10 Reasons Why New York Is Hard To Beat
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
By now, fans of the performing arts will have read the fall previews and sifted through the brochures for news of their favorite companies. Well, I’ve done all that, too. And this fall, there’s a lot I’m looking forward to seeing. Dance is foremost on my list, of course, but the other arts can enrich the experience of seeing dance. Here are 10 reasons why autumn in New York is hard to beat.
1. American Ballet Theatre, “Apollo” “Apollo” is typically associated with New York City Ballet, the home of Balanchine’s style and technique. But NYCB’s casting of the lead male role in this ballet is pretty monotonous, and ABT’s male dancers will give audiences a new look. On tap as Apollo are Jose Manuel Carreno, Ethan Stiefel, and Maxim Beloserkovsky. Each has a distinct stage presence (noble, affable, and Russo-royal, respectively), and I am curious to see how they will handle the role. October 21, 23, 25 & 27, and November 2 & 5 at City Center (131 W. 55th Street, between Sixth and Seventh Avenues, 212-581-1212).
2. Next Wave Festival at Brooklyn Academy of Music This annual festival typically brings in avant-garde dance offerings from around the world. Some are brilliant. Others make you want to tear your hair out. This year, there are several troupes coming that I am eager to see. The National Ballet of China – under the direction of Zhang Yimou, the film director responsible for “Hero” and “House of Flying Daggers” – will perform “Raise the Red Lantern” (October 11-15). Then there’s Grupo Corpo, the Brazilian contemporary dance troupe, which is as sexy as sexy gets on stage (October 25,27,28 & 29).And in November, the company of modern ballet choreographer Mauro Bigonzetti, Compagnia Aterballetto, will perform two works: “Les Noces” and “Petrushka” (November 8, 10, 11 & 12). The Next Wave Festival runs until December 17 at the BAM Harvey Theater (651 Fulton Street, between Ashland and Rockwell Place, 718-636-4106).
3. ACFDance, “Home” Earlier this year, choreographer Adrienne Celeste Fadjo presented an excerpt of her work “Home.” In November, she’ll present the full-length work. What the preview suggested was a tender and intimate look at relationships and how home life influences them. It’s a creative work of dance-theater by an emerging choreographer, one worth keeping an eye on. November 3, 4 & 5 at the 14th Street Y Theater (344 E. 14th Street, 718-243-1110).
4. New York City Ballet, “George Balanchine’s The Nutcracker” Yes, I know. I should be looking forward to seeing the newest work of experimental, conceptual, multimedia dance. Well, sorry. I want to see the Christmas tree grow, the blizzard swirl, and the Sugar Plum Fairy float her way through the magical pas de deux. Who’s with me? November 25-December 30 at the New York State Theater (Lincoln Center, 212-870-5570).
5. Alvin Ailey American Dance Theater at City Center There are several premieres in the lineup this season, and while they hold some promise, I know what I most want to see: Renee Robinson in “Revelations.” She glows with such purity – and dances with such mastery – that watching her in Ailey’s masterpiece is transporting. November 30 to January 1 at City Center.
6. Per Kirkeby’s Exhibition at Michael Werner Gallery Mr. Kirkeby is the Danish painter who designed the sets and costumes for New York City Ballet’s “Swan Lake,” which is returning to the stage in the winter season (and which is a must-see). If you’re unfamiliar with Mr. Kirkeby’s work, you may find yourself absorbed by the massive, thrilling “Swan Lake” backdrops. But you can prepare your eye by viewing his current work. On exhibit now are his paintings on masonite, a black surface similar to a chalkboard. The abstract works evoke natural forms like wood, tree stumps, and rocks – with a layer of architectural or linear shapes, too. Until October 22 (4 E. 77th Street at Fifth Avenue, 212-988-1623).
7. New York String Orchestra at Carnegie Hall Samuel Barber’s “Adagio for Strings” is a piece of music that choreographers just can’t stay away from. Everyone wants to take a crack at it in hopes of being the one who best expresses the score’s aching lament. Most often, however, choreographers have to use recorded music. This is a chance to hear it live. Why not? December 28 (881 Seventh Avenue, at 57th Street, 212-247-7800).
8. Itzhak Perlman with the New York Philharmonic On the program are four pieces, one of which is Tchaikovsky’s Symphony No. 4. This symphony is not among those used frequently for dance, but it is worth hearing for the chance to listen to Tchaikovsky under the baton of a non-dance conductor. (Especially one as beloved as Mr. Perlman.) The music of Tchaikovsky is used throughout the classical ballet repertory, and gaining a greater familiarity with it can only enhance how you listen and what you see. October 26, 27, 28 & 29 at Avery Fisher Hall (Lincoln Center, 212-875-5656).
9. New York Philharmonic, Young People’s Concert This concert will include excerpts of Tchaikovsky’s “Eugene Onegin” and Symphony No. 4 (see above). More importantly, it will include portions of Stravinsky’s “The Firebird.” This score was originally commissioned by Serge Diaghilev for a ballet based on the legend of the firebird. November 5 at Avery Fisher Hall.
10. What I am most looking forward to about the dance season: champagne at intermission.