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.
Desperate to understand what is happening to her, Caitlin visits her mother, Dr.
Peter Martins' reconstruction of the 1836 tragicomedy, 'La Sylphide', and Balanchine's 1972 update of 'Tschaikovsky Piano Concerto No.
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.
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.
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.
The New York City Ballet performs four works by four distinct choreographic aesthetics.
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 final presentation of the all Tchaikovsky/Balanchine programs featured the revelatory performance of Ashley Bouder.
