March is flamenco season in New York, thanks to the annual Flamenco Festival (March 12-April 5, at various venues), which brings all that’s new and old in this Spanish art dating back centuries. The offerings in this year’s twentieth-anniversary edition are particularly wide-ranging, from the highly produced “An Ode to Time,” by the superstar bailaora María Pagés (at City Center, March 28-29), to the experimental and anarchic-feeling “Fla.co.men” (Skirball, March 13), by the flamenco surrealist Israel Galván. (Take snacks to the Galván show, which is almost two hours long, with no intermission.) Two of the more personal offerings come from Rocío Molina, an innovator who indulges her fierce imagination and sense of humor in “Caída del Cielo” (City Center, March 27), and Manuel Liñán,体育投注网平台 whose show “¡Viva!” is a joyously openhearted exploration of the expressive potential of flamenco in drag (City Center, April 3).
Jamar Roberts, who was appointed choreographer-in-residence of the Alvin Ailey troupe last year, will make his first piece for New York City Ballet, to be revealed on May 7 in the company’s spring season (at the David H. Koch, April 21-May 31). It will be intriguing to see, for the first time, how Roberts translates his quietly incisive aesthetic to the idiom of ballet. Interestingly, he’s not using jazz this time—earlier pieces were set to Coltrane and Don Pullen—but, rather, the ambient music of Kyle Preston, which Roberts describes as “minimalist in instrumentation but maximal in tension and emotion.” On April 24, Pam Tanowitz,体育投注网平台 a choreographer who specializes in dissecting the internal logic of ballet, will unveil her second piece for the company.
The Mark Morris Dance Group体育投注网平台 presents an intimate evening at its Brooklyn headquarters that includes the New York première of a new work by Morris, “Arrows. Eros.” (Mark Morris Dance Center, April 15-19). The sextet is set to two short cantatas for soprano and mezzo by George Frideric Handel, a composer who has inspired Morris to great heights in the past. The music, performed live, is reason enough to show up, as are Morris’s exceptional, down-to-earth dancers.
Reggie Wilson’s collagelike pieces gather fragments of stories, mythologies, songs, and dances related to African-American history and expression. In “POWER,” his latest work for his company, Reggie Wilson / Fist and Heel Performance Group (BAM体育投注网平台’s Harvey Theatre, April 29-May 2), he explores the movement language of the black Shakers, a little-discussed branch of the utopian eighteenth-century religious movement. ♦