Artiste: Sir Frederick Ashton

La Fille mal gardée est une comédie haute en couleur mais aussi ballet virtuose, où les variations s’enchaînent allègrement. Pour cette reprise, la performance théâtrale des interprètes de l’Opéra de Paris, particulièrement débridés dans les seconds rôles, est remarquable.

Un ballet burlesque où l'on rit beaucoup servie par des danseurs de qualité mais une soirée où il manquait cette alchimie qui créé les belles soirées.

Some highlights and occasional disappointments in an overly long performance celebrating 100 years of the Royal Ballet School.

Triumphant, unshowy, virtuosic. Sarasota Ballet brings a trio of 20th century British choreographers to New York. 

Celebrating a prima ballerina still in her prime, Marianela – Timeless, is a programme of excellence and true artistry from all quarters.

American Ballet Theatre brings back the Ashton classic Sylvia and offers tremendous central performances.

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Ravel’s first ballet Daphnis et Chloé is an overwhelming sensory experience – but its birth as a production choreographed by Mikhail Fokine for the Ballets Russes was not without complications...

The original cast of principals – and current interpreters – discuss the joys of working with the late choreographer Sir Frederick Ashton, and the great legacy he has left to today’s dancers.