‘Different visuals were projected on a giant book when each page was turned on the stage. The audience, especially the children, were immersed and inspired by the performance even without 3D glasses.’
‘The production allows young dancers to showcase their talents, with dancer Nana Sakai particularly standing out, fully demonstrating the vitality of ballet.’
RTHK Radio 4 Arts News
(18.7.2023)
'Hong Kong Ballet was certainly in top form and did justice to this excellent Malakhov production. The corps de ballet of 24 shades was impressive in its uniformity, especially on the second night.’
Kevin Ng, Hong Kong Economic Journal
(5.6.2023)
‘Nuñez is considered one of the world’s greatest dancers and her Nikiya showed us why. Her technique was awe-inspiring in its perfection, her innate musicality and flawless style were a joy, and her acting was intelligent, clear and detailed. Muntagirov’s dazzling jumps and turns were accompanied by impeccable purity of line and his partnering was superb – the harmony and ease with which he and Nuñez danced together was breathtaking.’
Natasha Rogai, South China Morning Post
(6.6.2023)
‘The show had high standards and high energy, with great group dynamics shown in the ensemble pieces.’
Natasha Rogai, South China Morning Post
(18.4.2023)
‘This two-hour-long work feels cinematic in its smooth scene change and flow.‘
‘The whole Hong Kong Ballet company danced admirably. Yang Ruiqi danced magnificently the title role. Garry Corpuz was excellent as Boy Capel, while Henry Seldon impressed as the Nazi officer.’
‘Coco Chanel is an excellent creation. It is thoughtful and original, deeply expressionistic and theatrical. It should be revived soon by the Hong Kong Ballet.’
Kevin Ng, Hong Kong Economic Journal
(27.3.2023)
‘For a ballet about one of the greatest designers of all time, the designs are a feast for the eyes. Kaplan’s costumes are ravishing, not only in their beauty and subtle homage to Chanel, but in the way they express character, mood and period.’
‘Other choreographic highlights include the well-crafted pas de deux inspired by the creation of Chanel’s famous “double C” logo and strong group scenes for Chanel’s seamstresses – more clever use of moving tables – and the evocation of the Nazis as inhuman automata in the second half, with searchlights hitting the audience a powerful touch.’
Natasha Rogai, South China Morning Post
(27.3.2023)
‘All nine works were commissioned specifically for the project, in hopes that audiences will be inspired to take action and create a positive impact to the planet during a time of global crisis. The dances were filmed at various locations within the M+ building, a site designed to allow man-made elements to coexist with nature.’
The Standard
(19.8.2022)
‘Climate change may not be the typical subject matter for a classical dance company, but the Hong Kong Ballet is committed to pushing the boundaries in its Beyond Carbon: The Climate Change Project production at M+, the city’s museum of visual culture.’
Tatler Hong Kong
(14.2.2022)
‘It’s clear the design team behind this production was ripe with creative inspiration......Designed by Ricky Chan, the magnanimous sets, overwhelming in a wonderful way, were bold and breathtaking……it transports the viewer immediately to the vibrancy of Hong Kong’
'Romeo + Juliet fuses the classic story with a fresh setting, inviting new traditions to the typically Eurocentric tale. While not a home run from every angle (I would love to see it again with a live orchestra) this version still demonstrates the aching perpetuity of a classic tale, the universal truth and understanding of heartbreak.'
Nadia Vostrikov, the Ballet Herald
(15.1.2023)
‘HKB is an eclectic-looking and highly engaging company, and overall the dancers did fine work. Tai Po (Tybalt) was superbly presented by Garry Corpuz. Although Webre’s choreography compels much of what Corpuz delivered, the end result was one of the finest renditions of this character that I’ve seen anywhere.’
'...the production is like a take-out container of sweet and sour fish and chips: it’s quite interesting as well as unusual, but the contrasting ingredients don’t always mesh. And this appears to be exactly the effect that Hong Kong Ballet (“HKB”) intended.'
