2024

Strelitzius about “Die Fledermaus“, 30 April 2024:

“Splendid premiere: […] The premiere audience at the Neustrelitz State Theatre gave Max Hoehn’s production of the famous Johann Strauss operetta “Die Fledermaus” a standing ovation and cheers lasting several minutes. […] The audience celebrated the soloists, the opera chorus and the German Dance Company in equal measure.”

Nordkurier about “Die Fledermaus“, 31 March 2024:

“A new operetta star has risen in Neustrelitz. Singers, musicians and dancers gave free rein to their enthusiasm at the premiere of the operetta “Die Fledermaus”. […] So much applause is rare. Even after the overture of the operetta “Die Fledermaus” on Saturday evening at the Landestheater Neustrelitz, the audience in the sold-out theatre was enthusiastic. There was applause after almost every song, duet and dance, and the ensemble really deserved it. […] …developed a modern, lively version of the play that dispenses with plush and exuberant costumes. Pace and humour drive the plot forward. […] There are always witty interludes on stage: For example, when the dancers of the German Dance Company celebrate their hangovers with humorous choreography after the lavish party at Orlofsky’s in the morning.”

2022

Neue Westfälische about “Mondo Paradiso”, 09 July 2022:

“Plastic as a status symbol. […] The four performers from Posterino Dance Company came up with a cracking social critique. […] The movement changes from flowing and supple to angular and asymmetrical. It is about the destruction of the environment, but also about its renewal. About the limitation of the body as well as that of life. The performers, first and foremost their choreographer Gaetano Posterino, deliberately refrain from any kind of obfuscation – their message, their political claim, goes straight to the heart. With a rich variety of dance, adapted to the changing music and its harmonies, in brash formations and descriptive scenes, they tell an artistic story that entertains and makes you think. […] Much applause and many virtual “curtains” for a mature performance, an exciting intervention.”

Neue Westfälische about “Love me if you can!”, 09 July 2022:

“The four dancers impress with a wide range of their dance vocabulary, including almost acrobatic elements. A guy with bad manners doesn’t know how to inspire the woman, but scores with slapstick for the amused audience. In touching duets, fast-paced formations and varied solos, the ensemble shows the colours of love, only to give the main character, around whom everything revolves, room for self-discovery at the end. […] The dance festival applauded almost euphorically. It was noticeable how many visitors enjoyed the analogue pleasure that the 2022 dance festival once again offered. The organising team obviously had a lucky hand in selecting the performance groups.”

2019

Schwäbische Zeitung about “What if” and “Zwischen Himmel und Dir”, 13 October 2019:

“Like brilliant fireworks […] Highly agile dance theatre meets modern, expressive choreography: just over a week after the world premiere in Munich, “What if” and “Zwischen Himmel und Dir” premiered in Aalen’s Stadthalle as part of the Aalen Culture Weeks. On Friday evening, the six dancers of the Posterino Dance Company put the finishing touches to their high-calibre performance during a public rehearsal. The two avant-garde works from the pen of world-renowned dance master and choreographer Gaetano Posterino are several moving worlds in their own right. […] Lui Nagase, Annalisa Piccolo, Clara Plausteiner, Bernardo Pereira Ribeiro, Davide Troiani and Gabriel Wanka show the most impressive dance, which merges into sports acrobatics and also borrows from classical dance theatre. […] What counts are the emotions that are aroused, the extremely powerful images that are shown. The fact that you should let the scenes “sit” is shown by the applause before the interval, which was initially slightly delayed and then became more massive.”

