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As we reached the end of season gala, Ballett am Rhein offered up a selection of highlights from the past four seasons in celebration of outgoing Artistic Director, Demis Volpi.

The appetite for all things true crime is not a new trend. Podcasts, YouTubers, influencers and documentaries, this obsession has held a captive audience for well over a decade now.

There are many ways to tell the story of Giselle, and Demis Volpi’s version for Ballett am Rhein offers up more than the odd surprise.

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.

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

Northern Ballet demonstrate a range of qualities in a rich mix of contemporary work.

An intimate and revealing dance experience on film from Demis Volpi and Ballett am Rhein. 

In order to really take you somewhere a performance has to open a window to another, higher plane of existence. This is that show.

The mixed program produced uneven results, but this company is home to some outstanding male dancers. The Shaker was a breath of fresh air, while The Architect offered a poignant pas de deux.

Stuttgart Ballet performed a triple bill consisting of two innovative world premieres No Men's Land (Edward Clug) and Aftermath (Demis Volpi), with Maurice Bejart's classic Songs of a Wayfarer. 

Stuttgart Ballet has a long tradition of promoting new choreography, and in this spirit the first programme for its visit to Sadler’s Wells included thirteen brief choreographies, all specially made for the company.