Mirabilis was premiered in decembre 1998 at the Cannes Internationel Dance Festival. Second half of the work in two parts Nycthémère, it is the nocturnal side of Volubilis created a few months before. More intimate, the dance is in a converstion with an organ, powerfull musical instrument, delivering a dream like and spiritual atmosphere. The rounded and soft Volubilis finds in Mirabilis a more angular expression, a more geometrical dimension enhanced by the two cubes that modulate the stage and offer a more abstract and defined dance space and a abstract accessory to play with.


Le Figaro

(...) Lionel Hoche and his be-socked dancers sold out in New York, where Mirabilis, with its ever-present white cube, and a four-dancer version of Volubilis thrilled the audience, delighted by this theatrical dance and its graceful language of non-violent falls and slides.
René Sirvin, 4th May 2001

The New York Times

...In Mirabilis, set mainly to Bach's music, Mr. Hoche, three other male dancers and an onstage organist succeed admirably with a gleaming formal work, small-scale but polished. (...) Mr Hoche, unlike many French choreographers, focuses on movement more than theatrical atmosphere. Mirabilis, the first section of his piece, includes a big white cube manoeuvred by himself, Guillaume Cuvilliez and David Drouard. The choreography is angular, filled with body contact between dancers that sets off a chain of events - cartwheels, twists and falls - that change the relationships of the performers. As Christophe Lafontaine plays several Bach compositions on the organ, the geometric style of the choreographer acquires a grander formality.
Anna Kisselgoff, 27th April 2001

Nice Matin - Cannes Matin

Parmi les plus aboutis de ces morceaux, nous pourrions choisir "Mirabilis" de Lionel Hoche qui a su lier la musique vivante à la chorégraphie : ... avec l'organiste Adam Vidovic et la musique de Jean-Sébastien Bach.  Une réussite.


Enthousiasmants aussi de jeunes chorégraphes comme Lionel Hoche  ...  qui dans un style très personnel a su présenter sans complexe une oeuvre en harmonie avec ce qui le fait se mouvoir et s'émouvoir.
JM Thérond et E Pépin, January 1998


Mirabilis by Lionel Hoche is more unsettling. ...It presents a wonderful trio, which comes together and then comes apart. The dance dwindles, nonchalantly, then stops as if void of energy or desire, while an organist plays melodies of a poor church. Lionel Hoche says "This piece attempts to nourish the myths of the night." This could well be, with its strangely sad poetry. This young choreographer, also classically trained, is advancing surely towards a choreographic language of release and abandonment.
Marie-Christine Vernay, 7th December 1997

La Grande Riviera

...  Pendant que la compagnie Lionel Hoche ravie le public avec Mirabilis.
Cinzia Papetti, November 1997



Choreography/Set : Lionel Hoche - Costums : Tony Martin
Lights : Rémi Nicolas - Organist : Adam Vidovic
Dancers : Guillaume Cuvilliez, David Drouard, Lionel Hoche, and Cédric Lequileuc.
Music : 3rd movement oh the Pastoral in D minor (BWV 590) ; Fugue in ut minor (BWV 575) ; Adagio from the concerto in F minor d'après Vivaldi (BWV 593) and  the Prelude in ut minor (BWV 546) of Bach. Sound landscapes: Jean-Jacques Palix