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A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

American Ballet Theatre Studio Company showcase the talents of its youthful dancers in a diverse and demanding programme at the Linbury.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

A wonderfully varied triple bill for NYCB allowing the company to shine across all ranks.

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

Divertimento from Le Baiser de la fée is revived infrequently. It is an odd ballet, as if Balanchine’s couldn’t quite resolve his troubles choreographing to this piece. 

Piano Concerto #2 dominated this program and as the closer, would have sent everyone home happy.

The Royal Ballet School students shine at their annual matinée at the Royal Opera House showing exceptional talent and versatility.

The Royal Ballet School deliver a promising mixed programme with some truly exceptional individual performances.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

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.   

It's got a lot of appeal, with a diverse range of choreography, and offering audiences the chance to see excellent dancing and even some partnerships forming from different companies.

The programme’s middle work sees a detour from Stravinsky, to the music of Richard Strauss, lending itself to more lyrical work and some respite from the drama it's sandwiched between.

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.

In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

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

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

Highlights from the nine-day contemporary dance festival from the southernmost tip of Manhattan. 

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

Beatrice Rana and Mario Brunello provide live music for seven internationally renowned dancers, including Paris Opéra Ballet’s Hugo Marchand and Spanish flamenco whizz Sergio Bernal, at the 15th-century Rocca Brancaleone.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.    

Who knew that children were subject to shoe fetishes?

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala. 

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

Etudes is a welcome addition to the Bolshoi's repertoire.

Sixty years after its debut, Bernstein's West Side Story is back with its mix of nostalgia and timeless social issues.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

An all Robbins program at New York City Ballet is one of my favorite things.