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Thirty years after its original production, Matthew Bourne’s Swan Lake makes its return to the stage championed by an impressive ensemble of dance artists from Bourne’s own company New Adventures.

American Ballet Theatre presented a well balanced program of Nuñes, Ratmansky and Balanchine which produced some revelatory performances.

In a notoriously tricky acoustic, the Czech Philharmonic and Semyon Bychkov make the Lotte Concert hall feel like theirs in a programme of Dvořák and Tchaikovsky.

ABT offer some outstanding performances in a classical quadruple bill but there was a lack of confidence and uniformity within the corps de ballet. 

A delightful programme welcomes conductor Lionel Bringuier and returning cellist Daniel Müller-Schott to Sydney.

Two contemporary works pave the way for a big Tchaikovsky pairing at the Seoul Arts Center, with Yekwon Sunwoo joining the Hong Kong Philharmonic for the First Piano Concerto. 

Swan Lake opens the season for Kansas City Ballet in a splendid looking production and with very pleasing interpretations.

From an Anna Clyne Irish premiere to Tchaikovsky’s brilliance and Shostakovich’s grim wit, the NSO balances virtuosity with thoughtful nuance in Dublin. 

From Bernstein’s private elegy to Tchaikovsky’s tempered affirmation, the Israel Philharmonic offers an evening of reflection, discipline and quiet radiance.

Tarmo Peltokoski searches in vain for the harsh brutality in Shostakovich's Leningrad Symphony with the Rotterdam Philharmonic. 

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

Conductor Semyon Bychkov and soloist Seong-Jin Cho offer an underwhelming introduction to the new season at the Rudolfinum. 

John Storgårds conducts Wolfe and Prokofiev in the season opening concert, before a magnificent Tchaikovsky Fifth Symphony. 

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

John Wilson brings his Sinfonia of London to the BBC Proms to crown the Ravel 150 celebrations with a glowing performance of his hedonistic symphonie chorégraphique.

Welser-Möst and the Vienna Philharmonic give a masterclass in virtuosic elegance in Mozrt, but lack edge and passion in Tchaikovsky's Pathétique. 

Despite the disruption, the musicians of the MSO under Chief Conductor Jaime Martín continue their interesting programme of Sutherland, Dvořák and Tchaikovsky.

Rouvali and the Philharmonia dazzle with sunlit Tchaikovsky, intense Shostakovich and Say’s imaginative textures, while Gabetta’s physical, lyrical cello brings immediacy to an evening of virtuosity, warmth and playful energy.

Artist-in-Residence Bomsori Kim joins Jun Märkl for a new chapter in the history of the Residentie Orkest, The Hague. 

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

Still's Second Symphony anchors a Saratoga program that also featured familiar hits by Stravinsky and Rachmaninov. 

With Tchaikovsky’s music, glittering visual spectacle and wonderful dancers, The Australian Ballet's The Sleeping Beauty is a thrilling night at the ballet.

New Chief Conductor Joshua Weilerstein brings the ONL to Amsterdam's Concertgebouw for a programme including Berlioz' Symphonie fantastique and Tchaikovsky's Rococo Variations, featuring Edgar Moreau. 

It was a wonderful, heartening afternoon – it’s no wonder nearly all the 2025 graduates have gained contracts with several major ballet companies.

Under Marin Alsop, the Chicago Symphony string players also offered a lyrical reading of Jessie Montgomery’s beguiling Strum.

From Rachmaninov's Third Concerto to the Symphonic Dances, a programme of emotional depth and orchestral virtuosity to open this year's Tanglewood Festival. 

The Conductor Laureate brings a balletic sense to a programme of Weinberg, Shostakovich and Tchaikovsky that nodded to dancing as a theme.

Modest as ever, Daniil Trifonov offers another masterclass in how virtuosity is sublimated into poetry. 

Lively performances offer fresh perspectives on elegies old and new in the penultimate ChamberFest Cleveland concert. 

English National Ballet School and Rambert School present a diverse and entertaining programme for the Next Generation Festival.

Yannick Nézet-Séguin’s charismatic leadership and the Orchestre Métropolitain’s seamless unity brought Ravel, Saint-Saëns, and Tchaikovsky to life in a gripping, deeply expressive Hamburg performance.

A very welcome visit from the Paris Opera Junior Ballet to the Linbury Theatre displays the company in a very favourable light, in a variety of works.

Why is Tchaikovsky’s very fine opera still a rarity outside Russia? David Pountney directs a new production at the Surrey festival. 

ABT's Swan Lake suffered due an obvious lack of rapport between its lead dancers but there was still some fine dancing on offer.

Nikolai Lugansky's barnstorming performance of Rachmaninov's Third Piano Concerto is the centrepiece of the Philharmonia's end-of-season concert.

American Ballet Theatre Studio Company showcase the talents of its youthful dancers in a diverse and demanding programme at the Linbury.

Galina Cheplakova steps in for Sonya Yoncheva in the penultimate performance of this revival, winning over the audience with vocal clarity and dramatic commitment. 

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing. 

For the first time in its 165-year subscription series, a female conductor leads a Vienna Philharmonic subscription concert. 

Robert Carsen’s 1997 production of Eugene Onegin has aged remarkably well but the latest Canadian Opera Company revival of it doesn’t quite recapture its magic. 

Beatrice Rana, Mikko Franck and the Orchestre Philharmonique de Radio France bring a thrilling Tchaikovsky First Piano Concerto to the Festival de Pâques, even if their Shostakovich 10 is more of a beauty than a bully. 

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

Hans Graf conducts Debussy's Images to close a gala concert featuring the Singapore debut of the great Russian pianist. 

English National Ballet School have discovered a truly successful formula with its My First Ballet series. Hundreds of young children are transported by Swan Lake at London's Peacock.

Daniele Rustioni leads the Pittsburgh Symphony in music inspired by Ancient Greece, flanking Kirill Gerstein’s take on Tchaikovsky’s First Piano Concerto that restores the composer’s original intentions.

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer. 

Yuja Wang conquers Tchaikovsky’s First Piano Concerto, and just as impressive is The Cleveland Orchestra’s powerful take on the same composer’s Fifth Symphony.