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Found 13 results

  1. 2021 DIGITAL SEASON Just announced today, New York City Ballet is creating several new works and special programs for digital release this winter and spring. Following is an overview of this exciting programming with more on our winter activities below. All performance streams and Inside NYCB presentations will be available free of charge. Visit our website for complete details and The New York Times for additional coverage. FEB 23 - MAR 18 Three Sides of Balanchine We’re kicking off an array of programming with a three-week series exploring the narrative, classical, and neoclassical aspects of George Balanchine’s choreography as represented by Prodigal Son, Theme and Variations, and Stravinsky Violin Concerto, a group of works spanning more than 40 years of creation. Scroll down for the schedule of events, including virtual workshops and onstage presentations. MAR 9 A Parting Pas de Trois This year’s virtual version of the Company’s Annual Luncheon fundraising event will honor three NYCB principal dancers who will retire during the 21-22 performance season. During the program, Maria Kowroski, Ask la Cour, and Gonzalo Garcia will each perform an excerpt from a work closely associated with their NYCB careers and participate in a conversation with NYCB Board Member Donya Archer Bommer, which will also feature performance clips from the dancers’ repertory. Event tickets starting at $350 are available online; for more information, please contact NYCB Special Events at specialevents@nycballet.com. APR 8-22 Kyle Abraham World Premiere Choreographer Kyle Abraham returns to premiere his third creation for NYCB, beginning with a three-week COVID-compliant residency bubble at the Kaatsbaan Cultural Park in Tivoli, NY. Subsequently, his new work will be filmed onstage at the David H. Koch Theater and digitally released in early spring. MAY 6-20 Spring Gala featuring Justin Peck World Premiere NYCB's first-ever virtual gala will take place May 5, highlighted by a world premiere from NYCB Resident Choreographer Justin Peck, who is creating a solo for Principal Dancer Anthony Huxley to a string quartet arrangement of Samuel Barber’s Adagio for Strings, along with excerpts of ballets by George Balanchine and Jerome Robbins newly filmed for the occasion. The gala program will be digitally released on May 6 and available to view free of charge for two weeks. Gala tickets, including an opportunity to mingle with Company artists online, start at $2,500; for more information, please contact NYCB Special Events at specialevents@nycballet.com. INSIDE NYCB: TUESDAYS AT 8 PM Inside NYCB presentations corresponding with each week's featured ballet will release on three consecutive Tuesdays, starting with Prodigal Son on February 23. Principal Dancer Russell Janzen hosts these onstage rehearsal sessions and conversations with NYCB artists and repertory directors, offering unique access and insights into each work. These events will be available to stream for nine days after airing. PERFORMANCE STREAMS: THURSDAYS AT 8 PM Performance streams of complete ballets begin February 25 with Prodigal Son, a narrative work from 1929. The following two weeks will feature the virtuosic 1947 showpiece Theme and Variations on March 4 and Balanchine’s 1972 neoclassical masterpiece Stravinsky Violin Concerto on March 11. These streams will be available for one week after they air. Access both the Inside NYCB presentations and performance streams on YouTube and our website as of their respective 8 PM airings. New episodes arrive beginning Monday, February 22, exploring Prodigal Son, Theme and Variations, and Stravinsky Violin Concerto as part of the Three Sides of Balanchine series. But you don't have to wait – binge a variety of chats before the next episodes are released. For the practical minded .... There might be some interest in the activities below ... WINTER VIRTUAL WORKSHOPS Warm up with movement workshops for participants of all ages and ability levels. Dancers from across the Company's roster lead these lively classes, which are livestreamed via Zoom. Tickets are available now. FEB 22 – MAR 8 Ballet Essentials Online for Teens and Adults of All Levels These hour-long, open-level workshops every Monday at 6:30 PM EST include a ballet warm-up, choreography inspired by Company repertory, and an interactive Q&A with the hosting dancer. Tickets: $0, $10, and $15 FEB 24 – MAR 10 Signature Steps for Experienced Teens and Adults For intermediate- to advanced-level teen and adult dancers, these one-hour sessions every Wednesday at 6:30 PM EST feature a barre and abridged center work exploring George Balanchine's signature aesthetic. Tickets: $30 FEB 25 – MAR 11 Access Workshops for Teens and Adults with Disabilities Movers of all ability levels are invited to join a different Company dancer each week at these hour-long workshops every Thursday at 6 PM EST. Attendees will be led in a warm-up and choreography inspired by NYCB's repertory, with modifications and movement options offered for all. Tickets: $0 and $15 FEB 27 – MAR 13 Ballet Breaks for Children (Ages 3-8) Get your tiny dancer moving with these 30-minute sessions each Saturday at 11 AM EST. Our young fans will explore basic ballet concepts and learn a new dance together each week. Tickets: $0, $8, $12 FEB 27 – MAR 13 Access Workshops for Children with Disabilities Lively movement workshops designed especially for children with disabilities, these 45-minute sessions every Saturday at 12 PM EST include modifications and movement options to accommodate all little movers. Tickets: $0 and $10 Ticket sales for a series of spring virtual workshops, running May 3-22, will open at a later time.
