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☆ Watch: The Solo of ‘Solitude’
▼ + stars: | 2024-03-25 | by ( Gia Kourlas | Stephan Alessi | ) www.nytimes.com time to read: 1 min

Watch: The Solo of ‘Solitude’Click through as Joseph Gordon performs a section from Alexei Ratmansky’s new dance for New York City Ballet, a reaction to the horrors of the war in Ukraine.

Persons: Joseph Gordon, Alexei Ratmansky’s Organizations: New York City Ballet Locations: Ukraine

☆ At City Ballet, 2 Sparkling Premieres and Many Moments to Remember
▼ + stars: | 2024-03-08 | by ( Gia Kourlas | ) www.nytimes.com time to read: +2 min

For a company to unveil a decent new ballet is a strange and marvelous occurrence. To unveil two in one season? Quality choreography that celebrates classicism, that highlights musicality — that even pushes the form into new realms — isn’t the norm. But at New York City Ballet this season, two premieres were worthy of many more viewings — and in the case of Alexei Ratmansky’s harrowing “Solitude,” set to Mahler, endless ones. Inspired by a 2022 photo of a Ukrainian father kneeling before the body of his dead son, the ballet filled the stage with bodies expressing the tangible ache of grief and love.

Persons: Alexei Ratmansky’s, ”, Mahler, Ratmansky, —, “, Tiler Peck, Francis Poulenc, Peck, Peter Martins, Jerome Robbins, George Balanchine’s, Mary Thomas MacKinnon’s Organizations: New York City Ballet, City Ballet, della Locations: New, Ukrainian, della Regina

☆ Review: Alexei Ratmansky Unleashes the Pain of War at City Ballet
▼ + stars: | 2024-02-16 | by ( Gia Kourlas | ) www.nytimes.com time to read: +1 min

Or, worse, when that world is breaking down with such vehemence that the air seems to grow more toxic by the minute? In Alexei Ratmansky’s new ballet “Solitude,” dancers waver and buckle as inner and outer forces wreak havoc on their bodies. Ratmansky’s latest ballet, his first as artist in residence at New York City Ballet, is about war — the devastating war in Ukraine, the country where Ratmansky grew up and where his parents still live. That grief — the solitude of “Solitude” — is apparent from the start. The principal dancer Joseph Gordon kneels before the limp body of Theo Rochios, a young student of the company-affiliated School of American Ballet.

Persons: Alexei Ratmansky’s, Gustav Mahler, Ratmansky, David H, Joseph Gordon, Theo Rochios, Gordon Organizations: New York City Ballet, Koch, American Ballet, Rochios Locations: New, Ukraine, Russian, Kharkiv

☆ A War-Haunted Choreographer Steps Into a New Role at City Ballet
▼ + stars: | 2024-02-10 | by ( Marina Harss | ) www.nytimes.com time to read: +1 min

For the choreographer Alexei Ratmansky, the last two years have brought an uncomfortable intermingling of life and art. “My parents in Kyiv are awoken at night by explosions,” he said in an interview at Lincoln Center. “It gets harder and harder and heavier because no one sees any light. Ratmansky, 55, has kept the image filed away, part of a mental gallery of the horrors of war. Now it has found its way into a dance, his first for New York City Ballet in his new role as artist in residence.

Persons: Alexei Ratmansky, “, ”, can’t, Gustav Mahler Organizations: Lincoln Center, New York City Ballet Locations: Ukraine, Kyiv, Kharkiv

☆ At Ballet Theater, a Thrilling Puck and a Moment to Take Stock
▼ + stars: | 2023-10-30 | by ( Brian Seibert | ) www.nytimes.com time to read: +2 min

Where “The Dream,” a Ballet Theater staple in recent decades, is a reliable showcase for the company’s theatricality, George Balanchine’s “Ballet Imperial,” on the same program, is good for displaying the troupe’s classical chops across its ranks. Unlike New York City Ballet, which has called the work “Tschaikovsky Piano Concerto No. 2” since the 1970s, Ballet Theater doesn’t downplay the imperial Russian associations, using a backdrop of St. Petersburg. That’s a choice that might disturb some viewers, but Ballet Theater’s rendition also had aesthetic problems. De la Nuez goes for it, too.

