EXCERPTS FROM REVIEWS

Young Audience Cries with Laughter
One would be very wrong in thinking that musicians can neither dance nor act. This was proven by Cantus Ensemble's project at the Lisinski Small Hall under the direction of Krešimir Dolenčić and with choreography by Dinko Bogdanić, who succeeded in teaching a few steps even to those with two left feet. 
(Večernji list, 10 February 2010)

Waltz under Gas Masks
Composer Mauricio Kagel may be regarded as the father of what we know under the specific term of music theatre. Guided by this general notion, Cantus Ensemble and its many artistic partners put on a show last Monday at the Lisinski Small Hall. The show was commendable for its unusual freshness and immediacy.     

In Kagel's 'match' two football cellists were the opponents, Dinamo's Jasen Chelfi, and Hajduk's Adam Chelfi, with percussionist Marko Mihajlović as referee. Dinamo's man won only after he had bribed the referee who gave the Hajduk's man a red card. Seven of Cantus's non-dancers danced in Kagel's ballet Kontra-danse in which, 'the more one strives to perfection, the more pronounced is the improbability of attaining this goal', says Kagel. 
Bogdanić danced the waltz with mezzo soprano Marta Babić who, equipped with a gas mask, sang the part in the composition Valse macabre, written for voice and Silvio Foretić's chamber orchestra. 'All looking the same, people of different races, wearing masks, with no face and no voice' - the entire ensemble played wearing gas masks to remind us of the  polluted and future-less world. Cantus's five wind instrumentalists were fantastic in Opus Number Zoo by Luciano Berio, playing and reciting Rhoda Levine's bitter, irony-drenched verses.   
(Mirta Špoljarić, Vjesnik, 10 February 2010)