"The programme begins with Requiem for a Rose by Annabelle Lopez Ochoa, a leading international choreographer, with whom we worked through a screen. We were thousands of miles apart, but thanks to the professionalism of the dancers and her enthusiasm, we achieved a successful result.

Then we will present Three Preludes by Ben Stevenson, remounted by Sara Nieto, who after many years returned to the company, rescuing the tradition of the Ballet de Santiago and transmitting all her knowledge to the new generations.

Another special moment will be Andreza Randisek and Rodrigo Guzmán's interpretation of the "pas de deux" from Carmen, created by Marcia Haydée. Andreza, the company's star prima ballerina, today bids farewell to the Ballet de Santiago and to the stage.

We end the programme with La 5ª, a creation by Esdras Hernández, who is also a soloist in the company, staging the full force of a work with a modern language".

Luis Ortigoza, artistic director

To celebrate the 90th anniversary of the great 20th century choreographer, Yuri Grigorovich, The Bolshoi Theatre brings back to life The Golden Age.
The ballet was first presented at the Kirov Theatre in 1930, with, as its central theme, the battle and triumph of the proletariat against the decadent bourgeoisie. Surprisingly, the score by Dmitri Shostakovich raised political controversies, and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets by Simon Virsaladze and a completely new libretto with a love story as its central focus. The conflict in the original production was recast as a clash between fishermen – the idealistic and morally superior workers – and society’s criminal elements.

Revived thirty-four years later with great artists of the new generation of the Bolshoi Ballet interpreting the lead roles, as Nina Kaptsova, Mikhail Lobukhin or Ruslan Skvortsov, the ballet finally made history.

Passion, tragedy, fierce devotion. Queen Victoria’s diaries revealed a life so sensational that her daughter Beatrice tried to rewrite history. Her irrepressible love for Albert sparked a royal dynasty. But his untimely death brought the world's most powerful woman to her knees with grief.

Northern Ballet's new biopic brings the sensational story of Victoria to life in dance. Choreographed by Cathy Marston, creator of Northern Ballet’s acclaimed Jane Eyre.

March 2012 saw the first performance at the Teatro Real of C(h)œurs, an ambitious project by the Belgian choreographer Alain Platel, based on choruses by Verdi and Wagner. Gerard Mortier and the stars of the production reveal the key moments in the creative process that led to this unique piece, unlike anything ever seen in Madrid’s opera house.

Coproduction with Televisión Española (TVE)

Although he choreographed more than 100 ballets over the course of his career, Frederick Ashton was not one to repeat himself. From full-length narrative creations to miniature pas de deux, each of his works is unique in concept, performed in a style that is uniquely suited to its particular story, its music and the dancers in which it was created. And yet, despite the precision of his choreography, each dancer in an Ashton role can find their own way through it, creating an interpretation that is not only faithful but also personal.

On this recording, before Marguerite & Armand come two excellent performances by the Company, each showing different aspects of Ashton. His exquisite The Dream (1964), an adaptation of Shakespeare's A Midsummer Night's Dream, set to Mendelssohn's musical response to the play, stars Steven McRae and Akane Takada as the ethereal king and queen of the fairies. In an interview (also included), Dowell, the original Oberon, mentions his relief at how dancers still find the roles difficult: Oberon, especially, is among the most demanding male roles in the repertoire. But, despite all the challenges, McRae and Takada are as light as air in their moving pas de deux de reconciliation.

In collaboration with Naxos

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Applauded by audiences and critics alike, Raymonda, with the suite of this ballet, in the version by Luis Ortigoza, based on the ballet by Marius Petipa, was presented in the summer of 2019 at the Parque de las Esculturas thanks to an agreement between the Corporación Cultural de Santiago and the Corporación Cultural de Providencia.

This work, set in medieval France, is a product of fin-de-siècle exoticism and a symbolic representation of the process of imperialist expansion of nineteenth-century Russia, which sought to conquer territories in Persia and China.

