En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jerome Robbins

Avec trois œuvres datées des années 1960 et 1970, l’Opéra de Paris fait redécouvrir le répertoire de Jerome Robbins, emblématique de la danse néoclassique, entre minimalisme et paillettes, avec une touche d’humour.

Malgré quelques temps forts, en particulier la reprise brillante de Herman Schmerman, la soirée « Etoiles de l’Opéra » laisse un avant-goût mitigé sur l'avant-scène du Palais Garnier.

En 2018, le monde entier a fêté le centenaire de la naissance de Jerome Robbins, chef de file de la danse néoclassique américaine. Le Ballet de l’Opéra fait revivre cet héritage avec une soirée-hommage reprenant quatre œuvres de Robbins.

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. 

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.

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.

Le Ballet de l’Opéra de Paris présente deux créations; Tombe, de Jérôme Bel et La Nuit s’achève, de Benjamin Millepied ainsi que Les Variations Goldberg de Jerome Robbins. Mais si les programmes mixtes permettent de mettre en perspective différents points de vue, il faut encore que les œuvres trouvent à se répondre.

La dixième édition des Etés de la danse marque le retour du San Francisco ballet à Paris, compagnie qui avait inauguré cette manifestation en 2005.  Une matinée néoclassique dont la beauté et la fluidité de la danse laissent un goût de revenez-y...

La représentation s’est ouverte sur le défilé de l’école de danse et du ballet, cortège pompeux et bien hiérarchisé de danseurs qui progressent en rang les uns après les autres, en costumes académiques et tutus blancs. L’exercice soumet les étoiles de l’Opéra, qui saluent seuls, au jeu cruel de l’applaudimètre et n’est pas toujours le bon reflet de la qualité de leur performance.

Concerto Barocco and The Goldberg Variations make an unbeatable, timeless pairing at New York City Ballet. 

A triple bill including Tiler Peck’s newest ballet for NYCB, does not entirely work. Too much blue light and sadness for one program.

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter. 

Never has Justin Peck seemed more compositionally assured, and paradoxically freer, than in his latest ballet, breaking the mold of past work that mostly celebrated the camaraderie of his generation. 

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

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

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

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.

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.

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.

The Royal Ballet School students shine at their annual matinée at the Royal Opera House showing exceptional talent and versatility.

The Royal Ballet School deliver a promising mixed programme with some truly exceptional individual performances.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

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.

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.   

It's got a lot of appeal, with a diverse range of choreography, and offering audiences the chance to see excellent dancing and even some partnerships forming from different companies.

The programme’s middle work sees a detour from Stravinsky, to the music of Richard Strauss, lending itself to more lyrical work and some respite from the drama it's sandwiched between.

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.

 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. 

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.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

Von Brahms und Balanchine bis Górecki und Childs: das Wiener Staatsballet zeigt einen zeitlosen Abend.

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.

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

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

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.” 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

Beatrice Rana and Mario Brunello provide live music for seven internationally renowned dancers, including Paris Opéra Ballet’s Hugo Marchand and Spanish flamenco whizz Sergio Bernal, at the 15th-century Rocca Brancaleone.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.