Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
“LUÍS DAMAS
Thank you for your effort and dedication. I'm proud to see you grow in your life as an artist.
Always continue with the same willpower because it is the best way to win.
BRAVO”
Vasco Wellenkamp
21-11-1984
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) a very sophisticated selection of models from the most daring couturier somewhere in the GALACTIC."
Rui Esteves
Jornal de Letras
13/19-12-1983
Gulbenkian Ballet
TOUR IN POLAND
Tour with Carlos Paredes and Luísa Amaro in Poland during the Ballet Gulbenkian tour.
Poland
1985
Gulbenkian Ballet
TOUR IN POLAND
Carlos Paredes and Luísa Amaro played live in Vasco Welenkamp's ballet “DANCES FOR A GUITAR”.
Poland
1985
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Between the fascination of movement as movement and the new experience of interacting with theater: the Gulbenkian Ballet
(…) Só Longe Daqui (…) very well constructed, stimulating, fun and touching, which highlights the quality and talent that exists in the Gulbenkian Ballet
(…) a beautiful show."
Gil Mendo
Expresso
14-04-1984
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Ballet Gulbenkian
It’s about merging different languages, (…)
Now the bodies that were mute dance, play, fight, (...) but also represent, speak and play music."
Alexandre Pomar
Diário de Notícias
03-31-1984
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Season opens IN "CELEBRATION"
(…) they enrich Wellenkamp's creation in their own way, as, in fact, happens with the other interpreters."
Manuela Azevedo
Diário de Notícias
24-11-1984
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"New Gulbenkian Ballet program
(…) (Bénédiction de Dieu dans la Solitude, exquisitely played on the piano by Tânia Achot).
(…) ballet, subtle, deeply emotional, featured a group of excellent interpreters, who were (…) Luís Damas.
(…) Luís Damas,
(…) little stars that emerge from the Gulbenkian Ballet school (…)"
Manuela Azevedo
Diário de Notícias
05-02-1986
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Auspicious start to the season
(...) and Luís Damas, as interpreters, are to blame for the success that Vasco Wellenkamp's new ballet has deservedly achieved.
Tomás Ribas
A Capital
03-12-1985
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Dear Luís Damas,
BRAVO 5 times:
1- For your progress.
2- For the quality of your work.
3- For your professionalism.
4- For the Spirit of the "Spirits".
5- For your inner self."
Vasco Wellenkamp
20-11-1985
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A MODERN COMPANY
"(…) which imposed itself due to the quality of movement and the technical and artistic expression of its dancers.
"Ancient Voices of Children” (…) (…) difficult to interpret, (…)"
Ana Marques Gastão
Diário Popular
21-01-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) and, finally, (...)
The training of the new dancers of which (…) Luís Damas (…) stands out also comes from an existing school at the Gulbenkian Foundation (…)
(…) they give us a versatile, world-class company."
Ana Marques Gastão
Diário Popular
21-01-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"New Gulbenkian Ballet program
(…) the first and last "dreams" are, in my opinion, the most characterized and marked by a neo-reality that the dancers' bodies surprise us with, (…)
(…) Luís Damas (…) were the interpreters, creating an atmosphere of greater emotion.
(…) is enriched with very beautiful choreographic moments.
(…) Luís Damas, (…) little stars emerging from the Gulbekian Ballet school (…)"
Manuela Azevedo
Diário de Notícias
05-02-1986
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Proposals and trajectories of two choreographers
(…) For us, the great revelation of this program were the two ballets by Vasco Wellenkamp,
(…) “Três Sonhos de Pássaros” (…)
(…) in such a way that its transposition into movement was suggestive, real (…)
(…) anyway, well done. (…) the translation of the postures and behaviors of these winged beings had as much impact on the isolated figures (highlighting here the “passarization” of Luís Damas) as on the ensembles.”
Assis Luna
Newspaper, city
05-02-1986
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A MODERN COMPANY
The Gulbenkian Ballet lives, in fact, in the imagination of this busy city of Lisbon.
(…) which stood out for the quality of movement and the technical and artistic expression of its dancers.
Exultate Jubilate" (…) a ballet, it seems, “inventive, fresh and very danced” (…)
The technical evolution of the Gulbenkian Ballet is notable, as is the quality of its repertoire. (…)
The training of the new dancers, of which (…) Luís Damas (…) stands out, also comes from an existing school at the Gulbenkian Foundation (…)
(…) they give us a versatile, world-class company.
(…) The Portuguese public deserves the evolution that, from ballet to ballet, the company has achieved. It deserves a joint effort that elevates new choreographers, invests in national values and brings international ones to us, in order to cultivate the passion for dance."
Ana Marques Gastão
Diário de Notícias
01-21-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"WELLENKAMP, 10 YEARS
(...) performance (...) equally, frankly positive for its effectiveness and cohesion and, also for technical merit, particularly in the "pas de quatre" (...)"
José A. Coelho
O Expresso
01-31-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"I note with great pleasure the great professionalism and artistic quality (...)
(...) Luís Damas, who on the Gulbenkian stage have stood out in Piaf's ballet (...)"
Daniella
People No. 617
Weekly from 13 to 19 July 1988
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"DESERVED APPLAUSE
(...) It's "souple", with a rhythm and a chain of movements that won't let your eyes and ears detach from the stage.
