Review: TWILIGHT TO YOUR ETERNITY, by Ballet Del'Art at Forum De Liege
Ballet is still alive!
I caught the April 4, 2026 performance of Twilight to Your Eternity at Le Forum in Liège, a stunning Art Deco hall with grand architecture, excellent acoustics, and a capacity that feels truly gigantic. The beauty of the space was undeniable: ornate ceilings, warm lighting, and that old-world elegance. But with only a little less than half filled (still a solid crowd!), the empty seats and boxes made it a pity. This innovative work deserved a packed house. In a city hungry for fresh ballet, it was heartbreaking to see such ambition play to half-empty rows.
Ballet Del'Art, under the fabulous and visionary choreographer Lara Paraschiv, composer Daniel Ciobanu, and scenographer Riccardo Massironi, delivers a three-act tale of rival bloodlines, forbidden love, masquerade secrets, and creatures of the night, all woven into a classical structure that still holds strong, in our modern world. Daniel Ciobanu's soaring music guides the story beautifully across each act, proving composing for ballet is still very much alive as a profession. The lighting, designed by Michel Jacobs and Helena Cordoba, starts subtle in the first act, but evolves into a glorious visual fresque.
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The choreography in Act One stays classical, yet beautifully crafted and dynamic. The group is always in perfect sync, high energy and grace. The solos and the duets are perfectly balanced with the group numbers. Special mentions for the first act: The Masquerade Ball , the Phantasmagoric Waltz and the Adagio Melancolico-the closing dance between the Mother and Annalise which overflowed with emotion.
Act Two raised the stakes from the moment the curtain opened. A seamless set change unveiled Riccardo Massironi's layered hanging cloths, evoking a danger-filled, green forest. Smoke finally rolled in, lights grew rich and colored (each pack in its own hue, courtesy of Jacobs and Cordoba).
The choreography shifted dramatically: vampires and werewolves got distinct physicality, synced to perfection, blending skill with wild imagination. Just as I thought it needed more chaos, Paraschiv delivered: pacing was spot-on and the fighting sequences were explosive and yet controlled. The red that flooded the stage for Act 2’s finale was visceral and oozed danger and rage.
Act Three's asylum was a very interesting choice. Unexpected and very emotional. Then the scene change brought torn crimson cloths dangling from the ceiling. A gorgeous and bloody visual poetry. Death herself, extraordinary in presence, Elsa Hildebrand commanding the stage with her skull mask, oversized hands and black costume. Flanked by her two shadows, Maddalena Simone and Abril Castano, the trio created an eerie and unforgettable tableau.
The costumes designed by Tatiana Kogut were definitely a standout: the textures and textiles were wonderful, the colors very imaginative. Everything looked amazing, from the layered fabrics in the forest to the black, modern vampire lines that blended classical with contemporary.
The individual performances elevated it all. Jimmy Paraschiv as Daniel was one of the evening's highlights: charismatic, precise, carrying the emotional weight with effortless grace. Lara Paraschiv herself, as the main role Annalise, brought fierce intensity and vulnerability to the story arc, through a sharp yet a profoundly poetic choreography. Andres Galeazzi as Jack delivered a truly tortured dance in the asylum scene, with raw, anguished movements that cut deep, showing true dramatic depth.
As for the dancers, they are an absolute troupe of wonders. Skill, energy, precision that made every leap feel alive.
The only two minor drawbacks lay in the story development and from time to time the mix of the orchestral track (the low frequences of the percussion overpowered the textures of the other instruments). The story itself is compelling, rich with contrasting characters, tragic contexts, and impossibly high stakes. At times, however, certain scenes felt more like pretexts for showcasing the dance rather than deeper explorations of character and relationships. The choreography could have served the storytelling even more powerfully in a few key moments. That said, these are truly small observations in an otherwise outstanding work. This isn't re-invention, it's evolution: respecting tradition while making it fresh, urgent, alive.
In a world of safe, beautiful classics, Twilight to Your Eternity is a breath of fresh air. Finally something else ! One should never forget the greats, but ballet can only thrive and evolve through new creations. Ballet Del'Art does it fabulously; this company deserves a global spotlight. Their work, modern yet rooted, keeps the art of ballet moving forward. If you get the chance, see it. You won't forget it.
Rating: 8/10 (overall rating) +1 point for innovation and creativity. Final rating: 9/10 (Strongly recommended for ballet lovers craving innovation).
Photo credits: Ivaylo Kenarov and Jade Dierckx
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