Bewertungen Und Brochuren 2009 06 No. 130, Dance Europe

Bewertungen und Brochuren

2009 06 no. 130, Dance Europe, Semperoper Ballet, World according to us, David Dawson, Meggie Foyer Kritik „Tucked between are three little gems of solos for the men giving Jon Vallejo, Istvan Simon and Maximilian Genov the chance to dance about as fast and furiously as they are able”

2012 01 no. 158, Dance Europe, Semperoper Ballet, The Nutcracker Aaron Watkin and Jason Beechey, Meggie Foyer, Kritik “Anna Merkulova and Istvan Simon brought an unforced joy to the roles. making something very special of what can often be rather cardboard characters.”

2014 10 03, The New York Times, Roslin Sulcas Kritik - Paris, Thetre de la Ville Steptext – Forsythe “Courtney Richardson, partnered by Michael Tucker, Istvan Simon and Fabien Voranger (all wonderful), took the movement to its fullest extremes without exaggeration and with a moving delicacy and grace.”

2019 12 No. 245 Dance Europe, kritika, The Great Gatsby, Slovenien National Ballet Alison Kent "Simon has a very lyrical quality with a strong, solid technique and excellent ballon and in his main duets with Kmetec, filled with energetic lifts and romantic poses, develops a trusting rapport that comes across as absolutely genuine." 2020 03 13, Dawn Pakistan, Winterreise, Jamal Shahid Kirtik “Istvan Simon’s dancing was spontaneous and strong, with heightened sensibility and imagination."

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Dresden 10 3/18/2020 At Autumn Festival in Paris, William Forsythe Is Everywhere - The New York Times 11 https://nyti.ms/1uisYws

DANCE REVIEW At Autumn Festival in Paris, William Forsythe Is Everywhere

By Roslyn Sulcas

Nov. 3, 2014

Raphaël Coumes-Marquet and Elena Vostrotina in ʻʻIn the Middle, Somewhat Elevated.’’ PARIS — The choreographer William Forsythe is ubiquitous here this fall. He is the focus of this year’s Festival d’Automne, with ﬁve companies presenting his work around the city over three months, and the Paris Opera Ballet offered a Forsythe program over three weeks in September and October. The appetite for Mr. Forsythe’s work in Paris, and the crowds that have ﬂocked to the shows, point to the anomaly in his reputation. In Europe, where he has spent his whole professional career, he is an artistic giant; in his native United States, he is regarded with far less reverence.

A program brought to Théâtre de la Ville by the ballet troupe Semperoper Dresden last week, as part of the autumn festival, shows two of his important early works, “Steptext” (1985) and “In the Middle, Somewhat Elevated” (1987). They bracket “Neue Suite,” a compilation of pas de deux from five pieces created from 1987 to 1999. Mr. Forsythe was intensely focused on ballet technique during this period (since about 2000, his work has moved in other, more contemporary directions), and these works show why he has had the most significant influence on the art form since Balanchine’s groundbreaking 20th- century extensions of classical form.

https://www.nytimes.com/2014/11/04/arts/dance/at-autumn-festival-in-paris-william-forsythe-is-everywhere.html 1/3 3/18/2020 At Autumn Festival in Paris, William Forsythe Is Everywhere - The New York Times “Steptext”12 and “In the Middle” convey the way Mr. Forsythe took Balanchinian precept — the off-balance extensions of academic positions; an athletic, no-nonsense virtuosity; the focus on clarity and speed — and then pushed them all further. Every aspect of ballet convention is explored: What if movement is generated by a shoulder or knee rather than the center of the body? How does partnering work? What happens if conventional positions are extended? How far can an off-balance position go before a fall?

All these ideas, but most particularly an exploration of partnering, are offered in “Steptext,” a quartet for three men and a ballerina (she in lipstick-red body tights). The piece plays with ballet conventions: A dancer improvises onstage as the audience enters; the house lights stay on for a while after the work starts; the ravishing score, Bach’s Chaconne from the Partita No. 2 (in a recording by Nathan Millstein), is frequently cut off at climactic points. The ballerina becomes a powerful rather than passive ﬁgure. She decides with whom she will dance and how, even as Mr. Forsythe makes it clear through complex, sweepingly beautiful sequences that partnership is exactly what is required.

