{"id":42,"date":"2018-05-29T19:43:54","date_gmt":"2018-05-29T19:43:54","guid":{"rendered":"https:\/\/wp.fuchs-choreography.de\/?page_id=42"},"modified":"2023-01-02T16:28:40","modified_gmt":"2023-01-02T16:28:40","slug":"presse","status":"publish","type":"page","link":"https:\/\/fuchs-choreography.de\/en\/presse\/","title":{"rendered":"Reviews"},"content":{"rendered":"\n

MACBETH<\/strong>
“The result is a powerful evening that demands the full attention of the company as well as the audience: once, because it is worth appreciating the diversity of dance styles that the dancers from Koblenz cover, starting from neoclassical ballet.”
Rhein-Zeitung<\/p>\n\n\n\n

<\/div>\n\n\n\n

CARMEN<\/strong>
“This pushes the energy forward, is realised in an aesthetic that stretches far from neoclassical to folk dance quotes to group dynamics that would do credit to any music video. And it works right off the bat, earning this first outburst from the “Carmen Suite” a roar of scene applause.”
Rhein-Zeitung<\/p>\n\n\n\n

<\/div>\n\n\n\n

THE SWAN LAKE<\/strong>
“Rather, such a dance-technical concetration and accuracy, together with intense esprit of expression in almost all positions, has not been seen here for a long time, possibly never before.”
Rhein-Zeitung<\/p>\n\n\n\n

<\/div>\n\n\n\n

LIGHT NIGHTS<\/strong>
“The audience is captivated with three self-contained evening parts of fundamentally different character to equally different music (recorded): one humorously playful; one deeply mysterious; one of pure ballet beauty.”
Rhein-Zeitung<\/p>\n\n\n\n

<\/div>\n\n\n\n

<\/p>\n\n\n\n

Nutcracker and Mouse King<\/strong>
“In this comprehensive story, Steffen Fuchs skilfully uses a child’s imagination – the play is recommended for children over 6, an evening for the whole family. And yet he adds many details that will only catch the adult viewer’s eye… Stylistically, all 16 ensemble members are from the purest, lovingly quoted ballet classics to the humorous neoclassics of Fuchs style to the group dance of the mice, in which the hitherto unknown Lloyd-Webber musical “Mice” could celebrate its premiere.\u201c
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

The Odyssey<\/strong>
“The choreography is based entirely on neoclassical dance style. And the dancers decline a remarkable repertoire of steps with ease and precision at the same time…. The achievement of alternative possibilities becomes a touching and impressive climax in dance. Sensually and dynamically charged formations between joyful reception and urgent to shamefaced approach stand in contrast to intimate moments of uncertainty, of doubt.”
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

QUARTETT<\/strong>
SJust as Emmerich Hugo Schmollgruber not only transforms Hugo Schmollgruber into Valmont a little later, but also empathises with his dream woman, Madame de Tourvel, Lisa Gottwik senses both the intriguer Merteuil and her na\u00efve victim C\u00e9cile: a highly difficult, even straight, paradoxical play of persons, which is formed here solely from the choreography.
tanz<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

CINDERELLA<\/strong>
\u201cWith a cuddly ring card girl and a nutty inspector, Fuchs hat brought two fools into play who spice up the banter and amusement of this evening.\u201d
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

BACH-BALLETT<\/strong>
\u201cThe musical character (also) allows such exuberance, and we therefore take the opportunity to enjoy the dance game at the remarkably high standard of this evening.\u201d
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

LULU<\/strong>
\u201cSensual, humorous, shocking, pensive, political 90 minutes of thrilling dance performance. With his Franz Wedekind-inspired dance revue \u201cLulu\u201d at Theater Koblenz, ballet director Steffen Fuchs pulls all the stops and manages to resonate with every spectator on a different level.\u201d
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

MOZART.UNA FANTASIA<\/strong>
\u201cFuchs intertwines person and fictional character, present and past, dance and song in such a way that not only a dramaturgical structure is revealed, but the choreography is emphasised in a way that there is no risk of boredom. The audience is always left to feel that the banter can reverse any time.\u201d
dance for you<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

VERKL\u00c4RTE NACHT (Blissful nights)<\/strong>
\u201cIt\u2019s fascinating how the Unknown first abruptly breaks fresh ground and then is only shyly suggested… The powerfulness of this evening lies in its ambivalence.\u201d
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

