"Grégoire Pont offers a simple and brilliant choreography. It would be impossible to draw a list of all the tricks and spells that the young audience discovers with amazement during the performance. The manner in which he uses this technology appears almost unlimited, but Pont finds the right balance between the dizzying virtuosity of a scene like the Arithmetics and others where the suggestive outline requires more imagination from the audience and allows the music to take precedence."
ResMusica
"It is not simply a set that the Parisian animator offers, but rather a whole world in which to dive in to, thanks to animated pictures projected alongside the singers, reinforcing every one of their action (...). The pictures allow Ravel’s orchestration to breathe in all its glorious colourful range. For Grégoire Pont, L’Enfant et les sortilèges is Ravel’s most accomplished score, the challenge is successfully completed: adults and children alike take the opportunity to dive into the fantastic world of opera for an hour of continuous wonder."
Olyrix
Grégoire Pont’s remarkable work avoids irrelevant technical gimmickry to keep always to the truth of the text and the music. Never has an interpretation of Ravel’s masterpiece so well revealed and its phantasmagoria quality better revealed. Never has the meaning of 'spells' been so well embodied. The result is an intricate work of jeweller where the stage setting shows unexpected details, designed with a great sense of poetry on the screen, like the charming Shepherds scene.
ClassiqueNews
"Grégoire Pont's animations are not simply ornamental. Deeply imbedded in the music, the wizardry artist knows exactly when to emphasise a drum or cymbal blow with an image, as if the instruments were creating the music in real-time! The Fire comes to life in a coat of flames that itself turns into a character in its own right, the wretched Arithmetic figure spits out numbers, the Frog Pond blows bubbles turning themselves into musical notes or insects that suddenly invade the entire auditorium. . . and the audience loves it! The animated pictures never overpower the shimmering palette of Ravel's masterpiece; on the contrary they enrich it."
Bachtrack