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Fragments by Brahms, Schoenberg and Schubert orbit Beethoven's Waldstein and Schumann's Carnaval in another masterful recital from Sir Stephen Hough.  

The BalletBoyz present an entertaining programme of old and new works spanning the last 25 years – with stellar performances.

Ballet isn’t always pretty, there are plenty of examples in repertoires across the world. John Neumeier’s Streetcar Named Desire (Endstation Sehnsucht) is to reach another level of grim but gripping brutality told through dance.

A very welcome and hilarious return to the UK from Les Ballets Trockadero de Monte Carlo, this time at Sadler’s Wells, they offer familiar and new works.

Six works, including two world premieres, made up the latest program from Parsons Dance. Thoroughly joyful, the audience were sent home buzzing.

Dutch National Ballet give an exemplary account of a quadruple bill comprised of the late Hans van Manen’s works. It’s a wonderful tribute to the great master choreographer.

17 years after its premiere, Andrea Miller’s BLUSH, set on her company, GALLIM, returned to entrance and perplex in equal measure at New York’s 92nd St Y.

Another tick for the Ballet Nights team, the audience at Cadogan Hall enjoying a varied and exceptional programme of new and legacy works.

The Royal Ballet's International Draft Works proved to be an excellent opportunity to see dancers and budding choreographers from around the world.

A.I.M by Kyle Abraham with guest artist Taylor Stanley bring a postmodern vibe to an early MTV-era playlist. One of the most bewitching things you're likely to encounter this year. 

Christopher Hampson’s newly updated Starstruck is thoroughly entertaining with sexy solos, classical pas de deux and lines of perfectly-timed Broadway hoofing.

Anthony Tudor and Merce Cunningham provided the lighter fare in a mixed bill that featured two world premieres from Kevin Iega Jeff, a veteran of the Chicago dance scene, and Julian Donahue, a newer voice.  

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

At Holland Dance Festival, La compagnie Hervé Koubi were put through their paces, showcasing a dizzying display of acrobatic abilities that would rival any act in a Cirque de Soleil show.

The Manchester Collective are one of the most successful groups of musicians who aim to bridge the gap between musicians and their audiences. 

Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

In their penultimate stop on a US tour, Ailey's second company produced exceptional performances in an Ailey classic and four handsome new works. 

Last seen in London in 2023, Turn It Out with Tiler Peck & Friends made a hugely welcome return with the same programme, differently ordered. 

Sophie Laplane's Mary, Queen of Scots has a lot going for it, visually stunning with a pleasing score, but simplistic and overly rapid storytelling brings it to an underwhelming conclusion.

An evening of Ronald K. Brown's choreography for his own company, Evidence, brought infectious joy and had the audience dancing in the aisles.

All that glistens... the world premiere of Xie Xin’s The Moon in the Ocean is the highlight of a mixed bill programme spanning 90 years of choreography. 

Rachna Nivas, Rukhmani Mehta, Dormeshia and Michelle Dorrance joined forces with top-notch Indian classical and jazz musicians to deliver an imaginative tour de force of kathak and tap.

Wildsong presents a refreshing take on contemporary movement rooted in classical technique while revisiting a recent conceptual work of much acclaim, both performed by artists at the peak of their physical prowess.

Many world class performances to enjoy in this 20th edition of the annual Ballet Icons Gala.

At the start of an ambitious cross-country tour, Alvin Ailey American Dance Theater is transcendent at Atlanta's historic Fox Theatre.

Sweet Mambo was one of those rare evenings that felt very special, unique in the sense of watching history revisited in the present day.

Global chaos has not deterred Cuba's Malpaso Dance from bringing two world premieres, one home-grown, and a Martha Graham debut to New York City – incredibly, with all-live-music accompaniment. 

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

Opera Philadelphia commissions ten composers to tell the story of an ordinary woman's idiosyncratic march from cradle to tomb.

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

A rare opportunity to see five male ballet superstars – notably Alban Lendorf, in great form long after injury sidelined him – in an intimate theater, in work exclusively by women.

Jamiel Devernay-Laurence’s winning formula for his Ballet Nights series has brought in new and old works, concert and dance, and continues to push the boundaries into 2026.

Alvin Ailey American Dancer Theater is in magnificent form for its New York City Center season. Never overselling, simply moving magically.

For one night only, audiences in Frankfurt were treated to some world class ballet on the expansive stage of the Jahrhunderthalle.

Dutch National Ballet's second mixed bill at New York City Center ticked all the right boxes, showcasing the depth of talent across the whole company.

Rennie Harris' theatrical works of street dance have toured the globe. In American Street Dancer he focuses on the preservation of three distinct styles closer to home. 

A letdown and a triumph at the Paul Taylor Dance gala this week, featuring new works by Lauren Lovette and Robert Battle, both resident choreographers, she in her 4th year, he in his 2nd. 

Two complementary new works for TanzLuzern, Mthuthuzeli November's Oh Deer and Phoebe Jewitt's White Rabbit, are striking and memorable additions to the repertoire.

Liam Francis Dance Company at The Place brings an instinctive and intelligent debut for a choreographer in-step with what it is to be a dance artist now. 

Joburg Ballet makes a promising, if somewhat initially tentative, UK debut with a programme of five works, four by South African choreographers.

The choreography, music and performance made this an impressive event, but Iommi’s cameo was an emphatic cherry on the top that sent the crowd home with an enthusiastic spring in their step.

Angelin Preljocaj's Gravity triumphed on opening night in New York despite official cock-up. 

Much acclaimed in 2022, a mixed bill curated by Tiler Peck returns to New York City Center with new cast members.  

Twyla@60: A Tharp Celebration is an overall triumph though not just for Tharp, but for Susan Jaffe’s vision for American Ballet Theatre.

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

Curated by Marcelino Sambé, Black History Month Draft Works at the Clore Studio gifted us an intriguing mix of ideas and styles providing food for thought as well as theatrical interest.

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

A very diverse mixed bill for Fall for Dance showed some top notch dancing though it was not entirely successful choreographically.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians.