Dance on tap
Ratmansky triple bill celebrates ten years with ABT
© Marty Sohl
A bad hair day for Sidi Larbi Cherkaoui's Medusa at the Royal Ballet
© ROH | Tristram Kenton
San Francisco Ballet’s Shostakovich Trilogy brings a strong close to the season
© Erik Tomasson
Konzert Theater Bern: Paul Klee’s dynamism depicted through dance
© Gregory Batardon
Recent reviews
Ballet ABC
| Marie Taglioni in La Sylphide, 1832 |
© Wikicommons
Upcoming eventsSee more...
ZürichCreationsWorld Première
New works
Goyo Montero; Louis Stiens; Filipe Portugal; Zurich Junior Ballet
New York CitySymphonic and Electronic
Sousa, Rodgers, Gottschalk, Deacon
George Balanchine; Justin Peck; New York City Ballet
LilleThe Six Brandenburg Concertos
Bach: The six Brandenburg Concertos
B'Rock Orchestra; Amandine Beyer; Rosas; Anne Teresa De Keersmaeker
AmsterdamSwan Lake
Tchaikovsky: Swan Lake
Marius Petipa; Lev Ivanov; Rudi van Dantzig; Toer van Schayk; Dutch National Ballet; Boris Gruzin; Andrew Mogrelia
ViennaLe Corsaire
Drigo: Le Corsaire
Manuel Legris; Marius Petipa; Vienna State Ballet; Valery Ovsyanikov; Orchestra of the Vienna State Opera
New York CityA Midsummer Night's Dream
Mendelssohn: A Midsummer Night's Dream
George Balanchine; New York City Ballet
Latest reviewsSee more...
Masters of Choreography: Beats on Pointe
A pacy extravaganza of hi-energy dance and humour at the Peacock Theatre.
Ratmansky triple bill celebrates ten years with ABT
The Seasons is overstuffed, uneven and way too busy. There are so many steps, but they rarely made me "see the music". It was a frustrating ballet, with so many lovely moments that were less than the sum of its parts.
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.
