A dance of sublime pleasure. Staatsballett Berlin in Christian Spuck’s Messa da Requiem
“…Rich in aesthetic charm and delicate beauty… abounds in dramatic moments… absorbs and leads to wonder.”
“…Rich in aesthetic charm and delicate beauty… abounds in dramatic moments… absorbs and leads to wonder.”
The dancing is at a very high level… With both pieces focusing on relationships and death they complement each other perfectly
An exploration of the commodification of love that poses questions in an unusual, amusing and highly interactive performance.
An excellent show. Relational dynamics abound. Jealousy, flirting, fun, excitement, make-outs, clashes, displeasure and mixed feelings are showcased
An homage to the familiar ballet. But while each of the four works was inspired by the classic, each is decidedly contemporary and different.
By Edward Clug, with sets and costumes by the acclaimed Jürgen Rose. And it’s the 85-year-old Rose’s designs that stick most in the memory
Bridget Briner’s complex, impressive version that relocates the story and tells it from the perspective of Livia, one of Cinderella’s stepsisters
Modern yes, but still a ballet driven by emotions and imperfect people…and that in Act II especially, touches in all the right places
Outstandingly performed, sadness and melancholy pervades in Pérez’s intense, magnetic work that puts a new face on Shakespeare’s drama.
Surreal queerness, limitless imagination, kinky fantasies, mystical visions, loud, monotonous techno, kitschy excesses…and a pinch of occultism
Sometimes more performance-oriented than dance-driven, the festival demonstrated how the various arts languages are increasingly combining