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Few critics

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 aireal 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






La Vie en Rose, Satie et Moi

Four women, mysterious and naive dolls in stylish and beautiful costumes which are thoughtfully incorporated in a minimalist kinetic structure, present themselves in a dance of explicit contractions of torsos and sensuous hands … The choreographer has obviously managed to encourage both dancers to create the female characters in four different shades, according to their feelings … This time Ismailian outlines, in a subtle and unique manner, the mystery of a woman, which has never been known enough; yet is immensely attractive, hesitant and at the same time explosive; which constantly conquers, gives and takes dominantly … The dance emphasises the encounter of two beings, both seeking domination in their own ways. We watch a female character – an emancipated, somewhat cold intellectual Sanja Nešković Peršin and him – Stefan Capraroiu, a “macho” full of himself, but essentially a soft-hearted man, prepared to fight in the name of passion.



A stirring choreography portrays different encounters, the duality has been entangled and disentangled in eight scenes, with the finale joining together the individual solo dances, duets and trios into a picturesque unity … Its art is not found in the precision and daring only, but also in feelings that are restored by the dancer’s personal expression, which is not lacking. Moreover – through their personal expression, the dancers have found the way to refine their in all aspects fascinating performance. The staged dance performance has been a fusion of pleasant and fine choreographies – the quite needed event for the audience, as well as the ballet ensemble. Much to the audience’s and performers’ satisfaction, Gagik Ismailian staged a contemporary ballet of the nineties, close to the Wellenkamp, and to some extent the Kylian, style and he managed to add his own perceptive dimension.

(Daliborka Podboj, VEČER newspaper, 6th April 2002)


First part, La Vie en Rose, Satie et Moi is conceived cyclically, like a travel through loneliness, alienation and dehumanisation of urban life, like a wandering through love. Suddenly … across the room is a chamber play of two dancers who fill the stage by their impetuous emotions. Passionate, technically impeccable performance of Sanja Nešković Peršin and Stefan Capraroiu leads the action to ecstasy. The final part of the performance – the author titled it "Duality" – abounds in dramaturgy and choreography and is full of symbols.

(Stanislav Koblar, FINANCE newspaper, 3rd April 2002)



The performance stands out of the frameworks of usual ballet performances on opera stages; it threads the reflections and responses of the individuals who are in different situations, yet not joined by a joint narrative. The performance is



like a welcome guest who presents the contemporary trends in ballet arts, as well as the ability of Ljubljana Ballet to accept and master the novelties … The choreography, which is not the same even in dances of smaller groups, allows for an individual to upgrade the detailed conception.

(Andreja Tauber, DELO newspaper, 3rd April 2002)


The thrill offered by CeDeCe's tour of Ireland is the opportunity to savour the work of five different choreographers of modern dance performed by a streamlined company. The performance at the Firkin Crane saved the best for last, with Gagik Ismailian's Mecanica demanding receiving terrific concentration from this young Portuguese company. Designed to the music of Leitmotiv - Voyagers en Parallele - the piece explores the mutual musical and physical dynamic in terms of spatial relationships.

Narrative is not an issue with these works, which are driven by music rather than theme. This gives the style sharpness instead of depth but also allows the dancers to reveal, and revel in, their various strengths.

The Irish Times

Aug 15, 1996, 


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