Tzu-Chao Chou and Lana Jones in Dyad 1929.
Photography Jim McFarlane
"... a crisp triple treat."
"There's light and shade, comedy and tragedy; a good night for any mood."
"Concord is the end of a long road for The Australian Ballet, one that has been intersected with great moments. This is one of them."
On Por vos muero:
"This is mesmerising movement ..."
On Scuola di ballo:
"[The character of Felicita] was danced wonderfully by Laura Tong ..."
"[The character of Rigadon was] portrayed to wonderful excess by Ben Davis."
On Dyad 1929:
"... a piece of contemporary magic ..."
"... a remarkable set by Lucy Carter."
"There's an enormous strength to the work and some unique ideas."
"... inspiring and uplifting ..."
"The score - Double Sextet, was admirably executed under the guidance of Nicolette Fraillon."
The Daily Telegraph, 16 November 2009
On Por vos muero:
"... stunningly beautiful."
"... The Australian Ballet performers demonstrate their finesse as they cut the air with their legs and arms."
"... quite stunning."
On Scuola di ballo:
"... beautifully presented ..."
On Dyad1929:
"... there is an eerie quality to the work that is beautiful."
The Sun Herald, 15 November 2009
On Por vos muero:
"... wonderful ..."
"Fluent, dove-tailing ensembles, duets and solos are so well performed they move viewers into another world."
"I could have seen it three times over and gone home happy."
On Dyad 1929:
"[Por vos muero's ] excellence was matched by British choreographer Wayne McGregor's Dyad 1929.
"What delights with Dyad [1929] is the way he [Wayne McGregor] moves the dancers out of their classical lines and into a kinetic plasticity; torsos ripple and limbs climb in and out of complicated, knotty partnering links with apparent ease."
"The opening night cast revelled with smooth sinuosity in McGregor's challenges."
"The male partners were strong, but the female dancers shone most brightly - in particular Stephanie Williams and Lana Jones."
"... the playing of Steve Reich's Double Sextet by musicians from the Australian Opera and Ballet Orchestra was spot on."
On Scuola di ballo:
"... delightful dance opportunities, which were taken well on opening night by Leanne Stojmenov and Amber Scott."
The Sydney Morning Herald, 13 November 2009
On Por vos muero:
"Mesmerizingly beautiful ..."
"... undoubtedly the highlight of the evening."
"... simply gorgeous music ..."
"... evocative lighting design, stunning visual images ..."
"It's hard to single out any of the dancers individually as all were equally beautiful, moving seamlessly as one in the ensembles and taking this lyrical flowing style with natural grace and ease."
"... from playful and spirited to melancholy to heartbreakingly intense - the dancers seemed inspired by the choreography and the music and looked at their best throughout."
"All the senses are caressed in this piece ... one comes away with a sense of dance as joy and an integral expression of life."
On Scuola di ballo:
"... tremendously entertaining ..."
"A comedy ballet in the best of that tradition ..."
"... lots of fun."
"... lots of delightful moments ..."
"All the dancers here excelled, dancing with ease and enjoyment and clearly having fun - which was itself infectious."
"Jane Casson as the bad student Felicita steals the show ... "
"Ben Davis had the mannerisms down pat as the pretentious ballet master Rigadon ..."
"... Leanne Stojmenov relished her role as the talented debutante Rosina, producing some lovely acting as well as demonstrating a breathtaking technical ease in her movements."
Dance Australia, October/November 2009
On Por vos muero:
"The dozen dancers chosen from across the ranks appeared relaxed in the movement, embodying Duato's lyrical playfulness with ease."
"Coryphee Vivienne Wong danced with real flow, almost caressing her partners."
Dancing Times UK, October 2009
"This is one of the most diverse and entertaining triple bills The Australian Ballet has presented."
**** 4 stars
"Triple pleasure"
"... a splendid display of technique and enthusiasm."
"The dancers are at peak energy, seemingly hungry to embrace rarely performed choreography."
"The dancers are consistent, cohesive and unreservedley exceptional."
On Por vos muero:
"... a personal favourite."
"The combination of renaissance music, elegant costumes and a simple, yet evocative stage design sets this work apart."
"The dancers' lines are strong and there is a sense of pageantry that never loses an artistic edge."
On Scuola di ballo:
"It is light, bright and gives full display to the dancers' acting abilities."
