En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Paul Taylor

Kicking off the ambitious summer dance festival at Jacob’s Pillow in the Berkshire highlands of Massachusetts, Paul Taylor Dance, whose roots at the Pillow date back to 1964, brought three blockbuster pieces. 

Paul Taylor Dance Company's second programme at the Linbury is an invigorating, uplifting, refreshing mix of easily digestible, pure dance.

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

A letdown and a triumph at the Paul Taylor Dance gala this week, featuring new works by Lauren Lovette and Robert Battle, both resident choreographers, she in her 4th year, he in his 2nd. 

From disturbing to daffy: a searing indictment and a gentle parody, both from Paul Taylor, at Lincoln Center in New York, as his company continues to pack houses in its fall season.

Company B and Esplanade bookended a popular mixed bill from Paul Taylor Dance Company in the first week of their ambitious fall season at New York's Lincoln Center.  

An interesting triple bill with some rarely seen Paul Taylor works carefully reconstructed. Esplanade still sends the audience home filled with joy.

An intriguing reconstruction of an early work by Paul Taylor created on Pina Bausch and Dan Wagoner and a classic of barbed satire made a powerful triple bill by PTDC.

The season has had enthusiastic crowds, Taylor classics were well-danced and PTDC will always have Esplanade to make audiences happy.

A chilling masterpiece, a tribute to a beloved dancer, and the announcement of a new resident choreographer galvanized the Paul Taylor Dance gala audience at New York's Lincoln Center.

Classic Paul Taylor and a Rennie Harris tour de force form the highlights of Dayton Contemporary Dance Company's visit to New York this week. 

It was a priceless chance to see some of the best and rarest of Paul Taylor.

An excellent and diverse triple bill with an Ashton gem at its centre.

Sandwiched between two of Paul Taylor's greatest hits was Larry Keigwin's Drum Circle, new this season, with a tremendous live score by William Catanzaro.

PTDC really returned in a weeklong residence at City Center and the company looks to be in good overall shape.

Esplanade was the last time the audience would ever see veteran Taylor dancers Michelle Fleet, Jamie Rae Walker and Parisa Khobdeh onstage.

Everywhere you look, there is kindness, consideration and generosity of spirit.

Paul Taylor American Modern Dance is getting ready for the transition to the time when it will have to go on without its founder and creative spirit.

Revelations is a work of genius, a living treasure, lovingly caressed by the performances of these exceptional dancers but Piazzolla Caldera is a tepid affair.

Marcel Gomes gave us a Death to remember in Jooss' Green Table.

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

Program 3 captures the multiplicity in contemporary dance.  

The Paul Taylor dance company presents 10 pieces at the Yerba Buena Center, incuding the 1978 Diggity which is refreshingly simple in its movement, with a dollop of dearness and a dash of the absurd. 

In a radiant rendition of the classic Esplanade, Paul Taylor's dancers remind us that dancing is, above all, about joy.

I should start this review by being honest and explaining that I was not initially excited to see Ailey at City Center. I was prepared to be impressed by the company’s physical aesthetic and not much else – I often think of the company as finely-tuned robots who are capable of demonstrating technical virtuosity but not of moving me in a big way, emotionally.

In the opening night of its short Autumn season at Sadler’s Wells, Rambert Dance Company presented a mixed bill that comprised four attractive works. Introducing a brand new piece by Irish choreographer Marguerite Donlon, the programme also included three revivals from acclaimed choreographers Paul Taylor, Merce Cunningham and Richard Alston.

American Ballet Theatre’s second programme at Sadler’s Wells transports us across the globe and through time beginning with a visit to the 19th century Russian Imperial Court and ending in wartime America. This is a mixed experience in more ways than one. Things get off to a tentative start with Balanchine’s Theme and Variations.