Classical Music

Dance Highlights | my/maSCENA

Dance Highlights | my/maSCENA

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The visceral contemporary dance of Sabor de mi Corazón, Chapter 1: Cumbia, by Vías and Nicholas Bellefleur’s idealistic A Safe(r) Space are in a ­double program. Sept. 8-11.

Zab Maboungou gathers 20 artists to think about the cultural industry and the wandering event Hâltérité. Sept. 21-23.

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In aWokening, Winnie Ho explores her distant relationship to Hong Kong. Sept. 21-25.

The butterfly effect theory inspires Papillon by Helen Simard. Sept. 22-24.

The double program of contemporary ballet The Four Seasons and Symphony No. 7 combines finesse and musicality. With the Grands Ballets Orchestra. Sept. 22-24.

Lucie Grégoire portrays an echo of a drifting humanity in Dérives—with Icelandic cellist Hildur Guðnadóttir. Sept. 28-Oct. 1.

Aisha Sasha John brings together five multidisciplinary performers in Diana Ross Dream. Sept. 29-Oct. 1.


Tanztheater Wuppertal brought the essence of Pina Bausch’s ­masterpiece The Rite of Spring to dancers from 14 African countries. Exceptional. Oct. 5-8.

In The Three Graces, Silvia Gribaudi questions stereotypes of beauty. Oct. 11-15.

Far from #BlackLivesMatter, Justine A. Chambers and Laurie Young claim small gestures of resistance in One hundred more. Oct. 19-22.

Crowd, by the brilliant Gisèle Vienne, re-enacts a techno party for 15 performers. Oct. 19-20.

The triple Carmen program includes Waves, a piece inspired by ­Virginia Woolf, and The Rite of Spring. With orchestra. Oct. 20-23.

Sarah-Ève Grant presents Less About Me, a docu-drama about well-known dancer Marc Boivin. Oct. 21-23 and Nov. 18-20.

The Day the Wild Cried is a reflection on our environmental impact. Oct. 24, 25 and 28.

In Jezebel, Cherish Menzo deconstructs the stereotype of ­objectified femininity. Oct. 25-26.

Forty people take turns weaving O, by Sarah Dell’Ava. Dawn Oct. 29 to dusk Oct. 30.


French artist Smaïl Kanouté echoes the #BlackLivesMatter ­movement in Never Twenty One. Nov. 1-2.

David Albert-Toth’s At Arm’s Length explores the relationship to loneliness. Nov. 2-5.

Hofesh Shechter returns with Double Murder, a double work driven by the choreographer’s energy and his 10 dancers. Nov. 2-5.

Catalan dancer Agnès Matheus resists ordinary machismo with ­Rebota rebota y en tu cara explota. Nov. 3-8.

If My Body had a Name by Syrian-born artist Hoor Malas navigates the pitfalls between mind and body. Nov.3-8.

Shay Kuebler and his seven dancers address the theme of loneliness in MOIMomentum of Isolation. Nov. 8-12.

In Dog-rising, Clara Furey and her dancers explore kinesthetic sensations. J’ai pleuré avec les chiens (Time, Creation, Destruction) is the first group piece by the brilliant and prolific Daina Ashbee. Nov. 9-12.

Marie Chouinard’s phantasmagorical Hieronymus Bosch: The ­Garden of Delights is a must-see perfection. Nov. 17-19 and 23-25.

Le sacre de Lila is Ismaël Mouaraki’s most personal work. Nov. 23-26.

Gabriel Léger-Savard and Marilyn Daoust deliver the ambitious L du Déluge, carried by 13 performers. Nov. 28-Dec. 6.

Virginie Brunelle delves into feminism in Fables, unleashing ­gigantic characters. Nov. 30-Dec.


Sasha Kleinplatz presents the choreographic installation We Move ­Together or Not at All, and Miracle’ing/Close to Me/Close to You, ­performed by 12 dancers. Dec. 7-12.

Superheroes Cry Too is an examination of superheroes and their realistic counterparts. Dec. 8-11.

A holiday treat surely is Fernand Nault’s classic ballet The ­Nutcracker, with music by Tchaikovsky performed by the Grands ­Ballets Orchestra. Dec. 9-30.

Two women explore the fragility of relationships and perform Simon Renault’s La complainte du givre. Dec. 12-14.



In On air, three women explore the complexity of the state of being in between generations and human connections. Sept. 29-30.


Ballet Hispánico presents Doña Perón, a portrait of Argentine feminist leader Eva Perón. Oct. 14-15.

Silvia Gribaudi humorously questions beauty stereotypes in The Three Graces. Oct. 18-19.

Far from #BlackLivesMatter, Justine A. Chambers and Laurie Young claim small acts of resistance in One hundred more.  Oct. 25-26.

Lila York has adapted The Handmaid’s Tale by Margaret Atwood into a contemporary ballet en pointe. A reworked version of the Royal Winnipeg Ballet’s ambitious production. Oct. 27-29.

On Silver Knife Island, four Korean dancers embody the violent emotions suffocating them. Free performance and workshop. Oct. 28.


Shay Kuebler and his seven dancers address the theme of loneliness in MOIMomentum of Isolation. Nov. 4-5.

Hofesh Shechter returns with Double Murder, a double program driven by the energy of the choreographer and his 10 dancers. Nov. 9-10.

Tentacle Tribe’s Ghost pays tribute to the creative spirit of ­Montreal’s dance community. Nov. 24-26.


Fernand Nault’s great classical ballet The Nutcracker is a must-see for the holiday season. With the Grands Ballets Orchestra. Dec. 1-4.



Disko Piknik is a picnic celebrating food, dance and creative ­community exchange. Sept. 17.

From Canadian tap dance to jazz, Fall for Dance North Festival ­returns with unbeatable prices and outdoor performances. Sept. 17-Oct. 8.

Twenty performers evoke the social contracts necessary to live in harmony in The Collective Agreement by choreographer Alonzo King. Nov. 9-13.

Margaret Atwood inspires Wayne McGregor to create MaddAddam, a triptych rooted in the Canadian landscape. World première. Nov. 23-30.

James Kudelka’s The Nutcracker is one of the world’s most ­charming Nutcrackers, with a Slavic flair. Dec. 10-31.

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