This ‘’Swan Lake’’ is a ‘’Swan Lake” for our times capable of transporting the audience to another world. The magic in the story suddenly takes hold of the viewer. Ballet is not simply a way of telling the story. Rather than gestures asking to be deciphered, the choreographer created large-scale, visionary movements closer to an artistic language of symbols and plays on the whole spectrum of human emotions. It always maintains a relationship of creative tension with its surroundings, especially the music, the poetry of the set, the use of light and colour, the texture of the costumes. A key element of this artistic responsibility is to tell the story precisely but openly, without pinning it down, especially the ending – an ending which is in a many-facetted sense a “deliverance”. Does this mean that the lovers are saved? Is the spell’s power broken? Are there other kinds of salvation and deliverance? Perhaps even by death and transfiguration? Ballerina Polina Semionova performs the mythic parts of Odette and Odile (white swan and black swan) with her great partner Stanislav Jermakov. The Zurich Opera House Orchestra is conducted by Russian musical director Vladimir Fedoseyev acclaimed in this repertoire.

This ‘’Swan Lake’’ is a ‘’Swan Lake” for our times capable of transporting the audience to another world.

Tchaikovsky: Swan Lake

A vast and ambitious project, Midsummer Night’s dream is danced by the Royal Swedish Ballet and set to a music by Mikael Karlsson. Swedish star pop singer Anna von Hausswolff sings through this great production, evidently one of a kind.

The Royal Swedish Ballet presents a contemporary Midsummer Night’s Dream, starring Swedish pop star Anna von Hausswolff.

Midsummer Night's Dream

Watch three bite-sized performances inspired by Tchaikovsky’s iconic Swan lake. 

Choreographer Eric Gauthier asked star choreographers Hofesh Shechter, Cayetano Sato, and Marco Goecke tending to take a single aspect or idea from the classic swan lake and transform it into something completely unique. There are no swans or white tutus here. Instead, each piece is a new and exciting creation. 

Hofesh Schechter’s Swan Cake is a burst of energy featuring 8 dancers in constant motion. 

Cayetano Sato’s Untitled for 7 Dancers is a moody exploration of transformation set to an electro-score by the young composer and cellist Peter Gregson.

Marco Goecke’s Shara Nur was inspired by a lake in Russia whose water is rumored to turn the body red after a swim.

Eric Gauthier asked choreographers to create their very own version of Tchaikovsky‘s ballet “SWAN LAKE”.

Swan Lakes

Because of Tchaikovsky’s imaginative music, “The Nutcracker” is one of the most popular works of the ballet repertoire, instantly bringing to mind scenes of a splendidly decorated Christmas room, dancing snowflakes and the waltz of the flowers. 

The plot of “The Nutcracker” is based on a novella by E.T.A. Hoffmann, one of the most famous writers of German Romanticism. While Hoffmann’s masterful fairy tale jumps eerily back and forth from a dream to reality, many of the ballet adaptations, like Peter Wright's and Marius Petipa's, have lost the darkness woven throughout this romantic fantasy.

In this production, choreographer Christian Spuck attempts to distance himself from traditional choreography and puts the literary origin at the heart of his ballet. Spuck emphasizes the fantastical nature of Hoffman's story and brings back the tale of princess Pirlipat, who turns into a nut monster. 

In Rufus Didwiszus’ stage setting, the workshop of the godfather Drosselmeier turns into an old revue theater, where the characters of the ballet come to life. Spucks’ choreography plays with the richness of characters in E.T.A. Hoffmann’s narrative cosmos, the absurdity and overwrought humor that inhabit them while at the same time looking down into the dark abyss of Romanticism.

Christian Spuck attempts to distance himself from the Dumas/Petipas version and puts the literary origin at the heart of his ballet.

The Nutcracker and the Mouse King

Peter Wright's interpretation of The Nutcracker has been enchanting children and adults alike since its first performance by The Royal Ballet in 1984. Lev Ivanov's 1892 ballet combined with Tchaikovsky's sumptuous, iconic score are presented in a festive period setting with vivid designs to make this a charming and magical production. 

