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Von Brahms und Balanchine bis Górecki und Childs: das Wiener Staatsballet zeigt einen zeitlosen Abend.

Two very promising debuts in the lead roles and good performances in the supporting roles, made this an enjoyable Onegin.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

James Kudelka's Czarist vision of The Nutcracker offers Imperial splendour and a conceptual twist at The National Ballet of Canada.

National Ballet of Canada's connections to John Cranko's Onegin run deep and this revival featured beloved company farewells and exciting next generation debuts. 

In contrast to companies like the Bolshoi, ABT’s Don Quixote comes across as sweet but slight.

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

Le lyricophile James Gray fait ses débuts à l'opéra, avec une mise en scène des Noces de Figaro séduisante à l'œil mais un peu sage. 

As the wonderful Tharp trio program proves, all these years later Twyla Tharp can still make ballet look cool.

The role of Luisa, some of the daintier coloratura aside, fits Sonya Yoncheva like a glove. 

Alas, putting two stars (Kochetkova and Cornejo) together is no guarantee of success and that was certainly the case here.

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.

The San Francisco Ballet's 2016 season culminates in a dazzling, masterful rendition of John Cranko's Onegin, bringing passion, fury and drama to the War Memorial Opera House stage.

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.