“The ability of the commission to perform its role has deteriorated significantly."
The New York City Ballet has returned with all its relevance, strong and modern. The dancers are not "stingy." They are not "holding back." They exist in the "now," "right now." Balanchine would be proud.
Mezzo-soprano Isabel Leonard appears with conductor Charles Dutoit and the San Francisco Symphony this week in Ravel's one-act comic opera, L'Heure espagnole
The Elgar concerto is one of the most beloved works in the classic cello repertoire. It is the last major work of the composer and one frequently described as contemplative, reflective and elegiac.
It's all about energy, reflection, harmonic complexity, and eye-popping beauty. This sequence of events, the synchronicity of it all -- the time, the place, and the artist -- is a wondrous thing.
From a very early age, even before he was admitted to the Conservatoire de Paris as a cellist, Lionel Bringuier has been recognized as someone who just gets it.
It could be said, given contemporary vernacular, that this is the ultimate cougar ballet. Often leaping from a rumpled upstage
Yannick Nézet-Séguinmost most appealing trait is the keen aggression he has, tempered by superb restraint. Add to that his youthful enthusiasm and openness, his will to succeed and the friendly and positive mood he inspires in the orchestra members, and you've got a winner.
Saturday marks the 100th anniversary of the premiere of Maurice Ravel's "Mother Goose" ballet suite. Just in time for its centennial, a Ravel scholar has discovered that orchestras have been playing the piece incorrectly for the past 100 years.
French Impressions is a clever little title that brings three of the great works from the late nineteenth century and early twentieth century French repertoire.
Everything about Puss in Boots registers as so utterly charming that any adults viewing it without a child next to them will want desperately to bring one to the very next showing.