Readers’ Choice: Standout Performances of 2025
Every year, we ask our readers to tell us about their favorite professional ballet performances. From narrative full-lengths to more intimate small groups, a variety of productions made this year’s list.
Thank you to everyone who nominated, whether via email or through a social media shout-out.
(Entries have been edited for length and clarity and organized in chronological order.)
Pittsburgh Ballet Theatre’s Grace Rookstool in Jean-Christophe Maillot’s Roméo et Juliette
“Her vulnerability and artistry onstage was absolutely breathtaking, and she brought this well-known character to life in such a fresh and exciting way! She had me captivated from start to finish!” —Alyssa
Orlando Ballet in Alysa Pires’ Skyward
“Not only great to see a female choreographer’s work showcased, but also great to see the company take on something different. It was so beautiful and moving.” —Ginger
Boulder Ballet’s Lucia Lorenzo and Philip Perez in Val Caniparoli’s Double Stop
“This was Mr. Perez’s second time performing this role, and he and Lucia were astounding. The audience was riveted. The addition of a cellist onstage added another layer to their highly nuanced performances.” —John
Stanton Welch’s World Premiere of Raymonda at Houston Ballet
“It was outstanding. The storytelling, costumes, and lighting were beautiful. I think the various principal roles created for this ballet allowed showcasing the talent of the dancers across the company.” —Ivan
Neville Dance Theatre’s On Pointe Dance Festival: Tori Hey in the Esmeralda Variation
“At moments she appeared literally on fire with her auburn hair and crimson tutu, like a comet. Hey took the audience on an exciting emotional journey in only two minutes.”—Aria
Pacific Northwest Ballet in George Balanchine’s Jewels
“I was particularly impressed with Clara Ruf Maldonado in ‘Rubies.’ She was incredibly energetic and flirtatious, hitting every line with precision. She was promoted to principal dancer after the show’s run! And I can’t not mention the perfect partnering of Jonathan Batista and Angelica Generosa in ‘Diamonds.’ ” —JG
Nevada Ballet Theatre’s Julia Pasquale as Juliet in Romeo and Juliet
“Her portrayal was so moving and immersive that at moments I truly forgot I was watching a dancer onstage—I felt as though I was witnessing Juliet herself. Her interpretation was so honest and deeply felt that tears flowed more than once.” —Lisa
Milwaukee Ballet’s Parker Brasser-Vos and Jennifer Hackbarth in Michael Pink’s Giselle
“This was a phenomenal duo! They were amazing not only in skilled difficult technique but also in their acting. It was so gorgeous, and a very unusual but still haunting version!” —Victoria
Misty Copeland’s Farewell Performance With American Ballet Theatre
“Seeing Misty perform one last time with her ABT family was truly a blessing. Her Romeo and Juliet balcony pas de deux with Calvin Royal III burst with joy. It made me wish I could see them dance the full ballet together. She seemed so happy to be back onstage, and you could just feel the love—their partnering was seamless. She finished with Twyla Tharp’s Nine Sinatra Songs with Herman Cornejo, dancing with such elegance. At the end Cornejo walked away, leaving her alone in the spotlight as Frank Sinatra crooned ‘My Way’ It was a fitting tribute.” —Jan
“She danced so beautifully and brought so many people out to the theater!” —Christopher
Royal Danish Ballet’s Joseph Aumeer in Alexei Ratmansky’s The Art of the Fugue
“Ratmansky’s The Art of the Fugue is one of the most technically demanding ballets I have ever seen, and Aumeer rose to its challenges with extraordinary authority. Aumeer showed how movement alone can carry meaning when words cannot. Furthermore, his jumps felt almost weightless, while his turns and transitions were executed with razor-sharp precision. Yet technique was only part of the story; it was really the emotional performance that qualifies him for this nomination. To me, he is one of the great hidden gems of the ballet scene, a dancer of rare refinement and power working quietly in Copenhagen.” —Anders
Eugene Ballet’s Sarah Kosterman in Suzanne Haag’s Dracula
“Ms. Kosterman’s solo as the undead woman was electrifying. She communicated the grief and horror that the character was feeling as she began to spiral out of control, looking for human victims. It was her best work to date.” —Johanna
Cincinnati Ballet in the North American Premiere of Septime Webre’s The Great Gatsby
“The sets, the costumes, the combination of acting, singing, and dancing all in one production, the music, and of course the dancing! Just sensational!” —Sharon
Amanda Treiber + Company’s DEBUT Program
“They made a truly lasting impression on me. I recently attended their inaugural performance, and both the work and the artists demonstrated exceptional quality, artistry, and vision.” —Rebecca
Other Favorites
Matthew Ball’s debut in the title role of Onegin at The Royal Ballet
Pointeworks’ Ballet Nights program
Little Women Ballet’s Spring Immersive Experience
Pacific Northwest Ballet in Rena Butler’s Cracks
Marianela Núñez and Patricio Revé in Don Quixote at the Teatro Colón
The 2025 Ballet International Gala in Melbourne, Australia
Continuum Contemporary Ballet in Donna Salgado’s Seaweed Symphony
Angel Corella’s Bolero for Philadelphia Ballet
Penny Saunders’ Sherlock at Ballet Idaho
Skylar Brandt in That’s How We Met: The Engagement at New York City’s Merkin Hall
University of North Carolina School of the Arts’ Nutcracker
Azara Ballet’s Encore program
Carolina Ballet’s Pierson Hall and Taylor Ayotte in George Balanchine’s La Valse
