Sao Paulo Dance Company: Goecke, Binyamini, Céspedes
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
At the curtain call, the audience greets Sir Peter Wright, his 99th birthday days away. Fiction and reality touch lightly. The ballet’s tradition no longer distant.
I can safely say that I have never felt a swan’s breath on the back of my neck. Until now. Because that’s precisely what happened during Act Two…
The company just gets better and better. The eleven dancers were outstanding in their grace, fluidity, musicality and interpretation
‘Crash: reassembled’ by Astrid Boons, a reworking of her 2020 piece, and ‘IT’S NIGHT AGAIN’, a new work by Italian choreographer duo Panzetti/Ticconi
The six works on this year’s tour certainly live up the requirement to be “original, imaginative, unique and… display unusual achievement.”
The ACE dancers are outstanding in both works. Their finesse, precision, interpretation, technique, and sheer danceability, are amongst the best…
Leïla Ka’s choreography is sharply incisive and precise, requires great core strength and physicality, but also leaves plenty of space for vulnerability
“A triple-bill that’s classy and classic… Perspectives really is a cracking evening. Maybe too much of a good thing is sometimes not a bad thing at all.”
Eyal’s Into the Hairy for her company, S-E-D, depicts a strange world, one whose inhabitants are disconcertingly humanoid, but not quite human
The autumn matinee of the Ballett-Akademie der Hochschule für Musik und Theater München (Akademie) and Bayerisches Junior Ballett München (BJBM)