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The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

Thomas Søndergård make his Cleveland debut with the unabridged 1910 version of Stravinsky's score, while Britten’s Violin Concerto opened with an excellent Stefan Jackiw.

Slick editing and filming of an exhilarating and uplifting performance conducted by Hamish McKeich in Wellington. 

A family treat as Stravinsky's Firebird is played – and painted – in the Paris Philharmonie. 

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

The Philadelphia Orchestra's principal guest conductor offered a typically diverse program of Stravinsky, Peter Lieberson and Lera Auerbach.

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

Works by Stravinsky and Mozart launched this year’s Lucerne Festival, whose theme is “Childhood”.

A youthfully fresh corps and Victor Estévez hold together this uneven double bill, with Acosta’s troubled Carmen demonstrating the challenges of adapting opera to ballet.

The Royal Ballet of Flanders presents in Madrid's Teatros del Canal an attractive triple bill with works by its Artistic Director Sidi Larbi Cherkaoui (Firebird and Faun) and the Canadian choreographer Crystal Pite (Ten Duets on a Theme of Rescue)

In a selection of modern and balletic works spanning several decades, the Australian Ballet pays tribute to one of Australia's best-loved choreographers.

Rimsky-Korsakov literally wrote the book on orchestration. In this splendid LPO concert tracing Stravinsky’s music, Vladimir Jurowski focused on the composer’s debt to his friend and mentor.

Stravinsky's Firebird leads a survey of the musical avant-garde at the outset of the modern era by François-Xavier Roth and the Boston Symphony.

Firebird, Petrushka and The Rite of Spring in one evening: superb, unforgettable storytelling.

With barely time for coffee and baklava after the Orchestre Pasdeloup's Arabian matinee, I stepped boldly back into the harem for a rendezvous with the Orchestre National du Capitole de Toulouse. 

Dutch violinist Simone Lamsa stole the show with a revelatory account of Shostakovich’s Violin concerto no. 1 while Tung-Cheih Chuang delivered a cracking Firebird Suite. 

From dawn to nightfall in picture-postcard Spain followed by a detour to Kastchei’s magic garden, the Philharmonia didn’t stint on local colour.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

The flagship National Youth Orchestra of Scotland delights the home crowd in a Road to the Proms concert with impressive dance from Romeo and Juliet, the complete Firebird and an astonishing performance of Tchaikovsky’s Second Piano Concerto.  

Nagano and the Orchestre Symphonique de Montréal imbued programmatic works with a sense of excitement, sprinkling the magic dust that brought each works’ characters to life.

As Valery Gergiev's tenure comes to an end, the LSO presented a concert of the repertoire he is most a home in, to thrilling results. 

The monumental shadow of Pierre Boulez loomed rather too large over Ravel's Left Hand Concerto and the full Firebird in François-Xavier Roth's detailed readings.

City of Light: Paris 1900-1950 was the stimulus behind an evening of impressive performances of inspirational music by Ravel and Stravinsky.

Esa-Pekka Salonen infused his rendition of L'Oiseau de feu with air rather than fire. I’ve come to expect passion and urgency from performances of the complete ballet, but his splintering silences and startling dynamic shifts lent a unique tone to the work.

Sir Simon Rattle and the Berlin Philharmonic kicked off their eight-day residency at Carnegie Hall with vodka instead of champagne.

It's a bittersweet season, as Wendy Whelan retires in a few weeks, but New York City Ballet looks set for another golden era, with a cast of terrific dancers!

One of the most anticipated Proms of the season was met with queues snaking down Prince Consort Road, resulting in a packed Arena – the Berliner Philharmoniker has that effect. 

Alexei Ratmanksy's Concerto DSCH is the highlight of a meaty programme, also featuring Fokine's 1910 Firebird and Ashton's Marguerite and Armand

For their final season concert, Morlot leads the Seattle Symphony in an ambitious programme of all three of Stravinsky's pre-WWI scores for the Ballets Russes.

Jaime Robles reviews opening night of San Francisco Ballet's Program Six with choreography by Mark Morris, Helgi Tomasson and Yuri Possokhov.

English National Ballet marks the centenary of the beginning of the First World War with Lest We Forget, with new choreographies by Liam Scarlett, Russell Maliphant and Akram Khan. 

Dutch National Ballet's Fairytales is fantastic night out for all ages. Anna Tsygankova as the title role in Firebird and Remi Wörtmeyer as Puck in The Dream stun their Dutch audience with their athleticism and expressiveness. At Amsterdam Muziektheater. 