(...) A ballet of pleasant enchantment.
In short, a show, the first of the year that deserved the applause and "bravos" with which it was received by the public."
Manuela de Azevedo
Diário de Notícias
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"BALLET GULBENKIAN OPENS SEASON STRONG
(...) It is necessary to mention that, to the success of this piece, the "availability" and "fidelity" of the dancers' bodies contributed greatly (...)"
António Laginha
Correio da Manhã
22-11-1992
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"BALLET GULBENKIAN OPENS SEASON STRONG
(...) V. W. - Currently, we have a company that works very well, and I've gotten used to making the best of it, namely elements such as (...) Luís Damas, (...)"
Correio da Manhã
16-11-1992
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) But the fluent choreography, (...) especially (...) and a double duet, is so outstandingly performed that the rush of emotion, varied with quiet moments, is persuasive.
The superb dancers were (…),
(…) Luís Damas (…)"
Anna Kisselgoff
The New York Times, New York
04-24-1997
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) A final reference for the complexity and refinement of the choreographic composition and for the remarkable performance of all the Gulbenkian Ballet dancers."
Maria José Fazenda
Público
11-03-1994
Gulbenkian Ballet
CINE-THEATRE DE ALMADA
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) the show opened with the celebrated ballet by Olga Roriz North Land (…)
(…) Luís Damas, (…) stars emerging from the Gulbenkian Ballet school (…)"
Manuela Azevedo
Diário de Notícias
05-02-1986
Ballet Gulbenkian
GRANDE AUDITÓRIO DA FUNDAÇÃO CALOUSTE GULBENKIAN
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"The show closed with the premiere of Terras de Ninguém (...) which is Olga Roriz's take on the tragedy that overshadows the land of Israel. (...) The choreography is austere, restrained, the faces have a rigid expression, the steps are slow like the gestures. It's as if nothing could be light anymore, everything becomes gray, the music, the bodies, the scenery, designed by the choreographer herself. Crushing.
(...) Luís Damas, (...) little stars that emerge from the Gulbenkian Ballet school (...)"
Manuela Azevedo
Diário de Notícias
05-02-1986
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) The Praça de Espanha ballet group appeared in force in an early season program (…)
Of all the solos that make up the central part of the ballet, possibly the most expressive will be those performed by (…) Luís Damas (…), who share a very special complicity with the choreographic composition itself."
António Laginha
Correio da Manhã
22-11-1992
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A COMPANY IN GOOD SHAPE
(...) the performers did not fail to highlight the excellent shape they are in, (...)"
M. H. De F.
Popular Diary
20-11-1987
GULBENKIAN BALLET DANCE IN PORTUGUESE
"(…) Violoncelo Não Acompanhado em Suite de Luxo
(…) this is a work of superior quality that confirms (…)
(...) brilliant cast and their interpretation (…)"
Tomás Ribas
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"I note with great pleasure the great professionalism and artistic quality (...)
(...) Luís Damas, who stood out on the Gulbenkian stage in the ballet (...)” “(...) Elvis Presley ."
Daniella
Gente No. 617
Weekly from 13 to 19 July 1988
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Body language invaded José Lúcio
(…) the José Lúcio da Silva Theatre, which the day before yesterday was filled to host a Gulbenkian Ballet in a night of inspiration.
(…), the company presented itself in Leiria at its maximum strength, (…)
"Idmen B" (…) by Olga Roriz, gave a good image of the background work that the company is doing,
(…), the technical quality of the dancers was visible, as they developed a body of work of great beauty."
Diário de Leiria
21-06-1990
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) He came, however, to enchant(...)" in the third ballet ("Isolde"),
(…), the balance results in a positive balance that reduces the hunger for ballet shows in the city of Évora."
Rosa Vieira
O Giraldo
Évora
07-1990
"OPERA
"CHRISTIAN COLOMBO"
BY DARIUS MIHAUD IN COMPIÉGNE
An exemplary success (...)"
Jacques Doucelin
Le Figaro
Paris
22-09-1992
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Gulbenkian Ballet: dancing rigor and exaltation
Good surprises in a new chapter of the Gulbenkian Ballet's current season.
One of the MOST IMPORTANT WORKS linked to the memory of Madalena de Azeredo Perdigão is, in form and essence, the Gulbenkian Ballet, (…)
(...) is in abstract ballets, like this Passagens (…), which I feel defines the best of her creative talent. Attractive, subduing, Olga Roriz's new ballet accredits, in my opinion, the choreographer's passage to the world in which her sensitivity is best expressed. Because when it comes to "technique", it's always there. (…)"
Manuela de Azevedo
Diário de Notícias
10-02-1993
Ballet Gulbenkian
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A MODERN COMPANY
Cohesive company, which has already won over a new audience and has stood out for the quality of its movement and the technical and artistic expression of its dancers.
(...) This ballet is based on a rigorous academic technique, which demands a lot from the dancers.
(...) The technical evolution of the Gulbenkian Ballet is notable, as is the quality of its repertoire.
(...) The training of new dancers of which (...) Luís Damas (...) stands out, also comes from an existing school at the Gulbenkian Foundation (...)
(...) they give us a versatile, international-class company.
