The Financial Times
Any number of the 19 dancers might perform solos side by side, switch parts, slip in and out of unison, dance in canon, stand on the margins as sentinels or amid the commotion as obstacles. Occasionally everyone erupted at once, in moments of tremendous inchoate beauty. The dancing did not describe the music, as Mark Morris might; rather, it wove in and out of the Bach as another fugal voice. Structure was always palpable and always surpassing understanding.
The New York Post
There’s a fine line between austere and dull, and Emanuel Gat crossed it. Switzerland’s Ballet du Grand Theatre de Geneve opened at the Joyce Tuesday with the Israeli choreographer’s “Preludes & Fugues,” a clean and carefully wrought hourlong piece. But the most dramatic moment all night was a change in lighting.
The company’s been around for a century. It’s morphed over the years from ballet — for a time, it was one of the strongest Balanchine companies in Europe — into a more contemporary group that invites guest choreographers to create new works for it, including this one.
In recent years Théâtre de Genève, which has a century-old classical ballet heritage, has reached out to emerging contemporary choreographers. The ballet director Philippe Cohen commissioned the piece after seeing Gat’s work in Europe.
“Emanuel’s work is really pure. No big effects, just men and women dancing in this very human way,” said Cohen. “I knew it would be a challenge for my dancers. There was a great deal of improvisation, and they are used to more classical training, but it turned out just perfect. There is this beautiful flow from dancer to dancer—it is artistry defined.”