Wednesday, May 4

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The National Ballet of Canada announces its 2022-23 season.

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“MADDADDAM,” the Wayne McGregor ballet based on the Margaret Atwood trilogy of dystopian novels, will finally make its world premiere as part of the National Ballet of Canada’s 2022-23 season.

 

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Russell Janzen writes about partnering in The New York Times.

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With Mitchell’s articulate hands and stylish demeanor, he could have been describing a dance. There are many Balanchine pas de deux in which the man does just what Mitchell demonstrated: offer a hand, reach inquiringly — enact specific manners or a conversation of niceties and politeness. Even “Agon,” full of antagonism and dramatic stretch, requires this “gentlemanly” presentation.

 

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A review of New York City Ballet by Leigh Witchel for dancelog.nyc.

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The first part went on, and on, until finally the cast greeted the corps for the second part: twelve women in blue. Robbins exchanged asymmetrical units for symmetry, the six leads of the second part were now three couples. Chun Wai Chan and Indiana Woodward, who made their debuts, led off in a happy canon, followed by Amar Ramasar folding and unfolding Sterling Hyltin as if she were a pocketknife. They were comfortable enough with each other to be daring; Hyltin barreled toward him and jumped into a hoop Ramasar formed with his arms. Ramasar can sell Robbins with the mix of Broadway and ballet needed to pull it off.

 

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A review of New York City Ballet by Marina Harss for Fjord Review.

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It has been a few years since New York City Ballet danced Balanchine’s “Symphony in Three Movements,” so its return as part of the company’s Stravinsky Festival is particularly welcome. Created the same year (1972) as his “Stravinsky Violin Concerto,” it represents the pinnacle of Balanchine’s response to Stravinsky’s music. The ballet’s confidence, from start to finish, is monumental.