En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Hofesh Shechter

Huit membres de Shechter II nous livrent une vision superbement contrastée du pays d’adoption d'Hofesh Shechter, l’Angleterre. A bas les uniformes impeccables, place à la personnalité des êtres en dessous.

Les styles très différents de Hofesh Shechter et Sharon Eyal sont magnifiquement servis par la GöteborgsOperans Danskompani précise, virtuose et engagée, pour le plus grand bonheur du public.

Hofesh Shechter et sa compagnie Shechter II sont de retour au Théâtre des Abbesses avec une nouvelle pièce, Contemporary Dance 2.0, œuvre-carrefour qui mêle la danse contemporaine aux codes des cultures urbaines.

Quatre ans après sa première mondiale, Grand Finale d'Hofesh Shechter est de retour à la Grande Halle de La Villette portée par une nouvelle génération d’interprètes – remarquablement brillante.

Tuer ou être tué... Là est la question du saisissant spectacle SHOW de Hofesh Shechter, explosion d'énergies et de pulsions parfois macabres mais fondamentalement cathartiques.

L’Opéra de Paris rassemble quatre chorégraphes contemporains dans une soirée qui met un coup de projecteur sur la création contemporaine. Déjà plébiscité en 2016, le remarquable ballet de Crystal Pite est le point d’orgue de cette soirée.

Hofesh Shechter est de retour sur la scène parisienne avec Show, nouveau spectacle destiné à sa compagnie junior Shechter II. Dansée sans aucune interruption pendant plus d’une heure, cette performance est une chorégraphie intense, au rythme proprement galvanisant.

Avec Grand Finale, Hofesh Shechter présente un état convulsé et régressif du monde. Grand Finale est un point de rupture, l’apocalypse d’un monde qui chavire dans la violence, et probablement le travail le plus abouti et saisissant de Hofesh Shechter à ce jour. 

Avec Barbarians, nouvelle création du chorégraphe anglo-israélien Hofesh Shechter, le Festival d’Avignon accueille un peu de danse au sein d'une programmation autrement « In ». Choc entre animalité et éducation, Barbarians doit être lue comme la confrontation brutale d’individus primitifs soumis à un dressage coercitif du corps.

After a slow beginning, the work gathers pace, thoroughly engrossing the audience in its exhilarating, foot-tapping momentum.

Hofesh Shechter's Red Carpet for Paris Opera Ballet offered brief harrowing elements in an otherwise tiresome evening, though the music, also by Shechter, was tremendous.

Opera Ballet Vlaanderen powers its way through an exciting revamp of Hofesh Shechter’s inimitable Grand Finale.

More centenary celebrations by the Martha Graham Dance Company: the first of several mixed bills this season displays the Graham dancers at their most powerful.  

Hofesh Shechter Company are a tremendous ensemble, performing with pinpoint accuracy whenever in unison, and more-or-less continually in action for over 90 minutes.

An event that will be long-remembered for the importance of the occasion, if not for its content. 

A new manifesto for Rambert under new management of Benoit Swan Pouffer. 

Shechter is back to his finest form with this Waltz for the End of Time.

Somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer

Duato | Shechter by the Staatsballett Berlin at the Komische Oper is a classic yet sleekly contemporary programme. 

It’s easy to feel like the world is on the brink of oblivion sometimes. 

NDT present a double bill of works by Leon/Lightfoot and Hofesh Shechter. Virtuoso dancing in Shut Eye whilst Shechter doesn't pull punches with political Clowns: there are so many ways to die on stage this night....  

Barbarians is a beautiful and disturbing exploration of intimacy through dance movement that creates intimacy between choreographer and audience. It is an extremely personal and powerful production.

Juan Diego Flórez turns in a tour de force in the title role of a consistently attractive and inventive performance of Gluck's ballet-laden Orphée et Eurydice.

New works by Kate Prince, Crystal Pite and Hofesh Shechter make up the stimulating The Associates programme at Sadler’s Wells. 

NDT 1 Dances Schechter's groovy assaults to the senses, Uprising and In Your Rooms, from a call to uprising to a search for political engagement.

Known for having a unique talent for creating darker, perhaps aggressive, choreography, Hofech Shechter brings SUN to the Warwick Arts Centre in Coventry, England.

Almost exactly a year ago, Hofesh Shechter Company graced the stage of Brooklyn Academy of Music’s Howard Gilman Opera House, with the choreographer’s explosive Political Mother. Bringing a deafening sound score (the audience was handed ear plugs on their way to the auditorium), vigorous dancing and impactful political slant, that work remains a highlight of BAM’s 2012 Next Wave Festival.

Hofesh Shechter is a choreographer known for creating potent dance works, which reflect on the nature of power and its impact over the individual. Following the line of his previous Uprising (2006) and Political Mother (2010), Sun (2013) is a complex, dark and pessimistic meditation on evil and its shattering effects.

Often, the audience waiting in the hall reveals something about the show you are about to see. On this occasion, already on entering the theatre, one can smell the excitement in the air. Sadler’s Sampled presents Political Mother: The Choreographer’s Cut by the Israeli-born Hofesh Shechter.

Hofesh Shechter is a choreographer who uses dance to make powerful statements in quite an oblique way. He does not define a storyline or delineate strong characters that can catch the audience’s sympathy. Rather, he combines the theatrical elements to suggest ideas and create moods, presenting them in disjointed fragments that the audience must put together after reflection.

Here are a company of versatile dancers. In the course of an evening they shifted from the hunched choreography of Hofesh Shechter to the long-limbed legginess of Crystal Pite, and also funny man Alexander Ekman’s rhythmic and irrational use of the body. In their first UK visit, Cedar Lake bring buckets of American performing talent but borrow some more familiar European choreographic skills.