Press

"This is theater. It works because all the dancers are the same height, perfectly coiffed and precise in everything, even their gaze. The women's long black braids reach to exactly the same point at their hips, and when the men are lined up, their red sashes are so uniformly placed that they make one bid red slash across the stage."
"The company's capacity to please the eye is matched by the dancers' ability to move like the dickens. Their leaps defy gravity. They do double pirouettes beginning on their knees. Jet-speed turns are finished off cleanly. To say that the company's dancing is high energy is too pallid a description. The program is the equivalent of 2¹/₂ hours of double fortissimo."
The Washington Post, USA, 2002.

“Breathtaking rhythm which amazes the audience and arouses unbridled enthusiasm.”
“What you will see in Paris is two hours of majestic rhythms, shuffling of 300 magnificent costumes created by Soliko Virsaladze, a genuine trip to Colchis, the mythical country of the Argonauts and the Golden Fleece.
Le Point, France, 1988.

"The Georgian State Dance Company... is a reminder that there is a place for high art in dealing with national traditions. The company has a classical sensibility, a sense of order and harmony."
The New York Times, USA, 1988.

"...unarguabaly... there's not a finer professional folk dance troupe in the world."
The Washington Post, USA, 1990.

"These fierce choreographic warriors, with sparks literally flying from the clashing swords, swooping in the air, whirling around on tip-toe, or simply preening themselves prouder than peacocks, are first, foremost and magnificent."
New York Post, USA, 1990.

“The steps, rhythm, music and acrobatic beats originate from Georgian folklore, however all that is elaborated upon and theatricized, resulting in a cohesion of marvelous, artistic units.”
The Washington Post, USA, 1991.

“The Georgian National Ballet is unique phenomenon which one should see at least once in a lifetime. There is a real tempest on the stage”.
Figaro

“Nobody has ever had such a triumph at the La Scala”
Corriere de la Sera, Italy, 1967.

“As opposed to many other folk companies, the Georgians never repeat formulas despite the length of their program. They are full of surprises – including their long-sleeved costumes. It must be noted that the audience's interest is stirred up not merely by means of the imitation of anecdotal material, peasant's life, but purely by the dance. In other words, by choreographic logic and diversity. The steps, rhythm, music and acrobatic feats originate from Georgian folklore, however all that is elaborated upon and theatricized, resulting in a cohesion of marvellous, artistic units, preserving the national feelings and charm. Once more, we remember that George Balanchine was a Georgian, and the Georgians are the people who have dance in their blood. The Georgian are returning home triumphantly...Once a spontaneous expressions of legends, events, and heroes in specific communities, folk dances are now fast moving, theatrical entertainment. These Georgians are among the fastest and most entertaining”
North County Magazine, San Diego, 1988.

“A triumphant performance of the Georgian Ballet. Stunning technique, elegance, taste, inventive direction”.
Repeblique France, 1994.

“This is a world renowned company – the great Georgian Ballet”
Espoir de Nice, 1988.

“A folk gem with classical facets”
The New York Times, 1988.

“Downright terrific! The Georgian State Dance Company is a reminder that there is a place for high art in dealing with traditions. The company has a classical sensibility, a sense of order and harmony. Even its bravura war dances convey the code of behavior that governed them in the field. ...authenticity is not so much an issue as reactivity... The secret of these Georgians is their gift for communicating the specific within the universal”.
New York Times, 1990.

“The world's greatest dancers. The Georgian dancers fly. There is a storm on the stage!”
Daily Mirror, Australia, 1990.

"There is something medieval about the culture... the corps work is brilliant; they are one breath, one heartbeat."
L.S. Herald Examiner, USA, 1988.

In Milan no folk company had ever performed at La Scala before. The final dance had three encores, to incessant ovations. The curtain was lifted 14 times, a record. No one expected such a success.

In Sunderland, one of the streets is named Georgia in honor of the Georgian National Ballet.

In 1990 the performance of the Georgian National Ballet was announced as the best show of the year on Broadway.