Clippings marked with * are translated.
" The sun rose with this Aurora: Margaret Illmann was a stunning princess, a shining light in this reprise which made the performance a special event…. A magic naturalness, technically sovereign, stylistically pointed and with great spirit she enchanted from the rose-adagio to the Grand Pas de deux. What a joy to know this worldclass dancer is going to dance again in Vienna again next season."
(Ira Werbowsky, Der Neue Merker, 06/2002)*
"After Giselle and Odette/Odile the role of the Aurora is the third great part of the Australian in Vienna. Even on stage she is pure naturalism itself and from the beginning she captivates the audience with a very feminine Sleeping Beauty, who knows of her origin, her Aplomb and her magical attractiveness …. She makes you melt especially after the rose-adagio and the grand Pas de Deux"
(Andrea Amort, Kurier, 24.5.2002)*
"As Princess Aurora the Australian Prima-ballerina Margaret Illmann gives her role debut at the Vienna Staatsoper. Musicality and a brilliant technique personify this dancer. Above all she gives a tender female soul and creates a self-assured princess in which one can empathize"
(Brigitte Suchan, Wiener Zeitung, 24.5.2002)*
"Margaret Illmann - with feather-light elegance and grace"
(KHR, Kronenzeitung, 24.5.2002)*
"Margaret Illmann, the Australian Odette/Odile, showed convincing-educated background, designs her role also with wonderful Port de Bras and was shown applauded rapturously … having seen many "swan-lake" performances this was one of the best."
(Helmut Batliner, Der Neue Merker, April 2002)*
"An emancipated woman ... who would have thought a ballerina could tell this classic more elaborate and pointed than the usual way ? ... the way Illmann takes up music into her body, how she accentuates, how her Odette uses the opportunities to be freed from her transformation and takes Siegfrieds´ appearance as a chance for a new life."
(Andrea Amort, Kurier, 16.3.2002)*
"With tender appearance and ethereal apparition she is the ideal of a swan-woman ..."
(H.M., Kronenzeitung 16.3.2002)*
Romeo and Juliet (Bart)
"As always, in all of her roles she performs, the complete fusion of acting and dancing. Few are able to love so easily and die so touchingly ... The finishing school of ballet can be seen, not common in Berlin, a remembrance of the old Stuttgart floats over the stage."
(Michaela Schlangenwerth, Berliner Zeitung, 21.1.02) *
"The best decision the Paris choreographer [Patrice Bart] made was with his Juliet. Margaret Illmann not only dances the young lady from Verona, she is living her. Sometimes with a girlish freshness, sometimes in a pensive way. ... The Premiere audience were right to shout with joy."
(Pa., Berliner Zeitung, 21.1.02) *
"... she shines like no other. But Illmann´s charm cannot be pressed into a corset - yes, it is actually contagious ..."
(Ulrich Amling, Der Tagesspiegel, 21.1.02) *
"... Margaret Illmann convinced entirely as Juliet: Either with her playful freshness, having fallen in love or in the death-scene ... In addition her dancing is so natural and floating that the technique goes unnoticed .... This Juliet is a must."
(haf, BZ, 21.1.02) *
Margaret Illmann shines over "Romeo and Juliet" at Staatsoper.
"Those who go to a ballet only to see a specific dancer perform would have a sufficient motive. Since Stuttgart thought to be able to go without that, Berlin offers such a motive?. Margaret Illmann. Stars like her, who only through hard work reach that status, can achieve a lot for the art: Berlin dance needs it. ... Better even than Illmann in Angelin Prejlocajs `Le Parc´ or in Youri Vamos' Mafia-war-version of `Romeo and Juliet´ at Deutsche Oper is the Illmann as the new Juliet at the Staatsoper. It does not pay to waste any thought to her technique - it´s simply immaculate ! ... Only once through the whole performance you could hear her feet touch the ground - after a Grand Jeté. ... She newly unfolds step by step first the playfulness then the essence of emotion that allows dance to be deeply moving. Every one of her delicately placed steps in the Pas de deux with Romeo reveals a consciously perceived overwhelming great joy. ... Margaret Illmann was clever to wait and see how things will develop in Berlin, to then in this season be engaged as the first principal dancer at the Berlin Staatsoper."
(Wiebke Hüster, Frankfurter Allgemeine Zeitung, 22.1.02) *
"Margaret Illmann is the best Juliet I ever saw. She is clear, tender, gentle,...an aura of self-assurance. The natural talent to love, necessary for a Juliet, is credible. In addition Illmann is a technically perfect Prima ballerina. A fine instep, delicate Ports de Bras, world-class legs: It is a stroke of luck the native born Australian is dancing in Berlin."
(Gisela Sonnenburg, Neues Deutschland, 23.1.02) *
"Juliet is danced by the Australien Margaret Illmann, who only two years ago was in the same role "... „ , at the Deutsche Oper."... „ Illmann was superb. She defected to the Staatsoper where her contract allows her to guest elsewhere. I wonder whether she might rue dancing the role in a version which swamps her considerable talents."... „ Margaret Illmann is a mature dancer of exemplary grace and perfect control, slender and yearning rather than fresh and floating."
(James Woodall, Financial Times - The Arts, 28.01.02)