Aalener Kulturjournal about “What if” and “Zwischen Himmel und Dir”, 13 October 2019: 

“[…] An introspective search for movement reflected in dance, which in its questioning of exciting forms of expression utilises a modern diction in order to open up new spaces for dance. Posterino conveys his aesthetic experience through a choreography that draws on literary, performative and sociological approaches, among others. […] He dispenses with any kind of backdrop. His three dancers perform in the empty space of a black stage. Shrouded in a cone of light, caught by spotlights, they follow a barely recognisable choreographic thread. Much of the action seems spontaneous and impulsive, emphasised by off-stage music. It subtly comments on the respective dance event on stage, while at the same time tending to interpret the dance steps. A cello in the style of the 19th century is allowed to ask for “amour fou”, to pay homage to “what if!”. […] While the dancers compete in amorous or athletic duels, a cacophonous storm of sound of indeterminable origin descends upon them. The heaviest hip-hop beats take over, provoking the actors to transgress their own boundaries. […] The result is an overall picture of dynamics and expression. Highly remarkable, wonderfully harmonious and appealingly artificial.”

Schwäbische Post about “What if” and “Zwischen Himmel und Dir”, 13 October 2019:

“[…] The current new edition of the Aalen dance series “imPuls” this time took place under the decree “What if / Zwischen Himmel und Dir”. Also contemporary dance, which once again dispenses with familiar ballet poses, but is very much orientated towards classical movement sequences and dance figures – including solo dance and pas de deux. In a different, sometimes unfamiliar, but no less impressive way, Munich choreographer Gaetano Posterino relies on his six dancers’ accurate body control and perfect expressiveness in gestures and facial expressions. […] The stage is a dark black. Spotlights or even just a cone of light mark the location of the respective action, accompanied by music from offstage. Always as a commentary on the dance event, always difficult and in an interpretation that seems to explain the dance steps.”

Süddeutsche Zeitung about “Mondo Paradiso” and Pink and Blue”, 29 April 2019:

“The company has been part of Munich’s independent scene since 2015. Choreographer Gaetano Posterino has been constantly developing his unabashedly neoclassical dance style, mixing it with contemporary elements and dance theatre, between Palermo and Wiesbaden since 2001. In 2018, he made a short ARD film about the difference between the sexes, transforming scientific findings into dance. This makes it all the more astonishing how undidactic his new gender mosaic at HochX is – and so friendly that you almost forget that it is above all the serious commitment that holds the two short pieces together. The first part of the evening is called “Mondo Paradiso” and deals with the destruction of the environment and dying beauty. Posterino’s moving language medley proves to be predestined for this. […] Plastic tutus, teasing accessories and bags over the dancers’ heads take their – and the audience’s – breath away.”

tanznetz.de about “Mondo Paradiso” and “Pink and Blue”, 29 April 2019:

“Gender equality and environmental pollution actually affect everyone. At least that’s what Gaetano Posterino, a freelance choreographer with experience in urban theatre, must have thought, taking up both politically explosive topics for his new two-part dance evening. But can you really dance gender boundaries and climate change?”

Abendzeitung about “Mondo Paradiso” and Pink and Blue”, 27 April 2019:

“Posterino’s half-hour piece “Mondo Paradiso” kicks off the programme in the intimate stage ambience of the HochX: an impressive choreography about, with and in a lot of plastic waste. Since 1995, the Italian, who is based in Munich and Wiesbaden, has been impressing audiences with works for opera, dance theatre, film and opera. […] With one striking difference to other groups in the contemporary independent scene: the ensemble, which is loosely made up of young dancers and experienced professionals, also masters the vocabulary of classical ballet – and does so remarkably well. […] In the quartet, the dancers slide to the floor. They mutate into a perfectly synchronised perpetuum mobile that fascinates with its virtuoso handling of movement restrictions. … Posterino also positions his four dancers extremely skilfully in the space after the interval in “Pink and Blue”.”

TZ about “Mondo Paradiso” and “Pink and Blue”, 25 April 2019:

“Mondo Paradiso revolves around the highly topical subject of climate change. Its dancers oscillate between powerlessness and actionism, shock and indifference. The second work, Pink and Blue, is dedicated to the supposed or fluid gender boundaries. …”

IN München about “Mondo Paradiso” and “Pink and Blue”, Nr. 8 / 2019:

“Munich-based choreographer Gaetano Posterino, who has received numerous international awards, has turned his attention to controversial topics. For his double production “Mondo Paradiso” and “Pink and Blue”, he explores contemporary debates surrounding environmental destruction and the horrors of climate change, as well as the blurring of gender boundaries.”

