Melanie Suchy in Kölner Stadt-Anzeiger
“A captivating mix of humor and sadness … The six dancers are responsible for the physical simmering. Curving all parts of the body, crossing, throwing out the arms and legs, folding the upper body down. This never looks for a beautiful pose, but nervously and playfully breaks down the harmonious lines or symmetries of the baroque-based classical ballet … Anna Prohaska connects the music side with the dancers. She mixes with these and those, in pumps, barefoot, in a girly skirt, in a black evening dress. She sings early Baroque Italian arias about heartbreak, and it sounds so clear, so pure. Because, like the lute musicians, she doesn’t dramatize, she lets the melodies take their course, the slow ones, the excited ones, the trills, melismas, sighs, these little downward steps. Glass with heart …”
Verena Düren in Kölnische Rundschau
“Brilliant interplay of early music and modern dance … The evening was made a special experience by this interplay by Anna Prohaska, who shone in arias by Caccini, Cavalli, Barbara Strozzi and of course Monteverdi, the lautten compagney, that skillfully moved between early music and the minimal music by Philipp Glass, and the interpretation of the content by Emanuele Soavi incompany, who achieved a remarkable performance …”