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Sir Peter Wright’s festive treat is back – and Covid-secure – as the Royal Opera House stages its first full-length staged performance since the theatre closed in March.

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

An event that will be long-remembered for the importance of the occasion, if not for its content. 

An opulent production that is both reassuringly traditional and refreshingly new. 

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

Despite Carlos Acosta's staging of Don Quixote feeling a little tame, The Royal Ballet's star couple dazzles. 

What marks the start of Christmas? For many, it's when the Christmas tree magically grows in The Royal Ballet's Nutcracker...

With all the right ingredients – acte blanc, love intrigue, dramatic death – La Bayadère is a classic Russian ballet.

A new season for The Royal Ballet and a new star is "born" in this performance that highlights the company's strength in depth   

A new Swan Lake is a test for any ballet company. Expectations ran high, but Liam Scarlett's new production hit the target. 

Peter Wright's evergreen production continues to delight led by a defining performance by Marianela Nuñez in the title role .

Marianela Núñez was in her element as the huntress in Ashton's charming ballet. 

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

A career defining performance by Edward Watson, well supported by a memorable cast

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

Was she – or wasn’t she – the Grand Duchess Anastasia, youngest daughter of Russia's last tsar who had survived the massacre of her family in 1917? Natalia Osipova made you believe she was. 

Dressed in black dance clothes, he stood still front of stage, bathed in a bright spotlight as the Royal Albert Hall erupted with a standing ovation. 

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

This Royal Ballet programme shows Sir Frederick Ashton's versatility of subject while never scrimping on unmistakeable style.

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.

Fluttering fans and hearts in Carlos Acosta's Don Quixote, performed by the Royal Ballet in Washington.

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

With such a fine couple as Marianela Núñez and Thiago Soares leading the drama, John Cranko's Onegin touches the heart at The Royal Ballet. 

Carlos Acosta's Don Quixote opened this week at the Royal Opera House, with Carlos Acosta as Basilio and Marianela Núñez as Kitri.

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. 

Manon proves a wonderful start to the new season at Royal Ballet with Marianela Nuñez in the title role and Federico Bonelli as her lover.

This charismatic Cuban is probably the only big dance name who could compete successfully with the Bolshoi Ballet now here in London. But then, for many years, Carlos Acosta has continuously shown persuasive pluck and daredevil tactics to his devoted audiences, many of whom are supporting him in his latest summer season programme at the Coliseum this week.

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.

Christmas must be nearing when that traditional fare of sparkle, excitement and the surging score of The Nutcracker bursts in full flood onto the world’s ballet stages. Originally created in 1891 by Marius Petipa for the Mariinsky Theatre, the ballet has become the annual bread-winner for most companies (albeit in various versions), guaranteeing full houses and happy customers.

Swan Lake is so iconic that describing it in a review seems superfluous. The idea of it, moreover, so dominates people’s perceptions of ballet, mine included, that before Monday night’s performance I was worried that I would be lost for fresh words, silenced by the weight Tchaikovsky and Petipa’s swans have acquired in the 117 years since they first fluttered across the stage in St Petersburg.

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.

The Royal Ballet's revival of The Prince of the Pagodas is an extraordinary achievement in many ways, not least because the ballet has an undistinguished history.

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.

Laugh-out-loud comedy is a rare find in dance, which usually elicits no more than a polite, awkward titter. However it is such comedy that is one of the chief merits of this ballet. La Fille Mal Gardée is as anxious to show off bad dancing as it is to show off the good, pleasing the audience with all manner of buffoonery.The ballet’s opening gives me a childish thrill.

The Russian ballerina Galina Ulanova is a true legend in the world of classical ballet. Her dramatic interpretations plumbed deep into the human soul and revealed its full gamut of emotion and poetic beauty.