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Concerto Barocco and The Goldberg Variations make an unbeatable, timeless pairing at New York City Ballet. 

In a tremendous triple bill at New York City Center, Martha Graham’s genius and Janet Elber’s stewardship of the company into the 21st century deserve to be celebrated, loudly. 

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

Brahms-Schoenberg Quartet comes across as a work with fragments of greatness rather than a masterpiece but the rest of the evening offers sheer brilliance.

Someone at New York City Ballet needs to believe in Orpheus before they present it again.

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.

Martha Graham's choreography, often inspired by Greek mythology, still has the power to shock.

The feeling at the end of the evening was one of triumph, with the future of the Martha Graham Dance Company looking as optimistic as the frontier couple in Appalachian Spring.

Avec quelques semaines d'avance, la Martha Graham Dance Company fête son centenaire en faisant dialoguer la danse d’avant-garde de sa fondatrice et le génie créatif effervescent de notre époque.