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

English National Ballet tours its outgoing artistic director's revision of Petipa's Raymonda, but it's Glazunov who proves the real winner. 

Pour sa dernière apparition sur scène et alors qu'elle s'apprête à quitter l'English National Ballet pour le poste de directrice artistique du San Francisco Ballet, Tamara Rojo a livré une grande performance.

Petipa's classical choreography and Glazunov's ravishing score fuse with a reimagined narrative and bold choreographic additions to create a new Raymonda for the 21st century.

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Northern Ballet reaches its half-century with a gala at Leeds Grand Theatre featuring highlights from its "greatest hits".

Akram Khan's bold reimagining of Giselle continues to go from strength to strength. After touring to venues from Moscow to Chicago, it returns to Sadler's Wells. 

ENB’s double-bill lurches, rather jarring, across centuries dividing a nineteenth century canonical romantic ballet from the streamlined expressionism of Kenneth MacMillan’s 1965 Song of the Earth. 

Poetry infuses Tamara Rojo’s every step as Giselle in Akram Khan contemporary update of a ballet classic. 

English National Ballet's ambitious triple bill does not disappoint; it shows a company on the rise. 

A star studded programmme of works celebrating the legacy of Les Ballets Russes

The invention, clarity and freshness of the choreography is breathtaking throughout, made even more so by outstanding performance. This new Giselle is a masterpiece, taking English National Ballet to new heights.

Byron’s Conrad boards his pirate ship as ENB’s Le Corsaire sets sail for a return voyage to the Coliseum. 

An intense, substantial and authentic programme definitely worth seeing.

English National Ballet’s Nutcracker: a subdued but promising opening of the Christmas season, at the London Coliseum. 

It’s hard to think of a full-length ballet in the current repertory of the London companies that’s are much straight-up fun to watch as the English National Ballet's Le Corsaire.

Derek Deane’s Swan Lake in-the-round has apparently perennial box-office appeal: this is the English National Ballet production’s seventh season at the Royal Albert Hall since its première there in 1997, besides other performances on tour.

For their second show in the London Coliseum this year, English National Ballet has presented the first programme entirely designed by its new artistic director Tamara Rojo. In the line of her vision of enriching the company’s repertory with new works, while at the same time honouring the classics, the triple bill built for the occasion is a fascinating combination of old and recent masterpieces.

At the opening night of Kenneth MacMillan’s production of The Sleeping Beauty in London, all eyes were on English National Ballet’s new artistic director, up on stage – rather than in the audience. Would she still be able to hold her balances on pointe now that she is also required to balance the office books?The answer is a resounding yes.

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 penultimate programme of The Royal Ballet’s season takes the audience on a journey, from a joyous celebration with seven imperially dressed ballerinas, to a summer dacha filled with tense emotions, and finally back in time to the ceremonial rites of a Russian peasant wedding.

It would be hard to find someone who has not heard of Anna Pavlova. The name alone conjures up words such as elegant, visionary, iconic. Her acclaim results from a career in ballet spanning over 30 years, in which she had a tremendous influence over the world of classical dance and earned her place as one of the finest Russian ballerinas in history.

Not so many moons ago, opening night at the Opera House meant dressing up—dinner jackets, long dresses and furs, with of course, the obligatory embellishment of the family jewels. Alas, jeans, shirtsleeves and sneakers are all too often seen these days, so glamour and style must stem from the stage outwards into the auditorium.

English National Ballet’s early summer spectacular offers an evening of glamour, glitz and gorgeous gowns all neatly wrapped in the glorious music of the Gershwin brothers. Choreographed and directed by Derek Deane, it combines a medley of songs, music and various dance styles – classical ballet, ballroom and tap dancing --to suit every taste.