Münchner Feuilleton about “Mondo Paradiso” and “Pink and Blue”, 24 April 2019:

“Two new plays by Gaetano Posterino deal with issues that are currently at the top of the agenda: Environmental destruction and gender boundaries. […] Pointe dance and neoclassicism are the basis of Posterino’s dance aesthetic. Observing the rehearsal, it becomes clear how much he likes to use floor figures. In his “versatile style” he also uses modern movement vocabulary, contemporary elements and dance theatre techniques. In “Pink and Blue”, for example, four chairs are included in a tarantella. In this piece, he and his quartet play through possible relationships between the sexes. With pathos, no doubt. And with precision. In a male duet to fado singing, Posterino works with the utmost precision as a left foot sweeps up the right leg of the person opposite. And when the choreographer intervenes, correcting himself, in the passage where the aim is to glide out of a pull and fall, the eyes can barely follow how quickly and precisely Posterino swings out and turns.”

2018

ARD Mediathek about “Chronos“, 15 December 2018:

“”Chronos” dares to create an almost anachronistic alternative with its calm narrative style. In the surreal salt landscapes of the Swiss salt mines, contemporary dancer Lia Fasoulaki dances a haunting interpretation of the theme of life and how we deal with it, based on a choreography by internationally renowned dancer and choreographer Gaetano Posterino. With the help of heavy mining equipment, the allegorical motif of a prisoner inside an hourglass was created, who passionately fights against the sometimes threatening, sometimes oppressive flow of time, which she is ultimately unable to escape.”

Schwäbische about an “unusual programme”, 14 October 2018:

“Between tulle dresses and bikinis, jeans and T-shirts, swimming trunks and red mini dresses, the stage was full of life and there was an amazing surprise for the eyes and ears with every new scene. […] Romance, relaxation and a dash of eroticism were the order of the day. The fast-paced solos and perfect performances of the three couples were also met with applause, which had failed to materialise in the first part due to sheer amazement. This was followed by a rapturous final applause.”

Schwäbische Post about a “exciting ballet evening”, 13 October 2018:

“A captivating choreography full of allusions, which mixes classical dance with contemporary dance and dance theatre and which must be interpreted individually. Out of the ordinary, surprising and exciting. […] For all this, there is repeated applause from a clearly delighted audience. They can look forward to another “Impuls” festival next year.”

Theatermagazin about “Four Choreography Moods”, Max 2018:

“Former Stuttgart ballet dancer Chantal Julie Fink and Clemens Fröhlich from Het Nationale Ballet dance four duets during the course of the programme, for example from “Romeo and Juliet” and “Sleeping Beauty”. Choreographed for the camera by Gaetano Posterino, the ballet tells a story about sexual relationships between the sexes. And it takes a stance contrary to science: none of the duets mark the difference between the sexes. The evidence gathered here about the aggressive man and the submissive woman is thus relegated to the realm of prejudice.”

ARD Mediathek über Posterino Dance Company in Eggenfelden, 26 February 2018:

“Gaetano Posterino is a choreographer, dance director, ballet master and artistic director of his own Posterino Dance Company, a true talent factory. And these talents had their first big performance in Eggenfelden at the weekend.”

Passauer Neue Presse about “Pina’s Eyes”  and “Love me if you can! “, 26 February 2018: 

“[…] Posterino plays with motifs in its very own contemporary movement language and in an associative-collaging way […] This is interwoven with sounds of the dancers, with text, singing and theatrical elements such as a dancer who sticks to the floor like an insect on a flypaper. Mostly accompanied by sounds instead of music: Gasps, heartbeats, footsteps in the gravel, shattering glass. […] The love ritual of courtship, closeness and distance, fulfilment and disappointment is performed to cheerful oldies […] – with strong dancing between neoclassical and disco, especially by Corinne Cilia and Aya Sone. […] Premiere acclaim.”

