New York City Ballet, which has been going through its biggest upheaval in decades, said Friday that its next season would feature a mix of the new and the familiar — including six world premieres, Balanchine classics and tributes to two icons of modern dance.
It will be City Ballet’s first season under its new artistic director, Jonathan Stafford, and associate artistic director, Wendy Whelan, who were appointed last month to succeed the company’s longtime leader Peter Martins, who retired last year while under investigation for abusive behavior. But the new season was planned before their appointments — by Mr. Stafford and Justin Peck, City Ballet’s resident choreographer and artistic adviser.
The company will dance new ballets by Edwaard Liang, Lauren Lovette, Mr. Peck, Alexei Ratmansky, Jamar Roberts and Pam Tanowitz. Returning Balanchine works will include “Jewels,” “A Midsummer Night’s Dream,” “Union Jack,” and, of course, “The Nutcracker.” And the season will feature the full-length “Swan Lake” choreographed by Mr. Martins, who has denied the accusations against him, which a company investigation later called uncorroborated.
Here is a look at what dance critics from The New York Times are looking forward to next season, which will include 21 weeks of performances from Sept. 17 to May 31.
When Lauren Lovette choreographs, it’s as if the steps in her body are in a race to see which ones can get out first: She’s just that natural. Ms. Lovette, a City Ballet principal dancer, started making dances at the company-affiliated School of American Ballet; she has created two works — spirited and fresh — for the main company. She’s musical, she knows her dancers and she deals with issues of the day. This one will have its debut at the fashion gala. Do I wish her premiere could stand on its own and not be part of that evening? Obviously. But she will make it work. GIA KOURLAS
By bringing back this delicately beautiful, mind-opening 1958 work, which the company first performed in 1966 and hasn’t danced since 2000, City Ballet doesn’t just get in on the Cunningham centennial. It re-establishes a connection with Cunningham, the modern-dance innovator, who studied at the School of American Ballet. A chance to perceive the deep similarities and differences between his choreography and that of Balanchine will be good for the company’s dancers and its audience, too. Next step: more Cunningham, please. BRIAN SEIBERT