Exquisite sets and beautiful costumes in this shorter and more dynamic proposal, which presents a high demand for the leading role and maintains the fundamental role of the corps de ballet, which in this case has more male presence than in the original. A story of a love threatened by war and distance that manages to overcome all obstacles to reach a happy ending.

The French composer Maurice Ravel remains a source of inspiration for any choreographer. Artistic director and star choreographer Sidi Larbi Cherkaoui and rising talent Jeroen Verbruggen take their vision of Ravel’s music to the stage. Jeroen Verbruggen, who as a young student dancer at the Royal Ballet School won the Prix de Lausanne, has drawn his inspiration from Ravel‘s Pavane pour une Infante défunte and from Ma mère l‘oye.

Sidi Larbi Cherkaoui also translates Ravel into dance, opting for Pictures at an Exhibition, which was originally composed by Modest Mussorgsky, but which was later orchestrated by Ravel to become the most widely performed orchestration of this work: It has thus become truly canonical.

It is a programme full of surprises with which the Royal Ballet Flanders/ Ballet Vlaanderen might just write a page of dance history.

The iconic ballet, reimagined. Following its sensational 2016 world premiere and UK tour, Akram Khan’s Giselle returns to London by popular demand, and is performed in Liverpool and Dublin for the first time. One of the greatest romantic ballets of all time, Giselle is the first full length ballet choreographed by Akram Khan.

The classic story of love, betrayal and redemption has been reimagined in this stunning new version, with sets and costumes by Academy-Award winning designer Tim Yip (Crouching Tiger Hidden Dragon), an ‘ominous, gothic’ (The Observer) adaptation of Adolphe Adam’s original score by composer Vincenzo Lamagna and performed by English National Ballet Philharmonic, dramaturgy from Ruth Little and lighting design from Tony Award-winner Mark Henderson.

The Bolshoi's unique version of Coppélia showcases a fascinating reconstruction of the original 19th-century choreography of this exuberant comedy involving a feisty heroine, a youthful fiancée with a wandering eye and an old dollmaker. The company's impressive corps de ballet shines in the divertissements and the famous "dance of the hours", and its leads abound with youthful energy and irresistible humour in this effervescent production.

With the collaboration of Naxos

Christopher Wheeldon, Artistic Associate of The Royal Ballet, created his adaptation of Shakespeare’s late great romance The Winter’s Tale for The Royal Ballet in 2014. Building on the success of Wheeldon’s Alice’s Adventures in Wonderland, The Winter’s Tale received ecstatic praise at its premiere, acclaimed by critics and audiences alike for its intelligent, distinctive and emotionally powerful story, told through exquisite dance. It is now widely judged to be a modern ballet classic.

The story 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. With powerful designs by Bob Crowley and atmospheric music by Joby Talbot, The Winter’s Tale is a masterful modern narrative ballet.

Con la colaboración de Naxos

"I don't want to be tormented and I don't want to be bossed around. I want to be free", cries Carmen. This ballet by Marcia Haydée, based on the novel of the same name by Prosper Mérimée and with music by Georges Bizet, tells the story of a determined, tenacious and free woman who finds love and death in the arms of the same man.

La bayadère is the first production of Nacho Duato for his return to St Petersburg. The Spanish choreographer has already worked on Russian golden ballet classics: his original versions of The Sleeping Beauty and The Nutcracker, created for the Mikhailovsky Theatre, were staged to great critical acclaim in many cities of the world – from Milan and Berlin to Novosibirsk.

The exquisite simplicity of the classics blends with the exotic opulence of the Maharajas in this ballet, which boasts a history of over a hundred and fifty years. Nacho Duato has created a production that harks back to Marius Petipa’s original, preserving the customary order of the scenes and the libretto’s climaxes, and leaving intact valuable pieces of the canonical choreography. At the same time, the ballet has freed itself of anachronisms and static pantomime episodes, replacing them with lavish, sculptural decor. In this story, Ancient India becomes a brilliant backdrop for the love of a temple dancer and a fine warrior who are fated to remain apart in both the real world and the astral one.

With the collaboration of Naxos