Alexandra was previously Bachtrack's Dance Editor. She trained as a professional dancer both in Paris and London and has performed for various ballet, opera, commercial and film productions, as well as independent projects. She studied Literature and Art History at the Open University. previously worked as Bachtrack's press coordinator, and continues to write for Bachtrack, in London and in Paris. She has previously contributed to English National Ballet's blog.
Under the artistic leadership of ballerina extraordinaire Diana Vishneva, Context, a showcase of Russian contemporary choreography, sees it UK premiere at London Sadler's Wells.
As well as keeping the musical, choreographic and theatrical treasures of the Ballets Russes alive, En compagnie de Nijinsky reignites the company’s avant garde-ist vision.
Audio and film permeate Marriott's new work for The Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
Mannion, a regular soloist at traditional flamenco venues in Madrid,member of Rafaela Carrasco’s company in 2018, and co-founder & co-artistic director of contemporary flamenco company Dotdotdot Dance discusses her lifelong passion for flamenco
Some of today’s star ballet dancers are exploring creative endeavours of their own alongside already busy schedules of performances. This November, it is Zakharova who curates her own evening of dance.
Going from strength to strength under the leadership of Tamara Rojo, English National Ballet presents MacMillan's Song of the Earth as part of nationwide celebrations of the choreographer's formidable legacy.
Es ist weit verbreitet, dass Ludwig XIV. während seiner langen und durchaus außergewöhnlichen Herrschaft als französischer König die Grundlagen des klassischen Balletts im späten 17. Jahrhundert legte. Aber war der französische König der wahre Vordenker der heutigen Balletttechnik?
Who needs a pumpkin carriage ride to transport you to the ball when you could surf celestial webs instead? Certainly not Prokofiev's Cinderella, if Alexei Ratmansky’s 2013 Australian Ballet production is anything to go by.
Christopher Wheeldon’s The Winter's Tale(created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.
Complexions Contemporary Ballet is back at the Joyce in New York City this November with three programmes of ecclectic works. As I watched the company rehearse, I caught up with lead dancer, co founder and co director Desmond Richardson who told me more about the works, and the company's upcoming projects.
Ahead of the performances of Outlier as part of Sadler's Wells' upcoming See the Music, Hear the Dance, Wayne McGregor talked to us of his musical choices, feelings about Adès' music, and his choreographic process.
Ahead of the performances of Life Story as part of Sadler's Wells' upcoming See the Music, Hear the Dance Karole Armitage talked to us of his musical choices, and his choreographic process.