(...) The Portuguese public deserves the evolution that, from ballet to ballet, the company has achieved. It deserves a joint effort that elevates new choreographers, invests in national values and brings international ones to us, in order to cultivate the passion for dance."
Ana Marques Gastão
Popular Diary
21-01-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) choreographic quality merges with interpretive quality(...)
"Six Dances", a fun and irreproachable choreography by Jiri Kylián, (...)
(...) Luís Damas (...) were, at the premiere, the characters of this “eighteenth century” ballet. "
Maria José Fazenda
Público
24-01-1999
GULBENKIAN BALLET
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"The 1st Gulbenkian Ballet Program
Homogeneous in quality, varied in content
The three spirits – Luís Damas, (...) – whose characterization was excellent, not only for their choreographic vocabulary, which we have already mentioned, but also for their masks executed by Inês Guerreiro and the costumes by Belinda Scarlett, managed to convey the intensity condensed in each gesture, exerting an almost hypnotic fascination on us. This merit was honored with special cheers and applause."
Assis de Luna
O Dia
29-11-1985
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"In the Rignon Park for the Torino Danza
GULBENKIAN
(...) a resounding success, (...)
(…) a show of seductive dexterity taking advantage of the technical and interpretative qualities of its dancers (…)
(…) Ghost Dances (…)
This symbolic socio-political alfresco had in Luís Damas (…) the grand personification of the persecuting spirits"
Gianni Secondo
Stampa Sera
10-07-1987
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Ballet Gulbenkian
SADLER’S WELLS
(...) the Gulbenkian artists have a tireless and alert way with rhythms and the quick steppings of their solos. And they, like Mr. Bruce, keep emotion on a tight rein, so that the jokes and the deepest feelings do not appear blatant."
Clement Crisp
Financial Times
16-02-1989
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Ballet Gulbenkian
SADLER’S WELLS
(...) Christopher Bruce’s piece Sergeant Early’s Dream (...) showing that these excellent dancers are capable of a wider range of expression than this program allowed."
Jann Parry
Observer Sunday
19-02-1989
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"SIMPLY SUBLIME!
(...) numerous public (...) aware of the immense qualities of the Gulbenkian Ballet and the musicians chosen to interpret this composition completed in 1923, I would not expect, in any case, that yesterday was irremediably and indisputably overcome by wonder.
(...) it leaves anyone who watches it completely breathless."
Rui Eduardo Paes
Diário de Lisboa
20-04-1989
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
(...) a co-production between Gulbenkian and RTP, and within this context, a documentary was shown (...) a ballet of these dimensions – of the most ambitious Ballet Gulbenkian and its Music Service have ever presented. (...)
(...) its exceptionality, many miles above more earthly things.
(...) In Lisbon in 1989 it was the wonder of surprise. (...) It still continues to be received, in the area of classical music and ballet, with the astonishment that inherent violence never ceases to provoke, expressive violence, of movements and implications, exhausting for both interpreters as well as the spectators themselves. (...)
Simply sublime!"
Rui Eduardo Paes
Diário de Lisboa
20-04-1989
Ballet Gulbenkian
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) Ad Vitam (...)
(...) and surprising with the organic and experiential arrhythmic rhythm of the second ballet.
(...), the balance sheet results in a positive balance that decreases the hunger for ballet performances in the city of Évora."
Rosa Vieira
O Giraldo
Évora
07-1990
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"I was glad to see at least one work by a Portuguese choreographer, and I liked Paulo Ribeiro's Delighted to Serve You quite a lot.
(…) I was especially impressed by the duet for (...) and Luís Damas.
As in the individual dance phrases, a braced solidity contrasts with more fluid yielding. These two are weary of a relationship that consists only of being either bearer or burden, yet will not escape."
Deborah Jowitt
Dance
1992
Ballet Gulbenkian
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A mobile of Dance bodies and souls
Acrobatics and aesthetics marked the performance of the phenomenal male and female dancers from the Portuguese Ballet Gulbenkian in their debut in Austria – Innsbruck, with three original choreographies from their brilliant repertoire.
(…) Duato stylized scenes of men who sow and plow the land, with hard bodily work, in a vibrant and entrancing telluric dance. With uniform light and scenographic simplicity, the dancers from Lisbon performed, with a rigorous modern dance style, an expressive choreography that can be considered almost classic, inspired by solos by the singer Maria del Mar Bonet. "
Rainer Lepuschitz
Tiroler Tageszeitung
08-07-1996
Ballet Gulbenkian
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) Equipped with agile and cohesive movement, it is, however, an attractive work in which BG invariably shows the quality of its talented dancers."
António Laginha
Correio da Manhã
13-11-1998
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) Nacho Duato’s Rassemblement, (…) is a well chosen opening piece (…)
The six men and women reveal earthly qualities as they embrace the space with their broad and generous movement, powerful in their purposefulness, projecting long leaps and incisive in their dashing runs, pressed on by the music."
Dance Europe
02/03-1999
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) Five Tangos (…)
(…) It arrived, however, to enchant in the fourth tango of the first ballet (...)
(…) the balance results in a positive balance that reduces the hunger for ballet performances in the city of Évora (…)"
Rosa Vieira
O Giraldo
Évora
07-1990
Ballet Gulbenkian
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) Luís Damas (...) proved themselves competent dancers; precise, sensitive and full of style.
