“Impressive” (10 Best List 2006)
– THE NEW YORK TIMES, John Rockwell, December 24, 2006 (USA)
“[Saarinen is] an excellent Finnish dancer and choreographer. He is a true performer who manages to impose his lone presence against a score as powerful as Igor Stravinsky’s Sacre du Printemps.”
– BALLET 2000, Sonia Schoonejans, July, 2008 (France)
”HUNT is remarkable on a number of levels, evoking the ballet of the past, and the 20th-century artistic and scientific movements that shook the world. It is truly a tour de force.”
– TORONTO STAR, Susan Walker, March 16, 2006 (Canada)
– THE VILLAGE VOICE, Deborah Jowitt, April 4, 2006 (USA)
”Mr. Saarinen’s choreography looked constantly alive and original. — The whole thing was quite extraordinary, a powerful match for the music.”
– THE NEW YORK TIMES, John Rockwell, March 30, 2006 (USA)
”Everything seems to have fallen in place — technique, brilliance, ease, humour, presence — Tero Saarinen is a phenomenon.”
– DAGENS NYHETER, Örjan Abrahamsson, April 18, 2004 (Sweden)
“An astonishing solo — Beautiful, overwhelming, poetic!”
– BALLET-DANCE MAGAZINE, Rosella Simonari, August, 2004 (USA)
“This is a powerful message about one of the dangers that haunts contemporary urban people. Furthermore, it was realised in one of those rare pieces where the union between a dancer and an audiovisual element is thoroughly justified.”
– EL MUNDO, Julian Martin, 24 April, 2004 (Spain)
”The stunningly elegant movement implies great inventiveness, which intrigues one’s mind. It abolishes the stereotypical male-female image…turning the dancer into a mythical figure: a scapegoat, a mythical white swan, or -why not – Giselle, dying of love.”
– IL GAZZETTINO, Paola Bruna, June 5, 2002 (Italy)
“Tero Saarinen seduces by the poetry of his arm movements and by the intensity of his slackening dance. — A fascinating artist by his innovation and interpretation.”
– LE FIGARO, René Sirvin, June 29, 2003 (France)
”The Finnish choreographer Tero Saarinen proved on Thursday in arguably the biennial’s most moving performance, space can be transformed into a magic box. — In HUNT, a mesmerizing solo he created for himself to Stravinsky’s Rite of Spring, he is both the hunter and the hunted, assaulted by inner demons.”
– THE NEW YORK TIMES, Anna Kisselgoff, October 6, 2004 (USA)
“Events opened on an extremely high note with — [HUNT] a stupefying solo, in which music, dance and video images merged together in one sublime whole.”
– Culturekiosque.com, Patricia Boccadoro, May 27, 2008 (France/USA)
”The streaks of light projected by Marita Liulia are refined and imaginative. Tero, extremely focused, with a bear torso and feet, creates and develops a strong crescendo of action and emotion with ease. He burns up all his energy and gets exhausted at the very end, exactly like “The Chosen One”, a mythical figure, should.”
– BALLET 2000 no 67, Elisa Guzzo Vaccarino, July/August, 2002 (France)