Münchner Feuilleton about “Breathing Spaces”, February 2018:

“[…] for eight girls (to be found on Youtube) develops on a gently percussive oriental sound stream into an almost meditative continuum of soft neoclassical movements breathing into the space, into which elements of classical Indian dance are very discreetly woven.”

Tanznetz about “Breathing Spaces”, 22 January 2018:

“Eight students danced the modern “Breathing Spaces” by Gaetano Posterino, who often choreographs for BMICA. They filled the space with energy with their quality of movement and sense of space.”

2017

Tanznetz about “Through Pina’s Eyes” and “Love me if you can!”, 23 March 2017:

“The seriousness with which the performers / dancers went along really convinced Günter Pick on this evening. […] Gaetano Posterino, a truly exceptional dancer with a career as a soloist in numerous international companies, has been choreographing since 2001, which has already taken him to companies such as the Wiesbaden Ballet, the Augsburg Ballet and the Semperoper Dresden. Some time ago, he decided to set up an independent group, which now consists of eight remarkable dancers. The premiere of a similar programme, which I have now seen in Munich at the HochX, was a short time earlier in Wiesbaden, where I am sure every child knows Gaetano, and anyone who has seen him on stage must try very hard to forget him again. […] The dancing is relaxed and you don’t have to look for the coded difficulties of human encounters. They arise naturally from the moment. […] She remains still, without making a face, in the fade out. This is the most beautiful moment of the evening and you need a moment to emerge from this unreal world that she has created here and then applaud.”

Münchner Merkur about “Through Pina’s Eyes” and “Love me if you can!”, 17 March 2017:

“He only settled in Munich in 2015, but as a choreographer Posterino is anything but an up-and-coming talent. … Posterino and his three dancers – especially the two women – move in a highly professional, undulating, neoclassical style, constantly transitioning to rubbery-soft floor figures. A style familiar from the Gärtnerplatztheater dance ensemble.”

2015

Der neue Merker about winter gala with “Novilunio – From Dark to Light”, 13 December 2015:

“Gaetano Posterino has created a beautiful choreography for Alen Bottaini, Katherina Markowskaja (STB) and 4 students from BMICA.”

2014

Opera World about “Švanda Dudák”, 02 November 2014:

“Special mention must also go to the choreographer Gaetano Posterino, who set almost half of the opera to danceable music and animated the entire production excellently with constant dancing, in which he also knew how to involve the excellent choir of the Teatro Massimo in a truly energetic way, who really seemed to enjoy themselves.”

L’ape musicale about “Švanda dudák”, 19 October 2014:

“The magical lights by Fabio Antoci and the wild choreography by Gaetano Posterino contributed to the perfect success of the idea, which is of the utmost importance in an opera that consists of two thirds Bohemian folk dances: hypnotic odzemeks, whirling furiants, majestic polonaises, haunting polkas and omnipresent waltzes.”

Opera Click about “Švanda dudák”, 19 October 2014

“[…] and it is repeatedly enlivened by Gaetano Posterino’s choreography, which alludes to Offenbach’s operetta “Orphée aux enfers” and its famous cancan in the underworld. Bravo to the corps de ballet of the Teatro Massimo […]”

GBOpera about “Švanda dudák”, 19 October 2014:

“Marvellous choreographic scenes by Gaetano Posterino.”

2012

Dresdner Neueste Nachrichten about “Schwanda, der Dudelsackpfeifer”, 26 March 2012:

“Köhler’s fantasy of grand images in the ice palace or in hell … is choreographically refined or, if need be, driven to pure exuberance by Gaetano Posterino and a group of twelve dancers in top form.”

2011

Fränkische Nachrichten about “Vom Dunkel ins Licht”, 23 July 2011:

“The world premiere “From Darkness to Light” by award-winning choreographer Gaetano Posterino is well worth seeing; the piece is inspired by the power of the phases of the moon and was excellently interpreted with Bach’s violin concerto by Ako Nakanome and Dmitry Sludyanin.”

