En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Ballett am Rhein

Ballet isn’t always pretty, there are plenty of examples in repertoires across the world. John Neumeier’s Streetcar Named Desire (Endstation Sehnsucht) is to reach another level of grim but gripping brutality told through dance.

Ballett am Rhein open their season by bringing their programme to Düsseldorf, Soirée Ravel. Marking the 150th birthday of composer Maurice Ravel, audiences are treated to four of his most famous compositions.

“Russ” translates as “soot”, the title of Bridget Breiner’s retelling of Cinderella. However it’s the role of Livia, the rather spirited Stepsister who must navigate the family trauma. 

After a more traditional direction from the new leadership of Ballett am Rhein in their season opener, new programme Kaleidoskop is a mixed selection that sees a fusion of contemporary and neoclassical choreography. 

It’s all change at the Ballett am Rhein with new Chief Choreographer, Bridget Breiner, and Ballet Director, Raphaël Coumes-Marquet taking over from Demis Volpi for the 24/25 season.

As we reached the end of season gala, Ballett am Rhein offered up a selection of highlights from the past four seasons in celebration of outgoing Artistic Director, Demis Volpi.

The appetite for all things true crime is not a new trend. Podcasts, YouTubers, influencers and documentaries, this obsession has held a captive audience for well over a decade now.

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

There are many ways to tell the story of Giselle, and Demis Volpi’s version for Ballett am Rhein offers up more than the odd surprise.

Programming three choreographers who are always box office favourites is as sure fire a hit for Ballett am Rhein who debut this neoclassical triple bill featuring a selection of successes. 

The programme’s middle work sees a detour from Stravinsky, to the music of Richard Strauss, lending itself to more lyrical work and some respite from the drama it's sandwiched between.

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

Bleak adaptations of ballet classics are somewhat of a ballet trend at present, with Matthew Bourne’s gothic Sleeping Beauty playing to sell out audiences over Christmas 

Ballett am Rhein's reputation continues to grow under Demis Volpi with a restaging of Aszure Barton's 2006 creation for Mikhail Baryshnikov during her residency for his Hell’s Kitchen Dance. 

An intimate and revealing dance experience on film from Demis Volpi and Ballett am Rhein.