On Tuesday 5 May at 8pm (EDT), New York City Ballet will release George Balanchine’s Rubies, led by Megan Fairchild, Gonzalo Garcia, and Mira Nadon. Part of Jewels, considered the first three-act plotless ballet ever created, Rubies was choreographed by Balanchine in 1967 and is set to music by Igor Stravinsky. On Friday 8 May at 8pm (EDT), NYCB will release Alexei … [Read more...] about Week 3 of New York City Ballet’s six-week digital spring season.
New York City Ballet
Tuesday 21 April would have been the opening night of the New York City Ballet’s now-cancelled 2020 Spring Season. The NYCB digital season will offer six weeks of all-new content, six days a week, Monday until Saturday, until 30 May. In addition to releases of ballet performances on Tuesday and Friday evenings at 8pm (EDT), NYCB will also release new episodes of City … [Read more...] about New York City Ballet’s six-week digital spring season begins tomorrow, Tuesday 21 April
The Philip Glass triple bill at Rome Opera Ballet showed off three very different choreographic styles to one composer’s music. Glass has a way of seducing the listener into his world —his music is guileful and hypnotising. The mainly minimalist component to his music results in there being a stronger connection with Vivaldi or Bach than Wagner or Strauss, so it is not … [Read more...] about Rome Opera Ballet’s Philip Glass triple bill thrills
The Boards of Directors of New York City Ballet (NYCB) and its affiliate training academy, the School of American Ballet (SAB), today announced the appointment of Jonathan Stafford, 38, as Artistic Director of NYCB and SAB, and Wendy Whelan, 51, as Associate Artistic Director of NYCB, establishing the esteemed former NYCB dancers, SAB alumni, and prominent industry notables as … [Read more...] about New York City Ballet and the School of American Ballet announce new artistic leadership
Another Carmen? Well, yes, but there is a slightly different slant to this new production for the Rome Opera Ballet because Jiří Bubeníček has used Prosper Mérimée’s novella as his starting point, not Bizet’s opera. The ballet does, however, use Bizet’s music for the main part, which instantly removes originality from the score. Apart from a few interventions with musicians … [Read more...] about Ramasar and Salvi shine in Jiří Bubeníček’s new version of Carmen in Rome