When “Episodes” was created in 1959, it was like a meeting between great-power states. Half was choreographed by Martha Graham, half by Balanchine. The sections stayed separate, but as part of the exchange, Balanchine made a strange, pretzely solo for Paul Taylor, then a dancer in Graham’s company. Soon, the Graham contribution was discarded, and Balanchine’s half, without the Taylor solo, became a classic of the choreographer at his most radical and modern. When City Ballet reinserts the solo, as it hasn’t done since 1989, it will be paying tribute to Taylor, who died last year. But it will also be re-examining its past in ways that might prove useful in the present. BRIAN SEIBERT
Justin Peck seems to have no trouble whipping up expansive, effervescent ballets that hum with the energy of youth. There have been breakthroughs — works like “The Times Are Racing” (2017) that catapult the genre forward — and, as with any artist, moments of stasis, like this year’s pretty but predictable “Principia.” What will happen next? With Mr. Peck, City Ballet’s resident choreographer, it’s always worth finding out. For the winter season, he unveils a new work with a commissioned score by the contemporary classical composer and frequent ballet collaborator Nico Muhly. SIOBHAN BURKE
For years, Pam Tanowitz has seemed like an obvious fit for City Ballet: a choreographer who at once honors and stretches the classical ballet vocabulary, forever mining the form for fresh, surprising possibilities. While her first work for the company, coming this spring, builds on a piece she started with other dancers, her 2020 premiere will be her first created fully for members of City Ballet. Whatever she ends up making, this long-overdue partnership is cause for celebration. SIOBHAN BURKE
It’s always good to have an outlier in the mix, and Jamar Roberts, a much-admired member of Alvin Ailey American Dance Theater, is just that. He’s still new to choreography, but after his 2017 work for Ailey, “Members Don’t Get Weary,” a powerful, contemporary work about overcoming the blues set to music by John Coltrane, he showed off both his musicality and his ability to move large groups of dancers. At City Ballet, where dancers sing with their feet, that’s key. GIA KOURLASB:
正版通天报网【在】【莹】【玉】【他】【们】【去】【古】【墓】【派】【的】【途】【中】，【江】【湖】【与】【朝】【廷】【突】【然】【发】【来】【消】【息】。 【以】【五】【皇】【爷】【为】【首】【的】【四】【大】【山】【庄】【培】【育】【的】【傀】【儡】【军】【团】【在】【民】【间】【开】【始】【匆】【匆】【欲】【动】。 “【大】【事】【不】【好】【啦】，【这】【古】【墓】【派】【不】【能】【去】【了】，【如】【今】【只】【能】【与】【五】【皇】【爷】【背】【水】【一】【战】。” 【莹】【玉】【姑】【娘】【在】【天】【字】【一】【号】【房】【里】，【手】【紧】【紧】【捉】【住】【刚】【接】【到】【的】【信】【息】。 【段】【振】【风】【看】【着】【她】【的】【神】【情】【如】【此】【严】【肃】，【也】【猜】【想】【得】【大】【事】【不】【好】
