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A revelatory orchestral performance and a cast led by Andreas Schager, Christopher Maltman and Elisabeth Strid make this a Siegfried for the record books.

A last minute injury to Natalia Osipova does not mar the magic of Sir Peter Wright's Giselle as Marianela Núñez steps in to partner Patricio Revé. 

Ballet Black presents a double bill at the Linbury that showcases the strengths of its very fine dancers as well as the depth of choreographic innovation in its vast repertoire.

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

Another cast debuts in Glen Tetley's Pierrot Lunaire and shows us that, more than 60 years on, it's every bit as watchable as when it premiered.

The Royal Ballet marks the centenary of the birth of Glen Tetley with a revival of his greatest work, Pierrot Lunaire, not seen at the Royal Ballet and Opera for nearly 20 years.

The second revival of Richard Jones' staging of Mussorgsky's original 1869 version of Boris Godunov once again stars the Welsh knight. 

Paul Taylor Dance Company's second programme at the Linbury is an invigorating, uplifting, refreshing mix of easily digestible, pure dance.

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

Yorke Dance Project are in fine form presenting five diverse and engaging works, including new pieces by Christopher Bruce and Liam Francis.

Woolf Works returns to Royal Opera House stage showcasing some of Wayne McGregor’s best choreography and a roster of exceptional performances.

Richard Eyre’s 32-year-old production is rarely out of The Royal Opera’s repertoire for more than a few months at a time, but this particular revival proves very special. 

Andrei Șerban’s 40 year old take on Puccini's tale of the ice princess largely stands the test of time, but Netrebko and Eyvazov are short of their best form. 

Jetske Mijnssen’s house debut sees Handel’s opera transposed to a modern-day palace, with Emily D'Angelo angelic in the title role. 

The Royal Ballet opened the Christmas season with a superlative performance of Sir Peter Wright’s The Nutcracker.

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

The Royal Ballet presents a triple bill of diverse works including one world premiere and one UK premiere. As per usual, the supreme roster of dancers tackles each with aplomb.

An interesting evening displaying the many facets of Natalia Osipova's talents alongside her equally exciting guests at the Linbury.

Katie Mitchell wheels out her tired old tropes in The Makropulos Case, redeemed by its musical performances. 

Joburg Ballet makes a promising, if somewhat initially tentative, UK debut with a programme of five works, four by South African choreographers.

Northern Ballet's Little Red Riding Hood gives young ones a perfect introduction to ballet, without any teeth. 

If you’re in need of a pick-me-up, get thee to the Royal Opera House and see La Fille mal gardée, a gem of a ballet. There’s a long roster of impressive casts to choose from.

Sir David McVicar's classic staging of The Magic Flute, now over 20 years old, shines afresh in a stylish performance conducted by Marie Jacquot, making her Covent Garden debut.  

Curated by Marcelino Sambé, Black History Month Draft Works at the Clore Studio gifted us an intriguing mix of ideas and styles providing food for thought as well as theatrical interest.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

Joyce El-Khoury saves the day in The Royal Opera’s second revival of The Sicilian Vespers in Stefan Herheim’s paint-by-numbers production. 

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

Jonathan Watkins’ A Single Man is a compelling piece of dance theatre and a magnificent vehicle for the leading characters to shine as dancers and actors.

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

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. 

English National Ballet School and Rambert School present a diverse and entertaining programme for the Next Generation Festival.

Overall, The Royal Ballet School delivers much to admire, but reminiscent of a multiple-course banquet that still leaves you reaching for the cheese and biscuits when you get home.

A very welcome visit from the Paris Opera Junior Ballet to the Linbury Theatre displays the company in a very favourable light, in a variety of works.

Ballet Central provides an extremely varied programme of new and old, classical and contemporary dance, with plenty of aplomb.

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.

American Ballet Theatre Studio Company showcase the talents of its youthful dancers in a diverse and demanding programme at the Linbury.

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.

Pimpinone was conceived as a musical interlude – or intermezzo – between acts of Handel’s Tamerlano. Here, it marks the first time a Telemann opera has been staged at Covent Garden. 

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. 

An interesting mix of classical, contemporary, hip-hop and cultural choreography graced the stage at the Linbury Theatre for International Draft Works 2025.

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. 

Osipova has always, since her very earliest appearances on stage, stood out for the sheer energy and commitment she shows in all her work. This is no exception.

“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.