Press reviews

October 24th, 2012, Andrea Kachelrieß, Stuttgarter Nachrichten:

(.....) "solitaire" is fascinating because of the movement quality of this body virtuoso, whose classical base gives her precision even at a high speed. The dryness of some other conceptual dance works is therefore lacking in "solitaire", the reflectiveness of Eva Baumann is effortless and authentic. Projections direct the viewers eye to unseen details of the dance studio of the Produktionszentrum and she reviews the space in relationship to her own body. Handicap or challenge? Eva Baumann questions the relation between dancer and dance, of artist and art in general. The point shoe serves as a catalyst. In a duet with her projected self, a table or a wooden sill she indicates her artistry , letting flow her movements under high tension and fast or in smooth waves and gentle stops through the body."

October 16th 2011, Ramona Dengel, Kunstbüro Baden-Württemberg,
"With great persuasive power Eva Baumann presented her solo "fragile" which grasped the audience physically (...) "fragiie" requires stillness and concentration. Eva Baumann asked that in a natural way from the public and because of her dancing persuaviness she held that through the entire performance."

Berlin Woman, march 28^th  2010, Carola Muysers

www.berlin-woman.de

"Anything but superficial entertainment they (the choreographers) demand all our senses. The point is to look, listen and strongly sense. In "fragile" Eva Baumann winds herself through a cocoon of nylon threads. They block her path, catch her, let her crawl through and climb over them. The body of the dancer is as strained as the threads. It transforms from an amoeba to a fish to a sumo wrestler to a marionette."

Stuttgarter Zeitung, june 13^th , 2007, Petra Mostbacher-Dic

"In the minimalistic duo from the piece "Fall aus der Zeit" Eva Baumann thrilled the audience by her terrific pantomime."

Brabants Dagblad, june 10^th  2007, Mark van der Voort

"Also saxofon player André Arends and dancer Eva Baumann subtlety used light and video images (in the children piece “alleen”). Improvised music which feeds the amazement and oppressive images which activates the phantasy. For the astonished glance of children is the most beautiful image."

BN/De Stem, may 26^th 2007, Kees van Meel

“The most free part,  Solo Devil Dance 4, got all the space because there was so much freedom in the dance itself (…). In a delightful silent picture, far away from the public, pianist Bastiaan Brink played the music of Simeon ten Holt.  In front of and next to him Eva Baumann paced her way through the divine space and honoured the devil. There were the pranks of Eva on the medieval pillars, but also the crawling on the stony floor where the gravestones witness the play between the Good and the Bad, the Angelic and the Devilish. This performance of the Devil Dances was a zest for eye and ear,  not in the least because of the perfect light in this harmonious environment, no matter how demonic the movements in the choreography were.”

NRC, may 29^th 2007, Isabella Lanz

“Baumann made an earthy choreography to the composition Solo Devil Dance 4 with strong movements. She zigzagged through the crossing of the church, turned like a dervish around her axis and connected heaven and earth with her arms.”

Financiel Dagblad, june 16^th 2007, Rolph van de Wouw

“The dualistic friction between Good and Bad takes center stage. Baumann performs, like the other two dancers, her own choreography and goes often down on the floor to visualize the saga of the fallen angel Lucifer. Strong is the manner how she affects the public. A certain fear of death seems to overtake the portrayed character. With a piercing   glance she scans the broad space between the pews and stained- glass windows of the church.”

June 29^th 2007, Colette Noel, wife of the composer Simeon ten Holt

“Eva Baumanns` dance was so symbiotic with the music, her tiny body so precisely interweaved with the notes, that I had to watch it continuously. In my opinion she made the most difficult decision in her approach: full commitment without ifs and buts.”

Stuttgarter Zeitung, january 19^th  2000, Bernd Krause

"In the solo "Echigojishi" by Katja Erdmann- Raisjki the choreographer lets feathery Eva Baumann linger on stage where she gets aroused by strumming Japanese music. She makes her own European head or tails out of the Far Eastern music, trips up and down on her point shoes, bounces playfully with her feet, twists a little bit and enjoys her youth."