World-class review of ballet and dance.
It starts out light and coquettish. George Balanchine’s “Sonatine,” set to the composition by Maurice Ravel of the same name, is undeniably lighthearted, as the dancers—here, Léonore Baulac and Germain Louvet—find themselves animated by the music, as they share the stage with a grand piano (and pianist Elena Bonnay at its helm).
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When I say this work from Hofesh Shechter set my thoughts adrift, I don’t mean that the performance failed to capture my attention.
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Goodbyes are often tearful. As Kun-Yang Lin’s Philly-based dance company, KYL/D, gave its final performance at the Mandell Theater this spring, I found myself sobbing uncontrollably. This was it.
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Shen Wei is a master mover between worlds—between East and West, between choreography and painting, between process and product, between the physical and the spiritual, and I could go on.
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Rudolf Nureyev’s “Don Quixote” is a long-running ballet in La Scala’s repertoire, periodically revived and performed on tour.
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Even in stillness, there is energy. When the stage lights up on Cassandra Trenary, the dancer is already quivering, muscles tensed, as if gearing up for a fight. That is precisely what ensues.
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Cell phones and motorcycle headlights illuminated the stage at the Teatro América during a recent performance of the ballet company ProDanza. When the music also failed, audience members joined dancers in singing along, ensuring the show could go on.
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How do we navigate a balance between the collective and the individual? How do we negotiate strength and flexibility? How do we value tradition while embracing innovation?
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“Vibrations” closes the Opéra Garnier’s 2025/26 season with what might be read as a triptych on dance’s future, past, and present.
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Particles or string? Dark matter or light? The National Ballet of Japan offers up a contemporary double-bill of dance, loosely connected by visual metaphors to modern physics.
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When Yvonne Rainer choreographed “Trio A” on herself in 1965, it took six months to work out the four-and-half-minute solo. But for many early audience members, its effect was immediate and electric.
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Nina Ananiashvili was still thrilling audiences as an exceptional ballerina when, in 2004, she got a call from Georgia’s newly elected president, Mikheil Saakashvili.
Continua a leggereLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continua a leggereIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continua a leggereAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continua a leggereOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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