New York Latin Culture Features Lourdes Lopez

What’s next for Miami City Ballet? I feel weird because people always ask, “What’s your vision?” I don’t have a vision. I want to continue bringing the best to our dancers, bringing the best to our community, and making them better than they were. I want to have the world see the wonderful work we do. I love it when groups outside our community invite us to come and perform. It’s important to be able to share the gift we have as artists. That’s where I hope to keep growing.

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Miami City Ballet’s ‘Nutcracker’ Bounds Into Downtown

This Nutcracker builds on Balanchine’s choreography and has a huge cast. The Miami City Ballet is bringing its full company of 52 dancers, plus seven pre-professional and three student dancers, Miami City Ballet Executive Director Tania Castroverde Moskalenko said. In addition, there are nearly 60 local student dancers (some still in elementary school) from the Colburn School and the Gabriela Foundation’s everybody dance! program, as well as performers from the Los Angeles Children’s Choir.

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Charleston City Paper: Spoleto Review

“From the opening with Balanchine’s Walpurgisnacht Ballet to the closing work by choreography’s young darling Justin Peck, MCB’s corps was absolutely in sync and energetic, and seemed to be having a total blast showing off their company’s impressive artistic range.”

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Charleston City Paper: Opening Night Preview

“…this production, moderated by the Miami City Ballet Artistic Director Lourdes Lopez, will include discussion and film in addition to exquisite performances, making it a Spoleto-exclusive, don’t-miss event celebrating Robbins’ remarkable life and work.”

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Fjord Review: Dancing on the Edge

“Lopez does a stupendous job of keeping the flame of Balanchine alive but, as this program demonstrated, she also looks to the future and makes all the right choices in enriching the company’s repertory with the very best choreography of today.”

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Miami Artzine: Program Four Review

“Circles became straight lines, canons twirled to unison, out of nowhere, a dynamic series of turns came right down the middle of the stage. There was a playfulness in the childlike formations, hops and skips, but there was no subtlety in the demands of the piece.”

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