En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mikhail Fokine

Après près de trente ans, la compagnie fondée en 1926 par la chorégraphe Martha Graham remonte sur les planches de l’Opéra Garnier. Pionnière de la danse moderne, la chorégraphe a laissé derrière elle un répertoire de plus de cent cinquante œuvres qui ont profondément marqué l’histoire de la danse. 

An uplifting triple bill by American Ballet Theatre with three contrasting ballets. Especially entertaining were Tudor's Gala Performance and Agnes de Mille's Rodeo.

Carlos Acosta devises a programme of Ballets Russes highlights to celebrate Serge Diaghilev and to showcase the young dancers of Birmingham Royal Ballet’s junior company, BRB2. 

While National Ballet of Japan’s latest triple bill presents many challenges, one hopes these valuable masterpieces will be revived, enabling the company to develop its virtuosity and artistry.

Ballet Nights offers a wonderful variety of dancing and genres. Whatever your preference, there are quality performances to enjoy.

With five founding dancers in BRB2, this inaugural dance salad was embellished with other ingredients including the addition of seven members from the main company. 

Ivan Putrov, who has enjoyed a long career based in London, brings dancers from his homeland for a special London gala. 

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

Mit drei Uraufführungen zeigt dieser Abend, dass die Herausforderung zu Reaktionen zwingt und Neues hervorbringen kann.

Beatrice Rana and Mario Brunello provide live music for seven internationally renowned dancers, including Paris Opéra Ballet’s Hugo Marchand and Spanish flamenco whizz Sergio Bernal, at the 15th-century Rocca Brancaleone.

The Abay Kazakh State Ballet brings two Mikhail Fokine works – Chopiniana and Scheherazade – to the London Coliseum.

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

As well as keeping the musical, choreographic and theatrical treasures of the Ballets Russes alive, En compagnie de Nijinsky reignites the company’s avant garde-ist vision.

A youthfully fresh corps and Victor Estévez hold together this uneven double bill, with Acosta’s troubled Carmen demonstrating the challenges of adapting opera to ballet.

The Royal Ballet of Flanders presents in Madrid's Teatros del Canal an attractive triple bill with works by its Artistic Director Sidi Larbi Cherkaoui (Firebird and Faun) and the Canadian choreographer Crystal Pite (Ten Duets on a Theme of Rescue)

In a selection of modern and balletic works spanning several decades, the Australian Ballet pays tribute to one of Australia's best-loved choreographers.

Superstar husband-and-wife team, renowned violinist Vadim Repin and "tsarina of the dance" Svetlana Zakharova, go on a date and take us with them. The music fared much better than the ballet.

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.

Once again, Scottish Ballet produces another winner for the Edinburgh Festival Theatre with a double bill of ballets set to the emotive otherworldly harmonies of composer, Igor Stravinsky.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

The Sadler’s Wells Sampled evening had the whole building buzzing and dancing with a show of bite size dance appetisers for all tastes and also includes several extra activities.

Isabella Boylston, Cassandra Trenary and Herman Cornejo are exemplary in Mark Morris's new After You, a ballet of simple grace.

Las Sílfides, Celeste y Carmen se juntaron bajo el mismo techo para deleite de quienes aman este arte y pocas veces pueden apreciar estilos diferentes con los mismos protagonistas.

A double bill at the Birgitta Festival staged Scheherazade and the Polovtsian Dances, both performed in costumes and on sets based on the original designs dating from around 1910.

Of all the dance companies I’ve seen in the past year, this is the one I would most like to see over and over again.

Ballet studio Architanz held a gala with two world premieres and also a farewell performance to the beloved star Robert Tewsley. 

On Friday, American Ballet Theatre gave us two Shakespearean reveries, José Limón’s Moor’s Pavane and Alexei Ratmansky’s new Tempest, and the contrast served neither well. Limón’s tightly structured, minimalist meditation on the theme of jealousy in Othello was partly overshadowed by the glittering spectacle of The Tempest.

Thursday night belonged to the corps de ballet at American Ballet Theatre. With the ghost of George Balanchine watching from his customary spot in the downstage right wing at the theatre formerly known as the New York State Theater, his blissful Theme and Variations and Alexei Ratmansky’s electrifying Piano Concerto no.

Rudolf Nureyev was born in 1938 and died in 1993, making 2013 the 75th anniversary of his birth and the 20th of his death. English National Ballet have cause to be deeply grateful to Nureyev: he gave them (in their previous incarnation as London Festival Ballet) their popular Romeo and Juliet, and lent his box-office appeal as a principal dancer to numerous other productions.

Like the casket-full of pearls with which the concubines bribe the chief eunuch in Scheherazade, a lavishly decorated curtain reveals the jewels of the Russian Seasons of the XXI Century at the London Coliseum. Andris Liepa, a former Bolshoi Ballet dancer now turned impresario, has adopted the role of a contemporary Diaghilev and brought precious choreographies and artists to London.

The great impresario Sergei Diaghilev faced many challenges when presenting his Ballets Russes in Paris at the turn of the 20th century (remember the near riot at the première of Le Sacre du Printemps?), and some things never change.

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.

For all the criticism that the British press has thrown at the Diaghilev Festival, especially regarding authenticity of the choreography, there is no denying that the general public has been wowed by what they have seen this past week in London.

It was in 1992 that former Bolshoi Ballet superstar Andris Liepa decided it was high time to return the fabled works of Serge Diaghilev’s Ballets Russes back to Russia, where, due to the yoke of communism, its people had never had the opportunity of seeing them.

Sergei Diaghilev, founder of the Ballets Russes Company, was an extraordinary talent who revolutionised ballet and opera through his innovative use of music, design and choreography. The Diaghilev Festival at the Coliseum celebrates his achievements with three programmes of lost and more familiar work showcasing Russian star performers and dancers from the Kremlin Ballet Theatre.