Dance Review | Moscow Classical Ballet: A Company May Be Tardy, but Its Ballet Is Serious Fun
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The unexplained late start didnÂt tarnish the Moscow Classical BalletÂs presentation of ÂThe NutcrackerÂ on Sunday afternoon at the Lehman Center.
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The Russian company wins a legal skirmish.
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A close look at American Ballet Theaterâs flashy production of âSwan Lakeâ tells you a lot about its spring season.
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Trying to guess the choreographer in an unfamiliar company is an occupational hazard of sorts for reviewers.
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Since I fell for ballet during the 1970s, I find it gratifying once in a while to see what the master choreographers of that era were making by way of new ballets.
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The Gotham Chamber Opera is putting on Astor Piazzollaâs âMarÃ­a de Buenos Aires,â and if the fine young company does not quite have this tango-driven masterpiece in its embrace, it does well enough.
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Whereas the best-known Romantic ballets rely on supernatural elements to a degree that becomes formulaic, âPaquitaâ occurs in the real world.
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Dance is not much known for its sense of humor. But there promises to be a few exceptions this season.
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The visually smashing "Nutcracker" choreographed by Helgi Tomasson, artistic director of the San Francisco Ballet, is elegant and beautiful.
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The Cold War titans have done this dance many times before.
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A few group shows have jumped the gun with a splash of stylish fizz, a knotty theme, a soak in strangeness, something special to catch the eye at seasonâs end.
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MOSCOW -- At the Danilov Monastery in a grubby industrial section of the Russian capital, the knots of believers inside the high walls share a sense of expectation.
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"O zlozony/O composite," Trisha Brown's first creation for a classical dance company, represents a remarkable fusion of decades of talent and tradition.
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With Pilobolus Dance Theater, where acrobatics are liquefied into poetry, the somersault proves as basic as the upright stance and turnout of the legs are to ballet.
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No major choreographer has yet emerged from Greece, but thereâs a reasonably active contemporary dance scene here.
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You could argue long and hard about whether all or any of the four works presented as âAmerican Dance Masterpiecesâ really are masterpieces, and the argument would be interesting.
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The company has attractive fundamentals, but unusual remuneration schemes are worrisome.