En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sophie Martin

Ballett am Rhein open their season by bringing their programme to Düsseldorf, Soirée Ravel. Marking the 150th birthday of composer Maurice Ravel, audiences are treated to four of his most famous compositions.

Ballet Nights is more than an evening of party pieces: it showcases emerging talent alongside older favourites and, in the case of this first Scottish outing, has an eye to local tradition.

After a more traditional direction from the new leadership of Ballett am Rhein in their season opener, new programme Kaleidoskop is a mixed selection that sees a fusion of contemporary and neoclassical choreography. 

Dawson’s stripped-down production throws the impetus immediately on his choreography, whilst keeping the bones of the story clearly in sight.

Helen Pickett's slick and revealing adaptation of Arthur Miller's play receives its London premiere at Sadler's Wells. 

Sir Kenneth MacMillan's masterpiece is reimagined on a smaller scale, distilling the ballet into the essence of the personal relationships that led to the tragic events at Mayerling.

Gene Kelly's only ballet has been revived by Christopher Hampson, with an excellent twist.

Jess and Morgs continue to break the mould of tired dance films by directing their first full-length feature, which offers much more than just a different way of presenting dance.

This opener to a unique tri-city, same-day event celebrating Cunningham's centenary was a magical and tranquil collage.  

A welcome revival of Christopher Hampson's imaginative reworking of this perennial fairy tale 

The comedic Scots ditty “Donald Where’s Your Troosers?” is not your typical balletic overture, but then Matthew Bourne’s Highland Fling is not your typical Scottish Ballet production.