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Die herausragende Ballerina Alessandra Ferri spricht offen über ihre lange Karriere und wie sehr sie sich darauf freut, Direktorin des Wiener Staatsballetts zu werden.

Was macht das klassische Ballett so unvergänglich? Darcey Bussell, Cynthia Harvey und Aaron S. Watkin beleuchten die anhaltende Bedeutung des klassischen Tanzes.

Bachtracks neue Tanzredakteurin kann auf eine bemerkenswerte Karriere als Tänzerin zurückblicken, in der sie mit Persönlichkeiten wie Rudolf Nurejew, Margot Fonteyn und Alicia Markova gearbeitet hat.

Mit sieben Neuinszenierungen unter dem Titel „Alles was Recht ist" verspricht die Bayerische Staatsoper eine spannende neue Spielzeit.

Gestern trat Benjamin Millepied als Direktor des Pariser Opernballetts zurück und warf damit die Frage auf: kann der Direktor einer großen, internationalen Kompanie den Spagat zwischen einer Führungsrolle und dem Wunsch nach kreativer Arbeit schaffen?

Weihnachten wäre nicht Weihnachten ohne Maronen, Truthahn, Weihnachtslieder – und ohne den Nussknacker. Das Stück ist zum festen Bestandteil der Weihnachtszeit geworden

Vor der Premiere ihres neuen Werkes für 64 Tänzer zu Thomas Adès' Polaris sprach Crystal Pite mit uns über ihre musikalische Auswahl und ihren choreographischen Arbeitsprozess.

The British choreographer and dancer talks about his new production of Raymond Briggs’ The Snowman, and the challenges and rewards of creating a show for both children and adults.

Former Scottish Ballet soloist turned producer and entrepreneur Jamiel Devernay-Laurence talks candidly about the risks and joys of putting on new and alternative productions.

Birmingham Royal Ballet’s Céline Gittens tells us why Swan Lake still holds such an important place in the dancing canon for both audiences and performers.

In his new work for English National Ballet, the South Korean choreographer has taken influence from a classic of English literature: William Blake’s Auguries of Innocence – a parable of environmental destruction and yearning for a more humane world. 

This autumn, British choreographer Alistair Marriott is collaborating with National Ballet of Japan on a new full-length narrative ballet, adapted from Charlie Chaplin’s timeless silent film City Lights. With a score taken from Chaplin’s own compositions, we discover what it takes to create a new ballet on this scale.

Bachtrack’s dance writers choose up and coming young dance talents who shouldn’t be missed in the 2026–27 season.

With new works from English National Ballet, Rambert and National Ballet of Japan, we take a taste of some of the new dance creations premiering around the world during the 2026–27 season.

When the US government made it impossible for Cuba’s Malpaso Dance Company to perform in New York City, the company refused to bow down, creating a new documentary in Havana with choreographer Pedro Ruiz on their deep creative resilience. 

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Liam Francis talks openly about creating a new dance company, finding his choreographic voice, successes and insecurities, and a circuitous route to securing a life in dance.

Birmingham Royal Ballet’s Jonathan Payn talks about The Green Table by Kurt Jooss, first performed in Paris in 1932 – and how choreography can respond to political collapse and the threat of war. 

Amanda Britton, Artistic Director of Rambert School, talks about an exchange and collaboration between the Rambert School and Juilliard to create a new work by Wayne McGregor, a unique project.

We sit down with Ballet Black’s artistic director Cassa Pancho and dancers Isabela Coracy and Ebony Thomas, to discover the challenges and achievements of the company’s first 25 years.

A century after its founding in 1926, former members of Ballet Rambert recall the joys and challenges of working directly with Dame Marie Rambert, one of the trailblazers of British ballet.

The great ballerinas of the 19th century were perhaps the first modern celebrities. Rather than bare all, their images cultivated a mysterious, supernatural aura that made them seem unattainable.

Birmingham Royal Ballet soloist Sofia Liñares talks about the joys and fears of dancing multiple roles and performances of Sir Peter Wright’s The Nutcracker.

