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Thanks to an excellent team of 10 female dancers and 2 male dancers, prepared by Daniel Lommel himself, with a complete understanding of the musical expression as a raw material for the instruction, he has managed to deliver choreographic sequences of a profound beauty, transfusing to his company the robust flame of the music of the famous «Cantor», whose high voltage was crossing the body of the dancers at the rate of the choreographic inspiration. On fast or on slow tempo, on sets, on trios, on duets or on solos, the choreographic parts were executed with such a clear technique and with a convincing loyalty of the movement set down in a convincing musicality -fact that is more rare nowadays.

Eleutherotypia, 12/07/2005

His last program in the notable Modern Theatre of Athens proved that Lommel, consistent heir of the master Béjart, began to surpass him -slowly but steadily- in the choreographic form and composition. We may believe that putting down the melodies of Hadjidakis in choreography in an enterprise that contains risks […] With this performance, however, we had witnessed a sovereign piece of work. Impregnated with nostalgia, with distinction, ethereal and interpreted by an excellent ensemble of 8 dancers.

Kathimerini, 24/05/2003

His recent return […] confirmed the excellent quality of his work capable of producing a sensational technical perfection […] with his approach and revivified interpretation of the classical ballet […] with the brilliant and acute beauty of the classic, but deprived of the sterile academic standpoint […] the «Language of Rupture» inspired by Odysseas Elytis’ «Cards on table» where the transparent, insinuating performance of the outstanding Zefi Barzoka makes the connection and gives the dimension of the music, and more generally the sounds, leaving completely superfluous the complicated explanations […] and in the second part the «Tribute to Nikos Skalkottas», a different approach, more demanding, on the music of our famous composer filled with vibrations and with a dancing inspiration. On the whole, the major attribute of this performance remains the Dance itself. Archetypal, dominating any convention, it authorises the spectator to be delighted by the feeling of absolute safety and by the perfect coherence of the visible rhythm. Absence of deficiencies, no space for uncertainties, not a single moment without dance.

Eleutherotypia, 07/05/2002

Beautiful as a Greek tragedy: by paying tribute to the poet Iannis Ritsos, deceased just ten years ago, Daniel Lommel created one of the most accomplished ballets presented within the framework of Chorège with the company Aenaon […] The entire choreography is built on this division in halves, this struggle, this emotion which originates from the Greek tragedy. There is a unique atmosphere in this ballet, something dramatic and ethereal in the performance, a symbolism of the gesture in the movement’s elegance on music by Manos Hadjidakis or Wagner […] Thus our regret that this beautiful creation is not re-scheduled.

Le Berry Républicain, 08/07/1999

This is a major moment of dance, of sensuality, of aesthetics and of vital force given by the dancers of Aenaon Dance Theatre on a choreography by Daniel Lommel with Fragments of love: we exit from this performance in a state of excitement, in affliction, overwhelmed by ambiances where everything is -at the same time- flesh, blood, violence, tenderness, in a total celebration of the body and the spirit. The soul of dance is finding its deep human roots and is transcended by the beauty of the movement, spiritually animated. With no doubt, Daniel Lommel has paid the most remarkable tribute to the composer Manos Hadjidakis with the present choreographic suite based on his songs […] There are moments of a profound intensity, where the breath of the spectator seems suspended […] by the moments of poetry hung from the motion of the dancers, all excellent. Behind the technique, there is a soul, a heart, a passion shared for a true evening of happiness and emotion, which lays in a delicate manner right at the tip of the heart.

Le Berry Républicain, 16/07/1998

When he arrived in Athens in 1980, a dancer with 16 years experience, he conducted a seminar at the National Gallery of Art […] Within 18 months he was an established choreographer on the Athens scene […] He established his identity with Greek audiences and […] the success of those performances is evident […] Daniel Lommel is surely an architect of dance.

The Athenian, 15/09/1987

More than 500 persons assisted to the second […] choreographic show «Episodes». Every fragment of this micro-show is a gestural quotation, a tribute to Maurice Béjart, man of the theatre […] the music became a line, a sculpture, a choreographic drawing. The public was literally raised […] Nobody will ever forget the game with a chair treated as a human being, gathering in its forms all the aspects of the world. The final Ode revealed the strength of Daniel Lommel. His own qualities as a choreographer and a dancer made possible for every spectator to forget his/her own gravity […] In the work of Lommel, on can find respect, refinement, and especially sensibility. In «Episodes», we see caresses, furtive glances which show that the choreographer is an attentive observer of life and mankind. Dance is an embodiment.

L’Avenir du Luxembourg, August 1981

Watching a company that is superbly professional, superbly trained and projects great emotional depth, is an exciting experience. Such were last week’s performances of Lommel’s group […] Lommel has trained his dancers to give the utmost attention to detail and the placement of feet, eyes, hands. Every second of the dance is important and is attended at with great accuracy.

Athens Daily Post, 29/05/1981

The AENAON DANCE THEATRE, Daniel Lommel’s new classical ballet company, gave a stirring performance […] they established themselves as the most exciting group dancing in Greece […] beautifully coordinated and marvellously graceful […] Lommel likes to take dance clichés and use them in ways that constantly amaze and amuse […] Lommel has obviously learned a lot from Béjart as far as choreography is concerned, but his dances also have something unique […] a celebration of joy […] Lommel had built up the dance patterns in layers, both horizontally and vertically. The stage was flooded with movement -all perfectly controlled […] With Aenaon A GREEK MIRACLE has occurred!

Athens Daily Post, 05/03/1981

Aenaon Dance Theater - Daniel Lommel