Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one ...
Performances in N.Y.C. Roman Mejia, a New York City Ballet principal, shows how bravura and subtlety can exist side by side in a season that includes a sparkling “Apollo” debut. Credit... Supported by ...
Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one ...
NEW YORK — New York City Ballet opened its winter season Tuesday with the birth of a god. Or, rather, since the company uses the version of George Balanchine’s “Apollo” that skips the birth scene, the ...
The central part in “Apollo” (1928) — the oldest George Balanchine work that the company performs — is one of the most difficult male roles in the repertory, requiring athleticism and dramatic depth.
What a bonus it is that, in this centennial year of George Balanchine's birth, we have witnessed not only fine performances drawn from the choreographer's unrivaled body of works but also, finally, ...
Dance historians often note that George Balanchine adored women. Sure: so did Henry VIII. The Russian-American choreographer too was much married, and his creative leaps were often spurred by a new ...
He was born in St. Petersburg and trained at the Imperial Ballet School, later moving to Europe; it was here that he met Sergei Diaghilev and joined the groundbreaking Ballet Russes as a choreographer ...
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