Gioconda Barbuto is the best dancer-comedian Montreal has enjoyed in a quarter century, and a ballerina to boot.
Linde-Howe Beck, The Arts Annual
At one moment, the intensely emotional Barbuto seems to pull Kevin Tookey out of a rising ocean; at another, she seems to free him from a strangling mask. The sequence of Barbuto and Tookey in the waves is moving and surreal, especially with her gauzy white veil and a platform that lifts her off the ground, and the ﬁnale, with Barbuto dancing in what looks like a snowstorm turning into the Milky Way, is serene.
The Georgia Straight , Janet Smith
Birth-Day is a jolly peice, ebulliently and joyously performed by a cast of confident performers. There are some great moments such as David Krugel and Gioconda Barbuto’s high speed bedroom romp choreographed on screen, it is so well measured that it justifies the use of video in the work.
Edwin Lung, Hong Kong
Highlights included Martino Müller's Seed, which saw the noble NDT III dancer Gioconda Barbuto assaying butoh-like moves.
Holland Dance Festival, Victoria Looseleaf
“The best example is the wonderfully exuberant Gioconda Barbuto, who bursts into the fourth dance in an outlandishly bunched-up skirt, snapping her fingers as she gallops around the stage. ”
Anna Kisselgoff, The New York Times, New York
La Part des anges
«Gioconda Barbuto, de son côté tire plus qu’honorablement son épingle du jeu. Les solos de cette ex-danseuse des Grands Ballets canadiens insufflent fraîcheur et dynamisme à la pièce. Ils évoquent les numéros à claquettes des comédies musicales des années quarante. Expressive, elle est tantôt gamine, tantôt vulnérable. Parmi les duos du spectacle, c’est celui qu’elle exécute avec Paul-André Fortier qui rend le mieux les instants fragiles d’une rencontre. Sa nouvelle carrière en danse contemporaine s’annonce prometteuse. »
Linda Boutin, Voir, Montréal
Petite Danse pour Gioconda
“Ginette Laurin’s Petite Danse pour Gioconda ou Cent façons de battre de l’aile is a moving solo in which the character spreads her wings in an attempt to find a destiny. Laurin’s choreography and Barbuto’s interpretation have no trouble finding a way into the viewer’s heart. ”
Camilla Malashenko, The Gazette, Montreal
Striking stage presence.
Victor Swoboda, The Gazette
"There is pleasure to be had watching this pluralist show. Front and centre, these two beautiful dancers possess commanding line and technique, glorious attack and a nuanced control of their contrasting bodies … there are Barbuto and Molnar, each with an indelible presence — all expert strength and purpose — distinguishing the night and providing some real satisfaction and inspiration."
Philip Szporer, The Dance Current
“Indeed champagne was actually served in Black Cake, inducing the dancers, led by their irrepressible comedienne-in-chief, Gioconda Barbuto, to totter around the stage, glass-in-hand, to the Meditation from Massenet’s Thais, as if thoroughly and amiably looped. Earlier in the piece the pint-sized Barbuto was hilariously partnered, to the strains of Stravinsky, by the tree-tall Benjamin Hatcher.”
William Littler, The Toronto Star, Toronto
all photos © Michael Slobodian