Press //

#auferstanden (2018)

Stefan Rütter Kölner Stadt-Anzeiger
“… The beginning of ‘original sound’ expert Konrad Junghänel’s and choreographer Emanuele Soavi’s joint project #auferstanden at Kölner Philharmonie was quite impressive. What followed in the next 75 minutes was less of a theatrical and more of a musical concept … Soavi’s choral choreography cleverly transformed the music’s accentuated energies as coherently as the smooth ‘legato‘ … with great talent involving the singers too … Like that the musical part remained strong and ever-present …”

ATLAS (2018-2021)

ATLAS 1 – Any Body Sounds (2018)

Melanie Suchy Kölner Stadt-Anzeiger
“… Fantasy, orientation and natural communication all depend on sound originating from one and the same source. The art of ANY BODY SOUNDS is to disturb this kind of connection … avoiding clichés, sophisticated, well done …”

Bettina Trouwborst auf
“… Emanuele Soavi and Jone San Martin, two exquisite movement artists, each dance in their characteristic style… She, unmistakably a longtime Forsythe-dancer in his idiom of deconstruction, and he swiftly flowing, light-footed and immensely versatile.”

RELICS (2017)

Melanie Suchy TanzwebNRW:
“… An elegant, swift ease flowing through all dynamic shifts from fast to slow, presenting itself as an ocean waving through single bodies or letting them swirl, lifting the whole group up and pushing it forward, making the dance a feast for the eyes.”

Nicole Strecker Kölner Stadt-Anzeiger:
“… Later on, during an unleashed dance on Bach music followed by the newly arranged, electronic Baroque sound by Wolfgang Voigt, it feels as if this breathtaking choreography with its sharp-edged furniture reminisces about a relic of younger dance history: William Forsythe’s classic ‘One Flat Thing Reproduced’ …”

THE HABIT CYCLES (2014-2017)

ANIMA (2017)

Nicole Strecker TanzwebNRW:
“… A horror trip about the ever so human assumption that there is more between heaven and earth than we know of. Depressingly intimate and uncanny as if being part of a nightmare movie by David Lynch.”

Thomas Linden Kölnische Rundschau:
“… A production that challenges its audience’s mindset, offering a little adventure.”

LVMEN (2016)

Nicole Strecker TanzwebNRW
“… Astounding image citations, aesthetic diversity, a change of perception – “LVMEN” offers and explores a lot … At last this fascinating “LVMEN” photo-dance-studio is also: a philosophical digression on the dimensions of time. Where dances rushes, photography drags behind. When the image is projected onto the screen, the bodies in motion have already entered a completely new state. A power struggle between past and present, photography and dance. A draw. This highly recommendable evening has definitely two winners.”

Melanie Suchy Kölner Stadt-Anzeiger
“… The man with the camera chases moments. His prey appears only seconds later, projected onto a huge screen. Magnificent… As if the dancers, during those 70 minutes that never seem to lose their attraction, would not just constantly ask ‘How do I look?’ but also ‘What do you see in me?’.”

Dick van Tejlingen Theaterkrant
“… Das sind starke Bilder. Gnadenlos auch: Jede Ader, jede Furche und Falte, erscheint überlebensgroß auf dem Bildschirm … Schöne Bilder, auch ohne Nachbearbeitung. Der Kontrast zwischen den Menschen, die ihr Bestes geben, der Bewegung, und dem Mann, der sein Bestes gibt, diese einzufrieren, ist faszinierend.”


Norbert Raffelsiefen Kölner Stadt-Anzeiger
“… An appealing game spurred by the dancers’ dynamic choreographies.”

Günter Pick
“… A must-see! … Almost everything a contemporary Commedia dell’arte could achieve is being brought to life for us here.”

Thomas Linden in Kölnische Rundschau
“… A theatrical overkill.”

AUREA – Variations on Bach (2015/2018)

Marion Etienne FLZ
“… Stirring, enthralling moments condensed in a sometimes lost, often surreal black and golden flood of images determinedly drifting by in an exciting rhythm.”

