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Eva Resnikova

Articles



October 01, 1989

Kirovmania in New York

Like orphans about to meet their long-lost cousins from the Old Country, New Yorkers reared on Balanchine awaited the arrival of the Kirov Ballet full of vague hopes of gaining new insights into a common classical heritage. This first visit to New York in a quarter century of the artistic descendants of the company that had launched Balanchine seemed to hold out the promise of a renewal of the language that has so sadly languished in the absence of its greatest exponent.






September 01, 1988

Slaughter on Columbus Avenue: the American Music Festival

The American Music Festival sounded like a bad idea from the very beginning, when New York City Ballet co-ballet master in chief Peter Martins announced his plans at a press conference in May of last year. Not only did American music seem a slippery peg on which to hang a dance festival—past City Ballet festivals had been dedicated to individual composers whose music Balan-chine considered intrinsically danceable— but Martins had invited a number of modern and postmodern choreographers to create works on the City Ballet dancers.










October 01, 1987

The Bolshoi at the Met

Anyone who doubts that the Bolshoi Ballet’s American summer tour had as much to do with politics and hype as it did with Art had only to peruse the opening paragraph of the “Greeting” from Bruce Crawford, general manager of the Metropolitan Opera, that prefaced the lavishly produced souvenir program: Pride and enormous satisfaction are felt at the Metropolitan Opera as the Bolshoi Ballet, one of the glories of the dance world, returns to the United States after far too long an absence. The company’s visit comes at an historic moment—just as our countries reach new agreements and understanding.









January 01, 1987

Mark Morris Superstar

In his short career as a choreographer—he began creating dances for his own company in 1980—Mark Morris has produced a body of work prodigious in its volume and scope, and troubling in the elusiveness of its intentions. New Yorkers were offered a smorgasbord of Morrisiana this autumn during a month-long period that saw a “Great Performances” broadcast on PBS, the local premiere of a ballet commissioned by the Joffrey, the Batsheva Dance Company of Israel’s performance of a piece originally created for his own company, and the Mark Morris Dance Group’s mixed bill at the Brooklyn Academy of Music’s Next Wave Festival.







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