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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.

John Cranko's balletic take on Pushkin approaches its 100th performance by The Royal Ballet, opening this run with a magnificent Tatiana from the Russian star. 

A ballet of charming nonsense, led by a triumvirate of exceptional performances 

On the evidence of this performance, there is every reason to be cheerful.

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

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

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. 

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

A mixed bill of modern work showcases the diverse talents of The Royal Ballet.

A sample of emerging choreographic talent from around the world that suggests a fascinating future

As MacMillan's masterpiece nears its 500th performance by The Royal Ballet, a fresh run of performances opens with a new pairing in the lead roles. 

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

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

Exceptional performances from a cast wholly comprised of first soloists and soloists provide a good omen for the future of The Royal Ballet   

A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.    

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

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. 

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. 

Tuckett's richly-integrated Elizabeth contains some superb performances but is often overwhelmed in this transition to a much larger space 

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 

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. 

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

Sir Peter Wright's enchanting vision of The Nutcracker continues to delight 

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

Somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer

A pleasing finale to a remarkable nationwide celebration of a great British choreographer.  

Two complex works of genius, showing different aspects of the suffering of women, bring together The Royal Ballet and English National Ballet to honour Sir Kenneth MacMIllan 

A fine start to this unique collaboration between the five major ballet companies in the UK to mark the twenty-fifth anniversary of the passing of one of Britain's greatest choreographers 

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

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 world premiere that gives yet more credence to the burgeoning reputation of Crystal Pite for creating absorbing mass movement of considerable beauty 

A fascinating collaborative, creative effort combines to make this the most important new work to enter the repertoire of The Royal Ballet, thus far, in the twenty-first century

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

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

Wayne McGregor's triple bill at the Royal Opera House celebrates his 10th year as Resident Choreographer of the Royal Ballet. His insatiable curiosity and driving creativity has brought challenge, change and occasionally controversy to the cornerstone of British ballet.

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. 

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.

The Royal Ballet revives Kenneth MacMillan’s The Invitation, to great public acclaim and with excellent performances in the main roles. The programme also features McGregor's new Obsidian Tear and Wheeldon's Within the Golden Hour.