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Le chorégraphe belgo-marocain parle de l'exploration des multiples facettes de son identité à travers la danse, et explique comment il s'est emparé de la musique de Johann Strauss II pour son Bal impérial...

La nouvelle rédactrice en chef de la section danse de Bachtrack a eu une carrière remarquable de danseuse, travaillant avec Rudolf Noureev comme Margot Fonteyn ou encore Alicia Markova.

Depuis la fin du dix-neuvième siècle, une quantité d'écoles et compagnies ont été fondées par des femmes, à l'origine d'un grand nombre de créations capitales dans l'histoire de la danse...

Le directeur artistique du Ballet Royal de Flandres nous revient sur les débats et l'inspiration du confinement et sur la nécessité de réinterroger en permanence la culture.

Artiste associée du KVS (Théâtre royal flamand), la co-fondatrice de la compagnie de danse-théâtre belge Peeping Tom revient sur les bouleversements causés par la pandémie et ses conséquences sur les productions à venir.

Co-directeur du CCN2 (Centre chorégraphique national de Grenoble) depuis 2016, Rachid Ouramdane revient sur la façon dont la pandémie a affecté sa façon de produire et de créer de l'art.

Suivez les stars du ballet dans leur quotidien entre quatre murs, souvent en bonne compagnie : les pointes sont de sortie mais également un arbre à chat, un aspirateur, une quiche lorraine...

Avec la réouverture du Grand Théâtre et une Tétralogie, la dernière saison de Tobias Richter conclut en beauté un mandat qui aura duré 10 ans.

Le Ballet Royal du Cambodge sera à la Philharmonie de Paris les 18 et 19 mai prochains. Retour sur l'histoire de cette compagnie immortalisée par Rodin et désormais inscrite au patrimoine immatériel de l’humanité.

Co-fondatrice de la compagnie Peeping Tom aux côtés de Franck Chartier, Gabriela Carrizo présente sa nouvelle création Moeder (Mère), deuxième volet d’un triptyque autour des portraits familiaux du père, de la mère et des enfants, sur les scènes européennes

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Liam Francis talks openly about creating a new dance company, finding his choreographic voice, successes and insecurities, and a circuitous route to securing a life in dance.

Birmingham Royal Ballet’s Jonathan Payn talks about The Green Table by Kurt Jooss, first performed in Paris in 1932 – and how choreography can respond to political collapse and the threat of war. 

Amanda Britton, Artistic Director of Rambert School, talks about an exchange and collaboration between the Rambert School and Juilliard to create a new work by Wayne McGregor, a unique project.

We sit down with Ballet Black’s artistic director Cassa Pancho and dancers Isabela Coracy and Ebony Thomas, to discover the challenges and achievements of the company’s first 25 years.

A century after its founding in 1926, former members of Ballet Rambert recall the joys and challenges of working directly with Dame Marie Rambert, one of the trailblazers of British ballet.

The great ballerinas of the 19th century were perhaps the first modern celebrities. Rather than bare all, their images cultivated a mysterious, supernatural aura that made them seem unattainable.

Birmingham Royal Ballet soloist Sofia Liñares talks about the joys and fears of dancing multiple roles and performances of Sir Peter Wright’s The Nutcracker.

Choreographer Kim Brandstrup talks about his remarkable collaboration with the Orchestra of the Age of Enlightenment, and a group of professional hip-hop dancers and students from Camden’s Acland Burghley School.

As Ballet Teatro Colón celebrates 100 years, Julio Bocca, its new artistic director reveals how he wants to tour the company internationally, broaden the repertoire and encourage new audiences.

Choreographer John Neumeier talks about his work with Czech National Ballet and his ballet Liliom, on keeping ballets alive, 54 years as a director and the importance of working closely with individuals.

With many new full-length dance works to look out for in the new season, we preview several anticipated new creations from leading choreographers – including a number with newly commissioned scores.

