Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Sasha Waltz

After a long break from creations solely for dance, Sasha Waltz’s Kreatur is a step into a new aesthetic direction presenting the body as a living unit of microcells and anatomical fragments at the Radialsystem

A mesmerising catalogue of the body’s uses and abuses in our society, Sasha Waltz & Guest presents Körper an old-time favourite at the Haus der Berliner Festspiele.

Anniversaries are best celebrated with friends: Sasha Waltz & Guests’ “dialogue – wirbel: improvisationen” is a magical celebration of 25 years of Waltz’ unique universe at the Radialsystem in Berlin

Not for anyone seeking an evening of entertaining dance theatre – dance is seldom used but when it comes, it is to great effect – but it is certainly a challenging treatise on our perceptions of body (and also gender) norms

Performers often speak of ecstatic moments. But that ecstasy doesn't always transfer beyond the stage. This was an extraordinary effort to bridge the divide. 

Ratmansky's Concerto DSCH proves the perfect show opener, before the Mariinsky Ballet reclaims Sasha Waltz's Sacre.

The concept of bringing opera and ballet together in an abstract production is interesting, but Sasha Waltz creates a cold universe that fails to convey strong emotions.

Hwanhee Hwang excels in Sasha Watlz and Guests' Continu.

Sasha Waltz & Guests reimagine L’après-midi d’un faune, Scène d’amour (from Roméo et Juliette) and Le sacre du printemps at London’s Sadler’s Wells.

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

Sasha Waltz's innovative and singular choreography bears on Stravinsky's Rite of Spring and Debussy's L'après midi d'un faune. A provocative, engaging evening at the Staatsoper in Berlin.

Sasha Waltz & Guests restructure body and space, to the Romanticism of Schubert's impromptus.

Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.

Sasha Waltz's choreography-heavy production of Purcell's Dido and Aeneas at the Sydney Festival is both intruiging and distracting, giving the singers little chance to shine.

The first of Continu’s three distinct sections is a focused, musical study to Iannis Xenakis’ Rebonds B, a solo percussion piece performed live by Robyn Schulkowsky. Sasha Waltz animates the rhythms and patterns of the music, layering the individual movements of a group of dancers in irregular formations to build the complexity of the score.