En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tiler Peck

Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

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.

New York City Ballet deliver an enjoyable, diverse, if occasionally predictable triple bill with revivals of works premiered last season.

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.

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.

The best performances of Balanchine’s Nutcracker are always the SAB children. Year after year, they capture not just the steps but the emotions behind Nutcracker.

What took so long, you may wonder, to get three female choreographers on a triple bill at New York City Ballet. This one yielded three keepers. 

Coppélia is a gift from Balanchine and Danilova to classical ballet, in this 50th anniversary revival.

 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.

A startling, provocative contrast between two works in the Fall for Dance Festival opening program this season. And glimpses of Aran Bell when he's not being princely.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

An uneven performance with mishaps and mis-pairings, yet still offering some outstanding individual interpretations.

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

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.   

A triple bill that shows off the dancers' many talents and leaves the viewer feeling entirely satiated.

The final performance at NYCB’s fall season was the best one. One has to have just pure admiration for this company, its dancers, its history, its future.

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

Contemporary ballet often shies away from unabashed romance. Kyle Abraham instead leans into the love story. 

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

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.

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.

I must admit I like NYCB’s recent trend away from the themed programming. The combinations can seem strange, but the performances have more variety.

 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. 

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

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

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

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.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

William Forsythe’s love affair with the music of British composer, James Blake, continues with this exhilarating performance of The Barre Project.

New York City Center’s annual Fall for Dance festival heads online in a pair of programs, one much stronger than the other. 

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

Tiler Peck is at her peak as an artist and let’s hope it lasts a long time.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

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.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

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.

An all Robbins program at New York City Ballet is one of my favorite things.

A high-spirited divertissement from the New York City Ballet.

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

The fifth program of City Center's 12th annual Fall for Dance Festival had something for everyone and it was all good.

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. 

From lifelong fans to the previously uninitiated, New York City Ballet’s All Robbins program was designed to make the whole house cheer. Jerome Robbins’ (1918–98) work on Broadway and in ballet made him a revered artist in both circles. Few others were ever able to achieve such crossover success.