George Balanchine, who famously choreographed multiple ballets to composer Igor Stravinsky’s scores, once said: “I like Stravinsky's music. It is so strict, so solid. It never comes apart. You cannot improvise upon it. It's built like mathematics.” See three of his ballets set to Stravinsky's music: Apollo, Orpheus, and Agon (seen here) on the Stravinsky & Balanchine program, JAN 22, 24, 26 eve & FEB 1, 2 mat: nycballet.com/stravinsky | New York City Ballet
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George Balanchine, who famously choreographed multiple ballets to …
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Horns blare on a twelve-tone scale during Agon's opening Pas de Quatre, signaling a new era in the histories of ballet and music alike. Experience this high point in Balanchine and Stravinsky's collaborative innovation on the Stravinsky Festival III program this spring: nycballet.com/stravinskyfestival3 | New York City Ballet
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Horns blare on a twelve-tone scale during Agon's opening Pas de Qu…
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Agon, one of Balanchine's quintessential black and white ballets, closes out the Stravinsky & Balanchine program. On the opening night of our winter programming, Principal Dancers Maria Kowroski and Tyler Angle pulled out the stops in their performance of the daring pas de deux from this abstract, plotless ballet. Catch Agon again on our Stravinsky & Balanchine program FEB 1 and FEB 2 mat: nycballet.com/stravinsky | New York City Ballet
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Agon, one of Balanchine's quintessential black and white ball…
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Agon isn’t just a favorite for audience members and dancers, but a highlight for those who play the Stravinsky score. Ethan Silverman, New York City Ballet Orchestra’s Associate Bassoon, explains why Agon is the ballet he loves to perform the most in our winter repertory. “It is scored for a large orchestra, but mostly, at any given moment, there are only a few instruments playing, never everyone together. There are such strange and wonderful combinations of instruments. For example, a xylophone
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Agon isn’t just a favorite for audience members and dancers, b…
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Dissonant harmony in black and white: The pas de deux from Balanchine's Agon as interpreted by Principal Dancers Adrian Danchig-Waring and Unity Phelan. See the seminal leotard ballet this fall on the All Balanchine II program beginning September 29: nycballet.com/balanchine2 | New York City Ballet
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Dissonant harmony in black and white: The pas de deux from Bala…
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In talking through Agon's Gailliarde and Coda, Soloist Sara Adams illustrates how aesthetic restraint gives way to technical extremism in Balanchine's 1957 masterwork, which she says "could've been choreographed yesterday." Don't miss Agon this spring on the Masters at Work: Balanchine & Robbins III program: nycballet.com/balanchinerobbins3spring | New York City Ballet
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In talking through Agon's Gailliarde and Coda, Soloist Sara Adams illu…
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Megan LeCrone talks about her special relationship with Balanchine's Agon and why the ballet is as radical today as it was in 1957. For videos, pics and more - goo.gl/2AIKYA | New York City Ballet
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