Here she was helped on her way by Jonathan Eato’s “suite inserts”, themselves re-readings of Bach that cleverly dissected four movements and underlined just how edgy the originals were.
Further recorded extracts of Pablo Casals, while justifiable as homage, were a distraction – and a disservice to Riley’s superb artistry. Her opening to the third suite, without dance, drew spontaneous applause.
The dancers glided sinuously, with only occasional leaps, even luring audience members into one. Hannah Mi's exotic parody of belly dance and Fergus Early’s besuited onlooker caught the eye, but the main corps were riveting in their commitment and energy."
Martin Dreyer, The Press, York. 6.03.2012
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