Choreographer Kim Brandstrup talks about his remarkable collaboration with the Orchestra of the Age of Enlightenment, and a group of professional hip-hop dancers and students from Camden’s Acland Burghley School.

The Belgian-Moroccan choreographer talks about exploring his multi-faceted identity through dance – and how choreographing Johann Strauss II gave him insights into war and politics...

As Ballet Teatro Colón celebrates 100 years, Julio Bocca, its new artistic director reveals how he wants to tour the company internationally, broaden the repertoire and encourage new audiences.

Choreographer John Neumeier talks about his work with Czech National Ballet and his ballet Liliom, on keeping ballets alive, 54 years as a director and the importance of working closely with individuals.

With many new full-length dance works to look out for in the new season, we preview several anticipated new creations from leading choreographers – including a number with newly commissioned scores.

Bachtrack’s Dance Editor Deborah Weiss picks ten young dancers who made a deep impression last season, and what to expect from them in 2025–26.

Alina Cojocaru talks about the magical process of creating new roles, working with great choreographers and how, in spite of a long career, she is still learning every day.

Ravel’s first ballet Daphnis et Chloé is an overwhelming sensory experience – but its birth as a production choreographed by Mikhail Fokine for the Ballets Russes was not without complications...

Miyako Yoshida talks about her deep connection to Giselle, bringing her own production to London with the National Ballet of Japan, and the challenges of being an artistic director.

Choreographer Eyal Dadon talks about his latest work for the Czech National Ballet, seeking to capture the complexity – and catastrophe – of contemporary life.

In one of the most incredible career journeys, Maria Seletskaja talks about her move from full time ballerina with Royal Ballet Flanders to becoming English National Ballet’s new Music Director. 

Lynne Charles tells us why she has become passionate about teaching and why the mix of contemporary and classical choreography requires an urgent rethink of training and injury prevention.

A tribute to a much-loved and highly respected principal of the Mariinsky Ballet, who died at the tragically early age of 39.

Sir Matthew Bourne talks about his passion for storytelling in dance, and his own personal journey with his radical gender-flipped Swan Lake.

Arielle Smith talks frankly about expectations, levelling the playing field, her passion for the art form and the importance of music as a starting point.

As Nina Ananiashvili brings the State Ballet of Georgia to London for the first time in its 175-year history, she explains what her directorship of 20 years has meant to her.

The choreographer and creative director of the Estonian National Ballet School, Teet Kask, talks in great depth about training, thinking consciously about authentic movement and his current projects.

The original cast of principals – and current interpreters – discuss the joys of working with the late choreographer Sir Frederick Ashton, and the great legacy he has left to today’s dancers.

Beginning as a teenage b-boy in Mumbai, Manish Chauhan has managed the almost-impossible – to become a ballet principal, a transition featured in Netflix’s documentary Call Me Dancer.

The new director of San Francisco Ballet talks candidly about adapting to a new role, and the challenges and pleasures of living and working in California.

Former Royal Ballet principal, Graham Fletcher, remembers a highly unusual experience with Rudolf Nureyev on The Muppet Show.

A message of fondness to all Nutcracker lovers: the music still works its magic, even after hundreds of performances. 

The Artistic Director of Sadler’s Wells talks candidly about his unwavering love for encouraging new dance, his visions for the future – and how much of himself he sees in Mick Jagger.

Choreographer David Dawson talks about emotional physicality, dance as a journey – and how dancers are “always in a state of becoming something else”.

The competition attracted around two hundred competitors from 18 countries, culminating in a gala that belonged to the aspiring young dancers who filled the evening with their hope and joy.

Spanish choreographer Avatâra Ayuso talks candidly about fellow choreographer Bronislava Nijinska, historical misogyny within the dance sector, and what we are doing about it today.

Europe’s newest ballet school – attached to Hungarian State Opera in Budapest – prepares a version of Tchaikovsky and Petipa’s classic, designed expressly for young dancers.