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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

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.

For dance companies, the National Portfolio funding for 2023-26 reveals many new names, with winners for diversity and disability and losers for established companies in London.

Pavel Kolesnikov never intended to play Bach's Goldberg Variations – such is the shadow cast by Glenn Gould – but then choreographer Anne Teresa De Keersmaeker proposed something unusual. 

Jenifer Sarver looks at the disturbing short stories, which, ironically, inspired two of the lightest confections of the ballet repertoire: The Nutcracker and Coppélia.

The Artistic Director of English National Ballet reflects on her company's lockdown achievements and discusses her first foray into choreography to revive a 19th-century classic. 

Has lockdown made Hofesh Shechter more reflective? More political? A better teacher? Has he taken the time to compose? Read our interview to find out...

The founder of La Veronal has been busy during lockdown and he's now back in the studio. He tells us what's coming up.

In conversation with Bence Vági, founder and artistic director of contemporary circus ensemble Recirquel.

Benjamin Freemantle, newly minted soloist at San Francisco Ballet, tells us about some memorable roles, about his ventures into choreography, and how he's trying to make a difference. 

Parisians with an appetite for contemporary dance have been lucky this Spring, with two opportunities to see the work of Hofesh Shechter. In between rehearsals, Bachtrack writer Laurine Mortha caught up with him

With seven new productions under the title "Alles was Recht ist" (All things just) the Bayerische Staatsoper promises an exciting new season.

Thirteen years after its restoration - and at the grand old age of 140 - Sylvia might, at last, be free of her jinx. Discover the complex history of Léo Delibes' ballet, written here by Graham Watts.

Going from strength to strength under the leadership of Tamara Rojo, English National Ballet presents MacMillan's Song of the Earth as part of nationwide celebrations of the choreographer's formidable legacy.