【吕】【老】【太】【太】【对】【于】【顾】【爸】【爸】【两】【口】【子】【的】【到】【来】【挺】【高】【兴】【的】。 【一】【大】【早】【的】【知】【道】【顾】【海】【琼】【一】【会】【要】【去】***【接】【人】，【便】【问】【她】，“【你】【爸】【喜】【欢】【吃】【什】【么】，【我】【一】【会】【儿】【让】【许】【爱】【去】【买】。” 【没】【一】【会】【儿】【又】【担】【心】，“【住】【的】【那】【地】【方】【收】【拾】【好】【了】【吗】，【怎】【么】【样】，【要】【不】【还】【是】【住】【家】【里】【头】【方】【便】？” 【看】【着】【她】【忙】【来】【忙】【去】【的】【操】【心】。 【顾】【海】【琼】【心】【里】【头】【挺】【高】【兴】【的】，【自】【己】【这】【个】【婆】【婆】【啊】，
【黑】【白】【无】【常】【千】【米】【寸】【地】，【极】【速】【的】【闪】【现】【而】【来】。 “【有】【是】【你】【们】。”【黑】【无】【常】【冷】【着】【脸】，【手】【里】【的】【铁】【链】【被】【他】【气】【愤】【的】【甩】【了】【一】【下】。 【白】【无】【常】【抬】【手】【示】【意】【他】【不】【要】【动】【怒】，【这】【次】【的】【视】【线】【直】【直】【的】【落】【在】【曹】【大】【师】【身】【上】，“【这】【位】【道】【友】，【你】【可】【知】【送】【厉】【鬼】【入】【地】【府】【的】【危】【害】【吗】。【厉】【鬼】【身】【上】【的】【戾】【气】【和】【不】【服】【管】【教】【会】【给】【其】【他】【鬼】【魂】【造】【成】【伤】【害】，【若】【是】【给】【地】【府】【造】【成】【了】【损】【伤】，【这】【些】【都】【会】正版通天报网【怀】【珞】【脸】【色】【微】【变】，【我】【看】【他】【的】【眼】【神】【变】【得】【有】【些】【冷】【漠】，【便】【知】【道】【这】【次】【回】【去】【肯】【定】【不】【那】【么】【简】【单】。 【如】【果】【真】【的】【是】【透】【露】【给】【怀】【珞】【消】【息】【的】【人】【在】【现】【场】，【那】【么】【依】【照】【怀】【珞】【开】【始】【对】【我】【的】【反】【应】，【这】【件】【事】【注】【定】【和】【我】【脱】【离】【不】【了】【关】【系】。 【唉】，【我】【这】【麻】【烦】【的】【女】【主】【体】【质】，【好】【事】【是】【一】【点】【没】【有】，【坏】【事】【是】【天】【天】【缠】【身】【啊】。 【我】【郑】【重】【的】【看】【着】【怀】【珞】：“【我】【希】【望】【你】【说】【清】。” 【怀】
【城】【西】【陈】【家】。 【陈】【八】【两】【端】【坐】【在】【上】【首】，【许】【陈】【瑞】【跪】【在】【下】【方】，【她】【的】【嘴】【角】【还】【溢】【出】【了】【一】【丝】【发】【黑】【的】【血】【渍】。【垂】【着】【头】，【小】【姑】【娘】【的】【蓝】【布】【碎】【花】【裙】【子】【上】【已】【经】【被】【血】【液】【染】【花】【了】。 “【十】【厘】，【你】【想】【救】【那】【个】【女】【人】？” 【被】【点】【了】【名】，【许】【陈】【瑞】【跪】【坐】【的】【姿】【势】【端】【正】【了】【许】【多】，【她】【摇】【了】【摇】【头】，【又】【点】【了】【点】【头】。“【外】【公】，【我】【想】【上】【学】。【不】【想】【做】【蛊】【女】。”【她】【难】【得】【没】【有】【哆】【嗦】，【而】
“【怎】【么】，【对】【慎】【王】【动】【情】【了】【要】【不】【我】【向】【慎】【王】【说】【说】，【把】【你】【留】【在】【夏】【国】【如】【何】？” 【箫】【卓】【语】【气】【越】【来】【越】【冷】，【笑】【宛】【若】【毒】【针】，【异】【常】【刺】【骨】。 【下】【颌】【上】【的】【剧】【痛】【不】【断】【加】【大】，【红】【月】【颤】【抖】【着】【否】【认】，“【皇】【上】，【臣】【妾】【没】【有】【对】【慎】【王】【动】【情】，【我】【只】【是】【觉】【得】【这】【慎】【王】【爷】【不】【简】【单】，【将】【来】【可】【能】【会】【成】【为】【皇】【上】【的】【阻】【碍】。” “【皇】【上】，【难】【道】【你】【还】【不】【相】【信】，【红】【月】【对】【你】【的】【感】【情】【吗】，【为】
【楚】【思】【持】【针】【的】【手】【顿】【住】，【而】【后】【毫】【不】【犹】【豫】【的】【扎】【了】【下】【去】。 【跟】【进】【来】【的】【太】【医】，【真】【的】【没】【眼】【看】【了】，【如】【意】【郡】【主】【这】【是】【恃】【宠】【生】【娇】【吗】？【连】【陛】【下】【的】【话】【都】【敢】【不】【听】！ 【一】【针】，【两】【针】，【三】【针】【在】【面】【前】【晃】【过】。 【承】【泽】【帝】【大】【喝】【一】【声】，“【思】【儿】，【你】【做】【什】【么】？【要】【害】【你】【母】【妃】【不】【成】？” 【楚】【思】【回】【眸】，【隔】【着】【面】【上】【的】【血】【迹】，【动】【情】【道】，“【皇】【舅】【舅】【请】【您】【相】【信】【我】，【母】【妃】【在】【我】【心】
【新】【书】【已】【发】【布】，【愿】【意】【来】【支】【持】【看】【书】【的】，【来】【吧】。 【简】【介】：【别】【人】【都】【是】【继】【承】【一】【个】【富】【甲】【天】【下】【的】【家】【族】，【我】【却】【继】【承】【了】【一】【个】【被】【封】【印】【的】【宇】【宙】，【被】【迫】【成】【为】【宇】【宙】【救】【世】【主】！【这】【该】【怎】【么】【办】？【实】【力】【不】【允】【许】【我】【低】【调】【啊】！ 【解】【封】【一】【只】【【炮】【灰】【虫】【族】】，【得】【到】【虫】【族】【感】【知】【能】【力】，【以】【后】【扫】【雷】【这】【种】【游】【戏】【可】【以】【躺】【赢】【了】； 【解】【封】【一】【头】【【深】【渊】【巨】【龙】】，【它】【说】【在】【伟】【大】【的】【宇】【宙】【主】