Live, Video: Find classical music concert, opera, ballet and dance reviews | Christopher Wheeldon

A balance of classical, contemporary and folk dance, showed off the versatility of The Royal Ballet School's students at every stage of their training and the results were extremely pleasing.

Wheeldon lacks the imagination to take this story beyond that of a well-crafted adaptation of a beloved movie.

Christopher Wheeldon's Cinderella in-the-round is an immersive experience in the grand ballroom scene but the romantic duets are robbed of an essential intimacy.

A mixed programme of all-British choreography, including a world premiere, offers something for everyone.

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

Throughout the entire cast, every named role was performed with the mix of enthusiasm, affection and assuredness.

Wheeldon’s Alice’s Adventures in Wonderland proves to be one of the greatest recent successes at the National Ballet of Japan, promising a feast of delights, an enjoyable night at the ballet for both children and adults. 

Laura Esquivel’s extraordinary novel of recipes, romances and home remedies brought to life in Christopher Wheeldon and Joby Talbot's new creation. 

Kyle Abraham's The Weathering doesn't feel particularly fresh on its premiere, but Crystal Pite's Solo Echo and Christopher Wheeldon's Danse à Grande Vitesse pep up the first triple bill of the season at Covent Garden. 

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

Marianela Núñez possesses a shimmering, celestial radiance and Vadim Muntagirov is a Prince in his prime.

The first post-lockdown performance by The Royal Ballet offer an important indicator for the company's future.

George Balanchine’s short-but-thrilling ballet Allegro Brillante is tailor-made to Mayara Piniero’s talents in Philadelphia. 

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

New York City Center’s annual Fall for Dance festival heads online in a pair of programs, one much stronger than the other. 

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

The Joffrey Ballet presents a roster of choreographers with new approaches, a positive impression for the future of ballet. 

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Wheeldon’s Cinderella is the kind of production that so enthralls, you immediately want to make plans to see it again.

The Joffrey Nutcracker succeeds in redefining the socio-economic situation of the protagonists, but throws out the baby with the bathwater.

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

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

An exciting London season closes with a glimpse of where ballet is headed, San Francisco style. 

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

There is a kind of purity to Your Flesh Shall Be a Great Poem, and a very human sense of longing and loss.

Sneakers gave even the most challenging of balletic steps a freer, looser quality, as if the dancers were about to step into flight.

It was worth the price of admission just to see the ebullient revival of Geoffrey Holder’s Dougla.

Pennsylvania Ballet shows off in works by Balanchine, Petipa, and Wheeldon

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. 

Alice is the Australian Ballet’s biggest production yet, calling for all-stops-out artistic wizardry to reconjure the wit and whimsy of Lewis Carroll’s beloved classic.

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

Artistic directors of Ballet Boyz Billy Trevitt and Michael Nunn stage a speed dating style collaboration, match making four choreographers with four composers. The quality of performance is top-notch, but the choreography is pot luck in places. 

Is there anything Tiler Peck can’t do? After her just completed triumph in Swan Lake we’re obliged to say no.

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

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

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

The show stealer is the opening scene of Act III, as the curtain rises to reveal a line of females, both human and forest-creature, seated, waiting to try on the slipper the prince holds. It’s brilliant, laugh-out-loud clever.

Open-ended works provide different angle on Ballet across America

Changes in pace for a brilliantly dynamic company.

I can’t help feeling that an opportunity was missed.

A superb An American in Paris, inspired by the 1951 film of the same name; classic Gershwin songs enveloped by vibrant choreography, in a fast-paced show.   

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