Jochen Schmidt
Ballet International
Tanz Aktuell
02-1998
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
In a mere 17 minutes, the Gulbenkian Ballet made it known that theirs was an ensemble of world-class."
Jochen Schmidt
Ballett International
Tanz Aktuell
02-1998
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"The Gulbenkian Ballet's FIRST program of 92 (...)
(...) a technically rigorous sextet, inevitably cerebral, and above all with a taste that is a hallmark of the choreographic production of the great European choreographer.
More important than the thread of the story is the "personality" assumed by each of the interpreters and their excellent technical performance, which scores points."
António Laginha
Diário de Notícias
09-02-1992
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"Ballet Gulbenkian makes auspicious debut
YOUNG DANCERS BECOME CELEBRITIES
"Movimento para uma Tela" is brilliant
(...) a choreography of excellent quality, a work that fits into the current trend of contemporary ballet and which stands out for its choreographer's wise and intelligent exploration of dance in its true essence, in all its specificity.
Bright and fluent work in which dance
is powerfully and eminently present,
it provided a brilliant
and enthusiastic interpretation of the entire cast:
(...) Luís Damas, (...)"
Tomás Ribas
A Capital
21-12-1998
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) In "Grito dos Anjos", some beautiful dance moments of almost tribal, warlike masculinity, (…)"
Maria José Fazenda
Público
18-11-1994
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"BALLET GULBENKIAN
A BREATH OF RENEWAL
The Gulbenkian Ballet's latest program (...) brought to the Foundation's Large Auditorium a breath of consequent and promising renewal.
With “Arden Court”, the most valuable acquisition for many years, we ascend to another garden, (…). This piece, made specifically to take advantage of the influx of good male performers at the Paul Taylor Dance Comp. in 1981, thus covers one of Gulbenkian's urgent repertoire needs, (…). Each of the ballets leads to the discovery of a different way of moving, an exciting dynamic and partnerships of varied, changeable richness.
Walking in this "garden of pure time" the Gulbenkian "boys" establishe their interpretation by bringing into play so many technical resources, invisible for so long (...) that they seem different.
(…) Thus, Luís Damas was (…) (in the 2 sessions (…)) the one with the most canonical Taylorian clarity, (…)
I wish that next year the curiosity for new ways of moving manifested in this Taylor (…) continues, with an exploration of the classic canon of modernity that only Gulbenkian has the material and human resources to bring here."
José António Duarte
Comércio do Porto
Porto
10-06-1990
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
CHOREOGRAPHIC "BREADCRUMBS"
Ballet Gulbenkian premieres new season
(…) “Perureim” (…), brought with it an aura of mystery that skillfully combines with movement that appeals to an accentuated physical component. (…) they didn't leave their credit in the dust."
António Laginha
Correio da Manhã
18-11-1994
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…)"Perureim", by Itzik Galili, introduces, into this Gulbenkian Ballet program,a pleasant dissonant note due to the aesthetics of the vocabulary used. It is a dance that has an interventional dimension and that alludes to political and socially forced nomadism, the refuge of a culture that seeks to escape genocide and disintegration."
Maria José Fazenda
Público
18-11-1994
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"A mobile of Dance bodies and souls
Acrobatics and aesthetics marked the performance of the phenomenal male and female dancers from the Portuguese Ballet Gulbenkian in their debut in Austria – Innsbruck, with three original choreographies from their brilliant repertoire.
(...) Virtuous and extremely expressive, the Israeli choreographer Itzik Galili, in “Perureim”, abstracts the human body and the different possibilities of carrying out movement and stopping it."
Rainer Lepuschitz
Tiroler Tageszeitung
08-07-1996
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"NEWARK, April 24 – This city stood at an intersection of International dance tonight when the Ballet Gulbenkian performed at the New Jersey Performing Arts Center. (…)
The Gulbenkian Ballet is notable for its dancers’ vitality. Indeed, the performers’ high spirits helped make it possible to ignore some of the weaknesses of the choreography."
Jack Anderson
The New York Times
New York
29-04-1998
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"GULBENKIAN BALLET: DANCING RIGOR AND EXALTATION
Good surprises in a new chapter of the Gulbenkian Ballet's current season
ONE OF THE most important WORKS linked to the memory of Madalena de Azeredo Perdigão is, in form and essence, the Gulbenkian Ballet (…)
O Eremita e o Navegador (…), Amanda Miller's choreography is a fascinating digression along the paths of mystery and dreams – even if the intention is not at any point in the choreographic piece. It is this dichotomy between choreographic impressionism and the figurative reality towards which the texts try to push us that is the fascination of this piece."
Manuela de Azevedo
Diário de Notícias
10-02-1993
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(…) Amanda Miller,(…) came to Lisbon to create a dance in rigorous debut, a fact naturally worthy of praise.
In fact, he can be credited with the good performance of the dancers (in general) (…) in the face of an always useful personal challenge and because "O Eremita e o Navegador" turned out to be a "running", technically fluid piece (…)
Amanda Miller built an attractive piece (…)
"Seeing and hearing are the greatest nobilities of life" reads one of the phrases in the text and, possibly for this reason, the brief "history" of the two lonely and distant men is only at the level of memory, while the real drama takes place in the agile bodies of (…) Luís Damas, (…)
The different lighting situations (…) created moments of great beauty, (…)"
António Laginha
Correio da Manhã
29-01-1993
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"DECOROUS BALANCE
Canadian Christopher House used four of the house's best dancers, (...)"
