The Financial Times
The fascination of the event was the staging of Suite en blanc, Serge Lifar’s splendiferous proclamation about French classical dancing as he shaped it, and here admirably adapted to the exigencies of the temporary stage and responding to St Paul’s acoustic. Maina Gielgud (who knows the piece with as much affection as I bring to writing about it) ordered the choreography and the dance forces with grand skill and sensitivity.
The Evening Standard
Ironically, it’s the two new contemporary works that jar. After a month of watching the bonkers, passionate narrative of Pina Bausch, we need a little more insight into the human condition than couples leaping around in pastel-splash body suits. Van Le Ngoc’s choreography is set to Vivaldi (hard to shake the memory of those car adverts) and although the City Chamber Choir gives an exquisite rendition of John Rutter’s Magnificat for Antony Dowson’s new commission, it’s hard to see what dance adds to the orchestral experience. You long for a site-specific piece.