\u201eThis is what makes musical theatre in the best way possible, especially since Fuchs retains the individual body language of his dancers without ever drifting into sentimental naturalness or pseudo-lyrical pathos.\u201d
Die Deutsche B\u00fchne<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

28 JAHRESZEITEN (The 28 Seasons)<\/strong>
\u201cA strong talent has grown up\u2026For me, \u201c28 Jahreszeiten\u201d is hands down the highlight of the first half of season 2015\/16. \u201c
tanznetz.de<\/em><\/strong><\/p>\n\n\n\n

\u201cA successful and diverse melange of sound, colour and movement.\u201d
Der Neue Merker 02\/2016<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

DER BESUCH DER ALTEN DAME (The Visit)<\/strong>
\u201cLast weekend, Steffen Fuchs and Co. at Theater Koblenz have presented a worthwhile ballet adaption followed by a long round of applause…No less intriguing is Fuchs\u2019 music selection with chamber music by Chopin, Gorecki, Saint-Saens and Hindemith that is sometimes tragic, sometimes quirky…\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

STABAT MATER<\/strong>
\u201cIn parts, this ballet with Fuchs\u2018 markedly mature stylistic idiom is programmatically committed to absolute art, just like a symphony. In other parts, the dance goes beyond and focuses on the human touch.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

SUITE<\/strong>
\u201cThe flow and togetherness of the dancing figures visualise in a striking but still independently construing affinity what is heard by Rachmaninov.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

\u201cYet Fuchs doesn\u2019t display duplicates, he is creating in boundless adoration based on his wealth of experience\u2026He juxtaposes the austerity of the form and the ease of artful nonchalance. Lo and behold \u2013 they obviously belong together.\u201d
tanznetz.de<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

AMERICAN EXPRESS<\/strong>
\u201cIn a captivatingly focused lightness, Fuchs and Co. demonstrate so much hope, talent, joy of dancing and effort on the hypocritical highway from rags to riches.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

\u201cThe appeal of \u201eHappy Song\u201c lies in the contrast between folkloristic square dance figures and a seemingly intellectual Bigband sound, patriotically stylised costumes and rather grotesque movements.\u201d
Der Neue Merker 11\/2013<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

ROMEO UND JULIA (Romeo and Juliet)<\/strong>
\u201c\u2026such as in the great formations. Men and women are weaving an underlying aggression into their coexistence, as if the sexes were fiercely opposed to each other just like the Shakespearean families of Verona.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

\u201cWhat at first sight looks like the joy of dancing experiments and reacting to musical stipulations turns into a roleplay with moments of improvisation.\u201d
Kultiversum\/tanz<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

2xFENSTERPLATZ (Two Window Seats)<\/strong>
\u201cRefined grasps, the coordination of stimuli, handover of suspense, and rhythm of the breath \u2013 the transformation from dancing technique to an expression of the soul is intensely perceptible for the close audience.\u201d
Rhein-Zeitung<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

AN STELLE VON HEIMAT (Instead of Home)<\/strong>
I\u201cBy integrating the family into the family, Fuchs slightly weakens the wit of the musical score while evoking a feel for the mercilessly competitive society in which the pair Anna and Anna are moving.\u201d
Dreigroschenheft 1\/2013<\/strong><\/em><\/p>\n\n\n\n

\u201c\u2026he succeeds with an exceedingly charming piece of dance\u2026Classically shaped without following a too obvious narrative thread, his ballet is playfully evolving…\u201d
tanz<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

GISELLE<\/strong>
\u201cOne by one, the dancers are drawn into a resourceful choreography that in all abstraction never ceases to be childlike and playful.\u201d
Die Deutsche B\u00fchne<\/strong><\/em><\/p>\n\n\n\n

\u201cGiselle wriggles and squirms, her movements are becoming insecure, she doesn\u2019t understand, she remembers the intimate bond full of harmony\u2026she is dancing the dance of inner strife and desperation, displayed in all its tones and nuances.\u201d
Volksfreund (Trier)<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

NUREJEWS HUND (NUREYEV\u2019S DOG)<\/strong>
\u201cThe magic of the theatre tempts the audience to look and the small evening (keeps) its touching qualities.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

