Tuesday, October 11

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Ballet Theatre of Maryland presents "Les Sylphides and Other Works."

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What a wonderful bonus to have live music for the dancers, thanks to Londontowne Symphony Orchestra, representing the mid-Atlantic region and making classical repertoire appealing to all audiences. Under the watchful eye of Music Director/Conductor Anna Binneweg, she kept the tempo precise for the ballerinas on pointe, and the entire musical ensemble created a beautiful ballet experience.

 

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A preview of San Francisco Ballet's season-opening dance festival for 2023.

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Although it was largely planned, like its predecessor, by former Artistic Director Helgi Tomasson, the festival marks the company’s first main-season presentations under Artistic Director Tamara Rojo.

The nine new works will be presented in three programs, scheduled for Jan. 20 to Feb. 11.

 

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Ballet Austin TWO presents a series of new ballets for children.

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“We’ve been involved on a national level with this ongoing conversation – a really important conversation – about racial equity and diversity within our industry, within the classical ballet industry,” Martin says. “Because there’s just a really difficult legacy of exclusion. It’s been a very Eurocentric, white-focused industry for centuries.”

 

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 Ithaca Ballet celebrates its sixty-first year.

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The Ithaca Ballet has a dedicated core of people making the magic happen, “even our crew people have been with us for decades,” Cindy explains. There are the mothers of company members who keep the costumes up to date. “The organization has roots; people come and go, but they’re always training new people, so it’s sort of organic and natural.”

 

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Ballet San Antonio presents "Cinderella."

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Using Prokofiev's lush score, Ballet San Antonio will present a retelling of the tale that features the world premiere of all new choreography by Conny Mathôt, specially commissioned by the troupe.

 

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

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As Taylor Stanley went into “La Sonnambula,” Sterling Hyltin went out, and both gave performances worthy of the occasion. Stanley also made his debut on opening night the week prior, and his Poet, hollow-eyed and gaunt, dressed in light gray, made perfect sense. Washed out and ashy, he seemed stereotypically doomed.

In her final performance of the role before her retirement in December, Hyltin’s reading was a fascinating contrast to Stanley. Unlike previous avatars of the role, she was neither dreamy nor otherworldly. Rather she was intensely concentrated, as if her sleep contained a list of tasks that had to be done.