“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.”
“Lindy Mandradjieff Fabyanic, director of Dance Conservatory Charleston, said Lopez has changed the city of Miami, and dance overall, with her creativity and style.”
“Each piece in this program is exceptionally crafted and performed, but it is the journey from one to the next that leaves the strongest impression. In an ever-changing dance landscape, Miami City Ballet has the talent, versatility and foresight to remain a leader.”
“The evening was a successful mix of past and present. Some of the dances are more than 60 years old but still fresh and vital. Robbins’ special connection to Spoleto was brilliantly honored.”
“Lourdes has exceeded expectations in making Miami City Ballet a company that rivals companies all over the country,” said Nigel Redden, general director of the festival.
“…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.”
“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.”
“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.”
Miami City Ballet returns to The Music Center’s, Dorothy Chandler Pavilion this year, November 30 – December 2, 2018 with holiday favorite, George Balanchine’s The Nutcracker®.
The company’s final program this season brings back Apollo and La Valse, by St. Petersburg-bred and New York-consecrated George Balanchine, in conjunction with Alexei Ratmansky’s Concerto DSCH.
Hay clasicismo y hay contemporaneidad en este ballet al mismo tiempo. Es lo que dio a entender Alastair Macaulay al reseñarlo el 2008: “ ‘Concerto DSCH’ es una construcción coreográfica sin fin…”
“The biggest misconception about dance is that you need to know something about dance to get it. You don’t; you only need to have an open mind and soul and let it speak to you— and it will.”