Bachtrack’s Dance Editor Deborah Weiss picks ten young dancers who made a deep impression last season, and what to expect from them in 2025–26.

Alina Cojocaru talks about the magical process of creating new roles, working with great choreographers and how, in spite of a long career, she is still learning every day.

Ravel’s first ballet Daphnis et Chloé is an overwhelming sensory experience – but its birth as a production choreographed by Mikhail Fokine for the Ballets Russes was not without complications...

Miyako Yoshida talks about her deep connection to Giselle, bringing her own production to London with the National Ballet of Japan, and the challenges of being an artistic director.

Choreographer Eyal Dadon talks about his latest work for the Czech National Ballet, seeking to capture the complexity – and catastrophe – of contemporary life.

In one of the most incredible career journeys, Maria Seletskaja talks about her move from full time ballerina with Royal Ballet Flanders to becoming English National Ballet’s new Music Director. 

Lynne Charles tells us why she has become passionate about teaching and why the mix of contemporary and classical choreography requires an urgent rethink of training and injury prevention.

A tribute to a much-loved and highly respected principal of the Mariinsky Ballet, who died at the tragically early age of 39.

Sir Matthew Bourne talks about his passion for storytelling in dance, and his own personal journey with his radical gender-flipped Swan Lake.

Arielle Smith talks frankly about expectations, levelling the playing field, her passion for the art form and the importance of music as a starting point.

As Nina Ananiashvili brings the State Ballet of Georgia to London for the first time in its 175-year history, she explains what her directorship of 20 years has meant to her.

The choreographer and creative director of the Estonian National Ballet School, Teet Kask, talks in great depth about training, thinking consciously about authentic movement and his current projects.

The original cast of principals – and current interpreters – discuss the joys of working with the late choreographer Sir Frederick Ashton, and the great legacy he has left to today’s dancers.

The great ballerina Alessandra Ferri talks with candour about her long career and how excited she is to become Artistic Director of the Vienna State Ballet.

Beginning as a teenage b-boy in Mumbai, Manish Chauhan has managed the almost-impossible – to become a ballet principal, a transition featured in Netflix’s documentary Call Me Dancer.

The new director of San Francisco Ballet talks candidly about adapting to a new role, and the challenges and pleasures of living and working in California.

Former Royal Ballet principal, Graham Fletcher, fondly remembers a highly unusual experience with Rudolf Nureyev on The Muppet Show.

A message of fondness to all Nutcracker lovers: the music still works its magic, even after hundreds of performances. 

The Artistic Director of Sadler’s Wells talks candidly about his unwavering love for encouraging new dance, his visions for the future – and how much of himself he sees in Mick Jagger.

Choreographer David Dawson talks about emotional physicality, dance as a journey – and how dancers are “always in a state of becoming something else”.

The competition attracted around two hundred competitors from 18 countries, culminating in a gala that belonged to the aspiring young dancers who filled the evening with their hope and joy.

Spanish choreographer Avatâra Ayuso talks candidly about fellow choreographer Bronislava Nijinska, historical misogyny within the dance sector, and what we are doing about it today.

Europe’s newest ballet school – attached to Hungarian State Opera in Budapest – prepares a version of Tchaikovsky and Petipa’s classic, designed expressly for young dancers.

Anna Hop has already become a choreographer of some note, but combines it with a full-time job as a member of Polish National Ballet’s corps de ballet.

With ten new productions and a ballet world premiere, the 2023–24 season at Zurich is the opera gastronome’s delight.

Tom Pye has drawn inspiration from the magical fairytale illustrations of Edmund Dulac and Arthur Rackham with his new set designs for Frederick Ashton's Cinderella.

What is it about classical ballet that makes it so enduring? Darcey Bussell, Cynthia Harvey and Aaron S. Watkin give their views on the continuing importance of classical dance.

British dancer Rebecca Haw runs an agency giving guidance to young dancers auditioning for places in ballet companies. She describes the impact Brexit has had on British dancers.