En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Carlo Di Lanno

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

In Helgi Tomasson's production, Michael Yeargan’s scenic design and the late Martin Pakledinaz’ sumptuous costumes create a scene so charming, you just want to climb inside and stay in that world all evening and beyond.

An exciting London season closes with a glimpse of where ballet is headed, San Francisco style. 

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

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.

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.

Benjamin Freemantle danced the opening solo, gorgeously, in the role of the grandfather as a dreamy young Adonis. 

Unbound by restrictions, they’ve been given free rein to create, implement and demonstrate to the world what contemporary ballet looks like. Hint: it looks great.

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.