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NYCB Vol. 10 No. 27 - Opus 19/The Dreamer

“The Prokofiev concerto […] has been heard by Mr. Robbins as an aural inspiration rather than a structural guide. It has very possibly suggested the sea as a metaphor for life, and its waves and crests, as well as its post climax resolution, are reflected throughout the choreography.


“Alienated, lost, looking for love or a reason for existence amid a faceless ensemble that eddies around him, he finds the personification of his ideal in Patricia McBride.


“The world in ‘Opus 19’ revolves about him, and he has only literally to reach out to it. This he does magnificently, dancing form a core of stillness that expands beautifully into more able movement, until it winds down into an image of fulfillment.” --Anna Kisselgoff, New York Times, 1979



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