Live, Video: Find classical music concert, opera, ballet and dance reviews | Diamonds

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

An adventurous triple bill of vintage works new to Norway. 

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. 

An evening of sparkle and bravura at London's international ballet gala. 

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

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

It’s all there: flashy extensions whipped into ecstatic heights, bravura speed and precision, intricate entanglements of dancers, whimsical wit and the loving nod to an adulation of Woman.

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

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.

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.