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.”
PARADISUS? (2015)
Norbert Raffelsiefen Kölner Stadt-Anzeiger
“… An appealing game spurred by the dancers’ dynamic choreographies.”
Günter Pick tanznetz.de
“… 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 – Installation (2017/2021)
Thomas Linden Kölnische Rundschau Live-Stream 21
“… once the dancing figures have come into action and are allowed to talk about energy, beauty and passion, the close-up camera view proves its worth and captures the excellence of the ensemble in an exhilarating way …”
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.”