Cancel

    Open app

    Search

    Cincinnati Ballet

    4.9 (14 reviews)
    Closed 9:00 am - 5:00 pm

    Cincinnati Ballet Photos

    You might also consider

    Recommended Reviews - Cincinnati Ballet

    Your trust is our priority, so businesses can't pay to alter or remove their reviews. Learn more about reviews.
    Yelp app icon
    Browse more easily on the app
    Review Feed Illustration

    7 years ago

    Helpful 0
    Thanks 0
    Love this 1
    Oh no 0

    16 years ago

    Helpful 8
    Thanks 0
    Love this 5
    Oh no 0

    7 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0

    7 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0
    Photo of Lisa C.
    50
    34
    26

    9 years ago

    Helpful 1
    Thanks 0
    Love this 1
    Oh no 0

    16 years ago

    Helpful 2
    Thanks 0
    Love this 3
    Oh no 0

    10 years ago

    Helpful 1
    Thanks 0
    Love this 0
    Oh no 0

    16 years ago

    Helpful 0
    Thanks 0
    Love this 2
    Oh no 0

    9 years ago

    Helpful 1
    Thanks 0
    Love this 1
    Oh no 0

    12 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0

    10 years ago

    Helpful 1
    Thanks 0
    Love this 0
    Oh no 0

    9 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0

    14 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0

    13 years ago

    Helpful 0
    Thanks 0
    Love this 0
    Oh no 0

    Ask the Community - Cincinnati Ballet

    Review Highlights - Cincinnati Ballet

    While visiting Cincinnati, friends took us to the Cincinnati Ballet to see The Kaplan New Works Series.

    Mentioned in 2 reviews

    Read more highlights

    Verify this business for free

    People searched for Performing Arts 371 times last month within 15 miles of this business.

    Verify this business

    Cincinnati Opera

    Cincinnati Opera

    4.6
    (14 reviews)
    0.2 mi

    My sister and I recently had a very special experience at the Cincinnati opera. Fiddler on the roof…read moreis one of our favorite musicals/movies of all time. We grew up watching it and know every word to every song. We have seen the play on stage multiple times. The Cincinnati opera is the first opera in the world to ever re-work the show for an Opera House. The show will now be done at operas around the world. Getting to be one of the first people to see that was a really neat experience that I will always treasure. The Opera House itself is beautiful. My only complaint is that we were sitting on the side balcony and it is rather difficult to see the side of the stage you were sitting on because the people next to and in front of you lean forward to try to get a better look as well, so I do feel we missed a little bit of the details. I would absolutely still go see another show here, but would choose different seats!

    While attending *Salome* at Cincinnati Music Hall, I experienced a level of discomfort that…read moreultimately led me to leave before the performance ended. One of the first things that stood out to me was that the only obviously Black performer on stage appeared in a role where they were restrained with ropes around their hands. Later, a decapitated Black male mannequin head was brought onto the stage. Regardless of the artistic intent behind these choices, the imagery was deeply unsettling. As a Black audience member sitting in an auditorium that was predominantly white, I could not separate these images from their historical and social implications. Seeing a Black person depicted in bondage and a severed Black head displayed on stage evoked painful associations that made it difficult for me to continue engaging with the performance. The timing also amplified my reaction. With Juneteenth occurring the following day, and given the current political and social climate surrounding race in the United States, these choices felt especially inappropriate and insensitive to me. While I understand that opera often contains disturbing themes and that artistic productions may reinterpret historical works, I believe productions should also consider how certain imagery may be received by contemporary audiences. Ultimately, the experience made me feel unwelcome and uncomfortable rather than immersed in the performance. Because of that, I chose to leave before the opera concluded. My criticism is not necessarily about the intentions of the production team, but about the impact these staging choices had on me as an audience member.

