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While National Ballet of Japan’s latest triple bill presents many challenges, one hopes these valuable masterpieces will be revived, enabling the company to develop its virtuosity and artistry.

Bond’s La Boutique was delightful, Abraham’s Mercurial Son, a little disappointing but Lander's Études sent the audience home happy.

The Australian Ballet presents a diverse double bill of contemporary and classical dance, including its first major work from choreographer in residence Stephanie Lake. Unfortunately, only the classical piece exhilarates.

A strong opening to ABT’s fall season, the company often seemed stagnant in the last years of Kevin McKenzie’s directorship. It is now more exciting. New leadership, new faces.

Two years after the death of Patrick Dupond, the Paris Opera Ballet paid tribute to him in a sumptuous gala evening, with the procession of the Ballet’s stars and the the performance of three of Dupond’s most emblematic works.

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Among the standouts at the San Francisco Ballet gala evening performance were Ana Sophia Scheller in Rubies, Sasha De Sola in Études, Benjamin Freemantle in Agon, and Misa Kuranaga and Angelo Greco in Handel-A Celebration.

A double bill that focuses on the purity of classical ballet form, in a fine combined 70th Anniversary celebration, excellently performed by Hungarian National Ballet.  

Etudes is a welcome addition to the Bolshoi's repertoire.

The Hungarian Nation Ballet presents a stunning programme in which Kyliàn's Black and White masterpieces are paired with Lander's polished Études. 

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. 

For their second show in the London Coliseum this year, English National Ballet has presented the first programme entirely designed by its new artistic director Tamara Rojo. In the line of her vision of enriching the company’s repertory with new works, while at the same time honouring the classics, the triple bill built for the occasion is a fascinating combination of old and recent masterpieces.