Written by Anna Kisselgoff, New York Times , 1984: "What could any choreographer nowadays do with imagery of Ancient Greece that would not look like a cliché? Jerome Robbins supplied the answer at the State Theater with beauty and subtlety Thursday night in the world premiere of his "Antique Epigraphs" for the New York City Ballet. "Rarefied in tone but immediate in resonance, ‘Antique Epigraphs’ is, above all, a work rich in associations. Some of these pertaining to the musi

Stephanie Saland, Simon Schumacher, Helene Alexopolous, Jerri Kumery, Kyra Nichols, Maria Calegari, Victoria Hall, Florence Ftizgerald. Photo by Martha Swioe, 1984. Anna Kisselgoff, New York Times , 1984 “The curtain rises on eight women, standing in profile in single file to the right of the audience. The azure blue surface of a bright Aegean Sea or its dazzling southern sky  dominates the opening moment, introducing this Hellenic world of the imagination. “The all-female ca

Stephanie Saland. Photo by Paul Kolnik “In 1977, at the age of ninety, Karinska gave a magnificent farewell performance with her...

"Light, airy, surprising, George Balanchine's new Ballo della Regina is not a great ballet. It is merely terrific. There is such a...

The beginning of Jerome Robbins’ ‘The Four Seasons’ introduces Janus the god of new beginnings, in this case representing the new year....

“It is gentle in tone and fascinating in its nuances. What seems like a simple canon becomes movement repeated in a different direction...

[39/50] Robert Maiorano & Stephanie Saland (front) and Julie Hays (background) by Martha Swope, 1970

When I watched this ballet in 2018, it was one of the first times I noticed the major importance of lighting. Jennifer Tipton’s lighting...

In 1961, after Divertimento had not been performed in 2 years, New York Times dance critic John Martin said: “Indeed, this is a ballet...