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

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

This irresistible Nutcracker is a reliable delight in an increasingly unreliable world.

Swan Lake is the last program of the San Francisco Ballet’s season and of the 37-year tenure of retiring artistic director Helgi Tomasson.

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

Wheeldon’s Cinderella is the kind of production that so enthralls, you immediately want to make plans to see it again.

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

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

The show stealer is the opening scene of Act III, as the curtain rises to reveal a line of females, both human and forest-creature, seated, waiting to try on the slipper the prince holds. It’s brilliant, laugh-out-loud clever.

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. 

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

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.

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.