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Sara Blanch's Covent Garden debut, together with Juan Diego Flórez on top form, lead a fizzing revival of La fille du régiment from Royal Opera.

It's the world's best opera – if we can define that as the one best suited to the distinctive talents of a composing genius.

The role of Elvira in Bellini’s I puritani contains the most challenging mad scenes in all opera, but soprano Lisette Oropesa dazzles on the opening night of Richard Jones’ new production.

English National Ballet School and the John Cranko Schule join forces to deliver strong performances in a very diverse programme at the Linbury as part of the Next Generation Festival.

The Next Generation Festival at the Linbury presented Rambert School and the Junior Company of the Polish National Ballet in an evening of contrasting new works. 

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

The Royal Ballet School performing as part of the Next Generation Festival, offered a host of works by both students and internationally renowned choreographers which proved to be highly enjoyable.

The Royal Ballet has acquired a double bill from Sol León and Paul Lightfoot that transcended even the highest expectations. An evening to watch over and over again.

While this revival is imperfect, the Cherubino of Svetlina Stoyanova proves a marvel to hear.

Two vivid debuts as Colas, marked the second revival of La Fille mal gardée this season at The Royal Ballet.

With Aigul Akhmetshina and Seokjong Baek in the title roles, there are reasons to be optimistic, but The Royal Opera’s revival of Richard Jones’ production is a mixed bag.

A stupendous London debut from Tulsa Ballet in which they present a contrasting triple bill. It bodes well for further invitations to dance in the UK.

Allan Clayton and Sir Bryn Terfel lead a strong cast in a revival of Deborah Warner's dark staging of Britten's signature work at Covent Garden. 

Tales of love and loss as operas by Elena Langer, Charlotte Bray and Elizabeth Maconchy form a varied triple bill in this showcase for The Royal Opera’s Jette Parker Artists. 

An evening of ballets by Wayne McGregor, including the world premiere of Quantum Souls, proved to be a little too much of the same thing.

The Royal Ballet's International Draft Works proved to be an excellent opportunity to see dancers and budding choreographers from around the world.

In this latest revival of Kenneth MacMillan’s Mayerling, The Royal Ballet presents a roster of powerful and vivid interpretations across the board.

Natalie Abrahami’s mesmerising new production of Britten’s ghostly tale of sexual abuse is very dark indeed.

Sir Mark Elder celebrates 50 years at Covent Garden by returning to his first opera there in 1976 – Verdi's Rigoletto – in a revival of Oliver Mears' excellent 2021 production.

A revelatory orchestral performance and a cast led by Andreas Schager, Christopher Maltman and Elisabeth Strid make this a Siegfried for the record books.

A last minute injury to Natalia Osipova does not mar the magic of Sir Peter Wright's Giselle as Marianela Núñez steps in to partner Patricio Revé. 

Ballet Black presents a double bill at the Linbury that showcases the strengths of its very fine dancers as well as the depth of choreographic innovation in its vast repertoire.

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

Another cast debuts in Glen Tetley's Pierrot Lunaire and shows us that, more than 60 years on, it's every bit as watchable as when it premiered.

The Royal Ballet marks the centenary of the birth of Glen Tetley with a revival of his greatest work, Pierrot Lunaire, not seen at the Royal Ballet and Opera for nearly 20 years.

The second revival of Richard Jones' staging of Mussorgsky's original 1869 version of Boris Godunov once again stars the Welsh knight. 

Paul Taylor Dance Company's second programme at the Linbury is an invigorating, uplifting, refreshing mix of easily digestible, pure dance.

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

Yorke Dance Project are in fine form presenting five diverse and engaging works, including new pieces by Christopher Bruce and Liam Francis.

Woolf Works returns to Royal Opera House stage showcasing some of Wayne McGregor’s best choreography and a roster of exceptional performances.

Richard Eyre’s 32-year-old production is rarely out of The Royal Opera’s repertoire for more than a few months at a time, but this particular revival proves very special. 

Andrei Șerban’s 40 year old take on Puccini's tale of the ice princess largely stands the test of time, but Netrebko and Eyvazov are short of their best form. 

Jetske Mijnssen’s house debut sees Handel’s opera transposed to a modern-day palace, with Emily D'Angelo angelic in the title role. 

The Royal Ballet opened the Christmas season with a superlative performance of Sir Peter Wright’s The Nutcracker.

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

The Royal Ballet presents a triple bill of diverse works including one world premiere and one UK premiere. As per usual, the supreme roster of dancers tackles each with aplomb.

An interesting evening displaying the many facets of Natalia Osipova's talents alongside her equally exciting guests at the Linbury.

Katie Mitchell wheels out her tired old tropes in The Makropulos Case, redeemed by its musical performances. 

Joburg Ballet makes a promising, if somewhat initially tentative, UK debut with a programme of five works, four by South African choreographers.

Northern Ballet's Little Red Riding Hood gives young ones a perfect introduction to ballet, without any teeth. 

If you’re in need of a pick-me-up, get thee to the Royal Opera House and see La Fille mal gardée, a gem of a ballet. There’s a long roster of impressive casts to choose from.

Sir David McVicar's classic staging of The Magic Flute, now over 20 years old, shines afresh in a stylish performance conducted by Marie Jacquot, making her Covent Garden debut.  

Curated by Marcelino Sambé, Black History Month Draft Works at the Clore Studio gifted us an intriguing mix of ideas and styles providing food for thought as well as theatrical interest.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

Joyce El-Khoury saves the day in The Royal Opera’s second revival of The Sicilian Vespers in Stefan Herheim’s paint-by-numbers production. 

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

Jonathan Watkins’ A Single Man is a compelling piece of dance theatre and a magnificent vehicle for the leading characters to shine as dancers and actors.

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

It was a wonderful, heartening afternoon – it’s no wonder nearly all the 2025 graduates have gained contracts with several major ballet companies.