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In a triple bill of contrasting choreography, Les Ballets de Monte-Carlo tackle everything with aplomb.

As we reached the end of season gala, Ballett am Rhein offered up a selection of highlights from the past four seasons in celebration of outgoing Artistic Director, Demis Volpi.

An uneven performance with mishaps and mis-pairings, yet still offering some outstanding individual interpretations.

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

I cannot sufficiently repeat that Peter Martins’ legacy will be measured by the number of outstanding dancers he has nurtured during his tenure.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

Dance, when fulfilled by such artistry as seen this evening, requires no embellishment. 

Zurich Ballet performs works by three of the twentieth-century's most foregrounding choreographers: Balanchine, Van Manen and Kylián

In the post-Wendy Whelan season, it’s Ashley Bouder’s New York City Ballet.

San Francisco Ballet's Program 7 features Tomasson's Caprice, Balanchine's The Four Temperaments and a new creation, Swimmer, by Yuri Possokhov.

How lucky I am to live in a city where I can head over to Lincoln Center and catch an entire evening’s worth of Balanchine ballets, performed by the stellar artists that make up New York City Ballet. This gift is not lost on me; I may be becoming a jaded New Yorker, occasionally cynical and impressed by little, but I feel quite a thrill attending the ballet.