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Performance PRESS

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


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


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

“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

“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