Persons: George Balanchine’s, ”, That’s, Skylar Brandt, Isabella Boylston, James Whiteside, Alonzo King’s, Alexei Ratmansky’s “, Jason Moran, Robert Rosenwasser, Jim French, Brandt, Calvin Royal III, King, Michael de la, De la Nuez Organizations: Ballet, New York City Ballet, Dnipro ” Locations: St . Petersburg

☆ Review: Ballet Theater Revisits Its Past With a Hit and Two Misses
▼ + stars: | 2023-10-19 | by ( Gia Kourlas | More About Gia Kourlas | ) www.nytimes.com time to read: +1 min

American Ballet Theater opened its fall season on a high note: Alexei Ratmansky’s “Piano Concerto No. The program, part of the first New York season created by the company’s artistic director, Susan Jaffe, gradually lost steam. “Petite Mort” (1991) is flimsier than ever. Devon Teuscher’s clean, classical elegance lent the overlong work a boost of grace and energy, but the ballet, created in 1948, is hardly a good time capsule. In a program note, Lander describes his ballet as “an expression of myself, and of my thoughts on dance.

Persons: Alexei Ratmansky’s “, Mort ”, Jiri Kylian, Harald Lander, Susan Jaffe, Devon Teuscher’s, George Balanchine’s, Frederick Ashton’s “, ”, “, Lander Organizations: Ballet Theater, New, Lincoln Center Locations: New York

☆ Erik Aschengreen, 88, Dies; Historian and Critic Illuminated Danish Dance
▼ + stars: | 2023-09-15 | by ( Alastair Macaulay | More About Alastair Macaulay | ) www.nytimes.com time to read: +2 min

The 1979, 1992, and 2005 festivals of Bournonville’s ballets flooded the Royal Danish Theater in Copenhagen with dance authorities from many countries. Mr. Aschengreen did much to welcome, entertain and enlighten them as a spokesman at many presentations by the Danish company. From 1964 to 2005 Mr. Aschengreen was the dance critic for the Copenhagen-based Berlingske Tidende (now known simply as Berlingske), one of the world’s oldest newspapers still in print. He also taught ballet history at the Royal Danish Ballet School from 1971 to 1993 and dance history at the Danish School of Contemporary Dance from its founding in 1990. He traveled extensively to see international dance and to investigate dance education.

Persons: Erik Bruhn, Peter Martins, Ib Andersen, Nikolaj Hübbe, August Bournonville, Aschengreen, ”, Alexei Ratmansky, Marina Harss, Ratmansky Organizations: Royal Danish Ballet, Royal Danish Theater, New York City Ballet, Berlingske Tidende, University of Copenhagen, Royal Danish Ballet School, Danish School of Contemporary Locations: Danish, America, Denmark, United States, Copenhagen, Ukrainian American

☆ Standing (and Dancing) Strong at New York City Ballet
▼ + stars: | 2023-05-29 | by ( Gia Kourlas | ) www.nytimes.com time to read: +1 min

If New York City Ballet’s spring season could be bottled into a fragrance, it would be fresh and green, with the earthy, sweet scent of a breeze after a bout of rain. The company, seemingly all of a sudden, looks so strong, and more important, so light. As a new generation of dancers at City Ballet finds its way, there’s not only more individualism, but more cohesion among individuals. “Concerto Barocco” (1941) and “La Source” (1968) are brilliant dances. City Ballet is bigger than they are, but they know that they are its current caretakers.

☆ The Star Choreographer Alexei Ratmansky on Russia’s Cultural War
▼ + stars: | 2023-04-25 | by ( Javier C. Hernández | ) www.nytimes.com time to read: +1 min

Alexei Ratmansky was scrolling through social media recently when he came across a startling post. A video showed rehearsals from a production of “The Pharaoh’s Daughter” at the Mariinsky Theater in St. Petersburg, Russia, that Ratmansky, the renowned ballet choreographer, had worked on before Russia invaded Ukraine last year. Ratmansky had severed ties with the Mariinsky at the start of the war. But the video suggested that the company was still using some of his choreography, though his name had been removed from the production, a version of the 19th-century ballet by Marius Petipa. Ratmansky, who is of mixed Russian and Ukrainian descent and grew up in Kyiv, posted a statement on social media last month calling the episode “the most painful professional experience in my life.” He accused the artistic team that replaced him, including the Italian choreographer Toni Candeloro, of choosing “to become tools of Putin’s propaganda.”The Mariinsky, where “The Pharaoh’s Daughter” is playing through early May, did not respond to a request for comment.

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