Reutlinger Generalanzeiger about “Einfach so”, 31 October 2011:

“Their interaction was rather combative, with facial expressions, outbursts of laughter and scenes such as the mutual slapping, which leads to harassment and semi-violent reconciliation, emphasising the narrative character of the play. Enthusiastic applause rewarded all the ensembles.”

Schwäbisches Tagblatt about “Einfach so”, 08 February 2011:

“The Reutlingen in-house production “Einfach so”, which was premiered on this occasion, was even more colourful. The piece by Italian choreographer Gaetano Posterino with Tonne actress Galina Freund and Tonne board member Thomas Lambeck showed the possible and impossible dialogue between dance, language and music.”

2010

LangeKunstNacht about “Pulcinella”, 19 June 2010:

“Gaetano Posterino’s choreography tells the story of Pulcinella’s rivalry with his friend Fugo. Both are courting Pimpinella – one charmingly seductive, the other demanding and macho. Gaetano Posterino takes up the typical exaggeration of the commedia dell’arte in pantomime with a lot of gestural heart pounding and muscle play. The Italian adds to Stravinsky’s harmonious ending: In a Calabrian tarantella, he brings the story to an exuberant, southern conclusion.”

Dance for you Magazine about “Strawinsky Trilogie”, March / April 2010:

“Ballet director Robert Conn had placed the entire evening in the hands of the Italian Gaetano Posterino – known from his time in Wiesbaden, where he created a “Contemporary Dance” series in 2005/2006. […] Posterino must have been captivated by the rhythmic fireworks inherent in Stravinsky’s music […] both stylistically and in terms of the interpretation of content, Gaetano Posterino was ultimately convincing with the most delicate work of all: Les Noces .”

KULTURpur about “Strawinsky Trilogie”, February 2010:

“Characterised by the fascinating diversity of a single composer, Igor Stravinsky (1882-1971), this chamber ballet evening presents Pulcinella, Geschichte vom Soldaten and Les Noces. For Gaetano Posterino, the special attraction and challenge lies not only in illustrating each of these exciting works with a coherent choreographic concept. By consciously utilising the entire spectrum of contemporary stage dance available to him and thus employing three very different choreographic styles, the dance trilogy almost appears to have been created by three choreographers. The accompaniment of two pieces by musicians from the Philharmonic Orchestra under the direction of Adi Bar adds a special touch.”

Augsburger Allgemeine about “Strawinsky Trilogie”, 07 February 2010:

“The Augsburg Theatre’s new ballet evening demonstrates unity, as three pieces by a single composer are on the programme, staged by one and the same choreographer: Gaetano Posterino choreographs Igor Stravinsky. However, the unity dissolves into the greatest possible diversity of musical and dance styles. At the premiere of “Stravinsky Trilogy” at the Augsburg Comedy Theatre, the audience saw pointe dancing to baroque-harmonic sounds as well as modern dance to arhythmic disharmonies. An impressively versatile, unusual, but not easy ballet evening, which the audience received enthusiastically.”

Augsburger Allgemeine about “Strawinsky Trilogie”, 05 February 2010:

“Posterino’s journey will take him in all directions, as he intends to utilise the 360 degrees provided by his compass on this evening. He spans an arc from neoclassical lace dance to very modern figurative language with elements of jazz and hip-hop. […] However, the three stories are not only told with music and dance, but also in words and images. Posterino will use video projections to add another layer to the plot and break up typical visual conceptions.”

Augsburger Allgemeine about “Rhapsody in Blue”, 24 January 2010:

“The program, in which singers belted out Verdi arias and the ballet performed Rhapsody in Blue, also received thunderous applause. So it was no wonder that one met a more than satisfied artistic director Juliane Votteler late, or rather early, in the evening.”

2009

Augsburger Allgemeine about “Das Land des Lächelns”, 28 June 2009:

“The ballet contributes a lot to this evening. Gaetano Posterino (choreography) designed a often body-hugging, stylized romantic movement that makes a virtue out of the obligation to protect the dancers from accidents on a wet stage.”

