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In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

Highlights from the nine-day contemporary dance festival from the southernmost tip of Manhattan. 

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

Beatrice Rana and Mario Brunello provide live music for seven internationally renowned dancers, including Paris Opéra Ballet’s Hugo Marchand and Spanish flamenco whizz Sergio Bernal, at the 15th-century Rocca Brancaleone.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.    

Who knew that children were subject to shoe fetishes?

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala. 

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

Etudes is a welcome addition to the Bolshoi's repertoire.

Sixty years after its debut, Bernstein's West Side Story is back with its mix of nostalgia and timeless social issues.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

An all Robbins program at New York City Ballet is one of my favorite things.

San Francisco Ballet pairs Possokhov’s irresistible multimedia dazzler “Swimmer” with Robbins’ elegant “Dances at a Gathering”, for a compelling night of dance.

Carlos Acosta's Carmen premieres at the Royal Ballet, alongside Robbins' Afternoon of a Faun, Balanchine's Tchaikovsky Pas de Deux and Scarlett’s Viscera.

The Pacific Northwest Ballet's season opener captures different periods of neoclassical ballet with Christopher Wheeldon's Tide Harmonic, George Balanchine's Prodigal Son and Jerome Robbin's The Concert (or, The Perils of Everybody).

The Stanislavsky Ballet presents a triple bill dedicated to the late American choreographer Jerome Robbins. A fresh performance, with guest performances by Natalia Osipova and Sergei Polunin.

This spring is the season of Sterling Hyltin as she continues a string of revelatory performances.

Boston Ballet ends its 2014-2015 season with Thrill of Contact, a truly thrilling program of four works that showcase a wide spectrum of styles.

Of all the dance companies I’ve seen in the past year, this is the one I would most like to see over and over again.

Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.

Boston Ballet's second program at Lincoln Center's David H Koch Theater showed off the company's terrific speed, musicality and versatility. 

From lifelong fans to the previously uninitiated, New York City Ballet’s All Robbins program was designed to make the whole house cheer. Jerome Robbins’ (1918–98) work on Broadway and in ballet made him a revered artist in both circles. Few others were ever able to achieve such crossover success.

If you "don't get” ballet, you may be thinking too hard. In the words of one friend who went to see Boston Ballet's Balanchine/Robbins program with me on opening night, “you look past it and it appears.” While many ballets tell a story or convey a theme, George Balanchine and Jerome Robbins encourage us to appreciate beauty for the sake of beauty. We don't try to understand a moonrise, after all.

Von Brahms und Balanchine bis Górecki und Childs: das Wiener Staatsballet zeigt einen zeitlosen Abend.

Malgré quelques temps forts, en particulier la reprise brillante de Herman Schmerman, la soirée « Etoiles de l’Opéra » laisse un avant-goût mitigé sur l'avant-scène du Palais Garnier.

En 2018, le monde entier a fêté le centenaire de la naissance de Jerome Robbins, chef de file de la danse néoclassique américaine. Le Ballet de l’Opéra fait revivre cet héritage avec une soirée-hommage reprenant quatre œuvres de Robbins.

Le Ballet de l’Opéra de Paris rend hommage au compositeur Maurice Ravel dans un superbe moment musical, magnifiquement dirigé par le jeune chef d’orchestre Maxime Pascal. 

La Compañía Nacional de Danza propuso un delicado programa que recorre los puntos fuertes de la agrupación en el Teatro Real, y donde la elección estrella fue In the nigth de Jerome Robbins.

Le New York City Ballet est à l’affiche de la douzième édition des Etés de la Danse au Théâtre du Châtelet. Cette participation est une première attendue de longue date, alors que le festival a déjà accueilli de nombreuses compagnies américaines.