Hear Eyes Move. Dances with Ligeti – Press

‘”Hear eyes Move. Dances with Ligeti”, fortissimo!

(…)Brian Ca, Cree Barnett-Williams, Malcolm Sutherland, Elisabeth Christine Holth and Piera Jovic, who all put in an enormous, physical, harmonious performance…Solos alternate with ensemble movements on a stage bathed in white for an atypical but powerful dance-concert! We love it!’

– Patrick Denis, La Provence  –

Interview with Grégory Cimatti for Le Quotidien (French)

‘We salute the exceptional work
of choreographer Elisabeth Schilling and the performance of the five dancers.’

– Paula Gomes, theatreactu  –

‘The sound and dance experience impresses on a musical as well as the dance level with perfect precision’

‘They are magical images that (…) exude a moving aesthetic‘.

‘To the sometimes hard tones of Ligeti (…) the dancers float over the stage, sometimes like wind-up dolls, sometimes like birds, do pirouettes or slump and grow out of themselves and over the stage’.

– Emma Appel, Luxembourger  –

‘A turning point in the young choreographer’s career.’

– Grégory Cimatti for Le Quotidien  –

Press review by Emma Appel at Luxemburger Wort (German)

‘HEAR EYES MOVE is a mammoth project. The choreographer Elisabeth Schilling ventures into the highly complex piano etudes by György Ligeti. Together with pianist Cathy Krier and five dancers, she follows the colours of the tones: a fusion of new music and contemporary dance at eye level.’

– Anina Valle Thiele, d’Letzebuerger Land 

Press review by Anina Valle Thiele at d’Letzebuerger Land (German)

Article in Revue Magazine (German)

‘Hear Eyes Move proves that the meticulous preparation of the project by the choreographer has borne fruit. And how tasty they are!’

‘We can see in this determination, this tenacity, this creativity to adapt to the circumstances, the hallmark of the work of Elisabeth Schilling.‘

‘There is a lot of grace and liveliness in this writing, a substrate of classicism on which contrasting expressions fan out, distinct or flexible, tense or relaxed, adjusted to the millimeter and remarkably executed by a collective in symbiosis with the pianist.’

– Marie-Laure Rolland, La Glaneuse –

‘This is really a surprise! That I like it is a very weak expression. I was thrilled, you gave me a wonderful night. I have only seen it once so far, I will watch it more often, and soon a second time, because I really like the way of dancing, the movement – I don’t know anything about dance, my opinion is that of a child – but I often had the feeling while watching that I now understand what dance is/can do and why it is an art. It really touched me, to the point of heart palpitations.Of course I need to control these sensations, so by all means watch and listen again. Until then thank you, it shook me in a positive sense and that doesn’t happen often when you are over 90. Please tell your fellow artists with my deep thanks.’

– Vera Ligeti –

Interview at the ORF Radio (German)

‘Music and dance are indeed on an equal footing. Both genres form an almost perfect symbiosis’.

– Gabrielle Seil, Revue Magazin

Press review by Eva-Maria Reuther on th Moselle Music Festival 2021 (German)

Press review in Goslarche Zeitung (German)

Article in La Glaneuse (French)

‘In general, Elisabeth Schilling’s dance language is the most sensitive fine drawing. The movements of her dancers create lineaments that develop solely from the energy of the music and its temperaments and moods. Lines of movement that take hold of space, unroll, condense into spatial bodies, only to separate again. At times, the outstretched limbs seem like expressionist exclamation marks. In a single gesture, an entire soul seems to be externalised.’

– Eva-Maria Reuther, Trierischer Volksfreund