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The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

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. 

If you’re in need of a pick-me-up, get thee to the Royal Opera House and see La Fille mal gardée, a gem of a ballet. There’s a long roster of impressive casts to choose from.

The National Ballet of Japan gave an excellent rendition of Sir Frederick Ashton's Cinderella, in spite of many new faces and role debuts.

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

An uplifting triple bill by American Ballet Theatre with three contrasting ballets. Especially entertaining were Tudor's Gala Performance and Agnes de Mille's Rodeo.

Fusing the Renaissance polyphony of Les Arts Florissants with the contemporary dance of Compagnie Amala Dianor was an ambitious experiment, which displayed great virtues but didn't quite come off.

After a slow beginning, the work gathers pace, thoroughly engrossing the audience in its exhilarating, foot-tapping momentum.

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

José Limón's The Emperor Jones is relocated to Wall Street and a visually stunning new work from heralded Mexican choreographer Diego Vega Solorza challenges gender binaries.  

Pierre Boulez’ Rituel in memoriam Bruno Maderna is choreograped by Benjamin Millepied for a New York Philharmonic performance, led by Esa-Pekka Salonen.

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

Hofesh Shechter's Red Carpet for Paris Opera Ballet offered brief harrowing elements in an otherwise tiresome evening, though the music, also by Shechter, was tremendous.

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.

Handel's oratorio is staged by Olivia Fuchs and conducted by Johanna Soller in Opera North's latest successful collaboration with Phoenix Dance Theatre. 

Opening Dance Umbrella's Festival 2025 at Sadler's Wells East, Andrea Peña and Artists’ Bogotá examines perceptions of death and rebirth and how our ancestral stories echo in today's urban world.

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.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

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

Opera Ballet Vlaanderen powers its way through an exciting revamp of Hofesh Shechter’s inimitable Grand Finale.

Tetsuya Kumakawa's Don Quixote for K-Ballet Tokyo is a production that promises the audience much enjoyment, with thrilling lead dancers and excellent storytelling. 

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.  

The brightest of many stellar things to have happened in dance over the past decade, Acosta Danza wowed the audience at Sadler's Wells with their vitality.

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. 

Dutch National Ballet's triple bill, Monument, is a statement on Dutch artistry and ideology. 

Cirque Éloize's iD Reloaded is a visually stunning performance packed with excitement and dare-devil acts.

Sidi Larbi Cherkaoui's Vlaemsch (chez moi) is an extraordinary piece of dance theatre proving the value of multiculturalism where difference can be absorbed within the search for artistic expression.

A most entertaining evening of dance theatre from Michael Keegan-Dolan and Rachel Poirier at Sadler's Wells East. 

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

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

Ballett am Rhein open their season by bringing their programme to Düsseldorf, Soirée Ravel. Marking the 150th birthday of composer Maurice Ravel, audiences are treated to four of his most famous compositions.

Opportunities to hear Paliashvili's Abesalom da Eteri in the West are rare, so it proves a treat to hear what is deemed to be the greatest of Georgian operas in the beautiful opera house in Tbilisi.

Christopher Marney has once again brought together a group of outstanding dancers, superb coaches and brilliant choreography to produce an evening of thoroughly absorbing dance.

Atlanta Ballet began its season with a mixed bill which amply demonstrated the versatility and capabilities throughout all the ranks of the company.

A dramatic staging of two Greek myths, Wayne McGregor’s Jocasta’s Line is an epic production for Norwegian National Opera and Ballet, a truly modern and totally original work.

In true Ballet Nights tradition, Bound in Motion presented the Cadogan Hall audience with an eclectic mix of old and new works and some outstanding performances.

A ballet about love transcending death – and also about two people who transgress gender and class boundaries. A singular achievement by Hong Kong Ballet arrives in New York. 

An evening focused on the separation of humanity from the natural world and the destruction of that world, either because of ignorance, greed or just not caring.

Resident choreographer Sophie Laplane, star dancer with the company for 13 years before spreading her choreographic wings, takes on Scotland’s most tragic and divisive historical figure

At an hour and three-quarters, Dance People was over-long and the slogan-ising brought it dangerously close to being yet another show fulfilling all the vaguely right-on aims of this year's Festival.

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby provokes the whole gamut of emotions, but leaves you feeling euphoric at the end.

The Dan Daw Show is distinctly devoid of anything resembling dance moves.

A contemporary retelling in dance of the ancient Chinese folktale of the White Snake makes its first international stop at New York's Lincoln Center and it's a marvel.

“白蛇传”的传说自古以来便在华语世界广为流传，且随着时代风云的变幻而不断演变。在唐代，这个故事讲述的是人与蛇妖的禁忌之恋，却在时光长河中不断被重新诠释。

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

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

Mark Morris Dance Group’s second week at the Joyce Theater in New York unveiled a world premiere in a mixed bill that represented a narrow range of Morris’ dazzling creativity.

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