António Laginha
Correio da Manhã
02-02-1995
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"DECOROUS BALANCE
(…) "Metamorfoses Nocturnas", (…) didn't even challenge enough (…) Luís Damas (…)"
António Laginha
Correio da Manhã
02-02-1995
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"IN TWO TONES
Various music and movements for the same performers from the Gulbenkian Ballet
(...) Metamorfoses Noturnas, by Christopher House (...) the constitution of, if not more, at least two formal nuclei is obvious. The first is about enchantment with the body and its performative capabilities, consisting of the first three pieces (...)
Christopher House makes the same type of option from "String Quartet No. 1" by Gyorgy Ligeti, for a quartet of men, although more significantly subjected to a narrative of confrontation and power relations between "characters" (...)"
Cristina Peres
Expresso - Cartaz
10-02-1996
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
"(...) - the beautiful duet of the two dancers with their backs turned - (...)"
Cristina Peres
Expresso Cartaz
10-02-1996
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
Gulbenkian Ballet
D. Maria II National Theater
"BALLET GULBENKIAN PRESENTS THE SHOW "FIVE CHOREOGRAPHIES – PROJECT 1995/96"
(…) Luís Damas (…) prominent figures in the Company's current cast (…)"
B.G. "Cinco coreografias
Projecto 1995/96"
Gulbenkian Ballet
D. Maria II National Theater
"BALLET GULBENKIAN VISITS D. MARIA II
Looking for new audiences
(...) a very heterodox and varied program with an official premiere, a choreography by Luís Damas, the group's dancer, a work commissioned for the last Capuchos Music Festival , "Vision", precisely the one that the dancers drew on the stage, (...)
With a brief but already notable CV, this still young dancer began choreographing for Dutch National Ballet in 1993 ("Passagem"),
and has continued, since then, with creations for the Setúbal Contemporary Dance Company and the Superior School of Dance.
Very recently he was distinguished with the 1st Prize for Interpretation and the Gold Medal of the recent International Dance Competition, in Nagoya, becoming the winner in a very tough competition in which 112 dancers participated coming from 32 countries (...)"
Tito Lívio
A Capital
19-04-1996
Gulbenkian Ballet
12TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
1st Choreography Prize "NEW VALUES OF CULTURE" 1988
"NEW VALUES OF DANCE PRESENT THEMSELVES IN SANTARÉM
(...) EXCELLENT SHOW IN ROSA DAMASCENO (...)
(...) provided excellent moments of dancing for the large audience
(...) undoubtedly beautiful moments of dance and technically perfect."
O Ribatejo
Santarém
24-06-1988
Gulbenkian Ballet
12TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
1st Choreography Prize "NEW VALUES OF CULTURE" 1988
"I note with great pleasure the great professionalism and artistic quality of the dancers,
(...) and Luís Damas, who have stood out on the Gulbenkian stage
(...) Alright, until the award achieved now with the work entitled Chant.
It's great to see new people seriously investing in a work of art."
Daniella
Gente No. 617
13 to 19-07-1988
Gulbenkian Ballet
13TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
"It would be unfair not to mention (...) the interpretative quality that the company's dancers gave to this 13th Experimental Choreography Studio: (...) Luís Damas (...)"
Tomás Ribas
A Capital
02-09-1989
Gulbenkian Ballet
14TH EXPERIMENTAL CHOREOGRAPHY STUDIO
Cloisters of the Convento do Beato
"(…) "Passage", by Luís Damas (…) a well-crafted duet
(…) Luís Damas, one of the most interesting dancers at B.G. (Ballet Gulbenkian)
(…) the performance of the duet was consistent at all levels and at times even breathtaking."
António Laginha
Diário de Notícias
28-07-92
Gulbenkian Ballet
CINE THEATER OF ACADEMIA ALMADENSE
Choreography selected by the 3rd Japan International Ballet and Modern Dance Competition 1999
"We are pleased to inform you that there were 367 candidates from 42 countries and regions, among which more than 200 dancers wereselected to compete against each other for technical and artistic excellence.
(...) some having already achieved recognition in their countries, (...)"
H.i.H. Prince TAKAMADO
Honorary President
Nagoya, Japan 1999
Gulbenkian Ballet
CINE THEATER OF ACADEMIA ALMADENSE
"(...) ENCHANTING (...)
(...) It was a high quality performance (...)
(...)"La Mamma Morta" puts Luís Damas reminding us that Nature exists, and that we need to take good care of it (...)"
António Laginha
Diário de Notícias
28-07-97
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
"Journey through Landscapes of Light and Sound
Without a slip (…) The Gulbenkian Ballet in Lisbon with a multifaceted program at the Pfalzbau in Ludwigshaft
(…) Such multifaceted character and sharpness allowed Ballet Gulbenkian to perform high-level dance in all styles.
(...) the Lisbon Company seduced by its impetus and dynamics. Its members appeared skillful, energetic and technically versed.
