En Pointe | Marina Harss, Lauren Kane
Alexei Ratmansky’s new ballet, which premiered in Copenhagen this past fall, is an interpretation of Bach’s Art of the Fugue, a piece the composer left unfinished at the time of his death in 1750. As Marina Harss writes in our March 12, 2026, issue, the ballet shares the composition’s disrupted quality: “In Copenhagen Ratmansky was returning to a project that had been painfully interrupted when Russia invaded Ukraine.” So Harss traveled to Denmark, not only for the performance but also to spend time with Ratmansky and the dancers as they rehearsed before opening night. Harss has a particular affinity for Ratmansky’s work and for Ratmansky—she is his biographer. The Boy from Kyiv: Alexei Ratmansky’s Life in Ballet was published in 2023. As a critic, she writes on dance regularly and opera occasionally for The New Yorker, The New York Times, and The Hudson Review, among other publications. She has also translated books from the Italian and French, including The Mirador, Élisabeth Gille’s memoir of her mother, Irène Némirovsky; and Poem Strip, a graphic novel by …




.jpg?ssl=1)




