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

Despite drawbacks, this is a bold and imaginative approach to creating dance theatre from the titan of gothic horror 

Here technology breathes theatricality into vast architectural sets, where shadows haunt and light electrifies. 

A steampunk treat for Mary Shelley’s novella fan: Liam Scarlett’s Frankenstein for the Royal Ballet (in collaboration with the San Francisco Ballet) opens at the Royal Opera House.

Miami City Ballet bears a marked resemblance to the New York City Ballet under Balanchine.

Carlos Acosta's Carmen premieres at the Royal Ballet, alongside Robbins' Afternoon of a Faun, Balanchine's Tchaikovsky Pas de Deux and Scarlett’s Viscera.

Yuja Wang is all about rhythm. It would be easy to write about how her playing doesn’t have the profundity or architectural sense of more mature artists, but that would be to miss her considerable achievements – and with a young artist, it’s what’s achieved that should count.

With the triple bill Viscera / Infra / Fool’s Paradise, The Royal Ballet have confirmed the status of their new holy trinity of choreographers: Wayne McGregor, Christopher Wheeldon and Liam Scarlett.

Pianist Joyce Yang, silver medalist in the 2005 Van Cliburn International Piano Competition, returned to Fort Worth for a solo recital this week. The eclectic program, in her words a “collage,” consisted of a broad mix of styles, well balanced and thoughtfully organized.

Markus Stenz subió al podio del Palacio de la Ópera para demostrar una vez más la buena conexión que mantiene con la Sinfónica de Galicia y ofrecer un programa lleno de maestría.

Impecable en la afinación, en el equilibrio vocal exigido en los intensos pasajes, y habilidoso en los sibilinos compases contrapuntísticos, le debemos al Coro Nacional los momentos más indelebles del concierto.