A whirlwind year of dance

By MARCIA B. SIEGEL | December 20, 2011

AMERICAN BALLET THEATRE devoted a fraction of its two-month spring season at the Metropolitan Opera House to short ballets and the rest to the 19th-century classics. A transcendent performance of Giselle, with Diana Vishneva, Marcelo Gomes, and Veronika Part, showed what miracles a great company can deliver. Of the season's new works, Alexei Ratmansky's Dumbarton had flickers of a 1972 Jerome Robbins work to the same Stravinsky score, Dumbarton Oaks. Ratmansky never strays from the ballet idiom, yet the feelings and incidents he instigates seem wholly contemporary. I felt there was more to this ballet than I absorbed in two viewings. Compact and brief, it seems to overflow with good fellowship.

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ARTICLES BY MARCIA B. SIEGEL

MARK MORRIS'S SOCRATES, THE MUIR, AND FESTIVAL DANCE | May 22, 2012
Erik Satie called his vocal work Socrate a "symphonic drama," though it's anything but dramatic in a theatrical sense — or symphonic, either.

JOFFREY BALLET GETS ITS DUE | May 08, 2012
New York has two great ballet companies, New York City Ballet and American Ballet Theater. Any other ballet troupe that wants to put down roots there has to develop a personality that's distinct from those two.

THE BOSTON BALLET’S DON QUIXOTE | May 01, 2012
In the long string of ballet productions extracted from Miguel de Cervantes's novel Don Quixote, the delusional Don has become a minor character, charging into situations where he shouldn't go and causing trouble instead of good works.

THE TREY MCINTYRE PROJECT IGNITES THE ICA | March 21, 2012
When Trey McIntyre found a base for his infant company in Boise, Idaho, four years ago, eyebrows lifted in the dance world.

BALLET HISPANICO FALLS SHORT | March 13, 2012
All three dances presented by Ballet Hispanico at the Cutler Majestic last weekend depended heavily on costume effects to convey their messages.