Loosely based on the story by E.T.A. Hoffmann, the ballet begins in the 19th-century German home of the Stahlbaums, where they are hosting a lively Christmas party. The period setting is captured in opulent detail by Julia Trevelyan Oman's designs, which include authentic Christmas tree decorations that are magically brought to life. Wright's choreography ingeniously incorporates surviving fragments of the ballet's original material, including the sublime pas de deux for the Sugar Plum Fairy and her Prince. But in emphasizing the relationship between Clara and the Nutcracker, the production also gains a touching subtext of first love.

Peter Wright's interpretation of The Nutcracker has been enchanting children and adults alike since its first performance by The Royal Ballet in 1984

The Nutcracker (2016)

The 2016 production of Frederick Ashton’s final works, Rhapsody, features ballet stars Natalia Osipova and Steven McRae. 

Filmed at London’s Royal Opera House, Rhapsody has long been a favorite for ballet fans. First created in 1980 at the request of Mikhail Baryshnikov, the ballet is set to Sergey Rachmaninoff’s Rhapsody on a Theme of Paganini. 

The male Principal’s role is characterized by exceptionally fluent leaps, turns and lightness of movement, inspired by Baryshnikov himself. It is twinned with the strength and grace of the ballerina, a role created for the pure, fleet-footed style of former Royal Ballet Principal Lesley Collier. The first performance of Rhapsody was given in honor of The Queen Mother’s 80th birthday in 1980.

Experience the 2016 production of Frederick Ashton’s Rhapsody, filmed at the Royal Opera House and starring Natalia Osipova.

Rhapsody

A tale of the French Revolution, the Flames of Paris belongs to the pearls of the pure classics of classical dance. This world premiere recording of this new production from choreographer Alexei Ratmansky (after Vasily Vaynonenon) and the Bolshoi Ballet, features the stunning soloists Natalia Osipova and Ivan Vasiliev. Although set in revolutionary France, The Flames of Paris’s intention was to serve as an allegory for contemporary events in the Soviet Union. The ballet premiered in 1932 on the anniversary of the October Revolution, and one of its main characters was in fact the population - revolutionary in mood and ready for action. Not surpringly, Flames of Paris was quickly included in the ranks of works which were always presented for major anniversaries.The choreographer Alexei Ratmanky has attempted to make maximum use of the preserved fragments of Vasily Vainonen in his new ballet.

A tale of the French Revolution, the Flames of Paris belongs to the pearls of the pure classics of classical dance.

The Flames of Paris

Widely lauded by critics, choreographer Jonathan Watkins 1984 is an awe-inspiring retelling of George Orwells masterpiece. Winston Smith lives in a world of absolute conformity, his every action scrutinized by Big Brother. However, when Winston meets Julia, he dares to rebel by falling in love. Danced by Northern Ballet the UKs foremost narrative ballet company to a score by Tony-nominated composer Alex Baranowski, this thoroughly modern take on 1984 will change the way you think about ballet. Batley [Winston Smith] and Leebolt [Julia] are excellent, their bodies as vividly present as their faces are haunted. At the chilling end, we realise not only how intently we have been watching, but also that we too may be watched. (Sanjoy Roy, The Guardian) ""This is gripping storytelling"" (The Stage) ""..an ambitious, compelling and, ultimately, moving new ballet. Even more powerful are the intimate duets for Winston and Julia, verboten lovers who are dancing on a metaphorical razor's edge. Thinking themselves free of the gaze of Big Brother, they give themselves to each other with a genuinely moving passion, which is danced gorgeously by Tobias Batley and Martha Leebolt"" (The Daily Telegraph)

Jonathan Watkins 1984 is an awe-inspiring retelling of George Orwells masterpiece

1984

The romantic ballet by Coralli and Perrot returns in the revival of Yvette Chauviré

Giselle

Mayerling is a ballet choreographed by Kenneth MacMillan to the music of Franz Liszt. 

Dealing with dangerous desires, family secrets and political intrigue, the story was inspired by true life events. More specifically, the sexual and morbid obsessions of Crown Prince Rudolf leading to the murder-suicide scandal with his mistress Mary Vetsera.
Set against the backdrop of the oppressive but glamorous Austro-Hungarian court in the 1880s, this production is a masterclass in storytelling through dance.

