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It was a wonderful, heartening afternoon – it’s no wonder nearly all the 2025 graduates have gained contracts with several major ballet companies.

Superb Handelian singing and intense character acting light up Handel’s Semele, staged as a stark, uncompromising indictment of the rich and powerful. 

Christopher Wheeldon's Alice's Adventures in Wonderland shows off The Royal Ballet's roster of supreme dance actors in every version of technical wizardry and comic incarnation.

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

Stripped of its original superstar casting, Gounod’s grand opera provides entertainment but fails to cohere. 

A showcase presenting the rich diversity of Christopher Wheeldon’s choreography should become a staple in The Royal Ballet's calendar.

A compelling performance of MacMillan's Romeo and Juliet from an excellent cast, proves to be a triumph for Patricio Revé, debuting with the Company and paired with Natalia Osipova.

The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

Aigul Akhmetshina is on the verge of becoming the definitive Carmen; in this first revival of Michieletto's 2024 production at Covent Garden, she delivers the standout performance. 

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer. 

Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Overall, Light of Passage is one of those glorious pieces where music, choreography and design meld together to make theatrical magic.

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

Two individual works worth seeking out with outstanding performances in each.

Strong performances by chorus, orchestra and the father-daughter pairing of Amartuvshin Enkhbat and Anna Pirozzi make this Covent Garden revival well worth the visit.

The welcome revival of a borrowed jewel in The Royal Ballet's treasure chest of story ballets.   

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

Kate Lindsey and Heidi Stober weave vocal magic in the latest Covent Garden revival of Humperdinck's box of delights. 

It's not without flaws, but the latest revival of Richard Jones' beautiful production of Puccini's beloved Parisian tale has drama aplenty.

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

The combination of spectacular backdrops and evocative film projections are visually stunning and the dancers are superb, but Wayne McGregor's MaddAddam is difficult to follow.

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

In a quadruple bill of contemporary works, The Royal Ballet's dancers shine in this diverse programme, creating an immersive experience.

Henry Neill gives a devastating performance as Sam in Trouble in Tahiti in The Royal Opera’s Bernstein double bill in the Linbury Theatre. 

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

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.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

As Richard Eyre’s staging reaches its 30th anniversary, a new Violetta arrives on the Royal Opera block in what proves to be one of the best revivals in recent years. 

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

Golda Schultz leads a fine cast in the fourth revival of Jan Philipp Gloger's Royal Opera production. 

The Royal Ballet gets off to an extraordinary start for its Ashton Celebrated season with some ravishing dancing on offer.

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

Two very impressive debuts in the lead roles of Liam Scarlett's Swan Lake with The Royal Ballet, bodes well for the futures of Mariko Sasaki and Joseph Sissens.

This tenth anniversary revival of Christopher Wheeldon's The Winter's Tale looks as fresh as on the original opening night.

Katie Mitchell's provocative staging is revived to great effect, elevated by glorious music-making led by Nadine Sierra's sensational Lucia. 

Aigul Akhmetshina is outstanding in the title role, hearing Piotr Beczała is a privilege, but it's Damiano Michieletto's new staging that takes the honours.

An emotional rollercoaster showcasing the choreographic genius of Sir Kenneth MacMillan.

With the help of excellent singing and acting performances from a cast led by Asmik Grigorian and Joshua Guerrero, Puccini’s tale of abandonment hits home.

Visually splendid, Liam Scarlett's Swan Lake showcases some wonderful dancing, but there is still room for improvement. 

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

Four world premieres and four main stage debuts provides genuine hope for the future of choreography.

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

The Armenian soprano sweeps all before her in a delightfully controlled, touching performance, enhanced by a voice that would melt the stoniest of hearts. 

Kenneth MacMillan’s 50 year old ballet, Manon, holds up a mirror to our own times.

Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

A forgettable Hansel and Gretel is the worst offence of Antony McDonald’s leaden staging which returns to Covent Garden.