Donaukurier about “Das Land des Lächelns”, 28 June 2009:

“…the new production is certainly very successful, considering the direction of the counter-tenor Axel Köhler, who subtly directs the characters, the choreography by Gaetano Posterino for the remarkable Augsburg ballet ensemble and, above all, the opulent stage designs by Frank Philipp Schlößmann.”

Augsburger Allgemeine, supplement Theaterzeitung about „Das Land des Lächelns“, 12 June 2009:

“Axel Köhler is enthusiastic about the Augsburg ensemble, and he particularly enjoys working with opera singers, actors and the dancers of the ballet ensemble in this production – the precise coordination with the choreographer Gaetano Posterino and the conductor Kevin John Edusei is particularly important to him.”

2008

Augsburger Allgemeine about “ViceVersa”, 19 December 2008:

“Gaetano Posterino completes the danced emotional arc of the “Distillations” trilogy with “Vice Versa”, an outstanding collage of dance and music in which different eras are quoted in both forms of expression. Three soloists deserve special mention from the ensemble performance of this piece, which is enriched with classical elements of expressive dance.”

Augsburger Allgemeine about “ViceVersa”, 15 December 2008:

“…Gaetano Posterino, who, after various engagements in well-known European ballet companies, has been organizing successful dance projects in Wiesbaden and Reutlingen for several years […] and Posterino’s “Vice Versa”, which accompanies his dance fragments with a collage of old and new music. In the 25-minute long pieces, they expressively explore interpersonal contact in a digitalized and partly mechanized world.”

Südwest-Presse about “Weil ich Dich brauche”, 23 November 2008:

“A special artistic treat was the performance of the choreographer Gaetano Posterino, who ended the performance with his short but intense dance interlude and the performance of the small orchestra with a loud shout of “Stop!”

Kulturamt Landeshauptstadt Wiesbaden about “Just at home”, 19/20 September 2008:

“Home! This is the place where everything begins and where everything ends. Hot walls, cold walls contain a parallel dimension where the longing for the other self begins.”

Kulturamt Landeshauptstadt Wiesbaden about “Ein Fremdling überall”, 19/20 September 2008:

“Three creative forces from different fields (music, dance, film) and the intention to create an allegory on selected identity problems of man at the beginning of the 21st century. Alienation, loneliness, faith, love, hope.”

Kulturamt Landeshauptstadt Wiesbaden about “Weil ich Dich brauche”, 9/20 September 2008:

“‘Because I need you’ reflects the tension between two people in mutual dependence. Is it really just about the mother-child relationship that Werner Schwab’s provocative text suggests? The intense network of relationships made up of movements, encounters and danced dialogues allows the associations to wander much further.”

2006

Gießener Allgemeine about “Gina geht aus…”, 06 June 2006:

“A group choreography by Gaetano Posterino from the Wiesbaden State Theater gives an impression of what unbroken classical ballet sounds like to hits of blues and soul music.”

Gießener Anzeiger about “Just at home”, 06 June 2006:

“The showpiece of the evening was by the dancer and choreographer Gaetano Posterino from Wiesbaden. First, he performed his brilliantly superior sequence of movements in front of a picture frame in “Just at home” to the contrapuntal music of Johann Sebastian Bach. Then projections of the dancer and an apartment appeared in the surface of the frame. The movements of the live performance and the projection were first performed in parallel, then also staggered in time, mirrored and directed against each other. The figure on the stage slipped into the picture and at the end, which had a surprise effect, stepped out again. The well-thought-out, harmonious performance received a lot of applause and bravos.”

