This artist understands performance, knows how to create ensemble work, has a talent to marry rhythm, humour and beautiful images in perfect adequecy with the music. This 'Les Noces' deserves to be danced often. 

Les Noces, Benjamin Chaix Tribune de Genève.



Freezing intervals, images and dancing bodies, Didy Veldman has perfectly captured the essence of ‘Les Noces’.

Le Temps, Alexandre Demidoff, Genève. 


« Wow ». C’est le mot qui me vient en tête lorsque je repense au Petit Prince, oeuvre touchante, captivante et ingénieuse montée par la chorégraphe Didy Veldman pour le compte des Grands Ballets canadiens de Montréal.

Vanessa Guimond, Le Journal de Montréal.


La chorégraphie est magnifique, à la hauteur des interprètes, surtout dans les pas de deux masculins, du Petit Prince avec le Serpent ou le Guide, double adulte de lui-même. Les mouvements se font alors dialogue ou questionnement, se propagent d'un corps à l'autre, s'amplifient, se doublent, se coupent dans un huis clos d'une intensité et d'une beauté sidérante.

Ariane Bavalier, Le Figaro


Le Petit Prince créé par Didy Veldman pour les Grands Ballets est d'une délicatesse fascinante. D'une beauté onirique et captivante qui laisse bouche bée.

Aline Apostolska La Presse


TooT by Didy Veldman from the Netherlands.
The result was continuously ingenious and beguiling. The eight men and seven women cavorted and played, but also acted out more troubling scenarios hinting at loneliness and despair. There were props (the curved, circus-ring benches, silvery on one side; red balloons) and cryptic speech and plenty of cute but not too cute dancing.
John Rockwell The New York Times.


In TooT (2005), Dutch dancer-choreographer Didy Veldman deploys an intriguing metaphor-political repression as a one-ring circus. Her well-chosen music juxtaposes movements of Shostakovich's desperately sardonic Suite No. 2 for Jazz Orchestra with mournful compositions by the Balanescu Quartet. Veldman builds her case slowly and inexorably. The movement of the white-faced clowns seems, at first, merely athletic and playful. They tumble and leap. Soon, the dancers are responding to spoken commands and, like dutiful conformists, fall into line. You feel they would jump off a cliff, if so ordered. Even clusters of brightly colored balloons cannot eradicate the slightly sinister atmosphere.
Dorothy Chandler Pavilion, Los Angeles, CA


Didy Veldman's 'Track' opens with a bunch of rowdy student types having a laugh in colourful costume; rounds of laughing to the sounds of a playful wooden glockenspiel. The set comprises temporary scaffolding structures with further malleable boundaries created by tape that is unwound and stuck to the floor, poles, each other -- sometimes even taping themselves into the equation. They follow and map movements with the tape then re-trace steps and erase past lines. These flimsy barriers come to represent real and imaginary spaces.
The defined parameters of reality, images of beauty and the controlling forces within society are exposed and explored -- namely education and the media. We see what happens when you step out of line and stray from the swaying crowd. Whilst on one side of the stage there are two posing glamour girls representing stereotypical images of feminine beauty and sensuality, the other 'tank' of space houses a neurotic girl in her underwear who is pulling tape tightly around her stomach, sealing her mouth with it and painting lipstick over the top. As she tries to cram her feet into the red stilettos discarded by the posing girls and hobbles off stage, Veldman demonstrates how people force themselves into the barriers of the accepted and the 'norm.' Interesting themes as well as visual intrigue surely makes this piece the 'food for thought' of the evening.
Ballet-Dance Magazine by Katherine Phillips



'There is a quality in the research of movement by Choreographer Didy Veldman which is extraordinary'
TooT Chroniqueure culturelle


'It's a strartling piece of dance drama'
Carmen The Post


'Didy Veldman is that rare bird, an artist who excels as both dancer and choreographer'
Kol Simcha USA Dance Magazine.


Veldman's choreography is supremely assured and creatively original.
Tender Hooks Dance Europe


'A work sensitive to human sentiments penetrated by the most diverse emotions, rhythms and energies.'
See Blue Through Net Parque


'A melancholic, intelligent piece not easily forgotten!'

O Phospor Live


'Sharp and full of treasures'
Track Guardian


'Veldman's skill in melding humour and serious insight ensures our laughter has a sympathetic note to it.'
Track The Herald.


'Didy Veldman's Possibly Six had wit, intelligence and plenty of cool'
Possibly Six Montreal Gazette


'Veldman is a genius of choreographic movement'
TooT Music & Vision Dialy