Ingo Hoddick Rheinische Post
“… an interesting dialectic of rationality and sensibility, chaos and structure, destruction and construction, mathematics and love, man and woman, catastrophe and beauty, Old Music and new dance. Visitors, dancers and musicians found their way into a clever communion of the arts. Not just for dance freaks and Bach enthusiasts.”

AUREA – Solo (2014)

Melanie Suchy Kölner Stadt-Anzeiger
“… making the struggle between construction and vibrancy – one of the major topics in dance – strikingly visible.”

Klaus Keil auf TANZwebKOELNBONN
“… For choreographer Emanuele Soavi, these first biblical lines were his “source of inspiration and starting point” for this solo performance proving once more that he is one of the best and most expressive dancers of Cologne’s dance scene. … Due to their slowness these minimal movements gain an incredible intensity, binding the audience’s gaze and attention in a remarkable way. In these moments of expressiveness in dance the collaboration with choreographer Susanne Linke shows … Even the piano with Thomas Wansing, who accompanies the performance with a sensitive composition based on motifs by Johan Sebastian Bach, completely vanishes in the dark. His at first soft tunes suggest that even in the darkest corners faint traces of humanity exist … AUREA is a strong beginning for a long-term dance-research project.”

Bettina Trouwborst Westdeutsche Zeitung
“… A impressive dance production … deserted and dark is the earth, the place Susanne Linke staged in cooperation with Emanuele Soavi as the origin of all life … With a steady hand the great choreographer created the archaic. Pianist Thomas Wahnsing accompanied the development with a gentle improvisation on Johann Sebastian Bach.”

MYTH PROJECT (2010-2014)


Pedro Obiera WAZ:
„… One of the most exciting stage projects of late.“

Nicole Strecker
„… Eight Soavi-fied dancers that are real stage animals: wild, fast, unrestrained – in a nutshell: Fantastic. In “Daedalus/Dreams“ every fibre of their bodies longs for extension and independence. Amazing how this choreography exposes the scientist’s hubris, whose irresponsible ingenuity creates monsters: the mythological Minotaur as well as the annihilating war machine. The third part (“ARIADNEamore“) concentrates on Emanuele Soavi’s mesmerising vocabulary of movement. … A dance about grief and anger by desperately lovesick, long-haired and women in long gowns as if it was a production by Pina Bausch … An obvious homage marks also the highlight of the evening: Soavi’s superbly bold „PANsolo“. He quotes the distinct poses of Vaslav Nijinsky’s ballet „L’apres midi d’un faune“; there is no better interpretation of those movements than Soavi’s. Soavi as sensual horror creature and dancer, choreographer, charming boy and organiser of a Dionysic dance ecstasy, during which that which cannot be calculated maintains the tension. Hard to imagine anyone else doing that.”

ARIADNEamore (2013)

Sabine Rother Aachener Nachrichten:
„… A highlight of this year’s Schrittmacher Festival … Soavi creates superb imagery … a kaleidoscope of conflicting emotions … danced by brilliant and highly motivated members of an unusual company.“

METAMORPHOSIS!individual (2013)

Melanie Suchy Kölner Stadt-Anzeiger:
„… For METAMORPHOSIS!individual Soavi worked with two dozens of young dancers from four different countries; an organisational mega-project with great results.“

PAN (2011)

Elisabeth Einecke-Klövekorn Bonner Generalanzeiger:
„… Emanuele Soavi invents aesthetically fascinating, innovative forms of movement for the open mind in a fragmented universe dissolving all sense of self-awareness.”


Dorothea Marcus Kölner Theaterzeitung AKT:
„… A multi-dimensional, brilliantly composed evening with fragments of myths and memories leading deep into one’s own head, all of which is achieved on an extremely high level of dance.“


Melanie Suchy >tanz<:
„… Soavi, accompanied by Stefan Bohne’s soundscape made of noises and long, even metallic sounds, throws some impressive scenes around… Soavi as a dancer is an expert; the fact that he does not have to prove it anymore is playfully depicted, carefully working his charm.“