On Sunday, April 23, 2017 at 7:30pm, Works & Process at the Guggenheim presents New York City Ballet's Music Director Andrew Litton, a longtime conductor of symphony orchestras around the world who recently added ballet orchestra maestro to his achievements with his appointment at NYCB.
On Sunday, April 23, 2017 at 7:30pm, Works & Process at the Guggenheim presents New York City Ballet's Music Director Andrew Litton, a longtime conductor of symphony orchestras around the world who recently added ballet orchestra maestro to his achievements with his appointment at NYCB. Litton will share his unique perspective on the similarities and differences between these two experiences, and will illuminate the intricacies of NYCB's vast musical repertory prior to the Company's upcoming Here/Now Festival, featuring 43 ballets created for NYCB since 1988, which will take place from April 25 through May 21 at the David H. Koch Theater at Lincoln Center.
Desperate to understand what is happening to her, Caitlin visits her mother, Dr. Tannhauser, a renowned biomedical researcher, in the hopes that her mother can provide some answers about Caitlin’s growing meta-human powers.
Peter Martins' reconstruction of the 1836 tragicomedy, 'La Sylphide', and Balanchine's 1972 update of 'Tschaikovsky Piano Concerto No. 2' proved to be a particularly felicitous pairing for a February 12th to 18th run at the Koch Theater during New York City Ballet's Winter Season. 'La Sylphide', with choreography by the Danish icon August Bournonville to a score by Herman Lovenskjold, is a masterpiece of surprisingly campy humor plus gorgeous 'white ballet' ensemble work for the ladies. After that opener, the audience is warmed up and ready for one of Mr. B's most ingenious plotless neoclassic treasures.
As part of New York City Ballet's Winter Season 2016 at Lincoln Center's Koch Theater, the program appropriately entitled 'Masters at Work' was a perfect pairing of two disparate yet in one way similar creations by the troupe's founding choreographers, George Balanchine and Jerome Robbins. Mr. B's Liebeslieder Walzer, which premiered in November of 1960, is a lush and romantic evocation of 19th century Vienna to the music of Johannes Brahms set to poems by Friedrich Daumer and Johann Wolfgang von Goethe. In contrast, Robbins's Glass Pieces dating from 1984 is a pulsing portrayal of urban urgency in the 20th century with Philip Glass's minimalist score as the accompaniment.
Following last season's popular BALLET 2014 engagement, New York City Ballet principal dancer Daniel Ulbricht returns with a topflight ensemble in remarkable works by a variety of acclaimed choreographers, performed to live music, this weekend, July 29-August 2 in the Ted Shawn Theatre.
Following last season's popular BALLET 2014 engagement, New York City Ballet principal dancer Daniel Ulbricht returns with a topflight ensemble in remarkable works by a variety of acclaimed choreographers, performed to live music, July 29-August 2 in the Ted Shawn Theatre. Principals, soloists, and corps de ballet members of New York City Ballet and Boston Ballet perform works by prominent artists including iconic American choreographer Jerome Robbins; New York City Ballet's current resident choreographer Justin Peck; Danish dancer, director, and choreographer Johan Kobborg; and Tony Award-winning choreographer Christopher Wheeldon, who achieved both his choreographic start and widespread acclaim at New York City Ballet.
Jerome Robbins choreographic masterpiece, Goldberg Variations, to Johan Sebastian Bach's musical masterpiece of the same name, was first on New York City Ballet's program on Wednesday evening, May 13, replete with many stars of the company. Pianist Susan Walters sat far left on stage level, playing beautifully. The curtain opened on Faye Arthurs and Zachary Catazaro, in Baroque costume, dancing the Theme. Catazaro, a soloist with NYCB, showed himself to be an ideal classical danseur noble. He is handsome, debonair, confident, and secure, dancing with subtle nuances to his movement, which enriches the experience for the audience, as well, no doubt, for his own pleasure. Part I Variations featured dancers wearing contemporary leotards and dance skirts. With a distinctly Robbins flair, they became a painting in motion, exuding feeling. Emilie Gerrity, corps de ballet, and Lauren Lovette, soloist, were captivating in their duet. Part II Variations offered several gems. Tiler Peck and Gonzalo Garcia were playful and fun to see. Amar Ramasar, who joined NYCB in 2001 and became principal dancer in 2009, continues to grow as he matures, with fully developed expression and superb partnering. Maria Kowroski's long lines filled the stage. There was a cornucopia of beauty and joy via this coupling of dancers and choreography. Only the second group of corps de ballet in blue seemed to misunderstand the Robbins' spirit, particularly in their runs with knees bent, kicking back. Towards the end of Part II, the dancers changed into Baroque style costumes. Arthurs and Catazaro then returned in contemporary costumes. Finally, there was a group salute to the pianist, unusual and fitting.
The New York City Ballet performs four works by four distinct choreographic aesthetics. From Balanchine to Peck 'Classic NYCB' displays alternating moods towards individual expression and ensemble harmony in abstract dance performance.
I have always told my ballet students that because the art form is kept alive by each new generation of dancers, we must be as proficient in historical styles as we are in contemporary techniques. The important works of the past cannot be hung on museum walls the way the paintings of the masters are. Instead, we have to recreate what came before us or else the ballets will be lost. Years ago when I made that speech, I was referring to the centuries-old ballet classics. Yet on the afternoon of October 13th 2013, when the New York City Ballet offered a mixed bill of Balanchine's iconic 'black and white' ballets at the Koch Theater, I was reminded that now the dance gems of the 20th Century
The final presentation of the all Tchaikovsky/Balanchine programs featured the revelatory performance of Ashley Bouder.
Videos
