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veil 1 - Sabrina Matthews

veil - Stuttgart Ballet

Alessandra Tognoloni and Matthew Crockard-Villa

Courtesy of Stuttgart Ballet

veil 2 - Sabrina Matthews

veil - Stuttgart Ballet

Hyo-Jung Kang and Tomas Danhel

Courtesy of Stuttgart Ballet


Ballet Name






Costume Design

Sound Design


Cpmpany Reprise



Company Reprise



World Premiere


Sabrina Matthews

Ignaz Franz Biber, Sonate Nr. 3 für Violine F-Dur; Vladimir Godar, Magnificat; Alfred Schnittke, Sonate Nr. 1 für Violine und Kammerorchester op. 50; and Hildegard von Bingen, O virtus sapientiae

Sabrina Matthews

Claude Lemelin


June 2008

Stuttgart Ballet


May 2008

Stuttgart Ballet


May 4, 2008

Stuttgart Ballet


Angela Reinhardt, Kulturegemeinschaft – "…in this expressive piece, the Stuttgart Ballet dancers looked the best." (More)

Christian Fahrenbach, Monsters and Critics – "…received with strong applause." (More)

Claudia Gass, Stuttgarter Zeitung – "…abstract and highly esthetic …graceful designs work emotionally and inspires…" (More)

Angela Reinhardt, in Kulturgemeinschaft, July, 2008:


The second great strength of the Stuttgart Ballet, beside dramatic action ballets, is seeking out young talented choreographers, which over the years all of Germany has benefited from it.

The young Canadian Sabrina Matthews already impressed in 2006 at the young choreographers’ Noverre Society with a devout Adagio Pas de Deux. In "veil," the musical arc spans from the Middle Ages to Alfred Schnittke and choreographed to elegiac, extremely expressive duet for two couples who repeatedly plead to the top. Matthews’ expressive movements live directly from the mood of the music, with which they deal thoughtfully and variably; less directly fixed on the rhythm than Soto or Gauthier. Actually, logically, it is precisely in this expressive piece, that the Stuttgart Ballet dancers looked the best.

Christian Fahrenback, in Monsters and Critics, May 5, 2008:


"veil" by Canadian Sabrina Matthews was next. The clearly more cheerful choreography offered frequent pace changes in the figures, with substantially calmer and slower moments than those offered by Soto. The music, which originated, among others, from Hildegard von Bingen spans from the Middle Ages into our time. The middle-part section of the performance, in particular, offered a discharge of the dance tension of this piece -staged without props- into powerful string music. This part of the ballet evening was, at the end, also received with strong applause.

Claudia Gass, in Stuttgarter Zeitung, May 5, 2008:


For the former dancer Sabrina Matthews, the success of her Pas de Deux "soles," created for the 2006 Noverre evening, was the catalyst for her to concentrate completely on Choreography. To that extent, one can attribute the new evening quite still to Anderson’s ability to promote and discover new talents.

Sabrina Matthews’ piece "veil" for the two dance couples Hyo-Jung Kang and Tomas Danhel as well as Alessandra Tognoloni and Matthew Crockard-Villa is abstract and highly esthetic, but the graceful designs work emotionally and inspires more than in the choreography of the Spaniard. The high leg swings and the way the dancers in the duo stretch into the area and then strive apart are a little reminiscent of William Forsythe’s neo­classical works, but the Canadian has quite her own style. It again and again mixes classical Pair Pirouettes into contemporary asymmetries. Virtuo Hyo-Jung remains always en point, in order to then bend the torso deeply backwards. The dancer from the corps de ballet is a discovery in this choreography; she interprets her solos so charismatically. Which it is not to say that the other performers did not also dance very well.


Sabrina Matthews, who also designed the simple brown costumes - short pants for the men and bodysuits with sophisticated tops for the ladies - enhances the elegiac atmosphere of the piece by an interesting music selection. The music ranges the spectrum from Hildegard von Bingen to Alfred Schnittke’s "Sonata No.1 for violin and chamber orchestra".