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Some of Russell Maliphant's best known, most enduring and loved works in an evening of unforgettable performances.

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.

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

Silliness can find a place in art, as we see in some of Erik Satie’s work titles, but sometimes it is just silly. 

A world premiere from Hannah Kendall, a rarely performed work by Liszt and one of Strauss' glittering tone poems make up Pappano's first concert as the LSO's Chief Conductor Designate.

The 47th Nijinsky Gala in Hamburg celebrates the art of dance, the creativity of great choreographers and a totally committed company, while not forgetting what is happening not so far from our theatres.

A bracing programme of contemporary music from the Filarmonica Moldova Iaşi at the Enescu Festival. 

Dutch National Ballet presents six Hans van Manen creations spanning 40 years of choreography. 

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

Louise Alder and Roger Vignoles offer French charm in their return to Wigmore Hall.

Artificial intelligence shows it can write music, but human composers need not worry – not yet, anyway.

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

It's possible to have nothing but admiration for Mark Morris as a choreographer, yet his actual dances I often find pedestrian with a limited vocabulary. The works are interesting to see once, to see what he can do with classical music that has no obvious dance rhythms, but I rarely want to see them again.

Nobuyuki Tsujii's debut in the Southbank's International Piano Series proves a mixed success. 

The performance of the young French mezzo-soprano was admired more for its correctness than for its seductiveness.

Hugo Ticciati and Víkingur Ólafsson explore notions of time, but a lesson in mindful performance comes from the gravity-defying Sanddorn Balance act.  

Outstanding examples of men dancing are book-ended by two new works that are badly misjudged as a means of entertainment 

Waltzing on a Monday evening? Wigmore Hall is not exactly the Tower Ballroom, but last night it did a fair impression as a temple of dance when Philippe Cassard played the third of his Debussy Perspectives series.

Now an ever-developing city, Budapest has become much more than faded grandeur, actually, and the Hungarian National Ballet’s recent moves reflect just that

Rome Opera Ballet in Massine's Parade/Pulcinella "under the volcano" for the anniversary of Picasso's visit to Pompeii and Naples.

In Memoirs of a Pear-Shaped Life, Erik Satie, the eccentric French Normandy composer, was defined on stage in three different forms, each with a bowler hat, in a music theatre performance of Satie's life.

A master at clever programming, Maestro Iván Fischer surrounded Dutilleux with well-known pieces by Debussy, Ravel and Satie as part of the week-long French Days segment of the Bridging Europe 2016 series at Budapest’s Müpa. 

Sir Frederick Ashton was a choreographic genius but not everything he created rose to that level, as this program showed.

Alistair McGowan, Alexandre Tharaud and Jean Delescluse bring together the humour, intimacy, pathos and occasional profundity of the enigmatic Erik Satie in the 150th year of his birth.

The Ravel G major piano concerto is in fact a mind-bogglingly virtuosic pianistic endeavour requiring fingers of steel and trills of satin.

Suave baritone Stéphane Degout was mood – and word – perfect in the brooding melancholy of Debussy. In perfect collusion with pianist Alain Planès, he was even better in droll fables by Poulenc and Ravel.

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

Fazıl Say plays at the Théâtre des Champs Elysées.

This Royal Ballet programme shows Sir Frederick Ashton's versatility of subject while never scrimping on unmistakeable style.

Marcel Gomes gave us a Death to remember in Jooss' Green Table.

Alexei Lubimov’s recent late-night recital at the Mostly Mozart Festival alternated rippling, dappled notes of Debussy with the playful simplicity of Satie’s music, contrasting vivid Debussyste images with the static yet aimless wandering of Satie’s rarely-performed piano works.

Everybody should visit the 1901 Arts Club at least once. Bulgarian-born pianist Tania Stavreva is exactly the sort of performer these venues need: combining genuine quality with a refreshing approach to programming.

She made cynics swoon and skeptics burst: Jessye Norman, along with pianist Mark Markham, serenaded eager listeners with love songs from the Great American Songbook and 20th-century France.

