Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Erina Takahashi

English National Ballet give a meticulous account of Mary Skeaping's glorious Giselle.

Akram Khan's Giselle becomes ever more watchable with every viewing. A rollercoaster version of the traditional classic.

Christopher Wheeldon's Cinderella in-the-round is an immersive experience in the grand ballroom scene but the romantic duets are robbed of an essential intimacy.

Creature is not an easy watch, but English National Ballet give memorable and compelling performances throughout.

Ek's second, very different take on Stravinsky's Rite crowns an English National Ballet triple bill extolling the pure joy of dance and exposing the terror of forced marriage. 

Petipa's classical choreography and Glazunov's ravishing score fuse with a reimagined narrative and bold choreographic additions to create a new Raymonda for the 21st century.

Despite excellent performances, time needs to be called on Wayne Eagling's Nutcracker. 

Have two Covid-enforced delays left too much time for Akram Khan and his team to tinker with their new creation for English National Ballet?

A mixed bag from the ENB repertoire to greet the summer solstice at the Royal Festival Hall. 

The ENB translates its digital films made during the pandemic into an evening of a live performance.

The choreographers selected ranged from the highly experienced (Yuri Possokhov, Sidi Larbi Cherkaoui and Russell Maliphant), and ENB’s Associate Choreographer (Stina Quagebeur) to a relative newcomer, 24-year-old Arielle Smith. 

An evening of sparkle and bravura at London's international ballet gala. 

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

The spectacular dancing of Erina Takahashi, Francesco Gabriele Frola and Jeffrey Cirio is the principal reason to catch ENB's revival of this creaky swashbuckler. 

Despite confused storytelling in Wayne Eagling's version of ETA Hoffmann's tale, ENB's Nutcracker has some lovely dancing. 

Death lurks around every corner in Rudolf Nureyev’s Romeo and Juliet, created for English National Ballet (then named London Festival Ballet) back in 1977 and energetically revived here.

For their second show in the London Coliseum this year, English National Ballet has presented the first programme entirely designed by its new artistic director Tamara Rojo. In the line of her vision of enriching the company’s repertory with new works, while at the same time honouring the classics, the triple bill built for the occasion is a fascinating combination of old and recent masterpieces.

While the first of English National Ballet’s tributes to the Ballets Russes focused on works with a ‘nature’ theme, this second programme was more sporty – an apt topic for London 2012. First, there is Apollo, one of the most important and complex of the Olympian deities, then a game of tennis. Then there is an acrobat, and, finally, a marathon of non-stop technical classical feats.

Spring has sprung in London, and there was a definite taste of nature and things new abounding at the Coliseum in the first of two programmes by English National Ballet. In Beyond Ballets Russes 1 there is a ‘newly hatched’ bird, two very different ‘faunes’ and a freshly outfitted pagan ritual to the god of spring.

ENB’s highly anticipated triple bill of works by the French master craftsman Roland Petit was tinged with sadness when the news of his death was announced on July 10th at the age of 87. He had hoped to oversee the rehearsals and attend the UK premiere. Instead, however, the London season became a powerful tribute to him, one of the greatest choreographers of the 20th century.

English National Ballet’s early summer spectacular offers an evening of glamour, glitz and gorgeous gowns all neatly wrapped in the glorious music of the Gershwin brothers. Choreographed and directed by Derek Deane, it combines a medley of songs, music and various dance styles – classical ballet, ballroom and tap dancing --to suit every taste.