En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Justin Peck

Une nouvelle saison s’ouvre à l’Opéra Garnier, avec une soirée réunissant les chorégraphies de Justin Peck et William Forsythe créées l’année dernière, la création de la talentueuse chorégraphe canadienne Crystal Pite The Seasons’ Canon, et une composition sans titre de Tino Sehgal

L.A. Dance Project, collectif fondé et dirigé par Benjamin Millepied, est de retour à Paris au Théâtre des Champs Elysées avec un programme néoclassique mêlant Martha Graham, William Forsythe, Justin Peck et Benjamin Millepied.

Ce Quartet chorégraphié semble consigner les souvenirs d'enfance de George Balanchine.

Le Ballet de l’Opéra de Paris présente une nouvelle soirée néoclassique qui met à l’honneur trois générations de chorégraphes : Georges Balanchine, Jerome Robbins et les chorégraphes contemporains Alexeï Ratmansky et Justin Peck.

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

Never has Justin Peck seemed more compositionally assured, and paradoxically freer, than in his latest ballet, breaking the mold of past work that mostly celebrated the camaraderie of his generation. 

The Royal Ballet presents a triple bill of diverse works including one world premiere and one UK premiere. As per usual, the supreme roster of dancers tackles each with aplomb.

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

Atlanta Ballet began its season with a mixed bill which amply demonstrated the versatility and capabilities throughout all the ranks of the company.

New York City Ballet deliver an enjoyable, diverse, if occasionally predictable triple bill with revivals of works premiered last season.

A wonderfully varied triple bill for NYCB allowing the company to shine across all ranks.

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

An intermittently sparkling evening culminates in a thrilling explosion of art.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

It's got a lot of appeal, with a diverse range of choreography, and offering audiences the chance to see excellent dancing and even some partnerships forming from different companies.

Contemporary ballet often shies away from unabashed romance. Kyle Abraham instead leans into the love story. 

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

Over twenty-two vignettes, some long, others short, a cast of thirty pedestrianizes ballet. The work suggests that who you are matters more than what you do. 

Australian Ballet's latest triple bill features fresh young talent and new names to watch in creations by Wayne McGregor, Alice Topp and Justin Peck.

Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?

Anthony Roth Costanzo's multidisciplinary project arrives at the BBC Proms in the grungy, industrial space of Printworks London, but music seems a long way down the pecking order. 

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

Four works – one new, two older and a PNB premiere – display the company in all its imaginative versatility and fine technique.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

New York City Ballet ends its Fall Digital Season with a festival of new choreography, including works by Justin Peck and Pam Tanowitz. 

The Joffrey Ballet presents a roster of choreographers with new approaches, a positive impression for the future of ballet. 

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

An enjoyable evening of thematic dance but without any insights into the future of ballet. 

Ballets live and die by their scores – as Balanchine knew when he kept returning to Stravinsky. His Symphony in Three Movements will live forever, as will Justin Peck's The Times are Racing, to Dan Deacon's America.

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

An imperfect performance, but after Tanowitz's muddled Bartók, Balanchine's Tchaikovsky Suite no. 3 was like balm.

A triple bill of 21st-century ballets at the Koch Theater sees the return of Alexei Ratmansky's masterpiece, Pictures at an Exhibition. 

An all-Balanchine program that is remarkably energetic and free at New York City Ballet

Among the standouts at the San Francisco Ballet gala evening performance were Ana Sophia Scheller in Rubies, Sasha De Sola in Études, Benjamin Freemantle in Agon, and Misa Kuranaga and Angelo Greco in Handel-A Celebration.

Sneakers gave even the most challenging of balletic steps a freer, looser quality, as if the dancers were about to step into flight.

Contemporary Ballet is alive, thriving and pushing in Boston

Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.

From the ethereal to the galavanting, the program offered a spectrun of emotions delivered with precise technique and abandoned energy. 

This program was a good one to inspire your confidence about the future of choreography.

San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala. 

Eclectic and contemporary, The Joffrey Ballet reimagines human and kinetic beauty.

Is there anything Tiler Peck can’t do? After her just completed triumph in Swan Lake we’re obliged to say no.

The audience at Sadler's Wells welcomes Carlos Acosta like an old friend. Their whole-hearted warmth extends to embrace his fledging company Acosta Danza in its UK debut. Based in Havana, Cuba, this intrepid group of dancers is rapidly forging an international reputation. Punching above their weight they arrive in London with a programme of five contrasting works, and showcasing three choreographers from the Spanish-speaking world.

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

Open-ended works provide different angle on Ballet across America