and she inspired everyone here during the process. She has successfully pierced the highly competitive European market". Karen Campbell, in the Boston Globe, March 8, 2008: "Surprisingly, the most effective work on the program was also the smallest, the duet "ein von viel," marking the US debut of Canadian choreographer Sabrina Matthews. Set to selections from Bach's exquisite "Goldberg" Variations (given a stellar performance onstage by pianist Freda Locker), it was commissioned by Nissinen while he was artistic director of Alberta Ballet, and it's a beauty. Friday night, John Lam and James Whiteside were dazzling in Matthews's virtuosic choreography. Matthews matches the clarity of Bach's score while consciously subverting the elegance with bits of "you lookin‘ at me?" attitude and quirky nuances. Dynamics shift with quicksilver speed, long lines dissolve into squiggles, complemented by playful gestures – feet that paw the ground, hands that cover the face, backward runs. But it‘s all fairly subtle, cast in phrases of tensile fluidity from which erupt brilliant leaps and turns in vivid asymmetric shapes." Gabriele Müller, in Stuttgarter Zeitung, May 22, 2006: "The exceptional ballerina Alicia Amatriain is partnered by Evan McKie in Sabrina Matthew's piece soles set to spiritual vocal music by Tomas Luis de Victoria. This pas de deux of continuous movement conveys an impression of eternity. Pain, suffering and longing are expressed as a fulfillment. Denise Sum, Ballet Dance Magazine, August, 2007: "The following work, also by a young Canadian, succeeded where Robinson's did not. National Ballet School alumnus and former Alberta Ballet member Sabrina Matthews’ “clearing” has direction and form. The work, set to Mozart's powerful Great Mass in C Minor, has three couples moving through patterns of movement like the many voices of a fugue. Bridgett Zehr was particularly stunning, her pas de deux with Piotr Stanczyk almost spiritual. Stacey Shiori Minagawa and Chris Body plus Greta Hodgkinson and Nehemiah Kish rounded out this strong cast. Near the end of the ballet, the black backdrop is lifted, ever so slowly. The white background behind it “grows”, the way light fills a room. The dancers turn to face the back, in some sort of reverent or ceremonial action, as the curtain falls." Bob Clark, in the Calgary Herald, July 15, 2005: "For her new creation, Matthews too has chosen carefully, building the emotional intensity of the work, losing ground, through a combination of complex passionate movement and a slow