A Message From Artistic Director Lourdes Lopez

“We will show that in times of massive upheaval, of insecurity, of darkness, of the unknown, artists and art will rise up to show what courage looks like and what resilience can do.”

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Supporting Our Community: Nicklaus Children’s Hospital

We are humbled to be able to give back to our community. MCB’s costume department put their skills and creativity to use making masks for Nicklaus Children’s Hospital.

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2020/21 Season

Subscriptions for Miami City Ballet’s 2020/21 season featuring Swan Lake are now available. Join us in celebrating 35 years of magic.

Explore the season | Order a subscription

Don Quixote

As part of the effort to keep community safe, Don Quixote has been postponed until October. Dates will be announced soon. We hope you can join us later this year for this spectacular tale full of comedy and romance.

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Transforming Lives Campaign

Your generous support is critical to keeping Miami City Ballet’s artistic, educational and community engagement programs growing.

Make a Gift

Dance-Lover Kit

We’re creating a collection of essential reading, viewing and doing activities for dance lovers in South Florida and across the world during this difficult time.

Explore Kit | Free Livestream Dance Classes

 


 

Location courtesy of Four Seasons Hotel at the Surf Club
Photo © Karolina Kuras

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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