Mayerling, choreographed by Kenneth MacMillan to the music of Liszt, is inspired by a true story of sex, obsession and tragedy.

Mayerling

After taking a break from choreographing outside his own company, renowned Choreographer Thierry Malandain has created an innovative pastoral double bill for the Ballet du Capitole, featuring the world premiere of his work Daphnis et Chloé.

Beginning with Debussy’s famous symphonic poem, l'après-midi d'un faune, Malandain has returned to his neoclassical roots, creating a tranquil yet humorous, pastoral scene featuring soloist Philippe Solano.  

This is followed by his impressionistic interpretation of Ravel’s 1912 symphony with choir, Daphnis et Chloé. Originally created for Diaghilev’s Ballets Russes, Malandain has reinvented this pastoral myth of innocence and love infusing it with his signature precision and whimsy. 

This world premiere brings together the vital forces of the Capitole: the Ballet, the Chorus and the Orchestra under the direction of Maxime Pascal.

Watch choreographer Theirry Malandain’s double bill featuring the world premiere of his reinterpretation of Ravel's Daphnis et Chloé.

Daphnis et Chloé

Royal Ballet Principal Marianela Nuñez delights as Princess Aurora, with Vadim Muntagirov as her Prince Florimund, in this performance of a timeless classic. Marius Petipa’s The Sleeping Beauty holds a special place in The Royal Ballet’s repertory, with its vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision pas de deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky’s richly layered music – one of the most beloved ballet scores of all time. This Sleeping Beauty captures all the magic and virtuosity that ballet has to offer.

Marianela Nuñez delights as Princess Aurora, with Vadim Muntagirov as her Prince Florimund, in this performance of a timeless classic.

Sleeping Beauty (2017)

The story takes place in Naples where Pulcinella is a local rogue with an eye for the girls. Rosetta, Isabella and Prudenza are infatuated with him, much to the irritation of their boyfriends and Pulcinella's wife, Pimpinella. One night, the boyfriends lie in wait for Pulcinella and beat him soundly. To escape, Pulcinella falls down 'dead' and the men sneak guiltily away, leaving the 'corpse' to be discovered by their girlfriends. Meanwhile, Pimpinella, having caught Pulcinella flirting once too often, persuades her friends to disguise themselves as Pulcinella and pester the girls, to teach them a lesson. When the girls and their boyfriends see the fake Pulcinellas, they are convinced they are seeing ghosts. Pimpinella arrives, the fake Pulcinellas reveal themselves, and the real Pulcinella re-appears. The lovers ask forgiveness, and everyone celebrates.

The story takes place in Naples where Pulcinella is a local rogue with an eye for the girls.

Pulcinella

Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of color, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. 

Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.


Fall down the rabbit hole with the Royal Ballet's Alice's Adventures in Wonderland, choreographed by Christopher Wheeldon

Alice's Adventures in Wonderland

Shakespeare’s great romance gets a magical reimagining through the power of dance with Christopher Wheeldon’s The Winter’s Tale. 

Released to widespread critical acclaim, the Royal Ballet’s 2014 production is a masterful, modern narrative ballet which includes powerful designs by Bob Crowley and music by Joby Talbot. 

Now widely considered a modern classic, the ballet follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a seemingly miraculous return to life – the ending is one of forgiveness and reconciliation.

Christopher Wheeldon’s critically-acclaimed production of The Winter’s Tale for the Royal Ballet.

The Winter's Tale

Symphonic Variations was Frederic Ashton’s first work after World War II, and one of the Company’s first to be performed on the huge main stage of the Royal Opera House, in 1946. With six dancers performing a series of quartets, duets, sextets and solos to Franck’s brooding Variations symphoniques, this seminal masterpiece celebrates the pure beauty of movement.

Ashton celebrates movement with six dancers in a series of quartets, duets, sextets and solos to Franck’s brooding Variations symphoniques.

A Swan Lake

Norwegian National Ballet

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