Balanchine

1 Ms. Miller, so exquisite in her expansive use of her upper body, needs to acquire more lower-body strength if she’s to become the ballerina of central Balanchine roles, for which she seems otherwise ideal.

2 Hosted by Daniel Ulbricht, a principal dancer with the troupe, this hourlong presentation will introduce that elf and other characters as the company performs excerpts from George Balanchine’s adaptation of “A Midsummer Night’s Dream.”

3 Perhaps it was a memory of his forceful elegance when dancing George Balanchine ballets like “Agon” in the 1970s.

4 Tanner had begun to work on an assigned score when Balanchine changed his mind, telling him to use instead “Octuor,”’ a 1923 score for woodwind and brass instruments.

5 Balanchine daringly conjures much of his magic by casting tiny children as most of the fairies.

6 The deep, spacious fourth positions they hold at the end of the Dawn solo are especially striking: another sign of the spreading openness of the Balanchine idiom.

7 The production – conceived, directed and choreographed by Daniel Catanach — seems to welcome ideas from multiple sources, including the Balanchine and Mark Morris versions, but it makes its own world.

8 “People in the audience whom I recognized as old Balanchine hands were gasping in disbelief. … I found it as painful a moment as I’ve ever spent in the theater.”

9 Let’s see how the Trocks invest virtuosity with wit on a program that also includes “Swan Lake” and “Go for Barocco,” a parody of George Balanchine’s fiendishly complicated patterning.

10 Rounding out the gala evening is a George Balanchine masterpiece, “Symphony in C” from 1947.

11 It’s largely Robbins exploring the possibilities of two men and a woman, à la Balanchine’s Stravinsky ballet “Agon,” but in his own playful way, wittily visualizing the character of the music.

12 Kirstein worked to devise ballets that would be American and labored for many months with Balanchine on an adaptation of Harriet Beecher Stowe’s novel “Uncle Tom’s Cabin.”

13 In another era he was a magnetic star at George Balanchine’s New York City Ballet and a personality in the popular culture who often appeared on television, a symbol of working-class grit amid ballet-world chiffon.

14 A particular miracle here is how Balanchine captures both the music’s ancient and modern qualities.

15 Ms. Kistler, the last ballerina trained and hired by Mr. Balanchine, will finish her 30-year career at New York City Ballet in a farewell program at Lincoln Center on Sunday.

16 It’s been a dream of his to bring it to PNB, which has a long connection with Balanchine — “such a reassuring and comforting name,” he said, to PNB audiences.

17 Mr. Fairchild will dance two more performances with City Ballet in the fall, appearing in George Balanchine’s “Slaughter on Tenth Avenue” on Oct.

18 Both danced for the master choreographer George Balanchine at New York City Ballet, where Mr. d’Amboise was a star.

19 On Feb. 5, Mr. Villella and Mr. Mitchell will join Mr. d’Amboise at the National Dance Institute for “Balanchine’s Guys,” in which they will share stories about what it was like to dance for him.

20 It’s easy now to see that Balanchine, Tudor, et al. excelled in both idioms.

1 乔治

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