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Tempests of Love
REVIEWS | Sara Veale

Tempests of Love

Oh to love and be loved, what a beautiful mess it is. Nobody captures the contradictions of passion quite like Pina Bausch, whose “Sweet Mambo” is cast in her signature silly-meets-sincere mould—another treat for us Bausch bods out here, less fetching perhaps if you’re not a fan of her highly mannered house style.

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The Beauty of Ballet
REVIEWS | Elsa Giovanna Simonetti

The Beauty of Ballet

Continuing a project launched in 2019, lyrical singer Ekaterina Anapolskaya and former Opéra de Paris sujet, now professor at the ballet school, Gilles Isoart curated an evening of international guests conceived as a celebration of the nineteenth-century heritage.

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Opposite Week

Opposite Week

I caught the New York City Ballet’s two Winter Season premieres last week, and it seems that opposites are still attracting over at the Koch Theater.

Performance

New York City Ballet: “The Wind-Up” by Justin Peck / “The Naked King” by Alexei Ratmansky

Place

David H. Koch Theater, Lincoln Center, New York, February 5, 2026

Words

Faye Arthurs

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Steps in Time
REVIEWS | Kris Kosaka

Steps in Time

The National Ballet of Japan’s annual triple bill of dance, “Ballet Coffret” binged on three neoclassical favorites this year: David Dawson’s “A Million Kisses to my Skin” (2000) Hans van Manen’s “5 Tango’s” (1977) and George Balanchine’s “Themes and Variations” (1947).

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Dancers by Nature
REVIEWS | Elsa Giovanna Simonetti

Dancers by Nature

Carolyn Carlson stands as one of the defining figures of contemporary dance. An American visionary shaped by the radical kinetic thinking of Alwin Nikolais in 1960s New York, she arrived in Europe in 1971 as a seismic force, dismantling the rigid hierarchies of the classical world to forge a new path for modernism. In 1974, she was appointed Étoile Chorégraphe, a title created specifically for her at the Opéra de Paris, where she led the pioneering Groupe de Recherches Théâtrales until 1980. Decades later, she would once again redraw institutional boundaries as the founding director of the Venice Biennale’s first...

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Tend the Garden
REVIEWS | Elsa Giovanna Simonetti

Tend the Garden

The modern classic “Le Parc” by Angelin Preljocaj is a masterpiece that never ceases to interrogate the dialectic of nature and culture, confronting human behaviour as shaped by societal norms or driven by raw emotion.

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 Forty Years and No Slowing Down

 Forty Years and No Slowing Down

From its first steps in 1986 as Dundee Rep Dance Company with at the helm, to the present day, Scottish Dance Theatre has sealed it's reputation as a forward-thinking company who...

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Recital Revival
REVIEWS | Garth Grimball

Recital Revival

Few established artists hold recitals anymore. The word “recital” feels both elementary and antiquated, evoking either children parading across an auditorium stage or a nineteenth-century drawing room where the gentry whisper secrets around a pianoforte.

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Crash Out Queens
REVIEWS | Victoria Looseleaf

Crash Out Queens

It’s not often that one gets to hear a soprano recital in an up-close-and-personal setting. And it’s even rarer that said soprano has a pair of dancers moving about the stage as part of the performance.

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A Living Archive

A Living Archive

Dance artists and scholars have long asked the same question: how do we document an art form that, by nature, exists in one moment and is gone the next?

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Opposite Day
REVIEWS | Faye Arthurs

Opposite Day

George Balanchine famously said, “ballet is woman.” But unusually, in “Kammermusik No. 2,” he featured an all-male corps de ballet. I can think of one other men-only Balanchine dance, and it happens to be running the same week this winter season: “Prodigal Son.”

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It Takes Two
REVIEWS | Rebecca Deczynski

It Takes Two

What makes a good partner? For the dancers of New York City Ballet who are lined up on the stage—KJ Takahashi, Adrian Danchig-Waring, Emma Von Enck, and Sara Mearns—the answer is different, though together, their responses create a pretty comprehensive prescription. A good partner should be collaborative, honest, present, and sensitive.  

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Fated Love
REVIEWS | Rachel Howard

Fated Love

San Francisco Ballet artistic director Tamara Rojo has often said she believes ballet should operate more like Broadway, where shows have previews and work through revisions before the real premiere.

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Line Dancing

Line Dancing

In general, one knows exactly what to expect of a Pam Tanowitz piece. There will be deconstructed ballet and modern steps.

Performance

Pam Tanowitz Dance: “Pastoral”

Place

Rose Theater, Lincoln Center, New York, NY, January 12, 2026

Words

Faye Arthurs

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