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Ballo del Teatro dell’Opera di Roma gives an exemplary account of John Cranko’s masterpiece Romeo and Juliet, with convincing characterisations and technical prowess.

This revival of Romeo and Juliet combines vivid staging and technical leads, but the lover's careful partnership lacks the volatility that makes young love convincing and tragedy believable. 

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

The welcome revival of a borrowed jewel in The Royal Ballet's treasure chest of story ballets.   

Crystal Pite’s Angels’ Atlas offers a strange closer for the NBC's program in their brief run at New York City Center.

The Australian Ballet do full justice to Shakespeare's epic tale of star-crossed lovers. Featuring a restaging of John Cranko's famous ballet, the first in almost twenty years, both the ensemble and leads shine in bringing Verona to life. 

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

John Cranko's balletic take on Pushkin approaches its 100th performance by The Royal Ballet, opening this run with a magnificent Tatiana from the Russian star. 

The first mixed programme of the new season is led by a stellar cast.

While Bellini’s two-act opera Norma underscores the religious wars between the ancient Druids and Romans, it also highlights an emotive personal conflict that is veiled in deceit and cultural discrepancy.

Widely thought a pinnacle of 20th century dance, John Neumeier’s “Die Kameliendame” ballet recently celebrated its 100th performance at the Bayerisches Staatsoper in Munich.

For a ticket to 19th-century romance, head to Amsterdam, where John Neumeier's story will stir your heart and lift you up.

Gun-Brit Barkmin’s Salome was neither sexy, salacious, psycho-erotic nor particularly well sung.

Lantratov played Onegin with considerable nuance and intensity.

Carole Wilson’s Herodias almost upstages Lise Lindstrom’s sexy Salome in a fine revival of Boleslaw Barlog's 1972 production in Vienna.

Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.

A stunning performance of John Neumeier's Romeo and Juliet by The Hamburg Ballet, with Hélène Bouchet and Alexandr Trusch in the leading roles.

A good staging and good acting aren't enough to make up for musical shortcomings of the Bayerische Staatsoper's Norma. 

An opening night of Così fan tutte in Munich in which Gaëlle Arquez and Marina Rebeka as the two sisters take the honours. 

With such a fine couple as Marianela Núñez and Thiago Soares leading the drama, John Cranko's Onegin touches the heart at The Royal Ballet. 

In this minimalist period production of Figaro, the singing and acting are the centre of attention. A very talented cast carries the show, delivering beautiful singing and engaging comedy.

What man wants most is that which he cannot have. With a great deal of humour and attention to detail, Dieter Dorn leads Figaro and the household of his baronial palace through its “day of madness” to give us an evening of wonder.

This L’elisir d’amore at the Vienna Staatsoper, with Lawrence Brownlee and Mario Cassi, saw a successful two-performance test-run before its return in March, again under the baton of Guillermo García Calvo.

Otto Schenk's production of Der Rosenkavalier is now four decades old but it still looks quite fresh, its opulence unfaded.

When Richard Strauss first wrote Salome, he was unable to get it performed in his home city of Vienna, so shocking was the material with its heavy eroticism and necrophiliac ending (the première was in Dresden). A century on, times are more permissive, and Salome features in the seasons both of Vienna's Volksoper and of the Staatsoper, where we saw it last night.

Otto Schenks Klassiker des Repertoires, Michael Spyres und Pretty Yende verzaubern des Publikum einmal mehr.

Le ballet de John Cranko sera la dernière danse de l’étoile Mathieu Ganio avant ses adieux à la scène, bientôt suivis de ceux de Ludmila Pagliero... ce qui rend la production d'autant plus bouleversante.

Eine würdige Premiere zur Erinnerung an den großen Cranko. Die bewundernswerte Elisa Badenes prägt den Abend.

Edward Clug bringt Tschaikowskys Ballett als brillanten farbenreichen Bilderbogen auf die Bühne. 

Kenneth Macmillan zeigt in Mayerling eine grandiose Charakterstudie mit einem Wechselbad der Gefühle.

Un duo formidable et une mise en scène efficace : porté par Petra Lang et Michael Weinius, le Crépuscule des Dieux de Dieter Dorn est venu clore la tétralogie genevoise avec panache.

L'Or du Rhin marque la réouverture du Grand Théâtre de Genève rénovée. Un bonheur d'équilibre, entre la saisissante mise en scène de Dieter Dorn et une distribution vocale des plus convaincantes.

En décembre, le Ballet de l’Opéra de Paris reprend l’un des chefs d’œuvres les plus courus du répertoire néoclassique : La Dame aux Camélias de John Neumeier. Sur une partition entièrement composée de pièces pour piano de Frédéric Chopin, La Dame aux Camélias est une fresque romantique merveilleusement foisonnante.

Cet Onéguine dansé restitue avant tout deux univers russes révolus, l'un bucolique et l'autre impérial, composant ainsi un poème chorégraphique d'une infinie poésie.

Dieter Dorns 1997er Inszenierung bietet gute Unterhaltung, kann aber mit dem Starensemble um Diana Damrau nicht mithalten.

Dass alte Produktionen nicht unbedingt verstaubt und langweilig sein müssen, zeigt die Bayerische Staatsoper mit einer denkwürdigen Rosenkavalier-Vorstellung.

Jürgen Roses Regiekonzept für die Bayerische Staatsoper polarisierte bereits bei der Premiere vor zehn Jahren, doch eine bemerkenswerte Norma lässt alles andere vergessen.

Une Flûte Enchantée dont on retiendra un plateau homogène et une mise en scène peu analytique qui aura eu le soin de reposer nos âmes éprouvées par les émotions d'une année 2015 certainement assez chargée... 

Matthew Polenzani zeigt an der Bayerischen Staatsoper einen vielschichtigen und abgründigen Werther, der den Zuschauer bis an den äußersten Rand der Verzweiflung führt.

Das Bayerische Staatsballett ließ die natürliche Freude am kurzweiligen Tanzvergnügen spüren.

Neumeiers Sommernachtstraum begeistert das Salzburger Festspielpublikum.

Des chanteurs, talentueux, une mise en scène efficace, un orchestre convaincant : tels sont les ingrédients d'un succès mérité.