Press Pic 1

Photo by Michael Slobodian

Press Quotes

“In contrast, a dazzling performance of five excerpts from György Ligeti's lengthy Études for solo piano used much simpler means: one pianist, one piano, and one dancer. That the dancer was Ballet B.C. alumna Emily Molnar, however, meant that the choreography was on par with Ligeti's famously thorny score. Molnar matched her movements to the music with near-scientific precision, yet her work also contained an almost improvisational edge — a fabulous marriage of direct emotional response and sustained intellectual effort.” Alexander Varty, Georgia Straight

“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

“We are seduced by the quality of interpretation, which is amplified by the richness of gesture vocabulary. Many magnificent duets of tightly knit bodies permit these two complimentary energies to rejoin and amplify them selves. Within harmony or combativeness they evoke the relationship that our body has with the racing of time.” Anne-Christelle Le Hir, Dfdanse

“An emotionally dense diptych … the point of view does shift, and the internal timings of the body are explored with precision stops, sudden shifts of rhythm … The sheer physical exertion is matched by emotional intensity. Time Tell and Fragments of A Marked Space take us on a journey of increasing intimacy.” Alexander Ferguson, Plank Magazine

“Out of the presence comes the abstract … Swivel Fields. Molnar modeled together with the ensemble an expressive tale, complex and sensual at the same time.” Berndt Herrmann, Aichacher Zeitung

“The fascinating work Swivel Fields … a contemporary image of many layers and a huge pull effect, dramaturgically suspended on the wonderfully accentuated solo parts … The dissolved structures which she imagined into a void and loaded with dense variations constantly changing their directions, mirror in a gleaming way a modern experience of the individual.” Alexandra Karabelas, Tanzportal Bayern

“The best choreography of the evening came from Emily Molnar to the music of John Adams. Molnar took the incitement of the music and created a haunting scenario.” Volker Boser, Augsburger Abendzeitung

“Her tavern scene is a brilliant example of raging testosterone in motion. In contrast, Molnar's almost slow motion movement for the siren ladies of the court of love oozes sex, sensuality and subtlety in their duets with the hero. At her best, Molnar is a fine sculptor of lighting-fast footwork and mercurial changes of direction.” Paula Citron, Globe and Mail

“The world premiere of Carmina Burana is spectacular … filled with sensuality and stirring moments.” Natalie St. Denis, FFWD

“Hinged Memory transfixed the audience from start to finish.” Laura Murray, Georgia Straight

“Molnar's Hinged Memory stood out from the other dances. This is a beautifully crafted, artfully sustained solo without a scrap of dead space in it.” Deborah Meyers, The Vancouver Sun

“Throughout the woman has presence to burn … there's more than enough originality in SubSilence to leave us hoping we hear plenty more from Molnar.” Janet Smith, Georgia Straight

“Between the two of them, Sichon and Molnar shape a surrealistic place, a velvety night of music and steps.” Deborah Meyers, Vancouver Sun

“Another spark of inspiration was revealed in Emily Molnar's ‘Portrait of a Suspended Grace’, danced by seven men of the company. Her program notes mention the painter Francis Bacon as an influence, and upon viewing, this connection made sense. Danced beautifully and wonderfully designed, the work shifts effortlessly back and forth from group dancing in wonderfully powerful unison to highly individual displays of artistry from each of the men.” Pamela Anthony, Edmonton Journal, February 2004

Named as one of Canada's new generation of “ballet sensations” Maclean's Magazines, November 2003

“A mesmerizing performer. Molnar has moments as big as years.” Daniel Collins, Dance International, 2003

“Molnar's movements in these final moments have as much to say about the foolish heart as any of Shakespeare's Midsummer's Night does.” Michael Scott, Vancouver Sun

“Molnar — a phenomenally powerful and gifted dancer.” Gail Johnson, The Georgia Straight

“Her emotive talents are extraordinary, expressed sparely through the delicate placement of a foot, the curl of a hand or the angle of her head.” Louise Phillips, Vancouver Courier

“In the end the ballet belongs to Emily Molnar … who embodies that breaking wave of rage and grief.” Michael Scott, Vancouver Sun

“Molnar presented swift, fractured gestures in an intense piece that was hypnotic in its relentlessness.” Gail Johnson, The Georgia Straight

Hands

Photo by David Cooper