On the Spot

[…] São Paulo Dance Company performs in the dance program at  Hertzliya [in Greater Tel Aviv] […] Beautiful dancers, exceptional technique, renowned music and diverse programming. Audience success. […]

[…] With a classic and well conducted version, Giovanni Di Palma presents the benefits of rigorous dance summarized to essential actions. Note the fact that some points could be more explicit. However, a choreographer deserves a lot of consideration if he chooses for his first narrative ballet an intriguing international history with several readings like Romeo and Juliet and still offers coherent interpretation. Our compliments to the young dancers, especially to the delicate and as secure Aline Campos as Julieta, to the elegant Nielson Souza as Romeu, to Diego de Paula as the intense Mercúcio, to Geivison Moreira as the energetic Teobaldo. Even Paris, often characterized as an unattractive aristocrat, is just as important, as are all the other dancers: thin, long-legged, well-groomed – a real feast for the eyes.

It came, danced – and immediately won over the audience that filled the Ludwigsburg Forum. We are talking about São Paulo Dance Company de Dança, which was founded very recently, in 2008. The young group has a dance style that pays homage to the beauty of movement, without forgetting what the expressive richness of the human body is capable of. The members’ vocabulary lends itself to classical dance, ethnic rituals and modern choreography, and the dancers, whose company is directed by Inês Bogéa, showed on Tuesday night that they dominate, the sovereigns, the
whole range of movements. […] The applause did not want to stop.

At the Schlosspark, the public rubs their eyes anxiously during the Ludwigsburg Forum. It is the same tension on the stage that had been brought to Germany by the Nederlands Dans Theater (NDT), the Aterballetto or the Spanish National Dance Company in the 1980s and 1990s. All of these great companies in modern European ballet have become one tiring or completely redirected their repertoire. In this gap, a young troupe appeared in São Paulo, the largest city in the southern hemisphere, just five years ago. […]

Rejoicing at the Schlosstheater. Once again, an extraordinary dance group excites the Fulda ballet audience: the São Paulo Dance Company, originally from Brazil, is touring Germany, bringing a triple program to the City of the Baroque. Founded in 2008, the young cast, under the artistic direction of Inês Bogéa, has already achieved considerable international renown in these few years of existence […]. Classical and modern dance take place in the company's repertoire. It is a ballet formation based on the classical principle, together with a passionate enthusiasm that seems to be in the
blood of young Brazilians. Precisely because of this mixture, the group, formed by 15 dancers, won over Fulda’s audience on Saturday night. The three plays were international and could not have been better selected to demonstrate the adaptability of the dancers. […] Fulda’s audience applauded the young group that makes up the São Paulo Dance Company.

[…] A round of applause, whistles and “bravo” for this play, which has such a different importance and, at the same time, is performed by the impeccable agility that is typical of Brazilians.

And suddenly, a dancer slides onto the stage at full speed, as if she had been fired by a catapult. […] The sculptural poses have nothing to do with beauty, there is an earthly, animal and sensual power. And a lot of self-confidence. This is the São Paulo Dance Company. A young company, three years old from Brazil, for the first time in Holland. Something unknown. And a gift in this case.

[…] We believe we can compare this group [SPCD], equally at ease in classical and modern, to the dancers of Nanette Glushak at the Capitole de Toulouse. The same technicality, the same agility and elegance, the same team spirit. In São Paulo, I had the opportunity to attend a work session on a contemporary ballet, and the easiness of each person to find the fair, exact expression and execute tangled movements with pure, precise and vigorous style – Terpsícore, the muse dance, watched over there! We can then conclude: it is worth seeing all the experiences of contemporary dance,
but we believe that, in Brazil as elsewhere, it is great that such companies exist, constituting protection against exaggeration because they are able to bring them back to the right measure. They are conservatories that ensure novelty its best foundation, giving it the chance to, one day, become classic.