Today felt like summer. Every public space was full of people! Look closely and you'll see bands of people in summery colors behind the Washington Square Arch and in front of and on the balcony of the Met.
I was at Lincoln Center not for the opera, but for New York City Ballet. To be precise, some of my dearest friends are in town tomorrow so I've given my ticket to the Met's "legendary" production of "Dialogues des Carmelites" away; as a consolation prize I got myself a ticket to the ballet tonight. And what a night it was! Part of the American Music Festival, we saw Balanchine's sublime 1954 cowboy and saloon girl ballet "Western Symphony" and two by Jerome Robbins - the groovy West Side Story-like teenagers of 1958's "N. Y. Export: Opus Jazz" (set by Ben Shahn!) and the lucid postmodern iterations of 1983's "Glass Pieces" to, yes, Philip Glass. They're as different from each other as they could be, but each a joy! Long live the dance, and viva América!
Today felt like summer. Every public space was full of people! Look closely and you'll see bands of people in summery colors behind the Washington Square Arch and in front of and on the balcony of the Met. 
I was at Lincoln Center not for the opera, but for New York City Ballet. To be precise, some of my dearest friends are in town tomorrow so I've given my ticket to the Met's "legendary" production of "Dialogues des Carmelites" away; as a consolation prize I got myself a ticket to the ballet tonight. And what a night it was! Part of the American Music Festival, we saw Balanchine's sublime 1954 cowboy and saloon girl ballet "Western Symphony" and two by Jerome Robbins - the groovy West Side Story-like teenagers of 1958's "N. Y. Export: Opus Jazz" (set by Ben Shahn!) and the lucid postmodern iterations of 1983's "Glass Pieces" to, yes, Philip Glass. They're as different from each other as they could be, but each a joy! Long live the dance, and viva América!