Like many of Mr. Forsythe’s pieces, “Steptext” is partly about the work of ballet. We see the muscular tensions that classicism masks, the realignment of weight and balance, the difﬁculty and the extraordinary beauty. The ballerina in “Steptext” is an artist showing us her craft, the way she can expand and compress time in space. On Wednesday night, Courtney Richardson, partnered by Michael Tucker, Istvan Simon and Fabien Voranger (all wonderful), took the movement to its fullest extremes without exaggeration and with a moving delicacy and grace.

Created for the Paris Opera Ballet to a brooding electronic score by Thom Willems, “In the Middle” evokes the competitive world of the Parisian company. It was the work that established Mr. Forsythe as an international presence.

The Dresden dancers (particularly Elena Vostrotina in the central role, created on Sylvie Guillem, and Anna Merkulova) perfectly conjure the wary gazes turned upon one another, the prickly intimacy, the burning quest for center stage. Even when that is achieved, soloists are rarely alone. A ﬁgure often lurks on the edges of the stage; during one solo (Jiri Bubenicek, marvelous), the ensemble forms a frieze of academic positions across the back, like dancers at the barre or illustrations from a guide to ballet technique.

The relationship between the formal elements of that technique and the way it is extended and elaborated here is entirely understood by the Semperoper ensemble, which has beneﬁted from frequent coaching by Mr. Forsythe and is directed by Aaron S. Watkin, who danced with Mr. Forsythe’s company. Although the pas de deux aren’t offered chronologically in “Neue Suite,” it’s possible to trace the evolution of Mr. Forsythe’s vocabulary across the dances; from the sexy athleticism of “New Sleep” to the tender, poignantly beautiful lyricism of “Slingerland” (an astounding Sangeun Lee and Raphaël

https://www.nytimes.com/2014/11/04/arts/dance/at-autumn-festival-in-paris-william-forsythe-is-everywhere.html 2/3 14 3/20/2020 German group brings Schubert’s Winterreisi to capital - Newspaper - DAWN.COM 15

TODAY'S PAPER | MARCH 20, 2020

German group brings Schubert’s Winterreisi to capital

Jamal Shahid | March 13, 2020

Artists perform contemporary dance at PNCA on Thursday. — Photo by Tanveer Shahzad

ISLAMABAD: Goethe-Institut Karachi brought Franz Schubert’s Winterreise, a classical music and contemporary dance performance to Islamabad Thursday night.

Currently on tour in Pakistan, the German group held their performance in Lahore and their second at the Pakistan National Council of Art in Islamabad. Karachi will be their final stop.

Andreas Heise’s Winterreise is a unique, interpretation of Franz Schubert’s work. Besides the usual combination of voice and piano, he also added the element of dance.

https://www.dawn.com/news/1540419/german-group-brings-schuberts-winterreisi-to-capital 1/2 3/20/2020 German group brings Schubert’s Winterreisi to capital - Newspaper - DAWN.COM 16 The choreography created a dramaturgical triangle that emphasised the music, removed cultural barriers and allowed the performance to be emotional and physical. Filled with passion and intensity, the interdisciplinary work of art was a special experience.

The performance began with flawless precision. The sounds of Alexander Krichel’s piano were sedate and dreamily meditative. Soprano Julianne Banse’s singing was pure and lovely while Istvan Simon’s dancing was spontaneous and strong, with heightened sensibility and imagination.

Directed by the sought after choreographer Andreas Heise, the performance ran for more than an hour.

The show was the first step of mutual cultural cooperation between Goethe-Institut Karachi and the PNCA.

PNCA Director General Dr Fouzia Saeed and Goethe-Institut Karachi Director Stefan Winkler also signed a memorandum of understanding (MoU), which will allow for collaboration on programmes of mutual interest and understanding to benefit both organisations.

The organisers claimed that the main aspect of this kind of cooperation is to open new horizons for younger generation to learn about the power of cultural information.

They said that MoUs with organisations that support and promote art and culture in Pakistan and abroad are vital.

Dr Saeed was of the view that such MoUs paved way to create international cultural understanding and further enhance working relationships among similar cultural organisations.

To achieve their common goals, the Goethe-Institut will conduct artistic activities in the form of live musical performances, lectures, workshops, presentation and related cultural and educational activities for the promotion of international cultural understanding among the Pakistani public. The PNCA will provide space, technical and professional help for such cultural activities in Islamabad.

Published in Dawn, March 13th, 2020

https://www.dawn.com/news/1540419/german-group-brings-schuberts-winterreisi-to-capital 2/2

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