Magifique

Since all performances are nourished by the experiences that they invent, Magifique, created on the orchestral suites The Nutcraker, Sleeping Beauty, Swan Lake of Tchaïkovski, presents itself as a link between the past and the present, like a hyphen that links reality and imagination. With a setting for a country that could be anywhere, it could be a story where the heroes and their childhood selves go through a series of trials, wandering around countries guarded by magnified shadows. No talisman, but mirrors apable of revealing dance and childhood memories under « the magic wand of the art. »

Thierry Malandain

Drawn form his personal remembrances, nourished by the music of Tchaïkovski, Malandain has produced one of his most beautiful creations : for each of Tchaïkovski’s suites, the choreographer has matched fragments of memories, revealing the recessed portrait of a learned man Simple and efficient. […] Thierry Malandain transcends his body language, quite a classical one finally, to reinvent himself through his memories. […] That is really « magifique ».

Les Echos, Philippe Noisette • 17th December 2009

With Magifique, Thierry Malandain steps forward ansd shows his maturity and constancy in his choreographic line which feeds on classicism without ignoring contemporary trends. […] The performance was halfway between the magic of ballet and the splendor of three fairytales marvelously interpreted by the Malandain Ballet Biarritz.

El Diario Vasco, Iratxe de Arantzibia • 13th December 2009

The perfect groups are the image of a sucessful symbiosis from which the dancers can escape to express their individuality with volupty. …] What remains is Malandain’s thoughts for an hour and a half about the magic of dance, a delicate piece of poetry whose cracks are gracefully expressed. A never-ending ovation acclaimed the excellent troupe, but also the spirirt of the work which kept resounding for a long time in a theater whose all seats were occupied.

Generalanzeiger Bonn, Elisabeth Einecke-Klövekorn • 5th Jauary 2010

Inventinve games and a body language that knows its classics while still feeling free to use a cheerful freedom in both duets and groups. However, it would be a simple exercise in style or pure fun if the choreographer moving allusions to his « I » did not hide there to be discovered. From the child dazzled by fairy tales, to the adult relishing the magic of « I remmeber ». Both united by the same faith in the « magifique » power of creation.

Danser, Isabelle Calabre • February 2010