When Balanchine died last year, the question of what would happen to the vast repertory that bears his name became a matter of immediate concern. No one doubted the great pieces would still be danced—but how often, how well, and by whom? And what would happen to the important work that had been allowed to languish even while he was still alive? Those questions received at least one reassuring answer in Karin von Aroldingen's re-staging of the 1960 Brahms Liebeslieder Walzer in the New York City Ballet's past season.
Review, 2508 words
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