En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Alexei Ratmansky

L’American Ballet Theatre inaugure la saison 2016/2017 de l’Opéra de Paris en proposant une nouvelle version de La Belle au Bois Dormant signée en 2015 par Alexei Ratmansky souhaitant restaurer l’esthétique de la chorégraphie de Marius Petipa de 1890.

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.

La représentation s’est ouverte sur le défilé de l’école de danse et du ballet, cortège pompeux et bien hiérarchisé de danseurs qui progressent en rang les uns après les autres, en costumes académiques et tutus blancs. L’exercice soumet les étoiles de l’Opéra, qui saluent seuls, au jeu cruel de l’applaudimètre et n’est pas toujours le bon reflet de la qualité de leur performance.

Christopher Marney has once again brought together a group of outstanding dancers, superb coaches and brilliant choreography to produce an evening of thoroughly absorbing dance.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

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

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

In a triple bill of contrasting choreography, Les Ballets de Monte-Carlo tackle everything with aplomb.

Just as there can never be a bad performance of Serenade, there are no bad performances of In the Upper Room. It practically dances itself.

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

A startling, provocative contrast between two works in the Fall for Dance Festival opening program this season. And glimpses of Aran Bell when he's not being princely.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

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

A strong opening to ABT’s fall season, the company often seemed stagnant in the last years of Kevin McKenzie’s directorship. It is now more exciting. New leadership, new faces.

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

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

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.

Which choreographer's adaptation of A Midsummer’s Night Dream is superior, Ashton or Balanchine? This season, New Yorkers get to compare as ABT revives Ashton's The Dream as part of its Fall season. 

American Ballet Theatre kicks off its fall season with Ratmansky's culinary creation based on the two-act 1924 ballet, originally created as Schlagobers. 

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?

A new-old interpretation of Giselle choreographed by Alexei Ratmansky heralds the birth of a new company drawn from ballet dancers from war-torn Ukraine. 

Tres coreografías de registros estilísticos homogéneos, pero capaces de reservar sorpresas gracias a las cualidades y el buen quehacer de la Compañía Nacional de Danza. 

Alexei Ratmansky's Ancient Greek take on Bolshoi-style dram-ballets gets its New York premiere as part of American Ballet Theatre's summer season at the Met.

A lovingly reproduced historical reconstruction, but is it enough to connect with modern Australian audiences?

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

An assortment of oddments from the repertoire to honour seven departing PNB dancers.

Two new works continue PNB's adventurous antidote to the loss of live performance. 

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.

Osipova has completely shaken away any inhibitions of classical training to dance more freely than ever before.

A mixed evening at the Koch Theater, with ABT shining in Ratmansky and a new Twyla Tharp creation, but struggling in Balanchine. 

Natalia Osipova and David Hallberg's combined star power transcend this mixed bag of contemporary and classical dance.

This bright, brief and breezy production is occasionally hard to follow, but nonetheless soaked in rustic charm.

If the audience response was not very enthusiastic, it's because Ratmansky's Sleeping Beauty four years after its premiere still comes across as more of a museum piece than a living, breathing ballet. This is a Beauty that never really wakes up.

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

The Seasons is overstuffed, uneven and way too busy. There are so many steps, but they rarely made me "see the music". It was a frustrating ballet, with so many lovely moments that were less than the sum of its parts.

Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.

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

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

The Staatsballett jumps into the opulence of the past with Alexei Ratmansky’s reconstruction of Marius Petipa’s choreography of La Bayadère at the Staatsoper Unter den Linden

Who knew that children were subject to shoe fetishes?

Fresh energy and vibrant comedy marks the Trocks' return to the UK  

Ratmansky's staging is more than a reconstruction. It's a staging that's moving and joyful in its own right.

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.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

There is some good dancing in Benjamin Millepied's I Felt the Earth Move but it missed the mark as far as emotional content is concerned.

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

How does one condense a Tolstoy epic for the stage? In Anna Karenina, choreographer Alexei Ratmansky focuses on the three central characters, filleting the novel to its bare essentials.