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Hungarian National Ballet's Spartacus is not short of drama. Combined with Khachaturian's rousing score and some breathtaking dancing, it's a winner.

Three complete ballets and a sprinkling of divertissements made for a highly enjoyable gala.

Cathy Marston is a choreographer who excels in narrative ballets but seldom in a literal sense. 

Balanchine’s sparkling ballet reveals Manuel Legris’ vision for the Milanese company. 

Based on a story published by Heinrich Heine in 1834, Giselle has long stood as a front runner in the classical ballet canon.

In Zurich, ballet director Christian Spuck recently launched the second season of the multi-layered ballet he choreographed to the great P.I. Tchaikovsky score.

In an entirely new version of the ballet, choreographer Christian Spuck wanted to explore the darker realms and fantasy of the ETA Hoffmann narrative that inspired Tchaikovsky’s suite.

Just as rereading a favourite novel can give the reader new literary impulses to explore, so, too, can the revival of a popular ballet offer a fresh interpretation.

A neatly danced Onegin in Berlin, but one that lacked an emotional core. 

The Zurich Ballet's production of Anna Karenina is an opulent feast. The great tragedy of love, loyalty and betrayal was set against a seamless score of music by Sergei Rachmaninoff and Witold Lutoslawski.