Live, Video: Find classical music concert, opera, ballet and dance reviews | Sarah Lamb

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

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

The first mixed programme of the new season is led by a stellar cast.

The Royal Ballet season opens with a MacMillan favourite, his ballet adaptation of a novel more familiar for its operatic treatment. 

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

Audio and film permeate Marriott's new work for The Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington. 

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

Two outstanding world premières honour the centenary of a great composer 

A strongly cast revival of The Winter's Tale by The Royal Ballet confirms one of Shakespeare's "problem plays" as perhaps being best suited to dance. 

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. 

A star studded programmme of works celebrating the legacy of Les Ballets Russes

A return of the company's signature work found The Royal Ballet fielding an excellent cast led by Sarah Lamb and Vadim Muntagirov. 

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. 

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's Giselle is classical ballet at its best, paying deep reverence to the original with some of the heavier elements refreshed. Excellently performed by Sarah Lamb and Matthew Golding. 

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

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.

With a programme inspired by neuroscience and fairytale, the Royal Ballet shows that one is not born, but rather, becomes a woman.

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'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.

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.

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.

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 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.

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.