Dance

The Kirov Ballet, based in St. Petersburg (formerly Leningrad), has reverted to calling itself the Mariinsky Ballet, but its Swan Lake, choreographed in 1950 by Konstantin Sergeyev and based, of course, on the 1895 Petipa/Ivanov version, prevails, uninterrupted by the vagaries of history.

Mardi Gras, Nubian arabesques, garden insects, enchantments: All great subjects for evocative works of orchestral wizardry at the S.F. Symphony, deftly conducted by Stéphane Denève and superbly performed.

In “Story/Time” Bill T. Jones uses chance, dance, music, and narrative to make every minute count.

A premier string quartet again takes top honors with works by Janáček, Debussy, and Britten.

“Body music is the oldest music,” says International Body Music Festival (IBMF) Founder Keith Terry. His fourth annual festival, features six days filled with over 20 presentations of traditional and contemporary Body Music styles from all over the world.

Resin — a stunning new ballet created for the Alonzo King LINES Ballet — is a cohesive suite of dances that is continuously spellbinding with dancers who are glorious interpreters and enhancers of rhythm and melody.

Mark Morris' Dido and Aeneas was a treat for both eye and ear in its return to Cal Performances Friday night in Berkeley's Zellerbach Hall. And the star of the performance was Morris.

Everything is not “beautiful at the ballet.” A haunting 1911 classic and five startling modern treats animate S.F. Ballet’s current programs.