RIDICULE<\/strong>
\u201cA smart evening, starting out with the grandeur of a baroque court celebration, only to be dismantled bit by bit to reveal behind the splendour people\u2019s yearning for freedom from the confinement of social norms.\u201d
opus Kulturmagazin<\/strong><\/em><\/p>\n\n\n\n

\u201cSteffen Fuchs made a strong debut at the Koblenzer Ballett.\u201d
Rhein-Zeitung<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

MACBETH“The result is a powerful evening that demands the full attention of the company as well as the audience: once, because it is worth appreciating the diversity of dance styles that the dancers from Koblenz cover, starting from neoclassical ballet.”Rhein-Zeitung CARMEN“This pushes the energy forward, is realised in an aesthetic that stretches far from neoclassical to folk dance quotes to group dynamics that would do credit to any music video. And it works right off the bat, earning this first outburst from the “Carmen Suite” a roar of scene applause.”Rhein-Zeitung THE SWAN LAKE“Rather, such a dance-technical concetration and accuracy, together with intense esprit of expression in almost all positions, has not been seen here for a long time, possibly never before.”Rhein-Zeitung LIGHT NIGHTS“The audience is captivated with three self-contained evening parts of fundamentally different character to equally different music (recorded): one humorously playful; one deeply mysterious; one of pure ballet beauty.”Rhein-Zeitung Nutcracker and Mouse King“In this comprehensive story, Steffen Fuchs skilfully uses a child’s imagination – the play is recommended for children over 6, an evening for the whole family. And yet he adds many details that will only catch the adult viewer’s eye… Stylistically, all 16 ensemble members are from the purest, lovingly quoted ballet classics to the humorous neoclassics of Fuchs style to the group dance of the mice, in which the hitherto unknown Lloyd-Webber musical “Mice” could celebrate its premiere.\u201c Rhein-Zeitung The Odyssey“The choreography is based entirely on neoclassical dance style. And the dancers decline a remarkable repertoire of steps with ease and precision at the same time…. The achievement of alternative possibilities becomes a touching and impressive climax in dance. Sensually and dynamically charged formations between joyful reception and urgent to shamefaced approach stand in contrast to intimate moments of uncertainty, of doubt.” Rhein-Zeitung QUARTETTSJust as Emmerich Hugo Schmollgruber not only transforms Hugo Schmollgruber into Valmont a little later, but also empathises with his dream woman, Madame de Tourvel, Lisa Gottwik senses both the intriguer Merteuil and her na\u00efve victim C\u00e9cile: a highly difficult, even straight, paradoxical play of persons, which is formed here solely from the choreography.tanz CINDERELLA\u201cWith a cuddly ring card girl and a nutty inspector, Fuchs hat brought two fools into play who spice up the banter and amusement of this evening.\u201dRhein-Zeitung BACH-BALLETT\u201cThe musical character (also) allows such exuberance, and we therefore take the opportunity to enjoy the dance game at the remarkably high standard of this evening.\u201dRhein-Zeitung LULU\u201cSensual, humorous, shocking, pensive, political 90 minutes of thrilling dance performance. With his Franz Wedekind-inspired dance revue \u201cLulu\u201d at Theater Koblenz, ballet director Steffen Fuchs pulls all the stops and manages to resonate with every spectator on a different level.\u201dRhein-Zeitung MOZART.UNA FANTASIA\u201cFuchs intertwines person and fictional character, present and past, dance and song in such a way that not only a dramaturgical structure is revealed, but the choreography is emphasised in a way that there is no risk of boredom. The audience is always left to feel that the banter can reverse any time.\u201d dance for you VERKL\u00c4RTE NACHT (Blissful nights)\u201cIt\u2019s fascinating how the Unknown first abruptly breaks fresh ground and then is only shyly suggested… The powerfulness of this evening lies in its ambivalence.\u201dRhein-Zeitung \u201eThis is what makes musical theatre in the best way possible, especially since Fuchs retains the individual body language of his dancers without ever drifting into sentimental naturalness or pseudo-lyrical pathos.