Dance Review

‘Stravinsky/Balanchine, The Collaboration’ Triple Bill Begins NYC Ballet Season

New York City Ballet opens its fall season with a Balanchine-Stravinsky program featuring the rarely seen “Orpheus,” a dynamic interpretation of “Apollo,” and a flawed performance of “Agon.”

Dido and Aeneas

Though the enthralling “Dido and Aeneas” features ingenious choreography by Mark Morris, the music, especially Stephanie Blythe’s singing, is the star in this Mostly Mozart entry.

Dance Review: 'Smuin Ballet'

Smuin Ballet' s exhilarating evening of highly entertaining dances by Trey McIntyre, Michael Smuin, and Amy Seiwert, is performed with polished gusto.

Dance Review: 'Paris Opera Ballet: Giselle'

Paris Opera Ballet's enchanting performance of "Giselle" features humor, eloquent footwork, realistic acting, and a definitive interpretation of the Wilis.

Dance Review: 'Astral Converted'

Choreographer Trisha Brown's infinitely interesting "Astral Converted" is a perfect work for contemporary art fans with a bent for architecture or geometry.

Dance Review: 'Shantala Shivalingappa: Namasya'

Shantala Shivalingappa is a beguiling dancer, and though her evening of four solos includes a work by Pina Bausch, the modest program leaves one wanting.

Dance Review: 'Limón Dance Company'

Celebrating its 65th anniversary, the Limón Dance Company is offering superb renditions of works by José Limón, Jiri Kylián, and Rodrigo Pederneiras.

Dance Review: 'La Bayadere'

You have to be a real nit-picker to find anything wrong with American Ballet Theatre's lavish production of "La Bayadere," choreography by Natalia Makarova.

Dance Review: 'Ballet Hispanico'

Ballet Hispanico presents a smart work by Annabelle Lopez Ochoa, an uninspired premiere by Ronald K. Brown, and a flop by artistic director Eduardo Vilaro.

Dance Review: 'Last Touch First'

Choreographed by Jirí Kylián and Michael Schumacher and performed by former members of Nederlands Dans Theater, “Last Touch First” is a triumph.