Carla Escoda reviews the opening night of San Francisco Ballet's Program 3, a mixed bill reviving Yuri Possokhov's Firebird, Christopher Wheeldon's Ghosts, and the Kingdom of the Shades scene from La Bayadère, at the War Memorial Opera House.

Ballet studio Architanz held a gala with two world premieres and also a farewell performance to the beloved star Robert Tewsley. 

The Dallas Symphony, now in its sixth season under Music Director Jaap van Zweden, welcomed his predecessor Andrew Litton back to conduct a weekend of Stravinsky and Saint-Saëns (music from two ballets and a violin concerto, respectively).

“Gergiev, your silence is killing Russian gays!” Activists from Queer Nation had disrupted opening night at the Metropolitan Opera three weeks ago, and with demonstrations outside it was almost inevitable that the same protests would accompany the start of the Mariinsky Theatre Orchestra’s three-concert stay at Carnegie Hall.

Poor Ravel: even in death his significant talents are overshadowed by Debussy. Barely had the ink dried on his orchestrated Rapsodie Espagnole before it was eclipsed by the emergence of his iconoclast friend and rival’s equally Hispanic-tinged suite Iberia and, over 90 years on, the programme notes to Prom 48 contain a detailed discussion on whether Ravel’s legacy has been obstructed by his contem

Like the casket-full of pearls with which the concubines bribe the chief eunuch in Scheherazade, a lavishly decorated curtain reveals the jewels of the Russian Seasons of the XXI Century at the London Coliseum. Andris Liepa, a former Bolshoi Ballet dancer now turned impresario, has adopted the role of a contemporary Diaghilev and brought precious choreographies and artists to London.

The great impresario Sergei Diaghilev faced many challenges when presenting his Ballets Russes in Paris at the turn of the 20th century (remember the near riot at the première of Le Sacre du Printemps?), and some things never change.

The Los Angeles Philharmonic Orchestra’s residency at the Barbican has been a huge success. Rather than churn out time-honoured family favourite pieces of classical music, the orchestra has seized the opportunity to showcase its prowess in the performance of new music – three European premières including John Adams’ powerful passion-oratorio The Gospel According to the Other Mary, as well as Claud

One can be forgiven for expecting that a Sunday afternoon concert should consist of light classics to which one doesn’t need to apply too much mental exertion. The works in yesterday afternoon’s performance by the MET Orchestra under music director Fabio Luisi were anything but light. In fact, I suspect that the electrifying energy of the concert would be enough to keep me going for a long time.

Spring has sprung in London, and there was a definite taste of nature and things new abounding at the Coliseum in the first of two programmes by English National Ballet. In Beyond Ballets Russes 1 there is a ‘newly hatched’ bird, two very different ‘faunes’ and a freshly outfitted pagan ritual to the god of spring.

If only every orchestral concert were as thoughtfully programmed as the Saint Louis Symphony’s last Saturday. David Robertson led his orchestra in Debussy’s Printemps, an ingratiating early work; the Carnegie Hall premiere of Quatre Instants by Kaija Saariaho with the irrepressible soprano Karita Mattila; and the full-length version of Stravinsky’s Firebird.

The more intriguing a piece's title, the more interesting the endeavour to explore its connection to the compositional process. The Orchestre Symphonique de Montréal, under Kent Nagano, opened their Edinburgh Festival concert with a shimmering piece by Tōro Takemitsu (1930-1996).

For all the criticism that the British press has thrown at the Diaghilev Festival, especially regarding authenticity of the choreography, there is no denying that the general public has been wowed by what they have seen this past week in London.

It was in 1992 that former Bolshoi Ballet superstar Andris Liepa decided it was high time to return the fabled works of Serge Diaghilev’s Ballets Russes back to Russia, where, due to the yoke of communism, its people had never had the opportunity of seeing them.

Sergei Diaghilev, founder of the Ballets Russes Company, was an extraordinary talent who revolutionised ballet and opera through his innovative use of music, design and choreography. The Diaghilev Festival at the Coliseum celebrates his achievements with three programmes of lost and more familiar work showcasing Russian star performers and dancers from the Kremlin Ballet Theatre.

Last night’s concert with the RPO under the baton of Artistic Director Charles Dutoit began with Mussorgsky’s orchestral showpiece, Night on a Bare Mountain. The piece describes the dreadful antics of three witches as they await the Devil’s appearance on a spooky mountain top.