Theaterkompass about the world premiere of “Gina geht aus” at Hessian Staate Theatre Wiesbaden, 22 April 2006:

“… then comes Posterino’s premiere choreography Gina goes out, in which 14 of the dancers from the ballet ensemble take part. Love, lust, hate and passion. […] In a dynamic dance to soul music from the sixties, the dancers can be experienced up close and individually. Perhaps it will not be easy for the audience to stay seated …”

Frankfurter Rundschau about “Time Lock” and “Just at home” at Hessian Staate Theatre Wiesbaden, 10 January 2006:

“Time Lock is advertised on the State Theater’s website as a narrative ballet (to music by Johann Sebastian Bach). It is about Hemera, goddess of the day, and her jealous sister Aether, goddess of the night, about their power struggle and a nasty bet that causes many people to die. But if we didn’t know all this, Time Lock would work well as an abstract game with predominantly neo-classical movement sequences that only occasionally have symbolic additions. […] Just at home is like a monologue – not only when video Posterino and live Posterino enter into a dialogue – a melancholic, inward-looking exchange of opinions seems to take place. […] And yet, thanks to this evening by Gaetano Posterino, something incredible happened in Wiesbaden: something that can be described as “contemporary dance” was created within the city limits.”

Theaterkompass about “Just at home”, 07 January 2006:

“In “Just at home” Posterino approaches the search for the other self in a solo dance. Home! That is the place where everything begins and where everything ends. Hot walls, cold walls contain a parallel dimension. A video and projections form the stage design. Gaetano Posterino […] was a solo dancer with the ballet of the Hessian State Theater from 2001-04, and has continued to be associated with the company as a guest dancer since then. The Wiesbaden audience knows him as a supple, acrobatic and charismatic soloist…”

2005

Schwäbisches Tagblatt about “Time Lock”, 18 October 2005:

“Gaetano Posterino’s “Time Lock” draws on classical and modern dance vocabulary. The choreographer and soloist at the Hessian State Theater in Wiesbaden wants to tell the mythological story of the bloody battle between the goddess of day and the goddess of night. Two dancers and Posterino move across the floor, withdrawn from the world, distant but not combative.”

Reutlinger Nachrichten about “Time Lock” , 17 October 2005:

“Posterino dances his second, more balletic production with two colleagues. […] the fight is performed in quite graceful steps and is accompanied by extremely harmonious music, because it comes from Bach. You can see beautiful dance images made up of supple movements that make you stop thinking, because your consciousness has long since evaporated into other spheres.”

Reutlinger Generalanzeiger about “Time Lock”, 17 October 2005:

“Their struggle for supremacy is pure danced expression. Influenced by classical ballet, clarity and elegance predominate, the flow of movement never breaks off. Here too, Bach sets the musical direction. Choreographer Gaetano Posterino and his two fellow dancers have succeeded in creating an imaginative and stylistically coherent piece of great art.”

Dance Europe about “Time Lock”, July 2005:

“First was the neo-classical duet Time Lock choreographed by Gaetano Posterino for two soloists […] from the Staatstheater Wiesbaden. If there had been a prize for festival performers of the year, these two would have run away with it. Posterino’s choreography focused and channeled her technical prowess and his muscular grace into a unity of particular power.”

Gießener Allgemeine about “Time Lock”, 17 May 2005:

“The performance was characterized by completely synchronized, harmonious sequences of movements.”

Reutlinger Nachrichten about “Just at home” , 17 October 2005

“In a sophisticated sequence of movements, he dances again and again into the frame – and out again, producing mirror-image, parallel, synchronous or even fragmentary duplications of himself. […] He wrestles with himself, he communicates with himself, he dances with himself: moving.”

Reutlinger Generalanzeiger about “Just at home”, 17 October 2005:

“The moving portrayal of a modern Sisyphus, who seeks support where there is none and yet defies gravity for a short time, was convincing through modern dance art from a single source.”

Wiesbadener Kurier about “Time Lock”, 27 August 2005:

“The first complete ballet evening has now been created for ‘Wiesbaden tanzt’ and is experiencing its German premiere, so to speak: in the first half ‘Time Lock’, 35 minutes of classical music with modern elements. Soloists from the Wiesbaden State Theater are dancing […] ‘The dancers are enthusiastic,’ says Posterino happily. ‘They are happy to take part.’ The theme: Hemera, goddess of the day, and Aether, goddess of the night, fight for supremacy, other gods join in and a wild battle rages until the combatants finally come to an agreement. […] A seven-minute excerpt […] was shown in Giessen. The reaction, reports Posterino, was sensational, and not just from the audience. The magazine ‘Dance Europe’, a respected trade journal from London and distributed worldwide, praised the performance highly. If a prize were awarded for innovative dance theater, the critic enthused that Posterino’s ‘Time Lock’ would have deserved it.”

