Live, Video: Find classical music concert, opera, ballet and dance reviews | Steven McRae

Flamenco, tap and contemporary from Spain, the U.K. and Israel on offer in Program 3 at Fall for Dance yielded a provocative work, a display of virtuosity and the inevitable clunker. 

Absolutely first rate production with outstanding performances. The McRae/Vassilev Project was a masterclass in resilience and major talent.

Ballet Nights is more than an evening of party pieces: it showcases emerging talent alongside older favourites and, in the case of this first Scottish outing, has an eye to local tradition.

Christopher Wheeldon’s Alice’s Adventures in Wonderland returned to the National Ballet of Japan, a marvelous production that amply displays the many talents of the company. 

Last seen in 2017, Christopher Wheeldon’s take on the classic Lewis Carroll novel returns to the Royal Opera House stage, or rather Royal Ballet and Opera as we must now call it.

Jamiel Devernay-Laurence's Ballet Nights series is growing rapidly in appeal, just one year after its launch. With ever more ambitious projects afoot and a packed Cadogan Hall, it's worth seeing.

A mix of world class performances and interesting new choreography is a bit of a magnet for ballet-goers.

A new concept of high-end cabaret ballet with an incredible line up. 

Ballet Nights offers a wonderful variety of dancing and genres. Whatever your preference, there are quality performances to enjoy.

A richly varied trio of works celebrate The Royal Ballet's former director, performed with sincerity and panache. 

As with Carroll’s original fantasy novel, Wheeldon’s wonderful ballet matures and pleases, yet more, at each revisit.   

This Ashton programme at the Royal Ballet displays all the hallmarks of the Ashton style; lightness, musicality and a beautiful quality of stillness.

Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky

The Royal Ballet’s 50th anniversary revival of Balanchine’s abstract ballet Jewels is a showpiece displaying a company of dancers in celebratory form. 

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.

Christopher Wheeldon’s The Winter's Tale (created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.

The Royal Ballet premieres Christopher Wheeldon's Strapless, and performs two other ballets by the choreographer for the first time.

Peter Wright's excellent version of The Nutcracker returns to The Royal Ballet for a festive run, with several standout performances. 

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.

Sarah Lamb and Steven McRae star in MacMillan's much loved Romeo and Juliet, which opened the Royal Ballet's new season this weekend.

Praise goes to Wayne McGregor, Alessandra Ferri and the Royal Ballet for their bold, modern and innovative treatment of Virginia Woolf's legacy.

Internationally-renowned dancers perform a diverse range of choreography for the Russian Ballet Icons Gala's tenth anniversary.

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.

The Royal Ballet's Ashton programme is a rare delight; and the mix of pieces shows how that know-it-when-you-see-it Ashton style is perfectly versatile. 

Stars from the Royal Ballet and Birmingham Royal Ballet perform excerpts of 15 works in Tokyo, showcasing British ballet's rich and exciting repertoire

This production is beautiful to look at and has interesting, atmospheric commissioned music. With The Winter's Tale it is evident that inventive choreographer Wheeldon and The Royal Ballet have another hit on their hands.

Last Friday, The Royal Ballet presented an exciting bill composed of George Balanchine’s iconic Apollo (1928) and two new ballets by acclaimed choreographers Alexei Ratmansky and Christopher Wheeldon. The programme was cleverly designed, since Ratmansky and Wheeldon are renowned explorers of the neoclassical style inaugurated by Balanchine.

The chill outside was certainly a reminder of Siberian weather, but the anticipation of seeing one of the 20th century’s most popular and beloved dramatic ballets (and set in a milder Russia!) soon had the fingers and toes circulating once more.

Metamorphosis: Titian 2012 invited artists from different disciplines, mainly the visual arts, dance and music, to respond to Titian's three magnifient paintings of the Diana and Actaeon myth. The results are displayed in an exhibition at the National Gallery (alongside Titian's originals), and in an triple bill of new ballets at the Royal Opera House.

This Royal Ballet programme, staged to celebrate the Diamond Jubilee of HM Queen Elizabeth II, makes an exhilarating tribute, and shows the company on top form in two very different works.

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.

This double bill by The Royal Ballet made for a splendid mix of musical and choreographic magic – Mendelssohn and Ashton, Mahler and MacMillan.

Not so many moons ago, opening night at the Opera House meant dressing up—dinner jackets, long dresses and furs, with of course, the obligatory embellishment of the family jewels. Alas, jeans, shirtsleeves and sneakers are all too often seen these days, so glamour and style must stem from the stage outwards into the auditorium.

There was no thought of letting the Royal Ballet dancers ease out gently in their last programme of the season. The Triple Bill now on offer demands from each of its exponents a mathematical brain, the precision of a Swiss watchmaker and the stamina of a fell runner.