En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | George Balanchine

Le Ballet de l’Opéra de Paris intègre deux nouvelles pièces du maître à son répertoire : Ballet Impérial et Who Cares?, qui donnent à voir deux facettes emblématiques du chorégraphe.

Le Ballet de l’Opéra de Paris reprend la chorégraphie shakespearienne de George Balanchine de 1962, pourvue pour l’occasion d’une nouvelle mise en scène et en costumes signée Christian Lacroix.

La musique de Stravinsky aurait pu être la ligne directrice de cette soirée, qui débutait avec Agon et se terminait par le Sacre du Printemps (version Pina Bausch). Mais Grand Miroir, la nouvelle création de Saburo Teshigawara, suspend le fil musical de Stravinsky par une parenthèse plus méditative : le Violin Concerto composé et dirigé par Esa-Pekka Salonen.

La compagnie ouvre la nouvelle saison en célébrant la chorégraphie cinquantenaire, expression du plus pur style balanchinien, dans une interprétation virtuose et pleine d’esprit.

Le Ballet de l’Opéra de Paris rend hommage au compositeur Maurice Ravel dans un superbe moment musical, magnifiquement dirigé par le jeune chef d’orchestre Maxime Pascal. 

Si Le Songe d’une Nuit d’Eté a souvent été dansé à l’Opéra de Paris, la version chorégraphiée par George Balanchine en 1962, au répertoire de nombreuses compagnies, n’avait encore jamais été présentée au public parisien. 

Cette soirée est l’occasion de redécouvrir Balanchine et sa conception des ballets qui s’ancrent dans le corps, la personne et l’âme des danseurs pour les sublimer de façon graphique.

Le New York City Ballet est à l’affiche de la douzième édition des Etés de la Danse au Théâtre du Châtelet. Cette participation est une première attendue de longue date, alors que le festival a déjà accueilli de nombreuses compagnies américaines.

Ce Quartet chorégraphié semble consigner les souvenirs d'enfance de George Balanchine.

Le Ballet de l’Opéra de Paris présente une nouvelle soirée néoclassique qui met à l’honneur trois générations de chorégraphes : Georges Balanchine, Jerome Robbins et les chorégraphes contemporains Alexeï Ratmansky et Justin Peck.

Une célébration de la danse néo-classique techniquement bien exécutée, dont on aurait aimé une interprétation plus vibrante.

Le programme intitulé Balanchine/Millepied réunit ce mois-ci deux œuvres néoclassiques, Le Palais de Cristal, créé pour l’Opéra de Paris en 1947 et Daphnis et Chloé, dans une nouvelle chorégraphie composée cette année par Benjamin Millepied.

A very welcome visit from the Paris Opera Junior Ballet to the Linbury Theatre displays the company in a very favourable light, in a variety of works.

American Ballet Theatre Studio Company showcase the talents of its youthful dancers in a diverse and demanding programme at the Linbury.

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.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

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.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

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

In a triple bill of contrasting choreography, Les Ballets de Monte-Carlo tackle everything with aplomb.

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. 

At the New York City Center, where founder Arthur Mitchell became a star, Dance Theatre of Harlem delivered a diverse program of works by Balanchine, Forsythe, Garland and Jodie Gates.

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer. 

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

Last night’s New York City Ballet program gave you an idea of Tallchief’s versatility and depth in a fitting tribute to her great talent.

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.

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.

Artistic Director, Susan Jaffe, reviving the Kingdom of the Shades for ABT’s Fall Season was both a testament to her trust in her company, and also a test.

Just as there can never be a bad performance of Serenade, there are no bad performances of In the Upper Room. It practically dances itself.

A first rate account of George Balanchine's Jewels from exquisite dancing and music, to tremendous staging.

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.

Divertimento from Le Baiser de la fée is revived infrequently. It is an odd ballet, as if Balanchine’s couldn’t quite resolve his troubles choreographing to this piece. 

Piano Concerto #2 dominated this program and as the closer, would have sent everyone home happy.

Dance Theatre of Harlem feels poised to forge ahead to a new era, all while bringing together its knowledge and legacy from the past half century.

Five of the best-known dance companies based in New York City have united for a weeklong program every summer since COVID. This year they shared a stage but stuck to their own rep.  

As we reached the end of season gala, Ballett am Rhein offered up a selection of highlights from the past four seasons in celebration of outgoing Artistic Director, Demis Volpi.

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

Balanchine's Jewels for the Kansas City Ballet is a very pleasing way to end the season.

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

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.

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

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

An adventurous triple bill of vintage works new to Norway. 

The Dream is such a crowdpleaser that one wishes ABT would do this more often in their Met season, but Ballet Imperial needed more time to relax into. 

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.