En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Chun Wai Chan

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

A winning mixed bill at New York City Ballet, featuring three stylistically and conceptually very different works, yielded many gems. 

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

Several important firsts at New York City Ballet: two female choreographers; the first black female choreographer; the first collaboration between a female choreographer and female composer. But the longstanding practice of pairing choreographers with fashion designers continues to prove problematic.