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document.write('<div class="contenthead">REVIEWS</div>');
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document.write('<div>Purcell\'s Dioclesian was presented on 12th March 2010. The RCM Baroque Orchestra appeared alongside Mercurius Company, one of the leading early dance and music companies in Britain. </div>');
document.write('<div>...After the Overture came a Hornpipe, danced by Ricardo Barros and Barbara Segal. Each dancer was individually striking: Barbara was dainty, controlled and graceful, whilst Ricardo\'s style was energetic and flamboyant.</div>');
document.write('<div>...After the Second Act Tune there was a pause. When the dancers appeared, it was worth waiting for. In this Chaconne [Two Upon a Ground] the performers wore black and white costumes with plumed headdresses. They processed towards the audience in a line and stood one behind the other, arms moving in sinuous fashion. This formation then broke into a series of figures in which the dancers weaved in and out, crossing and re-crossing in complicated heys. Ricardo Barros\' intricate choreography superbly echoed the canonic form of the repeated ground.</div>');
document.write('<div>...The Dance of the Third Act Tune, choreographed by Madeleine Inglehearn, epitomised the essence of baroque dance with lively footwork and elegant arm gestures.</div>');
document.write('<div>...After the interval came along the \'Masque\'. […] The Dance of the Bacchanals was a welcome spectacle with the two men, dressed as satyrs, pursuing the four women with vigorous steps, entwining and capturing them with colourful floral garlands.</div>');
document.write('<div>There followed the Canaries, danced by Barbara Segal and Jennifer Thorp, displaying intricate baroque footwork and gestures, after which the dance to the next Air and chorus was a solo performed by Ricardo Barros. Using crisp arm gestures he demonstrated deep bends, cabrioles and controlled pirouettes with footwork which was almost balletic at times.</div>');
document.write('<div>In his introductory talk, Peter Holman was not sure whether there would be dancing – at the end he could have been in no doubt how the dancers\' contribution enriched and enhanced the whole musical picture.</div>');
document.write('<div><b>Judith Havens, Early Dance Circle, May 2010</b></div>');
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document.write('<div>He had all the mannerisms of an exquisite mysterious unicorn. A strange thing to say really because none of us had probably ever encountered such a mythical creature in waking hours. We knew somehow, though, he\'d got it right. The shy tilt of his horse head, the lightness of his gazelle-like feet and his solitary beauty. Dr Ricardo Barros is a sublime dancer. His brand of animalistic acting is quite superb.</div>');
document.write('<div><b>Rosanna Rothery, This is North Devon, May 2010</b></div>');
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document.write('<div>This [Orpheus Britannicus] was a splendidly contrived montage of most of the best bits from Purcell\'s theatre works, linked by a basic story of good versus evil and love winning out over all. Appropriately, it had dancing as well – in fact, it would not have made much sense without. This was proper baroque dance, unlike the pastiche or modernist grotesqueries of many earlier productions. Now it is up to the dance companies to follow Mercurius\' fine example and create authentic dance programmes to match the authentic music.</div>');
document.write('<div><b>Bill Tuck, Early Dance Circle, January 2010</b></div>');

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document.write('<div>Orpheus Britannicus is conceived as a Baroque semi-opera or \'dramatick opera\' in the style of Restoration entertainments that combined music with \'divertissements\'. The work has excellent continuity [and] flows extremely well. This is, of course, due to the excellent direction of Barros, Gingell, Lisete da Silva and  Inglehearn, as well as the high artistic quality and commitment of all those involved. It was an extremely well-rehearsed and professional performance. The singing and the music, played on period instruments, were delightfully performed by highly talented young musicians. The choreography by Barros and Inglehearn attempted to match expressive movements with the music. The dances included a beautifully performed <i>courante</i> and <i>sarabande</i> choreographed by Barros, and a lovely minuet choreographed by Inglehearn [who] also choreographed a very effective Dance of the Winds accompanied by a very realistic wind machine - a delightful touch. It was a very impressive performance, with lovely costumes and good lighting. An enormous amount of work and dedication on the part of the whole cast and production team has gone into it. In short, a fine tribute to one of the greatest of English composers.</div>');
document.write('<div><b>Fran&ccedil;oise Carter, Early Dance Circle, January 2010</b></div>');
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document.write('<div>For Orpheus Britannicus there was lots and lots and lots of baroque dancing, and it was very good baroque dancing. Ricardo Barros had stuffed the production full of it; after all he is a baroque dancer. The whole show was very successful and of a very high standard. An entertainment of Purcell\'s glorious music with masses of splendid baroque dancing - A great delight.</div>');
document.write('<div><b>Henry Lee, Early Dance Circle, January 2010</b></div>');

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document.write('<div>\'Your presence as part of the  &quot;18th -Century Day &quot; always adds an extra dimension and is much loved by the public who see you. Much appreciated as always!\'</div>');
document.write('<div><b>Hayley Krueger, Educational Officer</b></div>');
document.write('<div><b>Wallace Collection, London (Feb 2008)</b></div>');

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document.write('<div>\'...a truly stimulating and memorable event.\'</div>');
document.write('<div><b>Simon Channing, Head of Performance</b></div>');
document.write('<div><b>Royal College of Music, London (Nov 2007)</b></div>');

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document.write('<div>\'Thank you again for your marvellous contribution to the success of our show. I have heard nothing but praise of your dancing and your choreography.\'</div>');
document.write('<div><b>Dr Tim Keenan, Lecturer and director for Shakespeare\'s \'The Tempest\'</b></div>');
document.write('<div><b>Drama Department, University of Hull (Nov 2007)</b></div>');

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document.write('<div>\'Thanks for making Versailles come alive.\'</div>');
document.write('<div><b>Anonymous member of the audience</b></div>');
document.write('<div><b>Wallace Collection, London (Feb 2007)</b></div>');

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document.write('<div>\'...we were thrilled with your [Mercurius Company\'s] performance. It was entertaining and professional - a great combination!\'</div>');
document.write('<div><b>Emmajane Avery, Head of Education</b></div>');
document.write('<div><b>Wallace Collection, London (Feb 2006)</b></div>');

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document.write('<div>\'If tonight\'s Purcell performance were a television competition, then the dancer Ricardo Barros would have won hands down. [...] he used his body and especially his eyes with panache and risk-taking. [...] Ricardo\'s projecting of the action in front of the orchestra was especially welcome. [...] I am highlighting the one performer who did not sing or play a note, but our lasting impressions of the evening are going to focus on the design, staging and Ricardo Barros\' dance and choreography.\'</div>');
document.write('<div><b>Patrick Buckley</b></div>');
document.write('<div><b>Ross Gazette (Aug 2005)</b></div>');

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document.write('<div>\'Quality, enjoyment and variety are the hallmarks of this welcoming festival as the last four evening concerts have proved. [...] Brazilian born harpsichord player Ricardo Barros proved a real find. His stunning technique was combined with superb phrasing and a sense of drama and brought to life sonatas and suites by Rameau, Forqueray, Scarlatti, Royer and shorter works by Couperin, Fischer and Seixas. He ended his recital with a breathtaking account of Bach\'s great Chromatic Fantasia and fugue.\'</div>');
document.write('<div><b>Neil Crutchley</b></div>');
document.write('<div><b>Leicester Mercury (May 2003)</b></div>');

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document.write('<div>\'A feast of costumed musical theatre. Mercurius revives the stylised expressive techniques of the Baroque in a fascinating performance in which eloquent gestures convey powerful emotions.\'</div>');
document.write('<div><b>Press office</b></div>');
document.write('<div><b>Lakeside Arts Centre, Nottingham (Oct 2001)</b></div>');

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document.write('<div>\'This [the concert] was extremely well presented and had an excellent variety of dance, singing and instrumental music, all performed to very professional standards. We shall certainly be recommending your company to other venues/promoters and very much hope to see you on another occasion at the Recital Hall.\'</div>');
document.write('<div><b>Susan Lansdale, Concerts Officer &amp; Elizabeth Abbott, Assistant Concerts Officer</b></div>');
document.write('<div><b>Djanogly Recital Hall, University of Nottingham (Nov 2001)</b></div>');

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document.write('<div>\'A fascinating step back into 17th-century French culture. Live period instrumentation, meticulous baroque gesture and fancily authenticated costumes were major ingredients of a song-and-dance diversion drawn mainly from Louis XIV\'s  &quot;Maitre de la Musique &quot; Michel Lambert, whose compositions were often part of the court entertainment at Versailles and elsewhere. M&ocirc;nica Ube [had a] hummingbird-wing soprano [voice] and a fully inhabited stylisation of character. Eden Summers, her kinetic counterpart, and Barros himself were the nimble movers. His [Ricardo\'s] recreations of the seeds of classical ballet featured neat prancing steps, legs waved like wands, lightly filigreed arms, lacy repeating motifs and deliberately precarious balances. [...] it was like watching old prints come to life!\'</div>');
document.write('<div><b>Donald Hutera</b></div>');
document.write('<div><b>Dance Europe issue 40 (Apr 2001)</b></div>');

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document.write('<div>\'This programme was colourful, varied and held the attention throughout. By grouping each section into instrumental music, song and dance the items complemented each other and gave unity to the whole. [...] The singers gave sensitive performances which were enhanced by the subtle use of gesture based on researched sources. Ricardo Barros dances with grace and skill, and it is obvious that he has not only the technique but also the in-depth understanding of the baroque period which enables him to interpret the dances in their appropriate character. [...] He held the audience with a variety of dances ranging from the highly dramatic, noble style to the Commedia dell\'Arte and more spirited roles.\'</div>');
document.write('<div><b>Madeleine Inglehearn, president</b></div>');
document.write('<div><b>European Association of Dance Historians (Mar 2000)</b></div>');

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document.write('<div>\'Taskin\'s superb 18th -century harpsichord received a thoroughly good airing by the Brazilian harpsichordist Ricardo Barros, performing a selection of Pancrace Royer\'s /Virtuosic /[/Pieces/]/ de Clavecin/. [...] The beautiful liquid and silvery tone of the Taskin is wonderfully suited to these pieces, and Barros has an impeccable technique that really brought this music to life. In particular La Marche des Scythes [...] set the hammers on the Taskin racing with its dashing scale passages. But there is a less flashy side to Royer, as Barros brought out in the exquisite G minor/major Suite. This programme was beautifully performed by Barros and hopefully he\'ll return to play some of the other instruments in the Russell\'s excellent collection.\'</div>');
document.write('<div><b>Susan Nickalls</b></div>');
document.write('<div><b>The Scotsman (Aug 1994)</b></div>');

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