Clippings marked with * are translated.


"… lyrical body-language echoes through the romantic night. She seems to swim through the air, she enchants the performance. She makes it supple. A stunning achievement. The audience reacted accordingly…"
(Klaus Geitel, Berliner Morgenpost, 8.12.2000) *

"… brilliant Margaret Illmann ... Ovations, what else ..."
(Ulrich Amling, Der Tagesspiegel, 8.12.2000) *

"... shining virtuoso, who seemingly effortless masters all requests and fulfills a role that actually is Giselle. Which truly means a lot on such a successful role, the absolute classic of the romantic ballet… There was applause for the scenes, ovations at the end. They were amazed by Margaret Illmann. She is the star in Berlin, a prima ballerina… She is a convincing lover, convincingly dies and a convincing forgiver…"
(Claudia Henne, Radio 3, Classic at breakfast, 7.12.2000) *

"Ballerina with many expressions... Margaret Illmann has a good feeling for the vulnerable roles. It is hard to resist the magic of her great, expressive eyes. The elite of choreographers made works on her… 'I love the diversity of the arts, I like working with strong partners.'…"
(Volkmar Draeger, Berliner Morgenpost, 5.12.2000) *

"Margaret Illmann turns the accurate museum piece 'Giselle' into an event. With Margaret Illmann this 'Giselle' is worth seeing …"
(Manuel Brug, Die Welt, 8.12.2000) *

"Mostly thanks to Margaret Illmann this 'Giselle' remains a great joy for ballet fans … She performs the Giselle full of the joys of life with a stunning charm… In the second act, she is a rare sight with her horrifying ghostly appearance getting out of the grave turned into a Willy…"
(Michaela Schlagenwerth, Berliner Zeitung, 8.12.2000) *

"...The best of the evening is Giselle- Margaret Illmann. A more perfect embodiment of the small town beauty who grows to be the eternal lover cannot be imagined. The Australian ballerina, who conquered the hearts of the audience at the Deutsche Oper at once, lets the role come alive magically. Gives her radiance, feeling and a lot of heart. With a youthful freshness she falls in love. In tears she collapses. Hopefully we will be able to enjoy her for a long time in Berlin…"
(Patricia Parsow, Berliner Kurier, 8.12.2000) *

"Her Giselle is wonderfully delicate, needless to mention, technically perfect. She seems to be completely relaxed and natural, in short, she realized the romantic dream…"
(Martina Hafner, B.Z., 8.12.2000) *

"Breathtaking how Margaret Illmann expresses the despair of the simple girl, the rising madness and the collapse…"
(Andreas Berger, Braunschweiger Zeitung, 8.12.2000) *

Midsummer Night's Dream

"She is the first. While others still cast shadows, her role takes shape: a dream dancer. Right from the start one sees her as Titania. Margaret Illmann knows what she wants and in the Berlin 'Midsummer Night's Dream' she embodies the fairy queen with such seductive beauty, that 'Bottom' is not the only one who succumbs to her sensuality. As Titania, the dancer lets her urges run free, and all who have seen her very refined eroticism on stage can say with André Eisermann's conviction: "I have seen an extremely rare sight." When Margaret Illmann dances, even critics fall into rapture. Under the influence of a Munich 'Bayadère', a colleague wrote, "Petipa must have had her in mind when he created it", and praises her exotic sex appeal, the "nobility of her flawless lines, her unshakeable equilibrium." After a 'Swan Lake' in Sydney, 'Dance Australia' praised the "bravura technique" and the "sophisticated temperament" of the "lost daughter." At her farewell gala in Stuttgart-that is, at the Prix Benois- the audience lay at the Australian's feet. And in Berlin, after her 'Midsummer Night's Dream', after Kylián's 'Return', Vamos's 'Julia', or at the latest after Preljocaj's 'Le Parc', one has finally come to understand how grown up ballet can be. If one takes dance seriously as Margaret Illmann, and bestows upon it the quality of 'woman' in such fascinating way, everything infantile, fictional, merely feigned disappears - and suddenly ballet reveals itself as a highly erotic, existential art form, one that still has a future, even in Berlin.
(Hartmut Regitz, Dance International, September 2000)