    Photos
    Cincinnati Opera's Studio Sessions: From Avenue A to Broadway, feat. Victoria Okafor and Sarah Folsom.
Photo: Philip Groshong.
    Cincinnati Opera's Studio Sessions: From Avenue A to Broadway, feat. Victoria Okafor and Sarah Folsom. Photo: Philip Groshong.
    Cincinnati Opera's Studio Sessions: Soul & Sound feat. Justin Hopkins and Kevin Day.
Photo: Philip Groshong
    Cincinnati Opera's Studio Sessions: Soul & Sound feat. Justin Hopkins and Kevin Day. Photo: Philip Groshong
    Fiddler on the roof cast

    See all

    Fiddler on the roof cast
    Aronoff Center

    Aronoff Center

    4.4
    (190 reviews)
    0.8 mi

    Always an amazing experience here! I recently saw The Lion King, and it was absolutely stunning…read morefrom start to finish. They offer themed merchandise tied to each production, which is such a fun touch for fans. There are also plenty of concessions available, including snacks and alcoholic beverages. I had a glass of wine (a double pour, and surprisingly affordable), along with popcorn and chocolate-covered raisins. The popcorn wasn't the freshest, but it was still yummy. The venue feels very safe, with bag checks and scanners at the entrance. Bathrooms are spacious and clean. The theater itself has excellent acoustics and a large stage. There is always something exciting on the schedule, and ticket prices are usually reasonable. It's a great option for a family outing, date night, girls' night, or even a solo treat. Doors open about an hour before showtime, with access to the theater seating available 30 minutes prior.

    We live about an hour away, so hadn't been to the Aronoff Center in over 20 years until going to…read moresee Complexions Contemporary Ballet last night. I'm happy to see that it has been kept up so well over the years, it's beautiful! It was an A+ visit from start to finish. Ordering and accessing digital tickets was a breeze, the staff was friendly and helpful, and the show was outstanding! We have a fantastic arts center in Dayton that we have broadway season's tickets to and attend other performing arts shows as well, but we will definitely be back to see shows at the Aronoff from time to time now that we had such a fantastic evening out!

    Photos
    Aronoff Center
    People and stage for Book of Mormon
    People and stage for Book of Mormon
    Aronoff Center

