En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | George Balanchine

Entre une pièce des années 1950 de Balanchine et les deux créations récentes des chorégraphes Mthuthuzeli November et Christopher Wheeldon, le programme mixte néo-classique produit un effet mitigé.

Le Ballet de l’Opéra de Paris intègre deux nouvelles pièces du maître à son répertoire : Ballet Impérial et Who Cares?, qui donnent à voir deux facettes emblématiques du chorégraphe.

Le Ballet de l’Opéra de Paris reprend la chorégraphie shakespearienne de George Balanchine de 1962, pourvue pour l’occasion d’une nouvelle mise en scène et en costumes signée Christian Lacroix.

La musique de Stravinsky aurait pu être la ligne directrice de cette soirée, qui débutait avec Agon et se terminait par le Sacre du Printemps (version Pina Bausch). Mais Grand Miroir, la nouvelle création de Saburo Teshigawara, suspend le fil musical de Stravinsky par une parenthèse plus méditative : le Violin Concerto composé et dirigé par Esa-Pekka Salonen.

La compagnie ouvre la nouvelle saison en célébrant la chorégraphie cinquantenaire, expression du plus pur style balanchinien, dans une interprétation virtuose et pleine d’esprit.

Le Ballet de l’Opéra de Paris rend hommage au compositeur Maurice Ravel dans un superbe moment musical, magnifiquement dirigé par le jeune chef d’orchestre Maxime Pascal. 

Si Le Songe d’une Nuit d’Eté a souvent été dansé à l’Opéra de Paris, la version chorégraphiée par George Balanchine en 1962, au répertoire de nombreuses compagnies, n’avait encore jamais été présentée au public parisien. 

Cette soirée est l’occasion de redécouvrir Balanchine et sa conception des ballets qui s’ancrent dans le corps, la personne et l’âme des danseurs pour les sublimer de façon graphique.

Le New York City Ballet est à l’affiche de la douzième édition des Etés de la Danse au Théâtre du Châtelet. Cette participation est une première attendue de longue date, alors que le festival a déjà accueilli de nombreuses compagnies américaines.

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.

Une célébration de la danse néo-classique techniquement bien exécutée, dont on aurait aimé une interprétation plus vibrante.

Le programme intitulé Balanchine/Millepied réunit ce mois-ci deux œuvres néoclassiques, Le Palais de Cristal, créé pour l’Opéra de Paris en 1947 et Daphnis et Chloé, dans une nouvelle chorégraphie composée cette année par Benjamin Millepied.

An evening of sublime dancing, the Festival of Two Worlds in Spoleto, presented a Dance Marathon of electric performances, supreme quality and memories to cherish.

Birmingham Royal Ballet (BRB) close their 25/26 season with an ambitious triple bill running for just four performances on their home turf at the Birmingham Hippodrome.

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

Megan Fairchild pours her heart into her final performances of Coppélia at New York City Ballet.

Concerto Barocco and The Goldberg Variations make an unbeatable, timeless pairing at New York City Ballet. 

A triple bill comprising Balanchine's Symphony in C, Agon and Firebird could not have been more inspiringly danced by New York City Ballet.

Kansas City Ballet celebrate the USA’s 250th anniversary with three American ballets. Balanchine's Stars and Stripes, de Mille's Rodeo and a new work by Caili Quan, A Home Away.

American Ballet Theatre presents Balanchine's Raymonda: Grand Pas Hongrois and Ratmansky's Firebird which showcases the company well and provides a strong contrast.

A finely curated triple bill from American Ballet Theatre included works from Balanchine, Jiří Kylián and Alexei Ratmansky.

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter. 

All that glistens... the world premiere of Xie Xin’s The Moon in the Ocean is the highlight of a mixed bill programme spanning 90 years of choreography. 

With a trio of excellent performances, Balanchine's sassy Rubies proves the hit as Jewels – a relatively recent acquisition – returns to the Wiener Staatsballett. 

National Ballet of Japan's Ballet Coffret showcased the versatility of the company with modern classical works including Dawson's A Million Kisses to my Skin, van Manen's 5 Tangos and Balanchine's Theme and Variations. 

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. 

Established in 2024, Paris Opera Junior Ballet has been touring extensively since early 2025, with Bonn’s Opera House the latest stop.

The Dutch National's Junior company dazzled in three new works and a Balanchine classic, showcasing the stars of tomorrow.

NYCB has a winning triple bill with its Balanchine + Ratmansky program. Excellent dancing and contrasting works sends the audience home in buoyant mood.

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.

American Ballet Theatre presented a well balanced program of Nuñes, Ratmansky and Balanchine which produced some revelatory performances.

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

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.

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

A very welcome visit from the Paris Opera Junior Ballet to the Linbury Theatre displays the company in a very favourable light, in a variety of works.

American Ballet Theatre Studio Company showcase the talents of its youthful dancers in a diverse and demanding programme at the Linbury.

Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

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.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

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.

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

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

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

At the New York City Center, where founder Arthur Mitchell became a star, Dance Theatre of Harlem delivered a diverse program of works by Balanchine, Forsythe, Garland and Jodie Gates.

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer.