Batsheva showed its mettle through 21 “sadehs,” Hebrew for fields—of study, action, grace, muscularity.
For 120 years this ballet has been a permanent fixture of the company’s repertory and a box-office magnet—the embodiment of the Mariinsky’s unique brand and style.
Los Angeles, a town that loves the business of movies, television, pop music—and now art, with high-end galleries and museums flourishing—has a reputation for being notoriously inhospitable to homegrown concert dance.
Louise Lecavalier, erstwhile muse and star dancer of Édouard Lock’s Montréal-based troupe, La La La Human Steps from 1981 to 1999, rocks a hoodie and workout pants like nobody else.
The Mariinsky Ballet’s program, “Chopin: Dances for Piano,” which concluded the company’s season at the Brooklyn Academy of Music in New York, offered a sampler of three ballets, all set to Chopin’s piano music and created in different time periods: Michel Fokine’s “Chopiniana” (1908), Benjamin Millepied’s “Without” (2011) and Jerome Robbins’ “In the Night” (1970).
On Saturday, January 24, New York City Ballet celebrated in style the 111th anniversary of company co-founder and choreographer George Balanchine, who was born on January 22, 1904.
