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With a trio of excellent performances, Balanchine's sassy Rubies proves the hit as Jewels – a relatively recent acquisition – returns to the Wiener Staatsballett. 

A first rate account of George Balanchine's Jewels from exquisite dancing and music, to tremendous staging.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

Programming three choreographers who are always box office favourites is as sure fire a hit for Ballett am Rhein who debut this neoclassical triple bill featuring a selection of successes. 

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

Balanchine's triptych proves the perfect vehicle for The Australian Ballet to display its dazzling wares on its first post-pandemic international tour. 

A trio of audience-pleasing Balanchine ballets as a blizzard blows through New York City...

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.

The Royal Ballet’s 50th anniversary revival of Balanchine’s abstract ballet Jewels is a showpiece displaying a company of dancers in celebratory form. 

San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.

As the audience, our relationship with Körbes and Gaines as PNB dancers has ended, but the future holds new beginnings.

In the mid-1960s, a visit to renowned French jewelers Van Cleef and Arpels inspired George Balanchine to choreograph a glittering ballet. New York City Ballet premiered Jewels in April of 1967 at the New York State Theater (now called the David H. Koch Theater) and it remains a fan favorite 44 years later, delighting audiences from that same stage.

Not so many moons ago, opening night at the Opera House meant dressing up—dinner jackets, long dresses and furs, with of course, the obligatory embellishment of the family jewels. Alas, jeans, shirtsleeves and sneakers are all too often seen these days, so glamour and style must stem from the stage outwards into the auditorium.

La compagnie ouvre la nouvelle saison en célébrant la chorégraphie cinquantenaire, expression du plus pur style balanchinien, dans une interprétation virtuose et pleine d’esprit.