"Between the familiar and the unexpected"
"...It is necessary to present Daniel Goldin, argentine dancer and choreographer who has been living for almost three decades in Germany; he arrived there already with a broad professional experience that then expanded in contact with the flow of the dance-theatre so marked by Pina Bausch.
"oscuras golondrinas" ("dark swallows") was commissioned by Wainrot, a new play for the contemporary Ballet in a line not frequented by the company, which in this play shines with a moving light. Someone once said that for a compositor-the same is valid for a choreographer - usually the most difficult moments in the creation of a work are the beginning and the end, because it is in those moments where the work is cut out of the world; or it is it cut out of the real life, which is other way of express the same concept.
"oscuras golondrinas" encloses within those limits, beautifully selected by Goldin, a world in suspense, made of small details, of fleeting circumstances, of a very mild humor and of a dance at the same time known and unexpected.Great interpretation of the cast in twelve characters that represent, simply, as many men and women. Excellent scenery and costumes by Matthias Dietrich."
Laura Falcoff, Clarín, 4 August 2013
"From the sky and the Land"
"...A violent but suggestive descent into earthly daily life installs the viewer in an urban landscape, with walls, street lights and furniture: is the field in which Daniel Goldin plotted the route of grey human beings, sometimes supine or exasperated, who return like migratory birds. Men with outdoor clothes and women with safe steps, high heels and vigorous exposed calf muscles , as for the taste of expressionist dance, reveal the aesthetic orientation of this Argentine choreographer who, with a proven artistic carrer in Germany, shows a remarkable maturity in full youth.
There are group (social) situations in which shine individualities of character: hugs, contacts and take-offs. And loneliness (the solo sung by Ivana Santaella). The "hug - rejection ", all of a topic of the post-expressionistic dramatic aesthetic, is imposed while a super duo of Vanesa Turelli and Boris Pereyra regains a strong dynamic of dance. A dozen of beings that are linked or move away, an urban tribe, in short, with which Goldin creates a vigorous contemporary fresco, with a company which, once again, gives evidence of sensitivity and performance."
Néstor Tirri, La Nación, 4 August 2013
"...The second proposal, created by Daniel Goldin, focused, as he has confessed in several interviews, under the metaphorical figure of the swallow, his own return to Argentina, after years of living in Germany, where he has achieved a career of high recognition as a choreographer. And Goldin "oscuras golondrinas" ("dark swallows") were, first of all, dark. It is worth clarifying that we talk about contradictions that unleash the work, not the interpretation, which was really brilliant. It seems that it is not possible a return without a bittersweet nerve that attack you again. The encounter with a last everyday - worn, most remembered in sweetened key - with a lost hope, with a closed door - that perhaps once stood open. Or perhaps with an open door, which secretly wish who returns that had already closed. "Return-repetition-reset" is the formula underpinning this work: according to the work, would be a grey routine, which ends and starts again in a circular mode.
The scenography, designed by Matthias Dietrich, is highly allegorical to feel the essence of this work: a series of self-absorbed veneers officiating wall represent something that would seem to be an impoverished slum. Complete the picture an unmade bed in a corner, with a silent on television. On the other corner, two major streetlights represent a road. The scene goes beyond melancholy. It is almost an early twentieth century tango composed in a suburb of La Boca. In this sad and anonymous cell, appear its protagonists, men and women dressed in terra cotta suits - as dismal as the scene - who, at every turn, seem to want to join to be rejected after. Hysterical and anomic, they fluctuate in indecision and the sorrows built on the dichotomy between departure/arrival.
Goldin choreography is wonderful in a particular achievement: is a circular crescendo, in which the group is going gradually building - through solos, duets and group work – till became homogeneous, as a flock of birds. With music by Shostakovich and Bach, the movements are aggressiveand cutoffs at times, that afterwards combined with a playful swinging of hips, intense hugs and a classical plasticity. Almost a reflection about the routine, almost a criticism of the shortcomings of modern life, this play manages to leave a sorrowful heart due to the presence of a girl who sings as she cries. Or when all are flying at the end, if so it could be said, to a sky that is just, finally, a sheet painted sky..."
María José Lavandera, www.revistarevol.com, August 2013
“…In the center of the dance program, “oscuras golondrinas” (dark swallows), raises ‘the perpetual beginning of a cycle', in the words of the Argentine Daniel Goldin. Immersed in an urban scenario, the dancers display solos and duos, ideally reflected in (by) the music of Shostakovich. Resident in Germany, Goldin deeply absorbed the expressionist language, the spasmodic movements, the appeal to the high heels and bare feet, revealing ends of situations with a particular sense of humor. Great performance of the cast, especially Victoria Balanza and Ivana Santaella.”
Patricia Casañas, Noticias, 10 August 2013
“…Different field (environment) for oscuras golondrinas (dark swallows), with sets and costumes of Matthias Dietrich, where the game proposed by Goldin appeals to various repeat modes. As a great cycle (already indicated by the title, which refers to the famous Bécquer poem: return of the dark swallows), the characters who dance, inhabitants of a site that suggests suburbs, depart to return towards the end of the play. But they leave again and again, as they also repeatedly return. The scenic set, the profile of a night street, poor houses, and the clothing and gestures of the dancers, with certain details retro towards mid-20th century, loaded with a melancholy tenor the product. Few games of movement, but highly developed while repeated, individually, when performed by couples or groups, associated with the selected music, that shows the same characteristics (Dimitri Shostakovich and Johann Sebastian Bach), structured Goldin work that enhances, especially, the expressiveness of the interpreters to provide the nuances of the general emotional character...”
Roman Ghilotti, Balletin Dance, September 2013