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What fills a large London concert hall? It could be time for a rethink.

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.

Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

Salonen and the Los Angeles Philharmonic, arguably the conductor and orchestra par excellence of Stravinsky performance, debuts the first of their three-concert series dedicated to the former Angeleno. 

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.

In the first concert of their exciting series Stravinsky: Myth and Ritual celebrating the varied musical inspirations of this most iconic figure of 20th-century composers, the focus was on Rituals. 

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. 

The closing tableau of Symphony in Three Movements is a monument to geometric abstraction that lingers in the mind long after you leave the theater, much like the paintings of Piet Mondrian.

New York City Ballet impresses in the first of their Hear the Dance: Russia , with an evening dedictaed to Stravinsky and Balanchine programme. Performed at the David H. Koch Theater, in New York. 

San Francisco Ballet presents Balanchine's ever wonderful Agon, with Brahms-Schoenberg Quartet and Jerome Robbins' Glass Pieces in Programme 8. 

Who was George Balanchine’s greatest muse? If her name is on the tip of your tongue, and you think that she must be a famous ballerina, think again. From their first collaboration in early in the 1920s, composer Igor Stravinsky inspired and challenged Balanchine with his music, starting in France and then expanding into different countries.

Famed New York City Ballet principal Suzanne Farrell lit up a New York stage once again Wednesday evening, this time with her company’s Joyce Theater debut. Ms. Farrell’s unique relationship with choreographer George Balanchine and beautiful artistry as a dancer made her a legend in the dance world; from this legacy The Suzanne Farrell Ballet was founded.

Sir Simon Rattle erkundet unbekannten Stücke und Lieder sowie Edelsteine aus späteren Schaffensperioden.

Wenn die Technik nicht mitspielen will, ergeben sich manchmal göttliche Musikmomente.

La musique de Stravinsky aurait pu être la ligne directrice de cette soirée, qui débutait avec Agon et se terminait par le Sacre du Printemps (version Pina Bausch). Mais Grand Miroir, la nouvelle création de Saburo Teshigawara, suspend le fil musical de Stravinsky par une parenthèse plus méditative : le Violin Concerto composé et dirigé par Esa-Pekka Salonen.