World-class review of ballet and dance.
At its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
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Since the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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One of the hottest entities of Europe’s dance world is surely (La)Horde. A collective of three artists—Marine Brutti, Jonathan Debrouwer and Arthur Harel—the French theatrical trio could not be more on trend.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
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On a bright spring afternoon, as Paris basked in long-awaited sunlight and the city frantically moved in the heat, the Opéra Garnier opened a portal to another world—a realm of eternal forms, ethereal beauty, and blue distances: those trembling horizons where the sea dissolves into sky, and the eye reaches toward the infinite.
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What does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.
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Nureyev and Friends, a recent tribute event at the Hong Kong Arts Festival, opened with an introduction from Charles Jude, the longtime protégé of Rudolf Nureyev at the Paris Opera Ballet.
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It is always exciting when the New York City Ballet kicks off a season with an all-Balanchine program. However, the Spring Season’s opening quartet of Balanchine ballets—all strong in their own right—didn’t hang together as well as some other combos.
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Moreso than many Balanchine offshoot companies, the Dance Theatre of Harlem—founded by the New York City Ballet principal dancer Arthur Mitchell in 1969—keeps the Balanchine ethos at the forefront of its programming.
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Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.
PlusWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
PlusThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
PlusAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
PlusAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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