En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | KJ Takahashi

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

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

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

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.   

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

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.

Over twenty-two vignettes, some long, others short, a cast of thirty pedestrianizes ballet. The work suggests that who you are matters more than what you do. 

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?

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

After the success of The Runaway, it wasn’t surprising that Kyle Abraham was tapped to create a new work for NYCB’s 2021 Digital Season.