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

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.

In true Ballet Nights tradition, Bound in Motion presented the Cadogan Hall audience with an eclectic mix of old and new works and some outstanding performances.

Ballet of the National Theatre Brno, with guest artists, gave outstanding performances of this update of a great 19th century ballet.

The combination of spectacular backdrops and evocative film projections are visually stunning and the dancers are superb, but Wayne McGregor's MaddAddam is difficult to follow.

Highs and lows within a glamorous mixed bag of choreography are inevitable when people are travelling from around the world.

Four world premieres and four main stage debuts provides genuine hope for the future of choreography.

The Royal Ballet's lavish Nutcracker provided a plethora of outstanding performances on its opening night.

Thomas Adès' score does most of the storytelling in this epic production, though the dancing is superlative.

A mixed programme of all-British choreography, including a world premiere, offers something for everyone.

With sumptuous new set designs and costumes, The Royal Ballet are in splendid form in Sir Frederick Ashton's Cinderella.

Every decade or so, The Royal Ballet creates a new work that will endure in its signature collection, and there's little doubt that Woolf Works deserves its place among that elite.   

Throughout the entire cast, every named role was performed with the mix of enthusiasm, affection and assuredness.

Kyle Abraham's The Weathering doesn't feel particularly fresh on its premiere, but Crystal Pite's Solo Echo and Christopher Wheeldon's Danse à Grande Vitesse pep up the first triple bill of the season at Covent Garden. 

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

A ballet of charming nonsense, led by a triumvirate of exceptional performances 

On the evidence of this performance, there is every reason to be cheerful.

The first mixed programme of the new season is led by a stellar cast.

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

Despite Carlos Acosta's staging of Don Quixote feeling a little tame, The Royal Ballet's star couple dazzles. 

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