Alastair Macaulay reviews the Paris Opera Ballet in Pina Bausch's Orpheus and Eurydice:
In her danced version of Gluck's opera, performed over the weekend by the Paris Opera Ballet as part of the Lincoln Center Festival, Orpheus knows one art alone: grief. He shows no bravery in entering the realm of the dead, bears no lyre, demonstrates no wonder on beholding the Elysian Fields. You wonder why this Orpheus needs to be told not to look at Eurydice; he never looks at anyone anyway.
Leigh Witchel's review for The New York Post:
Death be not proud, but Paris Opera Ballet should be — of its stunning production of Pina Bausch’s “Orpheus and Eurydice,” the tale of the man who dared to rescue his bride from the underworld, only to lose her again when he looked back at her.
Review of the company by Carol Pardo for danceviewtimes
The Paris Opera Ballet opened its first New York season in sixteen years with a triple bill of works to French scores by Serge Lifar, Roland Petit and Maurice Béjart under the rubric “Masters of the 20th Century”. Lifar was the chief dancer, choreographer and director of the company for a quarter century between 1930 and 1958. Petit was a product of the POB school, a dancer with the company, and for about six months, its director. But he is best known in France as the one who got away, who bucked the establishment, formed his own companies, and thrived. Béjart’s career took place well away from the POB, but he is revered in France. This program announced more clearly than anything else could, “This is where we come from. This is who we are. This is what we believe in.” It also made for a well-balanced evening, opening with the plotless classical “Suite en Blanc” followed by “L’Arlésienne,” which blended plot and mood, and finishing with the spectacle of “Boléro”.