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

Rambert celebrates 100 years presenting a triple bill of recent or new works. The message is clearly to look forward and not back.

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby provokes the whole gamut of emotions, but leaves you feeling euphoric at the end.

Rambert’s double bill, clearly a joyous experience for the many who leaped to their feet whooping, but perhaps a bit lightweight for anyone not quite so easily satisfied with novelty.

A gala to be remembered for the sheer number of stellar performances both in classical music and all forms of dance.

The whole evening feels like observing a rave, while bits are very good and some disappointing, it's never boring.

Directement inspiré de la série éponyme de Steven Knight, diffusée sur la BBC de 2013 à 2022, le spectacle du Ballet Rambert retranscrit magistralement l’atmosphère du Birmingham des années 1920.

A performance that could blow the roof off any establishment. Rambert's dancers mesmerise.

This all-Duke programme punctuates choreography with comedy, which in turn merges with pathos. 

Peaky Blinders turned into dance theatre makes for powerful and spectacular staging, both visually and aurally and is unlikely to inspire an insipid response

Rambert presents an excellent cohort of expressive dancers, but the programme lacked an overall wow factor.

The world premiere of Eye Candy by Imre and Marne van Opstal, best known for their work at Nederlands Dans Theater, together with a livestream premiere of Marion Motin’s Rouge.  

Rambert excels in this fascinating live performance of the unexpected and absurd.

A novel live-streamed performance, nightmarish in parts, that seems just right for these strange times 

Masculinity, nothing or very little has changed: Enter Achilles is danced by Rambert at the Haus der Berliner Festspiele. 

Fast-moving choreography, pulsating music and striking performances but blighted by some technical issues that need to be improved.

A new manifesto for Rambert under new management of Benoit Swan Pouffer. 

Ben Duke a créé ce spectacle en partant de musiques de Nina Simone mais aussi de la lutte politique et sociale qu’elle incarnait. Il explore ici particulièrement la figure du bouc-émissaire, scapegoat.

A meandering maze of tangled ideas expressed in a stylish film noir atmosphere.   

Britain's oldest dance company continues to entertain, challenge and inspire with yet another well-rounded triple bill 

At 90, Rambert is the undisputed "grande dame" of British dance. Ever rigorous in the pursuit of innovation and collaboration, it is fitting that company director Mark Baldwin has chosen to celebrate this anniversary with an evening of work showcasing home grown talent. 

Ninety years since it was founded, Rambert continues to bring varied and challenging dance styles to Sadler's Wells.

Love, art & rock'n'roll - A rich and engaging triple-bill that fully demonstrates Rambert’s many strengths.

Rambert remains one of the leading dance companies in the UK. The company's dancers are versatile and agile and the repertoire is fresh and unique. 

Brass bands and balletic phrases formed part of Rambert's new mixed bill at Sadler's Wells, which also including the world premiere of Mark Baldwin's big and bold celebration of Welsh mining tradition.

Founded by Marie Rambert in 1926, Rambert has an inimitable reputation for high-quality contemporary dance. The next phase of development, under the direction of Mark Baldwin, will move the company into a new custom-built home on the London Southbank. Its latest triple bill at Sadler’s Wells is largely bland, but has moments of brilliance, namely in the form of Barak Marshall’s The Castaways.

Rambert’s SUB is an intense and visceral exploration of male physicality. Seven male dancers push their bodies to the limit performing Itzik Galili’s choreography with amazing energy. Lit from above in pools of light, bodies appear from the shadows, create new images, and disappear like phantoms.

More and more museums and galleries are opening their doors to dance. Even though performance is nothing new in art galleries, which sometimes feature them as independent artworks or as opening/closing events for exhibitions, dance is increasingly entering the exhibition circuit in the role of preserved art object.

In the opening night of its short Autumn season at Sadler’s Wells, Rambert Dance Company presented a mixed bill that comprised four attractive works. Introducing a brand new piece by Irish choreographer Marguerite Donlon, the programme also included three revivals from acclaimed choreographers Paul Taylor, Merce Cunningham and Richard Alston.

A Celebration of Bob Lockyer was less a celebration of the man than of his work. Lockyer has had a full career ranging from producer of award-winning dance programmes at the BBC, to chair of Dance UK and South-East Dance. His lengthy career has earned him the accolade of “one of the great heroes of British dance”.