En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Liam Scarlett

El ingenio coreográfico de Scarlett encandila a los amantes de la danza. El cisne de Marianela Núñez y la elegancia aristocrática de Vadim Muntagirov trascienden lo técnico para contar desde la emoción.

Christopher Marney has once again brought together a group of outstanding dancers, superb coaches and brilliant choreography to produce an evening of thoroughly absorbing dance.

Seeing Frankenstein in its 2025 incarnation feels worthy and redemptive. It’s as vivid and cinematic as ballet gets.

While most in the audience at New York's Joyce Theater might not have known the original London City Ballet, their affection was palpable at the close of this program. 

Two very impressive debuts in the lead roles of Liam Scarlett's Swan Lake with The Royal Ballet, bodes well for the futures of Mariko Sasaki and Joseph Sissens.

The music shimmers and the dancers shine in this twisted tale, a comic ballet but with dark undertones.

Visually splendid, Liam Scarlett's Swan Lake showcases some wonderful dancing, but there is still room for improvement. 

A compelling performance of this revival, dedicated by Vadim Muntagirov to the people of Ukraine.

Ein unvergesslicher Abend, der zeigt, wie unterschiedlich Musik in Tanz aufgehen kann und wie klein der Unterschied zwischen abstraktem Tanz und konkreter Deutung sein kann.

An opulent production that is both reassuringly traditional and refreshingly new. 

An enjoyable evening of thematic dance but without any insights into the future of ballet. 

Despite drawbacks, this is a bold and imaginative approach to creating dance theatre from the titan of gothic horror 

Exceptional performances from a cast wholly comprised of first soloists and soloists provide a good omen for the future of The Royal Ballet   

Lest We Forget, a triptych of original work first commissioned in 2014 for the centenary of the outbreak of the First World War now returns to the repertoire to commemorate a hundred years since the armistice of 1918.

A youthfully fresh corps and Victor Estévez hold together this uneven double bill, with Acosta’s troubled Carmen demonstrating the challenges of adapting opera to ballet.

A new Swan Lake is a test for any ballet company. Expectations ran high, but Liam Scarlett's new production hit the target. 

Two outstanding world premières honour the centenary of a great composer 

Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky

Set to Frank Moon’s moody, thematic score, the curtain rises on a foggy night scene as a shiny black stretch limousine glides onstage—the real deal, dazzling to behold, like a noir film come to life.

Here technology breathes theatricality into vast architectural sets, where shadows haunt and light electrifies. 

It’s heartening so see that the state of classical ballet is strong and there are many talented young dancers being nurtured to take their places in the top companies of the world.

A steampunk treat for Mary Shelley’s novella fan: Liam Scarlett’s Frankenstein for the Royal Ballet (in collaboration with the San Francisco Ballet) opens at the Royal Opera House.

Miami City Ballet bears a marked resemblance to the New York City Ballet under Balanchine.

San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.

Carlos Acosta's Carmen premieres at the Royal Ballet, alongside Robbins' Afternoon of a Faun, Balanchine's Tchaikovsky Pas de Deux and Scarlett’s Viscera.

An intense, substantial and authentic programme definitely worth seeing.

A diverse program which shows the breadth and depth of the Royal Ballet. 

Jerome Robbins’ note to himself during the making of Dances at a Gathering reads, "Never make up a step. Always make a sequence of movement.” 

The Royal Ballet marks the centennary of the First Wolrd War with a reflective, and commemorative programme. With works by Branstrup and Wheeldon, as well as a Scarlett world première.

In a double bill at Sadler’s Wells, BalletBoyz demonstrate a group amity and common identity unlike any other company of their size.

When it started in 2001, the BalletBoyz seemed to be a flimsy flirt of one or two seasons at most. More than ten years later, after several award-winning productions, spellbinding collaborations and film creations, they are a company of ten with their own rehearsal studio, guest choreographers, and a loyal audience.

With the triple bill Viscera / Infra / Fool’s Paradise, The Royal Ballet have confirmed the status of their new holy trinity of choreographers: Wayne McGregor, Christopher Wheeldon and Liam Scarlett.

Metamorphosis: Titian 2012 invited artists from different disciplines, mainly the visual arts, dance and music, to respond to Titian's three magnifient paintings of the Diana and Actaeon myth. The results are displayed in an exhibition at the National Gallery (alongside Titian's originals), and in an triple bill of new ballets at the Royal Opera House.

The works in this triple bill were all created by choreographers in their twenties and two of them are new works made for the Royal Ballet this season, making for an evening of fresh, exuberant modern ballet. The Royal Opera House had given over the entire Amphitheatre to student tickets for this performance, so there was a youthful buzz in the audience to match the youthful buzz on stage.