With little fanfare, other than a cockerel crowing from the pit, the Royal Ballet crept to life for its new season. For a couple of hours, all was right with the world.
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.
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.
Considering its French title, Sir Frederick Ashton’s ballet La Fille mal gardée is quintessentially English. Laura Morera and Vadim Muntagirov brought the bright spring sunshine from outside to flood the auditorium in delightfully sunny performances.
The Royal Ballet marks the centennary of the First Wolrd War with a reflective, and commemorative programme. With works by Branstrup and Wheeldon, as well as a Scarlett world première.
Stars from the Royal Ballet and Birmingham Royal Ballet perform excerpts of 15 works in Tokyo, showcasing British ballet's rich and exciting repertoire
When the cast sheet warns the audience that there will be gunshots in each act, you know you are not at The Nutcracker. Kenneth MacMillan’s 1978 ballet Mayerling is famously about sex, obsession, madness and death – a cocktail that apparently sells enough tickets to ensure its regular revival at the Royal Opera House.
The penultimate programme of The Royal Ballet’s season takes the audience on a journey, from a joyous celebration with seven imperially dressed ballerinas, to a summer dacha filled with tense emotions, and finally back in time to the ceremonial rites of a Russian peasant wedding.
The Royal Ballet's 2011 reimagining of Lewis Carroll's beloved Alice stories was a glorious triumph, as proved by its immediate, slightly reworked revival for the 2012 season.
