En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Preston Chamblee

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

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.

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.

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

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.

When she retires next week, part of me likes to think she’s not really retiring. She’s just decided to stay in the Land of Sweets.

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

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. 

Historically a dead month for the dance world, August is heating up as mini-festivals become more commonplace. New York City Ballet's Ashley Bouder presents a balanced program at the Joyce.