En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jules Perrot

La représentation du lundi 6 octobre, dédiée à Patrice Bart décédé quelques heures plus tôt, restera dans les mémoires des spectateurs présents ce soir-là, Sae Eun Park remportant un triomphe dans le rôle-titre.

De ce ballet vieux de bientôt deux siècles, les hommes sont soit absents soit médiocres. Les femmes, elles, passent à la postérité, unies dans l'au-delà. L'acte II offre un grand moment de sororité.

Giselle, emblème du répertoire romantique du Ballet de l’Opéra de Paris, brille de nouveau à l’Opéra Garnier, magnifiquement interprété par les étoiles Dorothée Gilbert et Mathieu Ganio et un corps de ballet d’une grande sensibilité.

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

ABT's Giselle was the kind of glamorous, old-school ABT night of yore. You sensed the entire company leveled up for the occasion. One hopes that Smirnova will return in the future.

National Ballet of Japan has revived their production of Giselle, ahead of their tour to the Royal Opera House in London, replicating the triumphant success it had in 2022.

English National Ballet give a meticulous account of Mary Skeaping's glorious Giselle.

An emotional farewell provides an indelible delight, as Jurgita Dronina retires from the stage to take up the position of artistic director of Lithuanian National Ballet.

English National Ballet dance an old classic in a new light.

A mix of world class performances and interesting new choreography is a bit of a magnet for ballet-goers.

The ballet’s second act, following Giselle’s death, is set in a spooky, mystical realm, precisely the kind of thing that so intrigued its 19th century audiences and made this ballet an instant classic.

The dancers of the United Ukrainian Ballet succeeded on all fronts, which bodes well for its future. Hopefully Giselle is just the beginning for this company.

The finale had Osipova wrapping herself in the area rug like a mummy and rolling on the stage floor. It wasn’t even a guilty pleasure. It was just bad.

NBJ's season opens with a successful new production of the 19th-century classic Giselle, directed by Miyako Yoshida and choreographed by Alastair Marriott.

An engaging and emotionally authentic rendition of the 19th-century classic features Kaleena Burks in the title role.

The first Fracci Gala at the Teatro alla Scala celebrates the memory and the stature of a child of the house, who not always considered so in life. 

This wonderful ballet has never looked better at The Royal, especially in the remarkable performance of Natalia Osipova.

It’s only her third performance of role, and her New York debut, but it was so polished that Brandt immediately jumped to our writer's personal short-list of great Giselles.

A complete roster of principal dancers appear in a gala full of the joys of spring. 

A performance of Giselle that was touched by the teaching of one of its greatest exponents, Carla Fracci.  

An evening of sparkle and bravura at London's international ballet gala. 

The welcome return of a thoughtful interpretation of this much-loved ballet  

Based on a story published by Heinrich Heine in 1834, Giselle has long stood as a front runner in the classical ballet canon.

Organised by Berlin State Ballet audience’s darling, the principal dancer Polina Semionova, the gala Polina & Friends and its stellar cast literally left the house roaring from enthusiasm.

Peter Wright's evergreen production continues to delight led by a defining performance by Marianela Nuñez in the title role .

Anette Delgado and the Ballet Nacional de Cuba’s corps de ballet boost Giselle in Madrid.

Washington Ballet's Giselle under the new directorship of Julie Kent

A first-class, five-star evening made even more exceptional by the extra gift of Cojocaru’s masterclass

Giselle is a story of love and loss, words left unspoken and the pain of regret. The Australian Ballet's tragedy is a beautifully poignant representation of human emotion.

International Ballet stars come together on stage in London to honour the late legendary Russian ballet dancer Maya Plisetskaya.

The Royal Ballet's Giselle is classical ballet at its best, paying deep reverence to the original with some of the heavier elements refreshed. Excellently performed by Sarah Lamb and Matthew Golding. 

Unlike some contemporary Giselle being performed in the West, National Ballet of China’s version harks back to the delicacy and romance of the 1841 original. The choreography performed at Beijing’s NCPA last Friday was strikingly beautiful, wonderfully capturing the profound emotion of the piece. 

San Francisco Ballet's Giselle brought enthusiastic Beijingers out in hordes to see Yuan Yuan Tan in the title role at the National Center for the Performing Arts on Friday night. 

Rebranded Silicon Valley Ballet, the former Ballet San Jose makes history with its première of Alicia Alonso's Giselle, a US première from National Ballet of Cuba that seduces and enthralls.

The National Ballet of Cuba performs Dame Alicia Alonso's Giselle at the 24th International Festival of Ballet in Havana.

The opening dance programme of this year’s Hong Kong Arts Festival was Giselle, performed by La Scala Ballet, who made a welcome return to Hong Kong after seven years. Reviewed by Kevin Ng at the Hong Kong Cultural Centre.

They’re finally here, back in London to wow audiences once again with their scintillating dancing. The darlings of the ballet world, Natalia Osipova and Ivan Vasiliev last appeared together in the capital two summers ago, and a few months later sent shock waves like the aftermath of an earthquake around the dance community when they announced that they were leaving their alma mater, the Bolshoi Ba

It would be hard to find someone who has not heard of Anna Pavlova. The name alone conjures up words such as elegant, visionary, iconic. Her acclaim results from a career in ballet spanning over 30 years, in which she had a tremendous influence over the world of classical dance and earned her place as one of the finest Russian ballerinas in history.

If you’re a regular theatergoer you may notice a discreet sign in the lobby when you show your ticket at the door. A slip of paper inserted in your program catches your eye, “In this evening’s performance of Giselle, the role of...” Your heart sinks: an understudy.No one wants to hear that a cast member in any production is unable to perform, especially not when it’s due to injury.

The Russian ballerina Galina Ulanova is a true legend in the world of classical ballet. Her dramatic interpretations plumbed deep into the human soul and revealed its full gamut of emotion and poetic beauty.

In these tough economic times, it is a rare thing for ballet companies to consider staging a new full-length dramatic production. But Staatsballett Berlin has been brave enough to take the plunge, and on April 9th premiered La Esmeralda, an old-fashioned Russian masterpiece, and proved that their decision had been a good one.