Ivy Lin's love of ballet began in high school when at the school dance she quickly realized she had two left feet. One always admires things one cannot do, and so Ivy began to attend dance performances to marvel at the grace and beauty of bodies in motion. Ivy's day job is a biology teacher and after a long day in the classroom she loves to unwind by watching dance. She also enjoys theater, opera, pop and classical music. Ivy has her own blog (www.humbledandoverwhelmed,blogspot.com)
In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.
If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.
The dancers of the United Ukrainian Ballet succeeded on all fronts, which bodes well for its future. Hopefully Giselle is just the beginning for this company.
The finale had Osipova wrapping herself in the area rug like a mummy and rolling on the stage floor. It wasn’t even a guilty pleasure. It was just bad.
The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.
Which choreographer's adaptation of A Midsummer’s Night Dream is superior, Ashton or Balanchine? This season, New Yorkers get to compare as ABT revives Ashton's The Dream as part of its Fall season.
American Ballet Theatre kicks off its fall season with Ratmansky's culinary creation based on the two-act 1924 ballet, originally created as Schlagobers.
Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?
The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.
The fall season opens with three Balanchine ballets and what felt like a gesture of thanks to a trio of ballerinas for their many years of service to the company.
Not every Ashton work is a masterpiece, but Sarasota Ballet presents these Ashton works with such love and care, it ensures that even if the ballets won’t “keep”, they aren’t forgotten.
Alexei Ratmansky's Ancient Greek take on Bolshoi-style dram-ballets gets its New York premiere as part of American Ballet Theatre's summer season at the Met.
