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National Ballet of Japan performed Roland Petit’s Coppélia in front of a live audience for the first time, showing the company to be in great form.

The first Fracci Gala at the Teatro alla Scala celebrates the memory and the stature of a child of the house, who not always considered so in life. 

Roland Petit's Coppélia by The National Ballet of Japan was streamed to more than 30,000 online viewers, entertaining people forced to stay home during the holidays. 

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.

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Johan Inger’s Carmen is back on stage in Madrid, seducing CND's audience once again.

Five vital young men from top international ballet companies hit the stage of the 
London Coliseum in Kings of the Dance.

Coppelia is based on a story by a German (E.T.A. Hoffman’s The Sandman), was first turned into a ballet by Frenchmen (the music is by Delibes) and staged in Paris with an Italian ballerina, and was then revived and made popular by Russians. This production has choreography by another Frenchman, Roland Petit, and has been brought to London by Moscow’s Stanislavsky Ballet.

For their second show in the London Coliseum this year, English National Ballet has presented the first programme entirely designed by its new artistic director Tamara Rojo. In the line of her vision of enriching the company’s repertory with new works, while at the same time honouring the classics, the triple bill built for the occasion is a fascinating combination of old and recent masterpieces.

It was one of those ‘I was there’ moments that will be remembered always by a lucky few. Ivan Vasiliev’s single guest performance with English National Ballet in Le Jeune Homme et le Mort was one of startling brilliance, of great power and heartfelt emotion for his purpose in performing was to offer his own personal tribute to the late Roland Petit.

ENB’s highly anticipated triple bill of works by the French master craftsman Roland Petit was tinged with sadness when the news of his death was announced on July 10th at the age of 87. He had hoped to oversee the rehearsals and attend the UK premiere. Instead, however, the London season became a powerful tribute to him, one of the greatest choreographers of the 20th century.