    See all

    CCM Dance Division

    CCM Dance Division

    4.0
    (1 review)
    1.1 mi

    Anyone seeking an affordable (free!) and inspiring experience should attend the next…read moreChoreographers' Showcase in the CCM Dance Series. Having gained familiarity with CCM's multi-arts offerings during my stint as a grad student at the University of Cincinnati, I was willing to trade a few hours of sunshine this afternoon for the indoor delights of CCM Dance Division's winter program. The house was nearly full of patrons and the program full of promising choreographers and dancers, demonstrating not only what they're learning but also where they're going. The depth of CCM Dance Division was illustrated most clearly by the near-perfect, last-minute substitution of William Gasch for Martin Roosaare due to an injury. The program opened with Jennifer Levin's "December 9, 1997," dedicated to the choreographer's father in honor of his heart transplant. Only halfway through the composition, when the music moved to a driving percussion reminiscent of a human heartbeat did Levin's conceit become obvious, but it was never maudlin. Red lighting and costumes also fit the blood/heart theme, and Levin made great use of the youthful lyricism and athleticism of her dancers, particularly in extended moves en pointe that belied the physical strength required of her performers. Second was Heather Guernsey's "Easy Come, Easy Go," a humorous take on the over-the-top music and lyrics of Queen's "Bohemian Rhapsody." The storyline, reminiscent of the Broadway/film hit "Chicago," took a stab at the cult of celebrity, featuring a less-than-remorseful killer, out to impress a Greek chorus of winsome, flirtatious, and ultimately girl-groupie showgirls. The goofy "rock opera" romp was a crowd favorite, especially among CCM students in the audience. In "Palladio," Becca Brenner brought new life to a lovely melody once ruined by its ubiquitous placement in diamond advertisements on radio and television. As in other compositions, dancers occasionally missed the true unison expected from a corps de ballet, but this took nothing from the most lovely movements, when Brenner's choreographed asynchronicity showcased both the dancers' agile grace and her balletic patterns. Julie Eicher and Lydia Parks presented the most challenging choreography -- and themes -- in the program, with their respective compositions, "Into Smoke" and "Eliana Hope." I watched the former, set to Barber's "Adagio for Strings," through tears (Barber gets me every time), gasping at the emotional power of the work, set in costumes and scenery every bit as austere as Barber's music is overwhelmingly lush. Eicher is reminiscent of OSU's Susan Hadley (who performed with Senta Driver, Meredith Monk, and Mark Morris, as well as being the rehearsal director for several Morris compositions, and a tremendously talented choreographer in her own right), inserting pedestrian patterns into full-bodied movement to evoke passionate interior landscapes. Eicher's performers fight for sanity against the straitjackets of modern life, from which eventually a lone dancer is excluded. Equally gorgeous and moving was the balletic "Eliana Hope," which Parks dedicated to her sister and brother-in-law and the infant they lost to stillbirth. The most important moment in the composition occurred with a set of exquisite pairings, the mourning parents in subdued duet with the angelic child and her creator. Whether this was intentional on the part of the choreographer or forced upon them by a late substitution, the result was profound, illustrating the difference between our world and the heavens; there the sun shines brighter, the breeze tastes sweeter; here we are weighed down by our grief. The angelic duet also featured a level of partnering unanticipated from amateur/student dancers. Between these emotional powerhouses, its impact somewhat diminished by its placement, was the graceful "Light/Shadows," choreographed by Mandy Milligan. Set to live music, Milligan's moves and patterns were most compelling when her trios danced in unison en pointe. Deanna Karlheim's duet, "The Final Beginning," which fell victim to Roosaare's injury, was replaced by "Nothing's A Mistake," choreographed and performed by Karlheim and Mariana DeMarco, who joyfully displayed the graceful give-and-take necessary for true unison between such different dancers. Finally, Carol Tang's "Corporate Grime" shook things up with a bold mix of krump and modern dance styles set to urban/techno dancefloor music, which audience and dancers loved alike. While no composition was performed flawlessly, each student displayed a dedication to and delight in their craft that will bloom professionally, as they mature from talented amateurs to seasoned dancer-choreographers. With this level of ability, and so many free performances, it never ceases to amaze me that CCM events are not all SRO. Local patrons should take advantage of the chance to see these kids before they're famous!

    CCM Corbett Auditorium

    CCM Corbett Auditorium

    4.3
    (4 reviews)
    1.2 mi

    The Patricia Corbett Auditorium stands out like a sore thumb against the College Conservatory of…read moreMusic's cement landscape. The green angled roof suggests a beautiful auditorium on the inside, and it is. Built in 1971 this 380 seat auditorium offers a more versatile space than the Corbett Theatre to CCM students and local performing groups. The stage is a thrust stage which means it juts out into the audience a bit. The seating is around the stage in a semi-circle. On each side of the wall are very interesting architectural designs on the walls made up of squares and other shapes. The theater also contains a large Casavant Tracker organ. I saw a wonderful production here of The Wild Party that was presented by the musical theater majors at CCM. The show was tight, wild, and entertaining!

    This is such a gem that nobody talks about. CCM puts on such an amazing performance…read more I saw Don Pasquale performed by CCM grad students and they did such a good job. Shout out to the lead, Don Pasquale, as well as Norina and The Doctor. They were hilarious. The entire crowd was laughing, it felt more like a comedy show than the opera. Mark Gibson, the conductor was also superb. He's a show in himself, just watch him, it's great. He really gets the best from the orchestra which was also very good. I can't really say enough good things, best money I've spent in a long time. I'd recommend sitting in the back if you don't speak the language. They always have subtitles, but if you sit in the front you'll have a kink in your neck from looking up at the screen. Can't wait to go back, too bad the shows are almost over for the season.

    Photos
    CCM Corbett Auditorium
    The Corbett Auditorium is the tall cement structure on the right
    The Corbett Auditorium is the tall cement structure on the right
    The Patricia Corbett Theatre is under the green awning

    See all

    The Patricia Corbett Theatre is under the green awning

    Cincinnati Ballet - theater - Updated August 2026

    Loading...
    Loading...
    Loading...