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

Anthony Tudor and Merce Cunningham provided the lighter fare in a mixed bill that featured two world premieres from Kevin Iega Jeff, a veteran of the Chicago dance scene, and Julian Donahue, a newer voice.  

Can one be artful and musical while playing at maximum volume? In a program of López, Prokofiev and Stravinsky, Rafael Payare and the Pittsburgh Symphony answer a resounding yes.

In a tremendous triple bill at New York City Center, Martha Graham’s genius and Janet Elber’s stewardship of the company into the 21st century deserve to be celebrated, loudly. 

Flora unites the Australian Ballet with Bangarra Dance Theatre in a glorious collaboration that traces loss, renewal, resilience, cultural continuity and enduring vitality of the body. 

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

At Holland Dance Festival, La compagnie Hervé Koubi were put through their paces, showcasing a dizzying display of acrobatic abilities that would rival any act in a Cirque de Soleil show.

Atlanta Ballet's Golden Hour program featured two world premieres and the Atlanta premiere of Christopher Wheeldon's Within the Golden Hour. 

Solera is a mix of experience and youth blended to create excellent vintage flamenco at London's Sadler's Wells.

George Williamson's My First Ballet: Cinderella for English National Ballet School is an absolute joy and suitable for any age group. Great family entertainment.

In this latest revival of Kenneth MacMillan’s Mayerling, The Royal Ballet presents a roster of powerful and vivid interpretations across the board.

José Martínez has envisioned a Don Quichotte that recalls the original 19th century choreography while also acknowledging some of the notable 20th century versions and it's splendid looking.

New York Theatre Ballet's long tradition of presenting condensed story ballets with exquisite production values continues despite the challenges of the current environment. Carnival of the Animals is paired with Tudor's Little Improvisations. 

Dutch National Ballet's new production of La Bayadère does away with the ballet’s problematic gestures and movements, allowing the choreography to truly shine.

Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

Viktoria Mullova is a superb soloist in Brahms' Violin Concerto, while an orchestra full of soloists play Bartók’s Concerto for Orchestra with Kahchun Wong presiding. 

Kansas City Ballet celebrate the USA’s 250th anniversary with three American ballets. Balanchine's Stars and Stripes, de Mille's Rodeo and a new work by Caili Quan, A Home Away.

English National Ballet presents a double bill of contrasts at Sadler’s Wells with startlingly mixed results, not all positive.

A stellar soloist and deft work by Semyon Bychkov put a fresh spin on familiar fare in the Rudolfinum. 

National Ballet of Japan in Kenneth MacMillan’s Manon has been revived six years after its performances were cancelled because of the pandemic. Exceptionally good interpretations led the opening night performance.

Two new works by Alexander Whitley, Mirrors and The Rite of Spring, explore society’s increasing dependency on AI in dance.

In their penultimate stop on a US tour, Ailey's second company produced exceptional performances in an Ailey classic and four handsome new works. 

A tremendous triple bill comprising Jiří Kylián's 27’52” and two new works by Robert Bondara and Marco Goecke. The programme unfolds as a meditation on transience, instability and the unpredictability of human life.

American Ballet Theatre presents Balanchine's Raymonda: Grand Pas Hongrois and Ratmansky's Firebird which showcases the company well and provides a strong contrast.

A finely curated triple bill from American Ballet Theatre included works from Balanchine, Jiří Kylián and Alexei Ratmansky.

Last seen in London in 2023, Turn It Out with Tiler Peck & Friends made a hugely welcome return with the same programme, differently ordered. 

Some of Russell Maliphant's best known, most enduring and loved works in an evening of unforgettable performances.

A last minute injury to Natalia Osipova does not mar the magic of Sir Peter Wright's Giselle as Marianela Núñez steps in to partner Patricio Revé. 

In spite of somewhat limited dance vocabulary, American Ballet Theatre showcased its strength in dance actors presenting a very enjoyable Othello in New York.

Sophie Laplane's Mary, Queen of Scots has a lot going for it, visually stunning with a pleasing score, but simplistic and overly rapid storytelling brings it to an underwhelming conclusion.

The Philadelphia Ballet transported audiences back to Belle Époque Paris with The Merry Widow, set to Franz Lehár’s beloved score (adapted by John Lanchbery) and Ronald Hynd’s spectacular choreography.

Ballet Black presents a double bill at the Linbury that showcases the strengths of its very fine dancers as well as the depth of choreographic innovation in its vast repertoire.

A hypnotic evening with two percussionists and six dancers in Noé Soulier’s The Waves, inspired by the Virginia Woolf novel.

Benjamin Millepied's Romeo & Juliet Suite for LA Dance Project, to Prokofiev sliced and diced, has arrived in New York. Stunningly staged, with a puzzling shortage of characters. 

An evening of Ronald K. Brown's choreography for his own company, Evidence, brought infectious joy and had the audience dancing in the aisles.

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter. 

The Icelandic pianist and Finnish conductor make a superb case for John Adams' latest concerto; the Philharmonia play Ravel's Daphnis et Chloé strongly but don't convince completely.

All that glistens... the world premiere of Xie Xin’s The Moon in the Ocean is the highlight of a mixed bill programme spanning 90 years of choreography. 

Rachna Nivas, Rukhmani Mehta, Dormeshia and Michelle Dorrance joined forces with top-notch Indian classical and jazz musicians to deliver an imaginative tour de force of kathak and tap.

Mám transports the viewer into another world, surreal yet identifiable at the Marlowe Theatre, Canterbury.

Wildsong presents a refreshing take on contemporary movement rooted in classical technique while revisiting a recent conceptual work of much acclaim, both performed by artists at the peak of their physical prowess.

Many world class performances to enjoy in this 20th edition of the annual Ballet Icons Gala.

A deeply psychological version of the fairytale, Jean-Christophe Maillot's Cendrillon provides ample opportunities for the whole cast to delve into their characters and rise to the technical challenges.

At the start of an ambitious cross-country tour, Alvin Ailey American Dance Theater is transcendent at Atlanta's historic Fox Theatre.

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

A lovely production of Giselle by the increasingly good and ever-growing Atlanta Ballet.

The Helsinki Philharmonic Orchestra offers up a double-serving of Tchaikovsky, with Hannu Lintu and Daniel Lozakovich, alongside the world premiere of Sauli Zinovjev's First Symphony.

Theatre of Dreams is a sumptuous smorgasbord of dance theatre rich in visual imagery and lingering in one’s imagination indefinitely.

Tenor Ed Lyon fulfils a long-held ambition to sing Monteverdi's Eighth Book of Madrigals, conducted by his former teacher, Laurence Cummings at Milton Court.

Sweet Mambo was one of those rare evenings that felt very special, unique in the sense of watching history revisited in the present day.