En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Aarón Sanz

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

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

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

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

Recent retirements within NYCB have resulted in uneven performances, but there is still hope for future spring programs.

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

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

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. 

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.

For that special evening out during the holiday season, you can’t go wrong with New York City Ballet’s warhorse version of The Nutcracker.