Jerry Hochman, Critical Dance
(15.1.2023)
‘HKB provided a fresh take on Shakespeare's story. It transported audiences back in time by featuring an intricately designed set that kept changing, along with costumes that captured fashion from the era.’
Belinda Robinson, China Daily
(15.1.2023)
‘Webre’s version of this classic tragedy was sumptuous in every respect: the sets designed by Ricky Chan were extravagant and colorful, including brilliant neon signs, rich draperies and three huge staircases; Mandy Tam’s ornate costumes—flowing Chinese garb, slit skirts, Western suits, bridal gowns and formal robes—were evocative and character-friendly; and Ruby Yau’s take on Billy Chan’s original lighting effects created mood as well made the costumes and sets glow.’
Joel Benjamin, TheaterScene.net
(17.1.2023)
'When the Hong Kong Philharmonic and Hong Kong Ballet staged a historic coproduction, they took collaboration to a new level.'
'As a whole, Carmina is a feast for the eyes in perpetual motion: an extravaganza from a more-is-more choreographer, with lavish costumery by Cirque du Soleil alumna Liz Vandal. The musical styles of the two halves could hardly be more different, Lio having elected to contrast pure, intimate Bachian strings against the intensity of Orff.' (Carmina Burana)
'Hauntingly emotive' (The Last Song)
Madeleine Fitzpatrick, China Daily
(11.11.2022)
'The opening night was strongly cast. Ye Feifei, the company’s top ballerina,was meltingly soft and tender in the final passionate duet, with Garry Corpuz superb as her partner. Ye and Corpuz were ecstatic in the black duet earlier on. Xuan Cheng, who has just joined the company this season, and Yonen Takano were expressive in the moonlit duet full of soaring lifts.' (Carmina Burana)
‘Albert Gordon sparkled with his speed and lightness in his virtuosic solos. He was especially memorable in a self-flagellating solo with religious symbolism. Kim Eunsil shone in a solo which seemed to depict Orlando.‘ (Carmina Burana)
’The duets are intense. Hu’s choreography for the corps de ballet is fluent. This dark work, which ends with the death of the muse and the Wilde figure’s ascending a staircase, is too relentlessly gloomy. Luis Carbrera stood out as Wilde, while Kyle Lin impressed as his muse.‘ (The Last Song)
‘Hong Kong Ballet’s ‘Carmina Burana’ is a winner, a timely celebration of human endurance and vitality during the current difficult times in the world.’
Kevin Ng, EJ Insight
(18.10.2022)
'This final image, with the nightingale ascending at last to a plane where beauty and love may, perhaps, exist, had tremendous power.' (The Last Song)
'The piece is well-structured and the choreography is consistently original and exceptionally musical, whether in the deeply felt solos and duets for the two leads or the inventive, intelligent use of the corps.' (The Last Song)
'Both casts in the lead roles – Kyle Lin Chang-yuan as the nightingale with Luis Cabrera as the artist, then Yonen Takano with Leung Chun-long – were superb, matching each other in dramatic intensity while bringing their own nuances to the roles, with Takano creating a particularly vivid birdlike quality.' (The Last Song)
The second show was lifted by outstanding performances from Jessica Burrows, dancing with style and passion, the sparkling Sakai, and Cabrera, whose fluidity and expressiveness of movement transcended technique to infuse his solos with some real emotion. (Carmina Burana)
Natasha Rogai, South China Morning Post
(14.12.2021)
’This brand-new production for Hong Kong Ballet is a spectacular Hong-Kong themed fantasy that borders on the nationalistic, taking us away from the traditional snow and sweets, into a world of tropical pink bauhinia blossom and dim sum.'
'this production is sure to be loved by locals and visitors alike for many years to come'
Jeff Carpenter, The Prickle
(15.12.2021)
'the whole company’s performances were full of vitality and freshness'
'Webre’s new version is definitely the Hong Kong Ballet’s best production of “Nutcracker” in the past three decades.’