Wiesbadener Kurier about “Just at home”, 27 August 2005:

“Second part of the evening, 25 minutes long and Gaetano Posterino alone with ‘Just at home’: dance with video projects. ‘I shot the film at home,’ says the choreographer and dancer, who doesn’t want to give away too much about what the audience can expect.”

Wiesbadener Kurier about Gaetano Posterino in “Irish Soul”, 27 August 2005:

“His engagement in Wiesbaden began with the Leprachaun in ‘Irish Soul’. In 2001, Gaetano Posterino danced the role of the Irish leprechaun in the choreography of State Ballet Director Ben van Cauwenbergh with such extraordinary verve, suppleness and jumping ability that critics and audiences alike were thrilled.”

Gießener Anzeiger about “Time Lock“ und Gaetano Posterino in „Oscar“, 17 May 2005:

“The fourth short piece was a Pax de Deux with soloists from the Wiesbaden State Theater, a choreography to Bach’s music by Gaetano Posterino, who is currently a member of the Giessen company and made a lasting impression at the premiere of ‘Oscar’ on Thursday.”

2003

Wiesbadener Kurier about “Operalectric”, 13 January 2003:

“It is more likely that it is about moving beyond the beaten track, perhaps even addressing a different audience. This was a complete success, as the response in the Wartburg showed. The room is full, the atmosphere is brilliant. The operatic fragments mix with the solos of the musicians whose paths the dancer Gaetano Posterino crosses: His expressive figures can be read at times as ironic comments on the pathos of the genre – as if the dance, for example in the case of “Traviata”, wanted to collect fragments and gather lost feelings from them.”

Wiesbadener Tagblatt about “Operalectric”, 12 January 2003:

“This production has style, tempo and wit. The sold-out house went wild.”

2002

Wiesbadener Kurier about “Stimmungen eines Fauns”, 23 May 2002:

“Gaetano Posterino, a member of the Wiesbaden ballet ensemble since last year, had developed his own choreography for two of the six works performed. […] On the stage of the Kleines Haus, Posterino only needed a single suitcase and a rich compendium of wiry movements to create a suggestive dance performance – proof that you don’t have to start a Spartacus uprising to create expressive dance theater.”

Wiesbadener Tagblatt about “Stimmungen eines Fauns”, 23 May 2002:

“Here […] Posterino gave varied creative expression to the cheerful and elegiac mood of the works, accompanied by the sensitive playing of the clarinetist.”

Wiesbadener Tagblatt about Gaetano Posterino in “Irish Soul”, 20 February 2002:

“The appearance of the Leprachaun, a figure from Irish mythology, brings a ray of hope to the scene dominated by emotions, the sound of the sea and rain. Gaetano Posterino appears again and again, dancing this goblin with unbelievable flexibility, whimsically and with a touch of malicious deviousness.”

2001

Frankfurter Neue Presse about Gaetano Posterino in “Irish Soul”, 12 December 2001:

“After this first part, which is dominated by the romantic stage setting and which gets its decisive impulse from the brilliant dance performance of Gaetano Posterino, the evening gains in tempo and flair after the break between the pub and everyday life.”

Neue Zürcher Zeitung about Gaetano Posterino in “Madgod 2.001”, 25 October 2001:

“The choreographer Pablo Ventura left a good part of the creative work to the program ‘Life Forms’, which calculates and designs movements that are usually just about humanly possible according to certain instructions. Ventura then mixed, combined, inverted and mirrored these movements on the computer, and the dancers Trent Grey, Claire Holland, Arlette Kunz, Gaetano Posterino, Veronika Reithmeyer and Silvia Camarda rehearsed them off the screen.”