(…) With authenticity, they created emotion and were able to convey to the public, without fail, the atmosphere of each of the environments, which was welcomed with good will and the tripartite program was received with enthusiastic applause.
(…) In "Lunar" (...)
Under four projectors suspended in depth, the dancing actors (…) oscillate, dive, squat and revolve, in an expanded modern dance technique. Above all, more individual than collective, and more geometric force than free wandering. (...) In feverish and exalted patterns, movements of space dominance follow, fluent, attractive and flexible, and successively more intense one after the other. (...)"
Kurt Witterstatter
Die Rheinplatz
01-12-1997
"NEWARK, April 24 – This city stood at an intersection of International dance tonight when the Ballet Gulbenkian performed at the New Jersey Performing Arts Center.
(…) The Gulbenkian Ballet is notable for its dancers' vitality.
Indeed, the performers' high spirits helped make it possible to ignore some of the weaknesses of the choreography. (…)"
Jack Anderson
The New York Times
New York
29-04-1998
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
"The various choreographic languages that can serve as a starting point for the construction of dance shows were masterfully demonstrated, from last Wednesday to Saturday at the Gulbenkian Grand Auditorium, when three pieces were presented (in replacement or premiere) that allowed us to assess the versatility of the house's dancers (…)"
Mónica Guerreiro
”Blitz”
26-01-1999
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
" (…) Each interpreter retains his or her own distinct personality. "
Benjamin chaix
La tribune de genéve
28-01-1991
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
"(…) It is, naturally, an ensemble piece in which canons and unisons, lines and circles predominate but, above all, an alternation of slow and fast movements that is very well articulated .
(…) Luís Damas, (…) unfold into an agile and skillfully crafted piece, looking like a group of at least two dozen* artists, involved in a somewhat ritualistic dance (…)"
António Laginha
Correio da Manhã
21-01-2000
* - in reality the cast consisted of 12 dancers.
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
"An outstanding ballet evening
A complex, outstanding evening with a lot of applause."
Anna Mika
Bregenz
04-05-2000
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
Gulbenkian Ballet
GULBENKIAN LARGE AUDITORIUM
GULBENKIAN BALLET
12TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
GULBENKIAN BALLET
GULBENKIAN LARGE AUDITORIUM
10TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
GULBENKIAN BALLET
LARGE AUDITORIUM OF THE CALOUSTE GULBENKIAN FOUNDATION
FCG WORKERS CHRISTMAS PARTY
11TH EXPERIMENTAL CHOREOGRAPHY STUDIO
CINE-THEATRE ACADEMIA DE ALMADA
"For Luís
Sorry you couldn't make it this time but thanks for all the hard work in the rehearsals.
I wish you much success for the future and lots of luck with your own ballet tonight.
Keep up the good work"
Edmund Stripe
08-08-1984
GULBENKIAN BALLET
12TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
GULBENKIAN BALLET
13TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
"Experimental choreography studio"
BALLET GULBENKIAN OPENS CAREERS TO NEW TALENT
It would be unfair not to mention (...) the interpretative quality that the company's dancers gave to this 13th Experimental Choreography Studio: (...) Luís Damas (...)"
Tomás Ribas
A Capital
02-09-1989
GULBENKIAN BALLET
13TH EXPERIMENTAL CHOREOGRAPHY STUDIO
GULBENKIAN LARGE AUDITORIUM
"Experimental choreography studio"
BALLET GULBENKIAN OPENS CAREERS TO NEW TALENT
It would be unfair not to mention (...) the interpretative quality that the company's dancers gave to this 13th Experimental Choreography Studio: (...) Luís Damas (...)"
Tomás Ribas
A Capital
02-09-1989
1st LISBON CHOREOGRAPHIC EXHIBITION, 1ST ARTEJO
ALCÂNTARA MARITIME STATION
Portuguese Radio Television - Program "Our Century"
Selected for the best moments of the program.
"I note with great pleasure the great professionalism and artistic quality of the dancers,
(...) and Luís Damas, who stood out on the Gulbenkian stage (...)
It's great to see new people seriously investing in a work of art.
I loved their interventions (...) in the inter-frame connection ballets
(...) a wonder. My flowers (...) and my “bravo, bravíssimo”."
Daniella
Gente No. 617
13 to 19-7-1988
3rd JAPAN INTERNATIONAL BALLET AND MODERN DANCE COMPETITION '99
NAGOIA MUNICIPAL AUDITORIUM
Finalist of the Interpretation Competition "3rd Japan Internation Ballet and Modern Dance Competition’99"
"We are pleased to inform you that there were 367 candidates from 42 countries and regions, among which more than 200 dancers were selected to compete against each other for technical and artistic excellence. (...) some having already achieved recognition in their countries, (...)"
H.i.H. Prince TAKAMADO
Honorary President
Nagoya, Japan 1999
Trilogy – 1-La
Mamma Morta
2-Earth Spirit
3-Invocation
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
3rd JAPAN INTERNATIONAL BALLET AND MODERN DANCE COMPETITION '99
NAGOIA MUNICIPAL AUDITORIUM
Finalist of the Interpretation Competition "3rd Japan Internation Ballet and Modern Dance Competition’99"
Chosen from 367 entries from 42 countries
Finalist among 200 dancers chosen for their technical and artistic excellence
"We are pleased to inform you that there were 367 candidates from 42 countries and regions, among which more than 200 dancers wereselected to compete against each other for technical and artistic excellence. (...) some having already achieved recognition in their countries, (...)"
