Francisco Moncion

BWW Review: New York City Ballet's Prodigal Son and Liebeslieder Walzer

The wait is finally over!!! An artistic director for New York City Ballet has been named. Or should I say, two artistic directors?

Broadwayworld Dance Review: Balanchine/Stravinsky at New York City Ballet, January 24, 2019.

BWW Dance Review: BALANCHINE: THE CITY CENTER YEARS

October 31, Halloween. I was walking to City Center for the opening of 'Balanchine: The City Center Years.' But then I began thinking of Stephen Sondheim's 'Follies.' You must all know the musical. Everyone returns for a reunion, only to be met with ghosts and remembrances of their past lives. After all, City Center is where New York City Ballet began in 1948. I wondered who I would encounter? I saw Allegra Kent. I think I saw two other members of the company who danced on New York City Ballet's opening night 70 years ago? But perhaps I'd encounter some of the other principal dancers of that time: Maria Tallchief on the stairs? Or Tanaquil Le Clercq at the bar? Or Frank Hobi? Francisco Moncion? Nicholas Magallenes? Yvonne Mounsey? Diana Adams?

From the Archives: Balanchine in Montreal

Calling all balletomanes, historians, Ph.D. candidates, sociologists, audience members, and just about everyone else interested in dance. Do you want to see Diana Adams, Allegra Kent, Violette Verdy, Jillana, Maria Tallchief, Tanaquil LeClercq, Andre Eglevsky, Suki Schorer, Patricia Neary, Carol Sumner, Todd Bolender, Arthur Mitchell, Francisco Moncion, Nicholas Magallanes and Jacques d'Amboise again in the intimate surrounding of your living room? No, this not a joke, but the first of many VAI DVD releases from Montreal's Radio-Canada archive, encompassing a televised history of Balanchine's many works from 1954 well into the 1970s.

BWW Reviews: NEW YORK CITY BALLET Offers Faithful and Flawless Renditions of Some of Mr. B's Greatest Hits

I have always told my ballet students that because the art form is kept alive by each new generation of dancers, we must be as proficient in historical styles as we are in contemporary techniques. The important works of the past cannot be hung on museum walls the way the paintings of the masters are. Instead, we have to recreate what came before us or else the ballets will be lost. Years ago when I made that speech, I was referring to the centuries-old ballet classics. Yet on the afternoon of October 13th 2013, when the New York City Ballet offered a mixed bill of Balanchine's iconic 'black and white' ballets at the Koch Theater, I was reminded that now the dance gems of the 20th Century