I loved Ratmansky’s new Firebird at American Ballet Theatre. The controversy it has stirred up among critics and balletomanes–many are ambivalent, some downright despise it–also makes sense, given the local, Balanchine production’s regular outings.   In the Balanchine and Fokine, the firebird is the only character that matters. Balanchine’s choreography for her–early and late–is particularly magical. … Continue reading The flap about “Firebird”