H.i.H. Prince TAKAMADO
Honorary President
Nagoya, Japan 1999
Trilogy – 1-La
Mamma Morta
2- Earth Spirit
3-Invocation
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
3rd JAPAN INTERNATIONAL BALLET AND MODERN DANCE COMPETITION '99
NAGOIA MUNICIPAL AUDITORIUM
"Dance Fragments. European video dance Showcase" at the National Gallery of Modern Art of Rome.
With the collaboration of the prestigious author, in the meeting mentioned in the epigraph, the Portuguese participation will result much more enriched and dignified, (...)"
Simonetta Luz Afonso
President-Instituto Camões
23-6-2004
LUíS DAMAS
2. INTERNATIONAL SOLO-TANZ-THEATER
FESTIVAL 1998
Created for the "International Solo Tanz Theater Festival' 98", and Luís Damas selected from 600 dancers from all over the world
"With "Bare Feet On The Holly Land" there was a new homage to Creation.
Portuguese Luís Damas is a soloist who conveys a lot of soul power, creating in his dance symbolism and choice of wardrobe a body drama, which from the dance of the (...) (...) dark of the earth rises to the sublime light."
Manfred Engelhardt
Augsburg
03-1998
SHOWTIME
MODELING AGENCY AND SCHOOL
"I note with great pleasure the great professionalism and artistic quality of the dancers, (...) and Luís Damas, who has stood out on the Gulbenkian stage (...)
I loved their interventions in the Showtime exam, in the inter-frame connection ballets (...) a wonder.
My flowers for you, dear ones, and my "bravo, bravíssimo"."
Daniella
Gente No. 617
Weekly from 13 to 19 July 1988
Livraria Barata
Superior School of Dance of the Polytechnic Institute of Lisbon
Trindade Theater
Choreography selected for the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"Dear Luis
A huge kiss of congratulations and thank you for your always available help."
Wanda Ribeiro da Silva
President of the Board of Directors
Lisbon Superior School of Dance
07-01-1995
1st Interpretation Prize and Gold Medal in the 2nd Japan Internation Ballet and Modern Dance Competition 1996
1st Choreography Prize at the 2nd Japan International Ballet and Modern Dance Competition 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
Superior School of Dance of the Polytechnic Institute of Lisbon
Trindade Theater
Choreography selected for the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"We are pleased to inform you that there were 373 candidates from 38 countries and regions, among which around 200 dancers were selected to compete against each other for technical and artistic excellence.
(...) some having already achieved recognition in their countries, (...)"
H.i.H. Prince TAKAMADO
Honorary President
Nagoya, Japan 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
Superior School of Dance of the Polytechnic Institute of Lisbon
Trindade Theater
Choreography selected for the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"Many congratulations (...)"
São Luís Theater
Wanda Ribeiro da Silva
President of the Board of Directors
Lisbon Superior School of Dance
14-07-1995
1st Interpretation Prize and Gold Medal in the 2nd Japan Internation Ballet and Modern Dance Competition 1996
1st Choreography Prize at the 2nd Japan International Ballet and Modern Dance Competition 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
2nd Japan Internation Ballet and Modern Dance Competition 1996
NAGOIA MUNICIPAL AUDITORIUM
1st Interpretation Prize and Gold Medal in the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"(...) Luís Damas
It is with great pleasure that we congratulate you on the success achieved in Nagoya where (...) you danced the "pas de deux" of the choreographies "Voice and Passion" and "Almost a fantasy".
Congratulations on the gold medal you won, which also greatly honors this institution."
Alberto A. Antas de Barros
The Vice President
Polytechnic Institute of Lisbon
1st Choreography Prize at the 2nd Japan International Ballet and Modern Dance Competition 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
2nd Japan Internation Ballet and Modern Dance Competition 1996
NAGOIA MUNICIPAL AUDITORIUM
1st Interpretation Prize and Gold Medal in the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"The Minister of Education asked me to thank (...) the information contained in the letter dated 12-02-96, congratulating (...) on the awards won at the 2nd Japan International Ballet and Modern Dance Competition, in Nagoya."
Maria José Rau
Chief of staff
from the Minister of Education
15-02-1996
1st Choreography Prize at the 2nd Japan International Ballet and Modern Dance Competition 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
2nd Japan Internation Ballet and Modern Dance Competition 1996
NAGOIA MUNICIPAL AUDITORIUM
1st Interpretation Prize and Gold Medal in the 2nd Japan Internation Ballet and Modern Dance Competition 1996
"It was with great joy that I learned about the award and medals won (...) (...) Luís Damas, for the best interpretation (...)
(...) it is a great source of pride for the Portuguese (...)
I ask you to convey (...) to Luís Damas, (...) the most sincere expression of my congratulations(...)"
António Guterres
Office of the Prime Minister
28-02-1996
1st Choreography Prize at the 2nd Japan International Ballet and Modern Dance Competition 1996
Trilogy – 1-Diálogos
2-Almost a fantasy
3-Voice and Passion
Invitation from Lisbon Superior School of Dance
1st selection of the competition with the 1st choreography mentioned in the trilogy, with the other two being created after the selection and premiered at this event.
