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AMERICAN BALLET THEATRE METROPOLITAN OPERA HOUSE NEW YORK, NEW YORK MAY 10-JULY 3, 2004 American Ballet Theatre's spring season always pulls out ballet's big guns to showcase its stars and [...]

American Ballet Theatre Metropolitan Opera House New York, New York May 28-June 6, 2002 The American Ballet Theatre's spring season at New York's Metropolitan Opera House was a case of [...]

Zachary Solov, the former ballet master of the Metropolitan Opera, died in November at the age of 81. According to Dean Temple, who is writing his biography, Solov was a [...]

The luminous and elegant Nina Ananiashvili was one of American Ballet Theatre's most beloved principals--lyrical and witty (a delightful Kitri and a warm Lise in Ashton's La Fille Mal Gardee) [...]

The article reviews several performances of the American Ballet Theatre (ABT) including the musical "Cinderella," by Sir Frederick Ashto, and featuring Craig Salstein and Kenneth Easter, the ballet "Gaîté Parisienne," choreographed by Leonide Massine, and the play "The Tempest," by Alexei Patmanskf and featuring Marcelo Gomes.

The article reviews several ballet performances of the Sarasota Ballet during the Ashton Festival in May 2014 including the plotless one-act ballet "Les Rendezvous," the ballet "Symphonic Variations," by Frederick Ashton, and ballet "Les Patineurs."

An interview with ballet dancer Paloma Herrera of the American Ballet Theatre (ABT) is presented. She discusses her inspiration in studying ballet when she was seven years old and accounts her experiences in adjusting to the ABT when she was fifteen. Paloma states that she wants to dance "Onegin." Paloma also shares her role as a ballet teacher and what she enjoys about teaching.

An interview with ballet dancer Annmaria Mazzini is presented. When asked about her dance lessons at the studio of Frances Ever, she replied that she studied ballet after college and she was the first pupil of Evers. She said that she was a cheerleader during grade school. Moreover, she mentioned that she studied at Southern Methodist University because of its strong theater, dance and music departments.

The article offers information on the 2012 New York Spring season of the American Ballet Theatre (ABT). It discusses various dances that were performed in ABT including "The Firebird," of choreographer Alexei Ratmansky, "The Four Horsemen of the Apocalypse," of Xiomara Ryes and "La Bayadere." The event was attended by various dancers including Craig Salstein, Herman Cornejo and Daniil Simkin.

The article focuses on the performaces on the several ballet dancers of the New York City Ballet during its spring season productions. Chase Finlay debuts with theatrical production "Apollo" as his most talked-about performance. Robert Fairchild also makes her debut in the Janie Taylor's surrealistic thriller "La Sonnambola." Tyler Peck shows his Karinska costume designed by Paul Harvey in the production of "Emeralds."

An interview with choreographer Avi Scher is presented. When asked about his interest in ballet, he explains that he was dancing and was exposed to ballet since he was a child. Scher states the musicality, technique, and strong classical training are the qualities he look for dancers to have because his works tend to have narrative qualities. He also shares his future plans in his career and how he became a choreographer for the ABT Studio at the age of eighteen.

The article reports on the performance of August Bournonville's ballet by the Royal Danish Ballet in New York. It notes that the ballet company performance Bournonville's "Napoli," and "Abdallah," wherein ballet dancer Nikolaj Hübbe shows her magnetic and majestic performance. Furthermore, Bournonville's popular ballet "La Sylphide," and "The Lesson," were also performed.

An interview with Simone Messmer, a member of the American Ballet Theatre (ABT), is presented. When asked if Bonnie Mathis of the Ballet Arts dancing school offered a syllabus for teaching ballet, Messmer states that, during her time of study under Mathis, there was no specific course outline provided. She also tells that she entered apprenticeship when she came to join ABT. Moreover, she says that she performed the dance "Nutcracker" during her apprentice years.

The article presents a review of the American Ballet Theater (ABT) performances of the pieces by Anthony Tudor. Reportedly, majority of the performance dancers were from Paul Taylor's Company B as ABT principal dancers were unavailable due to injuries and conflicting schedule. A brief explanation of Taylor's choreography of several songs including "I Can Dream, Can't I" and "There Will Never Be Another You" were offered. It also reviews the revival performance of Twyla Tharp's "Baker's Dozen".

An interview with Alicia Graf, a member of the Alvin Ailey American Dance Theater, is presented. When asked the kind of training that she had undergone when she started dancing at the age of three, Graf recalls the time when she imitated the dancers who enrolled at her mother's modern school, the Kinetic Dance Theater. Graf explains that it was Donna Harrington-Pidel who seriously introduced her in studying ballet and choosing it as a profession.

Reports on the outcome of the Golden Anniversary celebration of the Paul Taylor Dance Company in New York City Center in March 2005. Overview of the repertoire; Description of the ballet "Dante Variations"; Performance of male ballet dancers in the ballet "Big Bertha."

Presents information on several ballet performances presented by the New York City Ballet during its spring 2004 season. Women ballet dancers who performed in "Shambards," that was produced by Christopher Wheeldon; Music used for Peter Martin's "Chichester Psalms"; Storyline of the ballet "Musagète" by Boris Eifman.

The article focuses on the work of choreographers Violette Verdy and Conrad Ludlow through the pas de deux from Act II of the theatrical production "A Midsummer's Night Dream" with dancers Janie Taylor and Tyler Angle from New York City Ballet (NYCB). It notes the corrections and explanations given by Verdy and Ludlow to the dancers while providing insights on how certain movements should be executed. It stressed the importance of relaxation to make a difference in the presentation of the dance.

An interview with ballet dancer Craig Salstein of the American Ballet Theatre (ABT) in the U.S. is presented. Salstein discusses his engagement with the Miami City Ballet when he was sixteen years old. He also examines his roles in several ballets, including Gamache in "Don Quixote," Mercutio in "Romeo and Juliet," and the Champion Roper in "Rodeo."

Interviews Francisco Graciano, a ballet dancer at the Taylor 2 Company, on his career. Difference between the Paul Taylor Company and the Taylor 2 Company; Experience in teaching before joining the company; Interest of his family in the arts of dancing and acting.