Essays on the Performing Arts
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Veteran’s ‘Giselle,’ Full of Spontaneity, and No Apologies
Nina Ananiashvili as Giselle in the State Ballet of Georgia production of Giselle. Photograph: Christopher Cappozziello.
Wake Up, Princess, the Movies Are Calling
Marcelo Gomes and Veronika Part in the Awakening of “The Sleeping Beauty”. Photograph: Andrea Mohin.
Gliding Through the Classics With a Sample of What’s Ahead
Sasha Radetsky and Stella Abrera in Brian Reeder’s “Lady’s Choice”. Photograph: Richard Termine.
‘The Most Incredible Thing’ Brings Hans Christian Andersen’s Fairy Tale to Life
Justin Peck’s “The Most Incredible Thing,” performed by New York City Ballet at Lincoln Center, sets a love story to the passage of time. Photograph: Andrea Mohin
A Return Back East to Make a Debut
Rachelle Rafailedes and Anthony Bryant of L.A. Dance Project in "Murder Ballades." Photograph: Paula Lobo.
So Many ‘Nutcrackers,’ So Little Time
New York City Ballet at the start of the Waltz of the Flowers. Photograph: Paul Kolnik.
At the Kirov, Can Too Many Cooks Spoil the Ballet?
Members of the Kirov Ballet perform an excerpt from "La Bayadère" at City Center. Photograph: Andrea Mohin.
Ballet’s Classical History, the Kirov Edition
Diana Vishneva and Andrian Fadeev in the grand pas from Marius Petipa’s Paquita. Photograph: Andrea Mohn.
London Troupe and New York Visitors: Ripples in and Out of Sync
Sarah Lamb and Carlos Acosta of the Royal Ballet in Jerome Robbins’s “Afternoon of a Faun”. Photograph: Peter Mcdiarmid, Getty Images.
From Tokyo, a ‘Raymonda’ Hints of the Romance of the Middle Ages
From left, Atsugi Mia, Terashima Hiromi, Yamamoto Ryuji and Kawamura Maki rehearsing "Serenade" at the Kennedy Center in Washington. Photograph: Linda Spillers.
Master Builders of Ballet’s Future
Jerome Robbins rehearsing “The Concert” in 1956 with New York City Ballet. New York City Ballet Archives.
A Slow, Winding Descent Through a Hallucinatory World Befogged by Opium
The Kirov corps de ballet of Shades in La Bayadère at the Kennedy Center, Washington. Photograph: Linda Spillers.
Visions of Sugar Plums
The closing image of the New York City Ballet production of George Balanchine’s production of The Nutcracker on its 2000th performance. Photograph: Paul Kolnik.
