En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Zenaida Yanowsky

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

Tuckett's richly-integrated Elizabeth contains some superb performances but is often overwhelmed in this transition to a much larger space 

This Ashton programme at the Royal Ballet displays all the hallmarks of the Ashton style; lightness, musicality and a beautiful quality of stillness.

A career defining performance by Edward Watson, well supported by a memorable cast

A star studded programmme of works celebrating the legacy of Les Ballets Russes

An incredible musical performance - by pianists and singers - that is not well enough matched by the visual experience of cluttered creativity in which excellent dancers are often anonymous 

The Royal Ballet revives Kenneth MacMillan’s The Invitation, to great public acclaim and with excellent performances in the main roles. The programme also features McGregor's new Obsidian Tear and Wheeldon's Within the Golden Hour.

Wayne McGregor pulls together a stellar all male cast for the Royal Ballet's world première of hisnew work, Obsidian Tear. 

Christopher Wheeldon’s The Winter's Tale (created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.

Beguiled, bereaved and betrayed - William Tuckett's Elizabeth imagines the ill-fated romances of the Virgin Queen. Tuckett draws on the monarch's own writings and those of her contemporaries to fashion a full-length work, blending spoken word, dance and music to convey the tumultuous affairs of Elizabeth I. 

Many ballet fans do not find galas particularly enjoyable. We can admire our favourite dancers performing acrobatic solos, numerous fouettés and famous variations, but little space is left for the dancers to lose themselves in the roles they are playing, not to mention the limitations in terms of scenography and lighting.'Carlos Acosta – A Classical Selection' is a nice exception.

When the cast sheet warns the audience that there will be gunshots in each act, you know you are not at The Nutcracker. Kenneth MacMillan’s 1978 ballet Mayerling is famously about sex, obsession, madness and death – a cocktail that apparently sells enough tickets to ensure its regular revival at the Royal Opera House.

Last Friday, The Royal Ballet presented an exciting bill composed of George Balanchine’s iconic Apollo (1928) and two new ballets by acclaimed choreographers Alexei Ratmansky and Christopher Wheeldon. The programme was cleverly designed, since Ratmansky and Wheeldon are renowned explorers of the neoclassical style inaugurated by Balanchine.

The penultimate programme of The Royal Ballet’s season takes the audience on a journey, from a joyous celebration with seven imperially dressed ballerinas, to a summer dacha filled with tense emotions, and finally back in time to the ceremonial rites of a Russian peasant wedding.

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.