  2. Picking up on Alastair Macaulay's comments about the Royal Ballet's recent performances of Apollo the other day, in which he states that "Like every Royal Ballet “Apollo” I’ve seen since 1976, it’s musically slow and dynamically sluggish." and calls the performance a "reverential ritual" (http://www.nytimes.com/2013/02/25/arts/dance/wheeldon-ratmansky-and-balanchine-at-the-royal-ballet.html?_r=1&), I was wondering how other companies dance it, particularly, of course, NYCB? Is anyone able to compare? Unfortunately, I don't think there's a DVD of the ballet available.
  3. Does anybody have any tickets available for Balanchine & Robbins on either 4th or 7th June? Many thanks!
  4. I felt the company was a lot stronger in the Ashton works than in Balanchine's, but I suppose that's to be expected? There is definitely some young talent to keep an eye on, though! Here's my review of Program 2.
  5. Greetings! Long time lurker who has finally decided to contribute due to the fact have recently moved to Stuttgart and so finally have a chance to see ballet on a fairly regular basis. Last weekend I went to the “Shades of White” programme at Stuttgart ballet and thought some of you might be interested in my (completely novice) view of it. The programme consisted of Concert for Flute and Harp, choreographed my Cranko, music by Mozart The Kingdom of the Shades from La Bayadere (Markova version) Symphony in C (of course by Balanchine) I thought it was an interesting concept for a triple bill, in that all of the pieces are linked by a similar aesthetic. Unfortunately for me, this idea was not completely successful (more on that later). I had two ballet newbies with me and I felt quite stressed because I thought their opinion of ballet would largely be formed based on this. The first piece was the Cranko piece, which is a plotless neoclassical piece. It was the one I knew the least about, and in fact I don’t know if any other ballet company performs it. It quite unconventional, in that it has two principal ballerinas and a male corp of 10(ish) dancers, with two male principal parts embedded within it who occasionally emerge for variations and pas de deux. The choreography was very musical with interesting partnering and very nice moments. Something that really struck me was how much fun everyone on stage seemed to be having. I thought that it must be so nice for some of the male corp dancers to get some limelight and to push themselves technically. I was kind of surprised that it is not more well known, since it was really lovely in many ways. Overall though I felt that it didn’t quite add up to more than the sum of it’s parts. Possibly part of this was the music. Although there is nothing wrong with Mozart, I wasn’t sure how suited this piece was to ballet. The orchestra for it was small and it lacked drama. It was a good job this came first because, although it was very nice, it was followed by two pieces which are (arguably) masterpieces . Apparently La Bayadere has been missing from Stuttgart ballet’s repertoire and this run is a company premiere, not that you would have known that from the performance I saw. The shades passed the wobble test with flying colors during their entrance and the overall effect was nothing short of sublime. It’s something that I think I could see countless times and never fail to be deeply moved by. The three shade variations went well and Solor was suitably dashing, but the real star (along with the corp) was Nikiya, danced by the amazing Hyo-jung Kang. Not that I really know a lot about these things, but I thought she was very sharp technically while at the same time being wonderfully soulful and expressive. She is someone who I would book again specifically to see. This was both mine and my friends’ favourite piece of the evening and both of them said they would come again to see the full version (mission accomplished!). Lastly Symphony in C, and here we come to the drawback if this programme. This is ballet that I have watched extracts of on youtube and wanted to live for a long time, but the time it came around I was suffering slightly from what I have dubbed “white tutu fatigue”. I felt that the Cranko piece at the start owed, at least superficially, a lot to Balanchine and although I think Symphony is a wonderful ballet I couldn’t experience it with as much freshness as I would have wanted. Still, the finale was very impressive. Dancer-wise, the male lead in the first movement, David Moore, really stood out to me (in a good way). I was one of those dancers who somehow seems to draw my eye simply by standing still and doing nothing. Interesting. he trained at the Royal Ballet School, but wasn’t taken into the company. Appologies in advance for any spelling mistakes or typos. Is anyone else on here a regular Stuttgart ballet-goer?