\u201dDie Deutsche B\u00fchne 28 JAHRESZEITEN (The 28 Seasons)\u201cA strong talent has grown up\u2026For me, \u201c28 Jahreszeiten\u201d is hands down the highlight of the first half of season 2015\/16. \u201ctanznetz.de \u201cA successful and diverse melange of sound, colour and movement.\u201dDer Neue Merker 02\/2016 DER BESUCH DER ALTEN DAME (The Visit)\u201cLast weekend, Steffen Fuchs and Co. at Theater Koblenz have presented a worthwhile ballet adaption followed by a long round of applause…No less intriguing is Fuchs\u2019 music selection with chamber music by Chopin, Gorecki, Saint-Saens and Hindemith that is sometimes tragic, sometimes quirky…\u201d Rhein-Zeitung STABAT MATER\u201cIn parts, this ballet with Fuchs\u2018 markedly mature stylistic idiom is programmatically committed to absolute art, just like a symphony. In other parts, the dance goes beyond and focuses on the human touch.\u201dRhein-Zeitung SUITE\u201cThe flow and togetherness of the dancing figures visualise in a striking but still independently construing affinity what is heard by Rachmaninov.\u201dRhein-Zeitung \u201cYet Fuchs doesn\u2019t display duplicates, he is creating in boundless adoration based on his wealth of experience\u2026He juxtaposes the austerity of the form and the ease of artful nonchalance. Lo and behold \u2013 they obviously belong together.\u201d tanznetz.de AMERICAN EXPRESS\u201cIn a captivatingly focused lightness, Fuchs and Co. demonstrate so much hope, talent, joy of dancing and effort on the hypocritical highway from rags to riches.\u201dRhein-Zeitung \u201cThe appeal of \u201eHappy Song\u201c lies in the contrast between folkloristic square dance figures and a seemingly intellectual Bigband sound, patriotically stylised costumes and rather grotesque movements.\u201dDer Neue Merker 11\/2013 ROMEO UND JULIA (Romeo and Juliet)\u201c\u2026such as in the great formations. Men and women are weaving an underlying aggression into their coexistence, as if the sexes were fiercely opposed to each other just like the Shakespearean families of Verona.\u201d Rhein-Zeitung \u201cWhat at first sight looks like the joy of dancing experiments and reacting to musical stipulations turns into a roleplay with moments of improvisation.\u201dKultiversum\/tanz 2xFENSTERPLATZ (Two Window Seats)\u201cRefined grasps, the coordination of stimuli, handover of suspense, and rhythm of the breath \u2013 the transformation from dancing technique to an expression of the soul is intensely perceptible for the close audience.\u201dRhein-Zeitung AN STELLE VON HEIMAT (Instead of Home)I\u201cBy integrating the family into the family, Fuchs slightly weakens the wit of the musical score while evoking a feel for the mercilessly competitive society in which the pair Anna and Anna are moving.\u201dDreigroschenheft 1\/2013 \u201c\u2026he succeeds with an exceedingly charming piece of dance\u2026Classically shaped without following a too obvious narrative thread, his ballet is playfully evolving…\u201dtanz GISELLE\u201cOne by one, the dancers are drawn into a resourceful choreography that in all abstraction never ceases to be childlike and playful.\u201dDie Deutsche B\u00fchne \u201cGiselle wriggles and squirms, her movements are becoming insecure, she doesn\u2019t understand, she remembers the intimate bond full of harmony\u2026she is dancing the dance of inner strife and desperation, displayed in all its tones and nuances.\u201dVolksfreund (Trier) NUREJEWS HUND (NUREYEV\u2019S DOG)\u201cThe magic of the theatre tempts the audience to look and the small evening (keeps) its touching qualities.\u201dRhein-Zeitung RIDICULE\u201cA smart evening, starting out with the grandeur of a baroque court celebration, only to be dismantled bit by bit to reveal behind the splendour people\u2019s yearning for freedom from the confinement of social norms.\u201dopus Kulturmagazin \u201cSteffen Fuchs made a strong debut at the Koblenzer Ballett.\u201dRhein-Zeitung<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-42","page","type-page","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/pages\/42","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/comments?post=42"}],"version-history":[{"count":10,"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/pages\/42\/revisions"}],"predecessor-version":[{"id":677,"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/pages\/42\/revisions\/677"}],"wp:attachment":[{"href":"https:\/\/fuchs-choreography.de\/en\/wp-json\/wp\/v2\/media?parent=42"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}