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 Balanchine considered intrinsically danceable— but Martins had invited a number of modern and postmodern choreographers to create works on the City Ballet dancers. Attempting to play down the significance of what was in fact a huge departure for the company, he vaguely described these choreographers as being “not automatically associated with classical ballet,” then added, “They speak a slightly different language, or perhaps dialect, from us.” But the difference between Balanchine’s language and those of the likes of Lar Lubovitch, Eliot...


A Message from the Editors

As a reader of our efforts, you have stood with us on the front lines in the battle for culture. Learn how your support contributes to our continued defense of truth.

Popular Right Now