In my latest essay for The Hudson Review, I explore what it means when ballets—and the knowledge embedded within them—are passed from one generation to the next. I write about Dance Theatre of Harlem's revival of John Taras and Geoffrey Holder's Firebird, after many years; and the transmission of Balanchine's musicality through coaching sessions for Donizetti Variations by the Balanchine Foundation. As well as about Tiler Peck's ambitious new ballet for NYCB, Concerto for Two Pianos; and Christopher Wheeldon's a Continuum, which had its company premiere last season.
In the Summer issue of The Hudson Review.
Photos by Rachel Papo.
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