En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Megan LeCrone

New York City Ballet dancing Balanchine's A Midsummer Night's Dream is the happiest way to end a long season.

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

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

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance. 

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.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns.