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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. 

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.

Northern Ballet reaches its half-century with a gala at Leeds Grand Theatre featuring highlights from its "greatest hits".

Alessandra Ferri, the former La Scala Prima Ballerina Assoluta, makes her triumphant return to Milan as the moving incarnation of Virginia Woolf in Wayne McGregor's most mature, complete and striking piece to date.

Despite drawbacks, this is a bold and imaginative approach to creating dance theatre from the titan of gothic horror 

A random assortment of disassociated ballets performed with variable success - from the sublime to the nondescript. 

Yet another revival of MacMillan's signature ballet.  Enlivened by tremendous performances, not least in the title role, and still a classic. But, how long will that pertain?   

Two outstanding world premières honour the centenary of a great composer 

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

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

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

If there is only one Nutcracker with which to herald the Christmas season, let it always be this one.    

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.

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.

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

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 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.

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.

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.