En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sofiane Sylve

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.

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

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.

Most of the pieces were choreographed at a similarly demanding level, with speed, precision and immaculate timing as necessities.

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.

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.

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.

San Francisco Ballet's Giselle brought enthusiastic Beijingers out in hordes to see Yuan Yuan Tan in the title role at the National Center for the Performing Arts on Friday night. 

On the second night of San Francisco Ballet’s second visit to Beijing, the company treated their Chinese audience to a varied programme: Tomasson’s Caprice, Wheeldon’s Rush, van Manen’s Variations for Two Couples, and Balanchine’s Theme and Variations.