  6. A writer for The Traveling Ballerina was in Fort Lauderdale last weekend, so decided to see MCB's A Midsummer Night's Dream; she also reviewed the performance. Personally, I absolutely adore the original Balanchine version so probably would have a difficult time accepting this one.
  7. I had the fortune of being in New York to see two of NYCB's programs and I wrote reviews on both of them - Jewels and All Balanchine. I would love to hear your opinions, especially about Symphony in C because it's a ballet that I wanted to like but just didn't. Do I give it another chance?
  8. New York City Center, as part of its 75th anniversary, has announced a series of events throughout the coming year. I noticed from October 31 until November 4 a series of performances dedicated to Balanchine - the City Center Years (City Ballet were resident at City Center for 15 or 16 years before moving to State and Balanchine created many works for the company on that stage). There are several participating companies listed including the Royal Ballet (others include, as well as NYCB, Paris, Joffrey, Miami and the Mariinsky). As the Royal are due to be performing Mayerling and Bayadere at the opera house that week, I assume that the Royal's participation must be limited to a couple of dancers sent over to perform, say, a pas de deux. Does anyone with a greater knowledge of the company know what the intentions are? It's only five days of performances, but it looks potentially very interesting.
  9. So I have been invited to dance a solo at my schools presentation evening, and wanted to do the Tchaikovsky Pas de Deux girl variation which I learned at Easter school (I have no Balanchine training, but I do love it!) the only problem is, the only music I can find to download is either extremely fast (47 seconds) or painfully slow (59 seconds). Which would be better? Also, is it a good idea to perform en Pointe? The only thing I would have to adapt if en Pointe would be the 'lame ducks' (posé turns en dehors)... I'm not confident with them being doubles if en Pointe. It is in the school main hall, which isn't sprung but neither is it particularly slippy. (It is also not very big... Might have to turn the turns into a manège!) Please help! ?
  10. Paris Opera Ballet and The Bolshoi are to collaborate with New York City Ballet in 5 performances next summer, 20-23 July 2017, to celebrate 50 years of Balanchine's trilogy Jewels. POB will dance Emeralds, NYCB Rubies and the Bolshoi Diamonds. Later in the run NYCB and the Bolshoi will swap. Each company will use it's own costumes, so Lacroix for POB, Karinska for NYCB and Zaitseva for The Bolshoi. Should be a fantastic treat to see this!! http://www.nytimes.com/2016/11/30/arts/dance/celebrating-balanchines-jewels-with-an-international-flair.html?smid=tw-nytimesarts&smtyp=cur
  11. The Balanchine Foundation has established its own YouTube channel. The contents look very interesting. Lots of interviews but also coaching sessions. When you see the short section of Violet Verdy coaching a section of a pas de deux from Emeralds you may get an idea of what has been missing in some of the performances that we have seen at Covent Garden. All in all it looks fascinating.
  12. While watching "The Four Temperaments" last night, it struck me once again just how few of Balanchine's works have made it to DVD. Sure, a few of his full-length works are available - Midsummer Night's Dream, Nutcracker and Diamonds spring to mind - but as regards his shorter works, it's very few. The main output is those TV recordings from, I think, the 1970s (or possibly 80s?), but there's no Serenade, no Apollo that I'm aware of ... It surely can't be down to lack of demand. Is the Balanchine Trust resistant to producing DVDs, perhaps, or NYCB?
  13. Just time before I go out to set up a new thread for the run of Jewels starting this evening. Please post your thoughts here.
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