En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Taylor Stanley

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

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.

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

An intermittently sparkling evening culminates in a thrilling explosion of art.

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

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

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.

In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.

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?

 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 fall season opens with three Balanchine ballets and what felt like a gesture of thanks to a trio of ballerinas for their many years of service to the company.

George Balanchine's ballet brings joy to audiences year in, year out. 

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.

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.  

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.

Highlights from the nine-day contemporary dance festival from the southernmost tip of Manhattan. 

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.

New York City Ballet ends its Fall Digital Season with a festival of new choreography, including works by Justin Peck and Pam Tanowitz. 

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

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.

Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.

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

Peter Martins's greatest legacy at New York City Ballet is his tremendous eye for talent and it was on full display at this matinee show.

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. 

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.

This season New York City Ballet unveiled two entirely new ballets by choreographers Peter Martins and Benjamin Millepied. Both world premieres took place during the NYCB’s spring gala earlier this month and were reprised Tuesday night for an eager, if not as impressively dressed, audience.Martins’ Mes oiseaux (“My Birds”), first of the night, included some interesting choices.