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A new work full of meaning in Fall for Dance's second mixed bill dominated the performance.

A new leader takes over that BSO's concertmaster chair that Malcolm Lowe occupied with distinction for more than three decades

In keeping this production of The Sleeping Beauty in the repertoire, Boston Ballet is providing a vital service to the history of classical ballet, developing its dancers to their fullest potential, and providing Boston audiences with a chance to enter into a magical world of the most exquisite beauty.

The reality of the human condition, in both beauty and pain

Contemporary Ballet is alive, thriving and pushing in Boston

Christmas tradition is valued deeply in New England, and it is only fitting that the region’s penultimate production of The Nutcracker be an utterly classic experience.

Boston Ballet opens the 2017-2018 season with a program full of power, grace and artistic unity

The fifth program of City Center's 12th annual Fall for Dance Festival had something for everyone and it was all good.

Boston Ballet ends its 2014-2015 season with Thrill of Contact, a truly thrilling program of four works that showcase a wide spectrum of styles.

Based on Alexandre Dumas' La Dame aux Camélias the tragic love story that inspired Verdi's  La Traviata, Ashton Marguerite and Armand ballet for the Royal Ballet, as well as the 2001 film Moulin Rouge, Val Caniparoli's Lady of the Camellias, danced here by Boston Ballet is a beautifully orchestrated, and heartbreaking production.

Mikko Nissinen's new production of Swan Lake for Boston Ballet is a victory, both in showcasing the company’s pool of talent and in rising to modern audience desires to be awed by the sublime.

Boston Ballet's second program at Lincoln Center's David H Koch Theater showed off the company's terrific speed, musicality and versatility. 

Boston Ballet's triple bill Pricked, demonstrates the company's versatility both technically and expressively, while showcasing ballet’s traditional past in Études and its more recent incarnations in D.M.J. 1953-1977 and Cacti. 

To open the second half of its 50th anniversary season, Boston Ballet presents a trio of contemporary works that showcases the company’s ever expanding repertory and deepening talent pool with Close to Chuck Reborn.

Boston Ballet opens its much anticipated 50th season with La Bayadère, the classic ballet of love, betrayal, and vengeance, set in an exotic and opulent kingdom in ancient India. Boston Ballet featured the world première of this production in 2010, with choreography by Florence Clerc after Marius Petipa, and music by Ludwig Minkus.

Boston Ballet seriously want to impress London. Their 50th anniversary celebrations begin at home in the autumn, but it’s this return to England after 30 years that marks the official start of the party, and artistic director Mikko Nissinen has put together two serious, strong programmes for the capital’s ballet connoisseurs at the London Coliseum.

Thirty years after its last visit to London, Boston Ballet has returned to the British capital in a celebratory mood. With the company opening its 50th season, the London tour has been planned both to launch the anniversary and to strengthen the growing international reputation of the company.

Beautifully imagined, Boston Ballet’s Coppélia delights with its charming sets, colorful costumes and charismatic leads. A storybook come to life, this ballet tells the fanciful tale of young love gone awry amidst a set of peculiar circumstances true to fairytale form.

When planning for the 2012/13 season, Artistic Director Mikko Nissinen could not have known how incredibly well-timed Chroma would seem for the Boston community.

Boston Ballet’s Fall Program is a mix of three contemporary pieces, with music ranging from the Rolling Stones to piano and organ arrangements by J.S. Bach and electronica by Thom Willems. It began and ended on an upbeat, bookending a thoughtful (and thought-provoking) world première centerpiece.

In John Cranko's Romeo and Juliet, the story moves beyond star-crossed lovers and becomes a study of contrasts and conflicting forces. With set and costume design by Susan Benson, Boston Ballet's production of Romeo and Juliet adds layers of nuance to an old story, giving the audience much to ponder after the final bows.Don't be alarmed – if it's a love story you want, a love story you will get.

In the opening remarks of Boston Ballet's “Night of Stars” Saturday night, Executive Director Barry Hughson thanked the audience for filling the seats and concluded “we will not let you down.” The curtain then opened on an evening of artistic diversity so finely executed, there remained no doubt that Hughson spoke the truth.

If you "don't get” ballet, you may be thinking too hard. In the words of one friend who went to see Boston Ballet's Balanchine/Robbins program with me on opening night, “you look past it and it appears.” While many ballets tell a story or convey a theme, George Balanchine and Jerome Robbins encourage us to appreciate beauty for the sake of beauty. We don't try to understand a moonrise, after all.

A friend of mine once said “life is ugly. I want art to be beautiful.” I would add to that “life tells us enough stories. I want ballet to let my mind breathe.” As much as I love the story ballets, I seem to need poetry more than prose these days.

L’effervescence est à son comble au Théâtre des Champs-Elysées : le Boston Ballet vient donner un programme très attendu, composé de deux œuvres de William Forsythe et d'une pièce de Jiří Kylián.