"Jane Casson is brilliant as Felicita, the bad student accepted into a serious ballet class. It is difficult for such an accomplished dancer to dance so badly and she embraces the role's comic possibilities, just as Leanne Stojmenov grasps the light-feathered dancing of the talented debutante Rosina."
On Dyad 1929:
"... striking in its abstraction."
"... visually confronting."
"It is complex, fast and precise choreography that challenges the dancers."
Sunday Herald Sun, 30 August 2009
"The Australian Ballet has been making increasingly provocative forays into edgy contemporary dance and this new triple bill is one of the boldest"
On Por vos muero:
"The design is understated but exquisitely realised ..."
The Sunday Age, 30 August 2009
"Go and see what the fuss is about."
On Dyad 1929:
"... a minor miracle."
"... a cast so good you won't know where to look."
"It's a total work of art in which every element is equally weighted and equally impressive, from the agile and likable music (by Steve Reich, no less) to the designer costumes, and from the (literally) dazzling lighting to the rich, enigmatic and endlessly fascinating choreography."
On Lana Jones in Dyad 1929:
"... a commanding and confident presence ..."
"Here, she's at her reptilian best."
On Por vos muero:
"... the company has never done it with more style or commitment."
"It's a joyous, exuberant, vital thing."
On Vivienne Wong in Pos vos muero:
"... the company's most gifted and sophisticated young dancer... "
Herald Sun, 25 August 2009
"Three recent works combine to demonstrate the astonishing advances The Australian Ballet is making. It is now a world-class
ensemble, assured and brilliantly versatile."
On Por vos muero:
"Richly danced throughout, it is choreography to watch time and again."
On Scuola di ballo:
"... it has enough charm to choke a grizzly bear."
"...the triumph belongs to the principals: Jane Casson, the desperate would-be ballerina; Lana Jones, the model student; Ben Davis, the irrepressible dancing-master."
On Dyad 1929:
"The challenge of such atonality [in the score] was splendidly met by Orchestra Victoria under Nicolette Fraillon. No less impressive were the dancers; no less admirable the audience, who seized the chance to respond to an experience far beyond the usual limits of "ballet"."
The Age, 25 August 2009
"... it is great to see The Australian Ballet commissioning new work from such exciting choreographers as McGregor and Ratmansky."
On Por vos muero:
"... Luke Marchant and Brett Chynoweth had great energy in their jesterly duet, while Lana Jones was able to crystallize the choreography with her incredible clarity of movement."
On Scuola di ballo:
"... a charming, funny and lively piece ..."
"... a little gem which is sure to become a favourite for family programs in future."
"The entire cast give wonderful performances, in particular Leanne Stojmenov and Daniel Gaudiello as the capable students Rosina and Carlino, who combine effortless technique with the blossoming of young love. Jane Casson displays her comedic prowess as the clumsy student Felicita, while Ben Davis is brilliant as the foppish, scheming dancing master Rigadon."
On Dyad 1929:
"Abstract, totally modern and super fast ..."
"It’s fabulously complex and totally alien."
"McGregor’s choreography is like nothing the Australian Ballet has ever done before."
"... a fitting finale to the company’s four year tribute to the Ballets Russes, the original innovators of ballet."
Arts Hub, 25 August 2009
On Lana Jones in Dyad 1929:
"She absolutely nailed her nuanced, ultra-complex solo, performing the rapid but minute shifts in alignment and huge cantilevering balances with frightening precision."
"Concord is the most beautifully executed, stylistically diverse and satisfying contemporary AB [The Australian Ballet] triple-bill in years."
On Por vos muero:
"The highlight ..."
"Ingenious ..."
The Australian, 24 August 2009
"... something for everyone ..."
"... a triple bill that is special because of its diversity and its committed, versatile dancers."
"... it shows the incredible versatility and physical abilities of the dancers themselves. That they can jump from contemporary dance to comic ballet to post modern choreography within the space of two 20 minute intervals and perform each style confidently is quite extraordinary."
On Scuola di ballo:
"... a crowd pleaser and opening night’s cast was commendable ..."
On Jane Casson in Scuola di ballo:
"... was undeniably the star on opening night ..."
On Dyad 1929:
"It’s visually impressive and spectacularly transforms the State Theatre into something entirely other, allowing the dancers to go to new places as artists."
"Tzu-Chao Chou and Lana Jones in duet were stand out, as was Remi Wortmeyer."
"It’s a challenging and electrifying work that will grow as it continues to be performed and is a great addition to the AB’s [The Australian Ballet's] contemporary repertoire."
Australian Stage Online, 24 August 2009