Tribute Gala to Graça Barroso
Grand Auditorium of the Belém Cultural Center
"LUXURY CAST HONORS GRAÇA BARROSO
Dance gala at the Belém Cultural Center
(...) in an "open scene", more than twenty of our best dancers (...)
the stage was overflowing with emotion.
(...) it turned out to be a unique spectacle (...)"
António Laginha
Correio da Manhã
08-11-1993
Tribute Gala to Graça Barroso
Grand Auditorium of the Belém Cultural Center
"(...) With interpretation by Luís Damas and choreography by Japanese teacher Kazuko Hirabayashi, "Transition" - a solo that evokes the struggle of a body affected by the terrible AIDS – despite of something "dark" and extremely dramatic, received a strong applause from the public."
António Laginha
Correio da Manhã
08-11-1993
SIBBS Gala
Culturgest Grand Auditorium
Universidade de Surrey
Guildford
1986 Course
"I am delighted to inform you that you have been awarded a place on the Course (...)"
Gale Law
15-07-1986
Universidade de Surrey
Guildford
"(...) We are extremely grateful that artists of your calibre are prepared to offer their services to choreographers in this way (...)"
Gale Law
17-06-1986
Universidade de Surrey
Guildford
As a dancer, Luis Damas worked with the following choreographers and composers:
Choreographers / Composers
Frances Carty /
Bengt Jörgen / Peter Muir
Pablo Ventura / Geoffrey Alvarez
Simon Rice / Diana Burrell
Rami Be'er / Peter Muir
Jeanine Van Boven / Geoffrey Alvarez
Vitor Linhares / Diana Burrell
Simon Rice / John McDowell
Florence Gould Hall
French Institute/Alliance Française -
Nova Iorque
"(...) Our Sister City Program seeks to introduce artists both here and abroad who offer works of cross cultural significance.
Therefore, we are proud to welcome the Tandavaha Dance Company of Tokyo to New York for their first appearance is the United States.
Ms. Yoshie Kaku, the director of this company is an acknowledged leader in the field of dance as well as a highly respected choreographer.
The company has made numerous successful appearances in Tokyo and other cities in Japan, and Mari Ushioda, the principal dancer is acclaimed as one of Japan’s most exciting dancers.
This company is a wonderful addition to the events of the 30th Anniversary of the New York – Tokyo Sister City Program."
Best regards,
Scott Harris
Acting Director
New York
20-07-1990
Luís Damas invited as main dancer to dance with Mari Ushioda and company playing the role of lover in the ballet My Lost Love, rehearsing in Tokyo and performing in New York.
OPENING GALA MADRID EN DANZA 2003
"(…) I first saw Luís Damas perform in the all star Gala of the opening of the "Madrid en Danza" International Dance Festival in the Albeniz Theatre in 2003.
I was not only impressed by his technique but extremely moved by the deep and intense emotional quality that he expressed (...)"
Gloria Mandelik
Madrid
01-09-2004
Special Tanzgala 2002
TANZTHEATER DER STÄDTISCHEN BÜHNEN OSNABRÜCK
"Pure pleasure of passions
First-class guests at a grand Gala
(…) The problem of passionate "loving couples" was taken to the stage by two fantastic dancers from the Portuguese Contemporary Ballet Company (…)"
Elke Schröder
Osnabrücher Zeitung
22-04-2002
Special Tanzgala 2002
TANZTHEATER DER STÄDTISCHEN BÜHNEN OSNABRÜCK
"Pure pleasure of passions
First-class guests at a grand Gala
(…) and Luís Damas showed with poise in their Pas de deux the fine nuances of passion (…)"
Elke Schröder
Osnabrücher Zeitung
22-04-2002
Special Tanzgala 2002
TANZTHEATER DER STÄDTISCHEN BÜHNEN OSNABRÜCK
"Pure pleasure of passions
First-class guests at a grand Gala
(…) The play "Duo Appassionato" allowed the meaning of each syllable of these words to be appreciated with intense enjoyment and thus became the celebrated highlight of this Gala."
Elke Schröder
Osnabrücher Zeitung
22-04-2002
Special Tanzgala 2002
TANZTHEATER DER STÄDTISCHEN BÜHNEN OSNABRÜCK
"Pure pleasure of passions
First-class guests at a grand Gala
A couple who savors all the ups and downs of their relationship with great emotions: (…) and Luís Damas from the Portuguese Contemporary Ballet Company."
Elke Schröder
Osnabrücher Zeitung
22-04-2002
Special Tanzgala 2002
TANZTHEATER DER STÄDTISCHEN BÜHNEN OSNABRÜCK
"(…) the Portuguese Contemporary Ballet Company performed “Duo Appassionato” by its director Vasco Wellenkamp."
"The way (…) and Luís Damas danced this variant of the legendary Pas de deux by Maurice Béjart, (…) entitled "Chairs".
They were, in their technical virtuosity and their expression, close to the world class of the duo of Béjart, Márcia Haydée and John Neumeier."
Marieluise Jeitschko
Westfalische Nachrichten
Münster
23-04-2002