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Performer: New York City Ballet

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New York CityBalanchine: Big & Bold

Brahms, Tchaikovsky
George Balanchine; New York City Ballet

New York CityClassic NYCB II

Harrison Ball in Balanchine’s Stars and Stripes © Erin Baiano
Adams, Chopin, Sousa
Gianna Reisen; Jerome Robbins; George Balanchine; New York City Ballet

New York CitySymphonic and Electronic

Sousa, Rodgers, Gottschalk, Deacon
George Balanchine; Justin Peck; New York City Ballet

New York CityA Midsummer Night's Dream

Mendelssohn: A Midsummer Night's Dream
George Balanchine; New York City Ballet

New York CityJewels

Fauré, Stravinsky, Tchaikovsky
George Balanchine; New York City Ballet
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NYCB's eclectic program worth the three hours

Harrison Ball in Balanchine’s Stars and Stripes © Erin Baiano
The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 
*****
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A hit and a miss from Justin Peck and epic Balanchine

Adrian Danchig-Waring and Sterling Hyltin in George Balanchine’s Symphony in Three Movements © Paul Kolnik
Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.
***11
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Order and disorder: Balanchine and Tanowitz square off at NYCB

New York City Ballet in Pam Tanowitz’s Bartók Ballet © Erin Baiano
Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.
***11
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Barber, Broadway and Balanchine bring a buzz to New York City Ballet

Sara Mearns in Balanchine's Slaughter on Tenth Avenue © Paul Kolnik
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.
****1
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NYCB's Spring Gala mixes uneven new works with classic Balanchine

New York City Ballet in the premiere of Justin Peck’s Bright © Erin Baiano
An imperfect performance, but after Tanowitz's muddled Bartók, Balanchine's Tchaikovsky Suite no. 3 was like balm.
***11
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