George Balanchine had a special place in his heart for “The Sleeping Beauty.” It was a ballet that he always wanted to stage but never had the means—and the space—to do it properly; and he refused to do it on the budget.
George Balanchine was a supreme master of choreographic abstraction, yet when he wanted to tell a story he did so with relish and theatrical flair, shaping his narratives with unique dramatic insight and wit. New York City Ballet’s “Balanchine Short Stories”—a triple bill featuring “La Sonnambula,” “Prodigal Son,” and “Firebird”—offered the audience a fascinating journey into the world of Balanchine’s storytelling.
“Allegro Brillante,” “Swan Lake,” and “The Four Temperaments” comprised the all-Balanchine bill which New York City Ballet presented during its six-week winter season at David H. Koch Theater. A perfect Balanchine sampler, the program was golden from start to finish, offering something for every taste: an effervescent classical abstraction, a heartbreaking romance and a spellbinding foray into modernism.
Watching the performance of Jewels by New York City Ballet these days is to experience an overwhelming sense of exhilaration—after half a century since its creation the ballet hasn’t lost its shiny lustre and ability to wow the audience.
New York City Ballet’s spectacular bill “Balanchine x Vienna” presented during the company’s fall season at David H. Koch Theater in New York comprised three ballets: the effervescent “Divertimento #15,” the astringent and haunting “Episodes,” and the theatrically engrossing “Vienna Waltzes.” This stylistically diverse program revealed various facets of the choreographer’s genius, giving us Balanchine the classicist, the modernist and the showman.
As France was mourning the loss of its Nice fellow citizens, the warm tribute which the NYCB paid to French musical heritage with an all-French-composers evening proved heartening. It doesn't matter that the program was planned long before the attacks happened; it is only with the heart that one can see rightly.
“NYCB Classics II” program which the company performed during its spring season at David H. Koch Theater included four dances: George Balanchine’s “Serenade,” “Duo Concertant,” and “Western Symphony” as well as Peter Martins’ “Hallelujah Junction.”