanta destacaron por una interprtación muy bella, mientras que en El castillo de Barbazul sobresalió la ejecución de la orquesta del Met.

American Ballet Theatre’s fall season continues with its Neoclassical Works program, featuring works by Sir Frederick Ashton, Kyle Abraham and George Balanchine. 

George Saunders’ prize-winning novel moves from page to stage in Lileana Blain-Cruz’s genre-defying, visually breathtaking and surprisingly cheerful production of Missy Mazzoli and Royce Vavrek’s operatic adaptation.

A stirring but not overly sentimental program curated by Adrian Danchig-Waring for his farewell performance included a striking new work by Pam Tanowitz, two towering Balanchine works and a Lar Lubovitch duet. 

An interesting mix of rarely seen and frequently revived Balanchine ballets at New York City Ballet.

New York City Ballet’s Contemporary Choreography I is a generous, exciting program featuring two new ballets that premiered at this season’s Fall Fashion Gala.

NYCB delivers first rate performances of three contrasting masterpieces from George Balanchine and Jerome Robbins in Masters at Work I.

Gustavo Dudamel introduced himself to his new subscription audience with a rendition of Mahler’s Symphony No. 5 that was at once surgically precise, startlingly forceful and compellingly human.