A very fine performance, notable for the musicality which imbued each dancer’s presence and the excellent acting which kept the audience glued to the story.
Among the standouts at the San Francisco Ballet gala evening performance were Ana Sophia Scheller in Rubies, Sasha De Sola in Études, Benjamin Freemantle in Agon, and Misa Kuranaga and Angelo Greco in Handel-A Celebration.
Audio and film permeate Marriott's new work for the Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala.
A double bill that focuses on the purity of classical ballet form, in a fine combined 70th Anniversary celebration, excellently performed by Hungarian National Ballet.
BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.
Being able to see all these dancers together was a rare opportunity to compare how differently they work and what each of them brings to classical ballet that is unique to them.
Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky
The Scala Ballet performs a daring triple bill this Spring, showcasing young Italian choreographers alongside one of Balanchine's masterpieces, Symphony in C.
It’s all there: flashy extensions whipped into ecstatic heights, bravura speed and precision, intricate entanglements of dancers, whimsical wit and the loving nod to an adulation of Woman.
Oskar Schlemmer's arresting designs for The Triadic Ballet proved one of several high points in Bayerisches Staatsballett II's mixed bill at the Hong Kong Arts Festival.
Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.
Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.
What Wheeldon seems to have used from this musical concept for the formation of the choreography is the idea of a mechanical universe, overrun by the presence of time.
Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns.
Diablo Ballet tackles Balanchine's Apollo, Tina Kay Bohnstedt's take-off on a Sinatra classic, and Robert Dekkers' mysterious Milieu – once again showing up those larger companies who have unwisely ditched live music.
San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.
Carlos Acosta's Carmen premieres at the Royal Ballet, alongside Robbins' Afternoon of a Faun, Balanchine's Tchaikovsky Pas de Deux and Scarlett’s Viscera.
On the second night of San Francisco Ballet’s second visit to Beijing, the company treated their Chinese audience to a varied programme: Tomasson’s Caprice, Wheeldon’s Rush, van Manen’s Variations for Two Couples, and Balanchine’s Theme and Variations.
New York City Center's Fall for Dance Festival opens with performances by Miami City Ballet, L.A. Dance Project, Doug Elkins Choreography, etc. and Che Malambo
The double bill of Liebeslieder Walzer and Tschaikovsky Suite No. 3 is a cloying juxtaposition that serves neither well at New York City Ballet. A handful of fascinating performances rescue the evening.
The Pacific Northwest Ballet's season opener captures different periods of neoclassical ballet with Christopher Wheeldon's Tide Harmonic, George Balanchine's Prodigal Son and Jerome Robbin's The Concert (or, The Perils of Everybody).
A flock of women triumphed on opening night of Peter Martins' patchy Swan Lake at New York City Ballet: the peerless Sara Mearns as Odette-Odile; Ana Sophia Scheller, Tiler Peck and Megan Fairchild in a spectacular pas de quatre; and corps dancers Jacqueline Bologna, Baily Jones, Alexa Maxwell and Claire Von Enck as the Four Little Swans.
Roberto Bolle and Herman Cornejo bring their shared gala program, BalletNow to Los Angeles. With a cast of twenty dancers, BalletNow is an innovative split bill that features European and Latin American stars. Two works feature Bolle dancing in interactive film sequences.
Singapore Dance Theatre, in its 20th year of Ballet Under The Stars, puts on a wonderful trio of works: George Balanchine’s Concerto Barocco, Serenade and Goh Choo San’s Schubert Symphony.
