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English National Ballet School presented a full summer programme with excerpts from traditional ballets and new works showing the technical proficiency of the students as they aim for jobs in the profession.

The audience walked out of the theater feeling airborne and filled with the kind of joy you only feel after a truly special performance. Sylvia is an absolute treasure.

Last night’s New York City Ballet program gave you an idea of Tallchief’s versatility and depth in a fitting tribute to her great talent.

Artistic Director, Susan Jaffe, reviving the Kingdom of the Shades for ABT’s Fall Season was both a testament to her trust in her company, and also a test.

Coppélia is a gift from Balanchine and Danilova to classical ballet, in this 50th anniversary revival.

Queensland Ballet’s delightful Coppélia is fresh and funny, without being superficial.

Czech National Ballet are well suited to Ronald Hynd's delightful production of Coppélia.

John Neumeier's Sylvia is a ballet that, like Greek theatre, speaks for all time and is a joy to watch.

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

The French soprano confirms her status as the best current performer of Léo Delibes masterpiece in a concert with a solid supporting cast.

The integration of an onstage camera shooting live action film is not new, but Jess and Morgs are perfecting the art of adding this extra dimension to live performance.

National Ballet of Japan performed Roland Petit’s Coppélia in front of a live audience for the first time, showing the company to be in great form.

A mixed bag from the ENB repertoire to greet the summer solstice at the Royal Festival Hall. 

Roland Petit's Coppélia by The National Ballet of Japan was streamed to more than 30,000 online viewers, entertaining people forced to stay home during the holidays. 

A complete roster of principal dancers appear in a gala full of the joys of spring. 

Michael Chance takes the audience around The Grange in a thoughtful show combining opera excerpts, dance, acrobats, vocal and instrumental music.

The two French singers convince in a programme including French late Romantics, Richard Strauss and a Verdi world premiere!

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

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

The Australian Ballet is impressive in this light, entertaining story ballet: a winner of an evening. 

The short programme of new works choreographed by DNB dancers leaves the audience refreshed with enthusiasm.

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

Marianela Núñez was in her element as the huntress in Ashton's charming ballet. 

It was truly magnifique to welcome French period instrument orchestra Les Siècles and François-Xavier Roth to the BBC Proms for a highly perfumed programme of exotic sweetmeats.

Berlin Philharmonic cellists combine with Turkish counterparts for a dazzling performance in Istanbul.

A warm and charming Coppélia performed by Julio Bocca's excellent young Uruguayan company.   

Coppelia's convincing cartoon world with some great dancing by soloists De Jongh and Camargo and comedic genius by Yanowsky.

In an eclectic program  by Karina Gauvin and pianist Maciej Pikuski at the Concertgebouw’s recital hall, Debussy’s Forgotten Songs stand out.

Opéra Grand-Avignon presents Lakmé in a production that charms visually as much as it does musically.

This version of Coppélia is a testament to Balanchine’s ability to accept the history of dance with equanimity and grace.

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Tilson Thomas and the San Francisco Symphony in reflective and raucous Ives, virtuosic Beethoven and dramatic Tchaikovsky. 

Ailyn Bozok's minimlaist production of Delibes' Lakmé at Opera Holland Park contains much tender beauty and is carried by fine musical performances. 

Gods, nymphs, campy cavemen, angel's wings and a one-legged pirate - this production has it all, and plenty more. 

Cardiff Castle hosted an entertaining bout of medieval jousting yesterday afternoon, but in the evening all eyes and ears turned to the vocal jousting in St David’s Hall.

The Baltimore Concert Opera overcomes two major obstacles – a city under siege and the illness of the lead singer – to present a thoroughly engaging performance of Leo Delibes' Lakme.

This is not a story about a prince or princess; there are no fairies, no spells, no swans. And yet it is an entirely enchanting story...

Operatic twitchers are drawn irresistibly to Rosenblatt Recitals, tempted by the opportunity to spot exciting up-and-coming singers.

In an all French language opera progromme, Juan Diego Flórez shines in his Dublin leg of Tour l'Amour 

A lack of engagement keeps Pretty Yende and James Vaughan at arm’s length in spite of accomplished performances

The Scottish Concert Orchestra and Russian State Ballet of Siberia keep the Christmas spirit alive with Music and Dance at the Ballet at the Glasgow Royal Concert Hall.

L’Opéra de Montréal opened its 2013/14 season with a revival of Léo Delibes’ major operatic success, Lakmé. Rarely performed today, the story revolves around a romance between a colonial British officer, Gérald, and a Brahma priestess, Lakmé, in 19th-century India.

The amount of attention Igor Stravinsky’s iconoclastic ballet score The Rite of Spring has received this year – its 100th – has been enormous, perhaps even excessive. Countless important works, after all, routinely have anniversaries to celebrate, and very few are lucky enough to receive much particular attention. On Bachtrack alone, the year has seen nine concert reviews of the Rite so far.

Coppelia is based on a story by a German (E.T.A. Hoffman’s The Sandman), was first turned into a ballet by Frenchmen (the music is by Delibes) and staged in Paris with an Italian ballerina, and was then revived and made popular by Russians. This production has choreography by another Frenchman, Roland Petit, and has been brought to London by Moscow’s Stanislavsky Ballet.

A concert like this could have three possible outcomes: one, frustration at catching just a glimpse of a multitude of operas without the benefit of character or plot development or the embellishment of sumptuous costumes or stage sets; two, inspiration to delve further into the world of opera, nudged by tantalising hints of dramatic tension and a world of emotions; or three, sheer escapism into a

Beautifully imagined, Boston Ballet’s Coppélia delights with its charming sets, colorful costumes and charismatic leads. A storybook come to life, this ballet tells the fanciful tale of young love gone awry amidst a set of peculiar circumstances true to fairytale form.

One would think that either Renée Fleming or Susan Graham alone would be reason enough to sell out a large venue such as Disney Hall. But everything is bigger in Hollywood, and the LA Phil brought both artists together for a one-night recital of French art song. But even that wasn’t enough.

The Montreal International Musical Competition, this year devoted to voice, ended on a high note with the Winners’ Gala Concert on June 8. First, Second and Third Prize winners sang two arias each, but, in a gratifying show of solidarity with the remaining finalists, the program afforded concertgoers the opportunity to hear the five runners-up as well.

Coppélia is one of the more light-hearted of the full-length classical ballets. Based very loosely on Hoffmann’s more macabre short story Der Sandmann, the plot revolves around the tempestuous relationship of its protagonists, Swanilda and Franz; and the work of the inventor Dr Coppélius, who is both brilliant and barmy.