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Dutch National Ballet's triple bill, Monument, is a statement on Dutch artistry and ideology. 

In Prometheus, Krzysztof Pastor has created an epic full-length ballet for his company which serves to show-off a roster of powerful principal roles as well as a fine ensemble.

Dominique Dumais ultimately seeks to address how humans long for contact and closeness, and explore the different meanings there can be behind a kiss.

Salvatore Viganò's choreography for Beethoven's 1801 ballet Prometheus has not survived, but a trio of creators put their own stamp on the score in Amsterdam.

Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.

Anna Tsygankova is clearly enjoying her part in Forsythe's Pas/Parts 2018, an exposé of the vocabulary of modern ballet.

Muti's reading of the score is extraordinary, both for its sophistication and originality.

L'opéra de Verdi en est à sa troisième nouvelle production en douze ans dans la Grande Boutique, pour un succès – une fois encore – avant tout musical…

Shirin Neshats Inszenierung bleibt trotz Überarbeitung und einem grundsätzlich interessanten Konzept problematisch; musikalisch stimmt an diesem Abend dafür (fast) alles.