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Glitter Revolution
REVIEWS | Victoria Looseleaf

Glitter Revolution

Talk about perfection! While the countdown is on, as Gustavo Dudamel, music director of the world-class Los Angeles Philharmonic, prepares to exit the stage for the New York Philharmonic (a big boohoo), his presence last weekend at Walt Disney Concert Hall further cemented his status as musical genius, tastemaker and catalyst for good.

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Channeling Electricity
REVIEWS | Sophie Bress

Channeling Electricity

Whether it resembles the slow, building roll of distant thunder or the immediacy of an overhead lightning storm, flamenco is electric. This energy, however, is an intimate one, and one that benefits greatly from proximity.

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Winter Games
FIELD NOTES | Candice Thompson

Winter Games

This winter has been one of the wintriest in recent New York City memory. Between the unnavigable mounds of dirty snow at every intersection, dangerous patches of black ice, multiple days of subzero temperatures, power outages, and frozen pipes, there has also been the bone-chilling rise of authoritarianism in America.

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Condors in Flight

Condors in Flight

Based in Tokyo, Condors is an all-male contemporary dance troupe founded by director and choreographer Ryohei Kondo in 1996. In their 30th year, the company retains all their original members...

Performance

Condors: “Cigarettes and Alcohol”

Place

Space Zero, Shinjuku, Tokyo, February 21, 2026

Words

Kris Kosaka

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All is Vanity
REVIEWS | Lorna Irvine

All is Vanity

Liv Lorent MBE is a gal I relate to, a choreographer with a penchant for the gothic, drawing upon the duality of traditions within narrative dance: the grand guignol and the sentimental.

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The New Firebirds
FEATURES | Caedra Scott-Flaherty

The New Firebirds

One thing that I love about the Firebird is that she is the hero,” said Catherine Hurlin, a principal dancer with American Ballet Theatre, in a Zoom interview on a snowy February morning.

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Notes from the Underground

Notes from the Underground

Beneath my feet, thousands upon thousands of tiny threads in the soil transmit messages and nutrients, actions and behaviours.

Performance

Emma Riches: “never are” / “Amorphophallus blooming” and “Victoria amazonica blooming” by Ingela Ihrman

Place

Upstairs Studio Dancehouse / Potter Museum of Art, Melbourne, February 20 & 21, 2026

Words

Gracia Haby

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Winners and Some Questions
FEATURES | Greta Pieropan

Winners and Some Questions

The Prix de Lausanne 2026 crowned fourteen young dancers in its finale held at the Théâtre de Beaulieu in Lausanne, selected from 78 candidates who took part in the competition’s selection rounds. The jury this year was presided over by Kevin O’Hare, artistic director of the Royal Ballet.

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What We Hold
REVIEWS | Karen Hildebrand

What We Hold

Lights go up on three dancers who sit side by side on the floor in a far corner of the stage, legs outstretched, soles of their bare feet delightfully exposed. Siblings posing for a photo in the backyard? It’s a brief look, like a flashback.

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Together Apart
REVIEWS | Karen Hildebrand

Together Apart

Mesmerizing to watch? Or commentary on life versus machine? The program performed by Lyon Opera Ballet at New York’s City Center is both. Merce Cunningham’s “Biped” (1999) features a double cast—one of human dancers, and another of computer generated figures.

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New Kids on the Block

New Kids on the Block

In the second week of February, an ensemble of young and remarkably accomplished dancers presented a lovely and generously conceived programme just beyond the Paris city limits, at the Théâtre...

Performance

Junior Ballet de l’Opéra National de Paris: George Balanchine’s “Allegro brillante” / Maurice Béjart’s “Cantate 51” / Annabelle López Ochoa’s “Requiem for a Rose” / José Martinez's “Mi favorita”

Place

Théâtre des Sablons in Neuilly-sur-Seine, France, February 16, 2026

Words

Elsa Giovanna Simonetti

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Tempests of Love
REVIEWS | Sara Veale

Tempests of Love

Oh to love and be loved, what a beautiful mess it is. Nobody captures the contradictions of passion quite like Pina Bausch, whose “Sweet Mambo” is cast in her signature silly-meets-sincere mould—another treat for us Bausch bods out here, less fetching perhaps if you’re not a fan of her highly mannered house style.

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The Beauty of Ballet
REVIEWS | Elsa Giovanna Simonetti

The Beauty of Ballet

Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.

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Opposite Week

Opposite Week

I caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.

Performance

New York City Ballet: “The Wind-Up” by Justin Peck / “The Naked King” by Alexei Ratmansky

Place

David H. Koch Theater, Lincoln Center, New York, February 5, 2026

Words

Faye Arthurs

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