En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Birmingham Hippodrome

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.

A splendid evening of celebration for Sir Peter Wright at the Birmingham Hippodrome focusing on excerpts from his own classical ballets and The Green Table by Kurt Jooss.

This bracing performance of The Flying Dutchman is a powerful reminder of the extraordinary musical standards which are at risk in the face of WNO’s subsidy cuts. 

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. 

Ballet’s best romcom, a lovingly maintained classic.  

Sir Peter Wright's The Sleeping Beauty exudes that magical, ageless feeling, here brought to life by a new and enchanting performance of the title role.

A remarkable merging of two of Birmingham's greatest cultural institutions.

Carlos Acosta restages his Royal Ballet Don Q in a refreshing revamp for Birmingham Royal Ballet.

BRB's director, Carlos Acosta, has taken a hands-on approach to coaching the principals in their roles in this season opening production. 

Welsh National Opera brought a cast of strong voices to Birmingham for a production of Rigoletto intriguingly set in the White House of the 1960s. 

The welcome return of a thoughtful interpretation of this much-loved ballet  

A sumptuously designed example of English ballet at its best 

WNO's excellent revival of John Copley's 2011 staging of Die Fledermaus is a delight. 

With standing ovations after the final bows, the Alvin Ailey American Theatre certainly deserved every applause they received. Stunning work!

BRB delivers in a production of jolly moods, bawdy humour and great emotions.

As part of their Shakespeare400 celebration, BRB give a touching account of the Bard's timeless classic Romeo and Juliet.

An enchanting Ashton double bill in Birmingham comprising The Dream, to mark Shakespeare400, and A Month in the Country. 

Gods, nymphs, campy cavemen, angel's wings and a one-legged pirate - this production has it all, and plenty more. 

This is not a story about a prince or princess; there are no fairies, no spells, no swans. And yet it is an entirely enchanting story...

Moving Stateside, a Programme which combined Serenade, by George Balanchine, Lyric Piece, a Jessica Lang work and Twyla Tharp's In The Upper Room, were gems from America that travelled across the Atlantic to be set on the ever evolving, risk taking, hard working Birmingham Royal Ballet.

Valery Gergiev brings George Tsypin's Ring staging to a spectacular close with Götterdämmerung in Birmingham.

Valery Gergiev conducts a mesmerising account of Wagner's Siegfried in Birmingham

Shadows of War Birmingham Royal Ballet's triple Bill which opened at the Birmingham Hippodrome early last week, shows the company's more serious side. With choreographies of MAcMillan, Lynne and Bintley 

Birmingham Royal Ballet's Beauty and Beast is a wonderful, joyful and entertaining perormance, based on the well known gothic fairytale.

Birmingham Royal Ballet take us on a pilgrimage to Mount Fuji with The Prince of the Pagodas at the Birmingham Hippodrome. 

Birmingham Royal Ballet's Three of a Kind is an evening of atypical works including Card Games By John Cranko, George Balanchine's Slaughter on Tenth Avenue and Kenneth MacMillan's Elite Syncopations. At Birmingham Hippodrome. 

Birmingham Royal Ballet's The Nutcracker, with choreography by Peter Wright, Lev Ivanov and Vincent Redmon, was a magical evening of pure nostalgia.

Is it possible for us to feel a shred of sympathy for Lulu, surely one of opera’s most notorious anti-heroines, even when she meets her grizzly demise at the coda of Berg’s eponymous masterwork? I think it speaks volumes about the astonishing quality of soprano Marie Arnet’s performance that my answer to this question after seeing Welsh National Opera’s new production of Lulu is a most definite “n