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Das Nederlands Dans Theater zeigt einen atemberaubenden Triple-Nachmittag mit Choreographien von William Forsythe. 

Die neue Premiere des Staatsballetts spannt einen Bogen über die neuere Tanzgeschichte des 20. und 21. Jahrhunderts.

Malgré quelques temps forts, en particulier la reprise brillante de Herman Schmerman, la soirée « Etoiles de l’Opéra » laisse un avant-goût mitigé sur l'avant-scène du Palais Garnier.

Ballett Zürich’s tribute to the visionary American choreographer William Forsythe included three ballets that had never before been performed in Switzerland.

Anna Tsygankova is clearly enjoying her part in Forsythe's Pas/Parts 2018, an exposé of the vocabulary of modern ballet.

Pendant trois soirs, la Compañía Nacional de Danzade España de José Carlos Martinez rendait hommage au chorégraphe américain à l’invitation de la Comédie de Clermont Scène Nationale, à la Maison de la Culture.

Company and World Premieres to round out KC'S ballet season

L’effervescence est à son comble au Théâtre des Champs-Elysées : le Boston Ballet vient donner un programme très attendu, composé de deux œuvres de William Forsythe et d'une pièce de Jiří Kylián.

Dresden's Semperoper Ballett leaves a lasting impression on its visit to Sadler's Wells with a William Forsythe triple bill. 

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

Contemporary Ballet is alive, thriving and pushing in Boston

Sólo una duda se respira con el encendido final de la luz... ¿Qué será lo próximo? 

A successful program of Kylian, Peck and Forsythe. 

English National Ballet's ambitious triple bill does not disappoint; it shows a company on the rise. 

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

Le Ballet de l’Opéra de Paris clôture la saison 2015/2016 par une soirée consacrée au chorégraphe néoclassique américain William Forsythe, avec l’entrée au répertoire d’Of Any If And (1995), suivi d’Approximate Sonata (1996) et d’une création, Blake Works I, sur la musique de l’artiste électro-soul James Blake. 

Energy, Fun and Experimentation: Watchwords of the season at the Washington National Ballet

La nouvelle tournée du Ballet de l’Opéra de Lyon donne une vue d’ensemble sur une compagnie au savoir-faire résolument contemporain et au répertoire exploratoire, ancré dans le présent de la chorégraphie.

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.

Desmond Richardson remains indelibly powerful but Dwight Rhoden's choreography wears thin in large doses.

A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.

In a three-bill programme that opens its season, the Zurich Ballet celebrates works of three choreographers who all pioneered new genres in contemporary dance.

Explosive and animated, Sylvie Guillem moves with an inimitable combination of energy, joie de vivre and delicacy throughout her final show, Life in Progress, at Beijing’s National Center for Performing Arts.

The National Ballet of Canada opens the Danse Danse festival in Montreal with a triple bill of minimalist neoclassical works.

Forsythe nurtures dancers' individuality and adds another facet to the Pacific Northwest Ballet's artistry.  

English National Ballet inaugurates its association with Sadler’s Wells with Modern Masters, a triple bill of works by Jiří Kylián, William Forsythe and John Neumeier

Lander/Forsythe : un programme qui rend hommage à la technique virtuose de la compagnie. 

As the program notes for William Forsythe’s Sider – on show this week as part of Brooklyn Academy of Music’s Next Wave Festival – meticulously explain, the score to which the dancers are performing is taken from a filmed version of an undisclosed Shakespearean tragedy.

Boston Ballet seriously want to impress London. Their 50th anniversary celebrations begin at home in the autumn, but it’s this return to England after 30 years that marks the official start of the party, and artistic director Mikko Nissinen has put together two serious, strong programmes for the capital’s ballet connoisseurs at the London Coliseum.

Boston Ballet’s Fall Program is a mix of three contemporary pieces, with music ranging from the Rolling Stones to piano and organ arrangements by J.S. Bach and electronica by Thom Willems. It began and ended on an upbeat, bookending a thoughtful (and thought-provoking) world première centerpiece.

A friend of mine once said “life is ugly. I want art to be beautiful.” I would add to that “life tells us enough stories. I want ballet to let my mind breathe.” As much as I love the story ballets, I seem to need poetry more than prose these days.