Stra­vins­ky: Goecke/​Mon­te­ro

‘Goecke masterfully exposes the martial underbelly of the composition. Instead of illustrating lively runs of notes with filigree leaps, the dancers spin around their own axis like crazy projectiles. (...) Goyo Montero's ‘Firebird’ continues the thread of this apocalypse. (...) The impressively double-exposed ‘Stravinsky’ succeeds thanks to an outstanding, aesthetically versatile ensemble.’

Dorion Weickmann, Süddeutsche Zeitung

‘The approaches of Goecke and Montero could not have been more different, in this difference the enormous range of dance and the high quality of the ballet of the Staatstheater unfolded, which presented itself at the peak of its artistic performance. (...) Böer and the Staatsphilharmonie keep the intensity of the music high, the dancers fascinate [in ‘Scènes de Ballett’] with the detailed systematisation of their movements. (...) The Firebird, danced confidently and with grandeur by Alisa Uzunova in the premiere, is the leader of a primitive people and transforms into an allegorical figure who ultimately takes revenge on his exploiters. (...) Much applause for Montero's contemporary interpretation criticising the exploitation of nature, and standing ovations for ‘Firebird’ at the end.

Thomas Heinold, Nürnberger Nachrichten

"The double ballet evening is an exciting production and shows how differently Stravinsky's music can be interpreted. The Nuremberg ensemble demonstrates world-class standards. A captivating evening of dance, Stravinsky's ballet evening is originally realised here for the 21st century."

Susanne Schmiedleitner, Bayerischer Rundfunk

"Montero subjects his critique of civilisation to an aesthetic process in which the terrible becomes beautiful again in the end - the massive applause may indicate that the shock and the pleasure of the artistically presented analysis of extreme misguided developments in humanity are in balance. (...) In Goecke's Scenes de Ballet, (...) the relationships between people and nature, including their own, are much simpler, almost more difficult. (...) It is simply enchanting to watch the 25 dancers of the ensemble at work, who have internalised Goecke's very personal hand and foot work. The members of the Nuremberg State Theatre company are just so good that they can do something as extremely different as Goecke's choreographies in a completely convincing way before they enter into Montero's whirls, eddies and elegant and violent movements."

Frank Piontek, Kulturbrief

"The formative expressive power that Goyo Montero developed during his 16 years in Nuremberg remains intact in his farewell round. The stylistically appealing Stravinsky double is the proof."

Andreas Radlmaier, curt