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Kylián had been missing from the repertoire for a few years so his return is welcome
‘The Firebird’ was revolutionary while ‘Song of a Wayfarer’ brought forth a new star dancer
Bobbi Jene Smith and Or Schraiber use an expressive choreographic language but don’t develop characters
Alan Lucien Øyen’s new production blurs the line between fiction and reality to no good effect
Giselle required an understudy to step up, while A Midsummer Night’s Dream lacked purpose
Gustavo Dudamel conducts a confusing Mozart while Hartmut Haenchen masters Mussorgsky
Its recreation of Nijinsky’s groundbreaking 1913 choreography for ‘The Rite of Spring’ is urgent and insightful
From Peter and the Wolf to The Nutcracker, here are the best performances available to stream from your sofa
The company looked ready for a strong run on the first night at the Opéra Bastille — but many performances have been cancelled
Works by Sol León, Paul Lightfoot and Hans Van Manen make up the new triple bill at the Palais Garnier
Dancers as humanoids and relationships like Benetton ads — elegant, gender-fluid, commitment-fluid
This programme of greatest hits from Naharin’s repertoire showcased POB’s younger talent but lacked star quality
A quadruple bill that told an engaging story
Benjamin Millepied’s tiny company punches (and kicks) above its weight
A fitting farewell for Marie-Agnès Gillot, one of Paris Opera Ballet’s all-time greats
‘La Flûte enchantée’ was a fitting tribute to choreographer Maurice Béjart
In the hands of Paris Opera Ballet, this is a story of mismatched temperaments and grief
The Paris Opera Ballet cast dug deep for Pina Bausch’s take on the classic work
Two company premieres were the highlights of this star-studded evening
French, American and Russian companies joined to perform Balanchine’s ballet
Two Paris Opera Ballet productions presented a contrast in styles
Paris Opera Ballet’s programme paired two giants of dance
Solo performances were the highlights of Balanchine’s awkwardly constructed ballet
Wayne McGregor’s bendy movement meets Olafur Eliasson’s inventive light-design at Sadler’s Wells
The Dresden company soared in William Forsythe’s masterpiece ‘Impressing the Czar’
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