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Trajal Harrells moderne Choreographie erzählt die Geschichte des Romeo und sagt dabei mehr als tausend Worte...

Der griechische Choreograph eröffnet die 31. Ausgabe des Festivals mit Sorge um die Zerstörung unserer Umwelt.

Diese völlige Neuinterpretation und bewusst vorgenommenen Korrektur des Originaltextes lässt den traditionellen Ring in einem liebevoll neuen Licht erscheinen.

Sharon Eyal und Gai Behars Choreographie erzählt von (Liebes)Glück und Einsamkeit.

Marlene Monteiro Freitas' Adaption von Schönbergs Melodram ist ein außergewöhnlicher, bisweilen bizarrer Abend.

Der Regisseur und Choreograph Bill T Jones realisiert mit We Shall Not Be Moved eine körperbetonte Produktion, die der Operngattung frische Blut einflößt.

Die Wiederaufnahme von Pierre Audis Inszenierung von Händels Alcina in der Amsterdamer Stadsschouwburg ist gesegnet mit einer ausgezeichneten Besetzung, angeführt von Sandrine Piau, die als Zauberin eine unvergessliche Darbietung gibt.

Wildsong presents a refreshing take on contemporary movement rooted in classical technique while revisiting a recent conceptual work of much acclaim, both performed by artists at the peak of their physical prowess.

The Dutch National's Junior company dazzled in three new works and a Balanchine classic, showcasing the stars of tomorrow.

Nederlands Dans Theater 1’s new triple bill premieres Imre Van Opstal and Marne Van Opstal's Take Root alongside works by Sharon Eyal, Gai Behar and Crystal Pite. 

Shut Eye (Lightfoot & León) is like an alternating current. Woke Up Blind (Goecke) is entertaining and vulnerable. Pite's work hits the rythmic nail on the head. You want to freeze-frame Pite's dancers, snap a picture and hang it on the wall.

In the future features exciting works by Juanjo Arques and Hans van Manen, and is the most exciting programme by the Junior Company so far.

Tommaso Traetta’s Antigona is given a powerful staging, although not all the voices proved big enough for its mythical subject.

Newcomers Imre van Opstal and Marne van Opstal present their first work alongside established choreographers as Sol Leon and Paul Lightfoot. A programme where new and old, humoristic and dark meet.

Mohammed Fairouz’s second opera, The New Prince, premiered in Amsterdam, is directed by Lotte de Beer as a colourful, dizzyingly fast-paced  revue.

Young singers, musicians and designers in this Matrimonio segreto co-produced by the three main opera companies in the Netherlands show that, on the stage and in the pit at least, the future of opera is bright.

In the Dutch premier of his ballet “Man of The Hour”, Israeli choreographer Itzik Galili shares his vision of a modern, energetic, but issue-ridden Israel, his country of origin. 

Richard Siegal overwhelms with highly energetic dancing and an overkill of light and sound in Metric Dozen and Model. Superbly performed by dancers of The Bakery and The BayerischeStaatsballett.

The staging of Pierre Audi’s production of Handel’s Tamerlano at the Amsterdam Stadsschouwburg is all understated elegance, well matched by Les Talents Lyriques’ refined playing.

The young talents from Dutch National Ballet's Junior Company showed themselves to the public in an exciting mixed programme of well-performed classics and interesting new works.

Holland Festival revives Pierre Audi’s 2012 production of Handel’s Orlando. Conducted by baroque specialist René Jacobs and featuring an strong cast, it is a great occasion to witness American countertenor Bejun Mehta in what has become, over the past decade, his signature role.

Martijn Padding's opera Laika is let down by its libretto, which illustrates that though authors may write successful novels, this doesn’t necessarily imply they can also produce good theatre texts.