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Jewels of the World, Unite!

Lincoln Center Festival put together a big show this week: a multinational staging of George Balanchine’s 1967 ballet Jewels, with performances by the Paris Opera Ballet, New York City Ballet, and the Bolshoi. The contrasts were fascinating, and paradoxically, had the effect of focusing attention on the ballet itself, revealing more clearly than ever why Arlene Croce described it as an “unsurpassedbBalanchine primer, incorporating in a single evening every important article of faith to which the choreographer subscribed”. My review is at DanceTabs.

Teresa Reichlen in Rubies, from Jewels. Photo by Paul Kolnik.
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Four premieres at City Ballet and a few surprises at Fall for Dance

New York City Ballet had its gala on Sept. 30, featuring new works by four youngsters: Robert Binet, Myles Thatcher, Troy Schumacher, and Justin Peck. Here’s my review for DanceTabs.

New York City Ballet in Troy Schumacher’s Common Ground, with costumes by Marta Marques and Paolo Almeida of Marques’Almeida. Photo by Paul Kolnik
New York City Ballet in Troy Schumacher’s Common Ground, with costumes by Marta Marques and Paolo Almeida of Marques’Almeida. Photo by
Paul Kolnik

Over at City Center, Fall for Dance kicked off with two varied programs, each containing a surprise. See my review here.

Rachelle Rafailedes and L.A. Dance Project in Murder Ballades. Photo by Rose Eichenbaum.
Rachelle Rafailedes and L.A. Dance Project in Murder Ballades.
Photo by Rose Eichenbaum.

 

 

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Paloma in BA

A few weeks ago, Paloma Herrera and I sat down to talk about her training and career, about moving back to Buenos Aires, and about what she thinks has changed in the world of ballet and in the wider culture. Our chat is now up on the DanceTabs website.

Paloma Herrera outside of the Museo de Arte Decorativo. (photo by me)
Paloma Herrera outside of the Museo de Arte Decorativo. (photo by me)

 

 

 

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Forward to Petipa

“Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions,” Alexei Ratmansky told me a few months back, when we began discussing preparations for his new Sleeping Beauty, based largely on his interpretation of historical sources. He said many other things too. You’ll find them here, in this extensive q&a.

 

Alexei Ratmansky in Sleeping Beauty rehearsal.Photo by Rosalie O'Connor.
Alexei Ratmansky in Sleeping Beauty rehearsal.Photo by Rosalie O’Connor.
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Dreaming the Dream

In Midsummer Night’s Dream, Balanchine does what he does best: tells a story, then gives us its abstract expression. See my review of New York City Ballet’s final performances here, at DanceTabs.

Russell Janzen, Ashley Laracey, and Brittany Pollack in Balanchine's "Midsummer Night's Dream." Photo by Paul Kolnik.
Russell Janzen, Ashley Laracey, and Brittany Pollack in Balanchine’s “Midsummer Night’s Dream.” Photo by Paul Kolnik.
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ABT Marks 75 years

Gillian Murphy and Marcelo Gomes in Pillar of Fire. Photo by Marty Sohl.
Gillian Murphy and Marcelo Gomes in Pillar of Fire. Photo by Marty Sohl.

In its first week, the company performs works from its first decade. See my review of two programs here.

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Balanchine x 6

Here’s my review of the Jan. 20 and Jan. 22 programs at New York City Ballet, which included six works by Balanchine: Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, and Chaconne. Not bad for two nights at the ballet.

A little excerpt:

“These Balanchine evenings quickly establish the company’s core values: musicality, speed, lightness of touch, spaciousness, style. They also impress upon the audience the vast range of balletic modes in which the choreographer worked…. The ballets are not only worlds in themselves but, taken as a group, they seem to encompass most of ballet.”

Teresa Reichlen in Serenade. Photo by Paul Kolnik.
Teresa Reichlen in Serenade. Photo by Paul Kolnik.

The continues through March 1.

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A Final Nutcracker

Columbine and Harlequin in ABT's Nutcracker. Photo by MIRA.
Columbine and Harlequin in ABT’s Nutcracker. Photo by MIRA.

Alexei Ratmansky’s Nutcracker for American Ballet Theatre is having its last run at the Brooklyn Academy of Music before moving to the west coast next year. For the first time since its premiere in 2010, the theatre is full… Can’t help feeling a pang of loss. It’s a wonderfully imaginative rendition, a great antidote to Balanchine’s pitch-perfect version. Here’s my review of last night’s performance for DanceTabs, with Cory Stearns and Hee Seo in the lead roles.