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Piano Man
REVIEWS | Di Marina Harss

Piano Man

We don’t usually associate the choreographer Jerome Robbins with the music of Tchaikovsky.  But on occasion, Robbins did choreograph to music by the Russian composer. One of these works, “Piano Pieces,” was made for New York City Ballet’s 1981 Tchaikovsky Festival. This week it returns to the repertory for the first time since 2008, paired with Robbins’ tongue-in-cheek Verdi ballet “The Four Seasons.” The combination makes for a light, bright, and relatively brief evening, something of a relief after the two-week Stravinsky Festival.

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True Calling
INTERVIEWS | Di Victoria Looseleaf

True Calling

Having choreographed more than 100 works for companies worldwide, including American Ballet Theatre, Alvin Ailey American Dance Theater and the National Ballet of Japan, Jessica Lang, who grew up in Bucks County, PA, began studying ballet as a child. At the tender age of 13, realizing that dance was her true calling, she never looked back, becoming a creative force in the process.

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Return to the Lake
REVIEWS | Di Rachel Howard

Return to the Lake

San Francisco Ballet capped artistic director Helgi Tomasson’s departing season with his “Swan Lake,” headlined by four promising casts. On opening night I saw Frances Chung as Odette/Odile, and she was technically impeccable, emotive without crossing over into camp, and athletically powerful—but she didn’t believably click with Joseph Walsh’s playboy-esque Siegfried. Then I received emails from strangers reporting that Sasha De Sola’s debut in the role had left them dazzled. So I returned to see her second go at it with Max Cauthorn as Siegfried, and am I ever glad I did. Growing up in Fresno, California, I used to...

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Ode on a Grecian Urn
REVIEWS | Di Marina Harss

Ode on a Grecian Urn

There was nothing new about the trio of works on show at New York City Ballet on May 10—“Apollo,” “Orpheus,” and “Agon,” except the pairing with a brief orchestral suite by Stravinsky at the start of the evening. Stravinsky’s “Suite No. 2 for Small Orchestra” is a charmer, in the composer’s neoclassical style of the 1920’s, light, sparkling. Its second movement, a jaunty waltz for the flute, is like a playful out-take from “Petrushka.”

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Making Aerowaves
REVIEWS | Di Veronica Posth

Making Aerowaves

Spring Forward Dance Festival is a project born ten years ago by Aerowaves, a European network which promotes emerging contemporary dance artists in Europe and abroad. Aerowaves began in 1996 with a small group of European dance colleagues at the Place in London, where John Ashford was director, presenting ten promising short pieces at the Place Theatre. It expanded into a network of 44 partners and presenters from 35 European countries showing 20 emerging choreographers each year.

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Keeping Score
REVIEWS | Di Cecilia Whalen

Keeping Score

L.A. Dance Project's two-week run at the Joyce Theater opened May 3 with a program of mainly post-modern works by three female choreographers. Founded in 2012 under the artistic direction of former Paris Opera Director of Dance and New York City Ballet star Benjamin Millepied, the Los Angeles-based dance company celebrates its 10th anniversary this year. Since its inception, the company has presented over 40 works, both new and restaged, from a diverse array of choreographers including Justin Peck, Merce Cunningham, Kyle Abraham, Ohad Naharin, and Martha Graham.

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Force of Nature
REVIEWS | Di Karen Hildebrand

Force of Nature

It wouldn’t hurt to have a tutorial at the ready when attending a show by Time Lapse Dance. The dynamic movement and flowing fabric that are signature elements of work by founder and choreographer Jody Sperling deliver a visually gorgeous evening of performance, but there is always a deeper level to discover for those curious about how and why the works exist. “We start with the science,” said composer Matthew Burtner about his collaborations with Sperling, during the post show Q&A on May 5 when the company showed four works in Manhattan, its first stage appearance in two years following...

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Symphonic
REVIEWS | Di Marina Harss

Symphonic

It has been a few years since New York City Ballet danced Balanchine’s “Symphony in Three Movements,” so its return as part of the company’s Stravinsky Festival is particularly welcome. Created the same year (1972) as his “Stravinsky Violin Concerto,” it represents the pinnacle of Balanchine’s response to Stravinsky’s music. The ballet’s confidence, from start to finish, is monumental.

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Stravinsky Variations
REVIEWS | Di Marina Harss

Stravinsky Variations

The 1972 Stravinsky Festival at New York City Ballet is one of those mythical moments people speak of with glowing tones of wonderment: 30 ballets! 20 premieres! New works by Balanchine, Robbins, John Taras, Todd Bolender, and more! Not to mention the fact that it was the occasion of the creation of two the greatest Stravinsky ballets ever made: “Symphony in Three Movements” and “Stravinsky Violin Concerto.”

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Flow State
REVIEWS | Di Candice Thompson

Flow State

The dancers of Sasha Waltz & Guests and the musicians of Bang on a Can All-Stars walked onstage in silence, their forms making dark silhouettes against a saturated pink backdrop. For a few minutes they milled about, reconfiguring into different pairs, groups, and lines before the musicians eventually settled themselves at their instruments and the dancers found their marks. A bright chime sound, coming from percussionist David Cossin, set the the driving beat that propels Terry Riley’s iconic minimalist score “In C” forward. As more lights came up and the dancers warmed up with rhythmic shoulder rolls and head turns,...

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A Season to Celebrate
REVIEWS | Di Rachel Howard

A Season to Celebrate

Dozens of ballet luminaries including Hamburg Ballet director John Neumeier, Joffrey Ballet director Ashley Wheater, and recently retired New York City Ballet principal Gonzalo Garcia gathered here last week on a confetti-blasted opera house stage to mark the end of an era. Helgi Tomasson, artistic director of the San Francisco Ballet since 1985, is about to finish his final season. The larger ballet world’s moment of overwhelming change, with the revamp in leadership at New York City Ballet, and Kevin McKenzie’s impending retirement at American Ballet Theatre, feels magnified here. Tomasson has served seven years longer than McKenzie has led...

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The Mozart Touch
REVIEWS | Di Marina Harss

The Mozart Touch

George Balanchine’s “Divertimento No. 15” is a ballet one longs to see, but seldom comes out of the theater fully satisfied by. “Arlene Croce quipped that ‘Divertimento No. 15’ is one of those ballets that are famous for not being done well,” Nancy Goldner writes in her essential volume More Balanchine Variations. “My experience with it would prompt me to amend that to ‘not done well enough.’” I tend to agree with the latter assessment. It is an extraordinary ballet, sophisticated, pure, both light and transparent in its construction. But it seldom achieves the kind of transcendence and flow suggested...

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

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.

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