Part of Lincoln Center’s Great Performers series, Matthew Polenzani's programme impressed. Beginning with Beethoven, he made his way from German to French by way of Liszt, then carried on with Satie and Ravel, and finally wound down the concert with a set of Samuel Barber songs and some lovely encores.

Ivan Talijancic shares his observation on Russell Maliphant Company's Still Current at The Joyce Theater in New York City.

Russell Maliphant presents five stunning works, including three new creations Still, Traces and Still Current at Sadler's Wells.

Renée Reznek brings a colourful programme of French, British and South-African music (including two London premières) to the characterful 1901 Arts Club.

Grand, bold dancing by great Ballerinas! Ballerinas dance their favourite pieces. Sexy and sleek Brandsen. Lovely, deep Wheeldon. Larissa Lezhnina's last night. An absolute go see.

John Heginbotham’s new piece Dark Theater is an intriguingly ambiguous bit of narrative that makes very careful use of musical phrasing – unfortunately, often to the point of predictability. But his movement is fresh and welcomingly idiosyncratic, and certainly no one can accuse him of not making full use of the BAM Fisher theater.

As I sat in the intriguing darkness of Koerner Hall, Marielle Labèque carefully placed the opening notes of Le fils des étoiles by Erik Satie. They hung in the air like little crystals. This was a simple beginning, yet deceptively so, that would build towards something larger. In turn, these notes would unfold in a continuous stream of build-ups and decays.

On Wednesday evening the BBC National Orchestra and Chorus of Wales, conducted by Adrian Partington, presented a programme of choral music by the two musical friends Poulenc and Britten.

Be warned – after an evening of concentrated Frederick Ashton, you may well find yourself exhibiting the physical symptoms of ballet ecstasy.

Venturing into the Paris of the 1910s and 1920s, the Southbank Centre’s The Rest is Noise festival continues its journey through a brambly thicket of 20th-century music. Sunday’s programme focused on the output of Igor Stravinsky, the Russian composer who famously engendered riotous uproar at the Paris Opera House in 1913 with his savage ballet Le sacre du printemps.

On Thursday evening, the American Symphony Orchestra bid an effervescent farewell to 2012 and thereby rounded out a year-long celebration of the centenary of John Cage’s birth.

Drawing names such as Sarah Connolly and Dame Felicity Lott to the dreaming spires, the Oxford Lieder Festival has defined itself as a leading musical exponent on an international level. It was fitting, then, that Alice Coote and Julius Drake should open the final weekend of the eleventh festival.

Minimalism is, according to some, ‘The most influential musical movement of the 20th century’. Whether or not this is a little hyperbolical, minimalism does certainly deserve real recognition and exploration, and Kings Place hence merits a great deal of praise for putting on the three-day ‘50 Years of Minimalism’ festival, curated by Igor Toronyi-Lalic and led on the stage by pianists Katia and M

Sometimes it seemed as though the sun would never set on Dawn. At nearly three hours long, it made for a blockbuster opening to the '50 Years of Minimalism' festival. Thankfully, the Labèque sisters, a rock ensemble, electronic keyboard and the obligatory tape machine on stage were brilliant company for the whole, overlong affair.

If the number of bare male chests exposed on the stage at Sadler’s Wells this week is meant to suggest a symbolic baring of the male psyche then the Dutch National Ballet (DNB) underwent a good deal of soul searching in their celebration of Hans Van Manen’s work. Their resident choreographer has created 120 ballets in his sixty year career and in this programme DNB performs five.

As the sun dipped below the horizon Sunday afternoon, The Chopin Society UK enticed classical music enthusiasts inside Westminster Cathedral Hall with a glittering performance by Italian pianist Alessandro Taverna. Presenting Chopin, Liszt, De Falla, Satie and Stravinsky all in one programme, Taverna re-imagined his piano recital as a ballet: Sergei Diaghilev’s Ballet Russes.