As to your choreography, I felt it had been properly designed and aesthetically well balanced. I think that the expression of any emotion or mood or in fact whatever, must have a "design" shaped in the mind ( or soul) of the choreographer so as to be able to send the message from the stage to the audiences (or rather spectators), though this design may not be actually "visible". It is like a message in an invisible envelope. But let me not become all too poetic. - there is another thing I appreciate in your work, namely the harmonization of another kind of extremity - old and young. And we could carry on enumerating extremities as, for instance, individual and community wealth and poverty. 
Dr. Gedeon. Dienes/Budapest

I have just seen the Moscow concert of Isadora Duncan Dance Group on July the 8th, 2005 and would like to thank you many many times for the greatest pleasure of seeing such a wonderful performance. 

Yours was the last performance I intended to visit and I did not hope to see anything noticeable. But when I saw "The Image of the Sea" my eyes filled with tears of joy. That was soft graceful and continuous manner of movement I have always supposed to be Isadora Duncan's special feature. This was really hers and besides musical and flowing and very very beautiful. I can still see "The Mother" sayind farewell to her drowned children and beautiful and terrible "Funeral March" peformed by Madame Francoise Rageau. Please if possible send many thanks and my best wishes to Miss Betsy Field (please forgive me if I've misspelled her name). 

During the performance I caught myself at a thought that seeng the Sadler's Wells elderly artists I stopped fearing to grow old (now I'm just 30) - because of the beauty and dignity of their dance.
Thank you, Madame, very much for your art.

Alex Osipov

So for me this was the first time I saw the Real Duncan style at the stage. I've alwasys thought dance is a sacred art which can remind of the great values of love and beauty. And death also. Your performance dedicated to Isadora was a pure reflection of the great flow of life. Three sacred ages at stage together and beautiful folk music made it a hymn to the human path.

... the dance to my mind must be full of emotions and joie de vivre.
And just a few words about the Funeral March performed by m-me Francoise. I have never seen death shown in such a plain, natural but not naturalistic manner. The symbolism was crystal clear and the effect - frightening but somehow calming - yes, death is as natural as childhood, bloom and old age, all this goes great circles, passes and returns again. 

For me this was an Eleusynian Mystery of dance.
Thank you, ladies, for your beautiful and inspiring art. 
Alex Osipov

... in Orfeo’s two laments and the Dance of the Blessed Spirits, the dance had a simplicity and a gestural clarity (arms slowly raised, bodies held in sculptural poses) that touchingly told of Duncan’s worship of the antique.
Clement Crisp
London Financial Times

This Chopin section was full of delightful moments: of Barbara Kane coming close to what one thinks of as Isadora dancing, in a rapturous, brief solo in which she seemed to breathe body and soul into the surrounding air ...
Joan Pikula
NY Dance Magazine

... Isadora still speaks to dancers, be it in spirit messages - which these dances really were, or as educational example.

Clement Crisp
Financial Times London


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