Dualidade, the movement is faster and highlights the great qualities of the interpreters.

A trio is particularly impressive, with a woman and two men, the dance is acrobatic: with powerful gestures and a strong image for the spectators.

France de Vogue

DANSE

November 2008

Some critics

 

In ‘Dualidade@br’, by Armenian choreographer Gagik Ismailian, the dancers unabashedly abandon themselves to it. The dualism referred to in the title is expressed in the red and white costumes and in the different sections, where ‘saudade’ is explicitly juxtaposed with passion within (how could it be otherwise?) the theme of all-consuming love. With wildly flapping hair, the female dancers throw themselves spiritedly into the arms of their partners with circus-like flying leaps, and the solos are full of exalted ‘suffering’.

Sander Hiskemuller, TROUW 28.10.05

 

 

In Gagik Ismailian’s piece ’Dualidade@br’ the strengths of the ensemble come to fruition: passion and devotion. Accompanied by ethno pop and songs by Fado artist Mália Rodrigues, the men and women meet in groups of two, three and eight. Gently and tenderly they beguile each other, passionately throw themselves into each others’ arms, dance into a trance with self-abandon. The appeal of Gagik Ismailian’s choreography lies in its quickness and surprising, complex movement sequences.
Alexandra Albrecht, Weser Kurier, 2 March 2007

 

 

Gagik Ismailian’s ’Dualidade@Br’ is inspired by the melancholy and desperate passion of the Portuguese fado. Having emerged from the auditorium, four dancers appear in front of the curtain and then form sporty and supple couples on stage with their partners. What follows are breathtaking formations in trios, duets and solos: from acrobatic aerial work to fiery kisses and falling rose blossoms, this dance is a roller coaster ride of temperament and emotion.

Dietholf Zerweck, Ludwigsburger Kreiszeitung, 12 March 2007

 

 

'Dualidade@br' by Gagik Ismailian was dominated by the continuing flow of movement, which was repeatedly modified in solos and groups of two and three, but never interrupted. In terms of expression the pas de trois was really a pas de deux with its fervent explosiveness.

gab, Stuttgarter Zeitung, 12 March 2007