Dance on tap
A translation of Bach's music into movement by Anne Teresa De Keersmaeker and Rosas
© Anne Van Aerschot
New York City Ballet kicks off its spring season with a 21st-century triple bill
© Paul Kolnik
Merce Cunningham Trust: Night of 100 Solos at the Barbican's centennial event
© Stephen Wright
Pure eye-candy: a dream of a Dream in Seattle
© Angela Sterling
Verve: The Australian Ballet’s resident choreographers
© Daniel Boud
Recent reviews
Ballet ABC
| Marie Taglioni in La Sylphide, 1832 |
© Wikicommons
Upcoming eventsSee more...
New York CityClassic NYCB II
Adams, Chopin, Sousa
Gianna Reisen; Jerome Robbins; George Balanchine; New York City Ballet
ZürichCreationsWorld Première
New works
Goyo Montero; Louis Stiens; Filipe Portugal; Zurich Junior Ballet
MunichSpartacus
Khachaturian: Spartacus
Yuri Grigorovich; Bavarian State Ballet; Karen Durgaryan; Simon Virsaladze
AmsterdamSwan Lake
Tchaikovsky: Swan Lake
Marius Petipa; Lev Ivanov; Rudi van Dantzig; Toer van Schayk; Dutch National Ballet; Boris Gruzin; Andrew Mogrelia
Latest reviewsSee more...
Kansas City Ballet's season closes with triple bill
Company and World Premieres to round out KC'S ballet season
Rouge blows the cobwebs away in Rambert's triple bill
A new manifesto for Rambert under new management of Benoit Swan Pouffer.
Ratmansky's Harlequinade reconstruction already showing its age
Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.
NYCB's eclectic program worth the three hours
The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019.
Konzert Theater Bern: Paul Klee’s dynamism depicted through dance
The dance company of the Konzert Theater Bern recently staged a programme showing two perspectives on the imagination of the great Swiss-born artist, Paul Klee (1879-1940).
A hit and a miss from Justin Peck and epic Balanchine
Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.