Kevin Ng, EJ Insight
(14.12.2021)
'With its Hong Kong setting and playful cultural references, new production is a crowd-pleaser. The sets are stunning and imaginative costumes a riot of colour.'
'Received with a huge standing ovation (as rare as hen’s teeth in Hong Kong) on the first night, this Nutcracker is a triumph for the company and for Webre, and looks set to delight festive season audiences for many years to come.'
Natasha Rogai, South China Morning Post
(14.12.2021)
’Camargo, returning to guest with the company, was noble and handsome as her prince. In the Act 3 pas de deux, his solo was most spectacular in technical virtuosity, drawing the loudest applause all evening. Wei Wei was superb as the evil fairy Carabosse. In the supporting roles, Kai Kanzaki was a dazzling Blue Bird, and Wang Zi was exciting in his Jewels solo. In the prologue, Jessica Burrows impressed in the second fairy solo.‘
Kevin Ng, Asia Times
(22.10.2021)
'In traditional style, the central tale is framed with a lengthy prologue and epilogue of competitive-like dancing, in order to entertain the royal party: at the start, Princess Aurora’s christening, and at the end, Aurora’s wedding day. The combined power and finesse of the company actually manages to turn these “add-ons” into the highlights.'
Jeff Carpenter, The Prickle
(18.10.2021)
'Ye Feifei and Amber Lewis gave two quite different yet equally outstanding interpretations of Princess Aurora, strongly partnered by Daniel Camargo and Wei Wei'
'This was a special night for Wei and he delivered an impeccable performance as the Prince, with elegant lines, clean finishing and fine partnering. '
Natasha Rogai, South China Morning Post
(19.10.2021)
'There are so many showstopping ensemble moments, including a dizzying criss-cross parade of flamingo showgirls, and a farce-style comic dance of revolving doors, with tons of ingenious aerial work and puppetry to boot. The ensemble is puffed up by a hilariously enthusiastic children’s dance corps. '
'...the visual splendour is more than enough to make this a spectacular ballet.'
Jeff Carpenter, The Prickle
(14.8.2021)
'Alice is full of energy and action. The stage effects are impressive, occasionally bringing to mind Cirque du Soleil and Walt Disney.'
'Webre’s choreography is functional and effective. The second scene is the best in the whole ballet in terms of choreography. The divertissements, with a duet for the Eaglet and the Dormouse at the center, as well as a female corps de ballet of flamingos offer a satisfying suite of classical dancing. The virtuosic solos of the Eaglet and the Dormouse are dazzling, and the flamingos’ ensemble dance is delightful.'
Kevin Ng, Asia Times
(19.8.2021)
'Just like a classic movie, the hyper-drama is no-holds-barred: the dance is world-class, but it’s the theatre that makes this production so devastating.'
Jeff Carpenter, The Prickle
(20.6.2021)
'This new spectacular production of Romeo + Juliet is the most outstanding full-length narrative ballet with a Chinese or Hong Kong theme created by the company in the past two decades. Hopefully it will be shown on Hong Kong Ballet’s overseas tours in the future as travel returns to normal.'
Kevin Ng, EJ Insight
(22.6.2021)
‘Rubies, the second of the three acts, draws an incredible crowd response. Set to an unpredictable Capriccio by Stravinsky, the dancers bagatelle across the stage in playful synchronicity, evoking harlequins or toy soldiers, seemingly in spite of the threatening, chaotic music. The company are somehow able to convey the necessary strident confidence and playful lightness at the same time: an amazing achievement.’
Jeff Carpenter, The Prickle
(23.5.2021)
'Amber Lewis and guest artist Daniel Camargo bring Emeralds to life, Shen Jie and Lewis dazzle in Rubies, and Ye Feifei captures the grandeur of Diamonds. Balanchine’s three loosely linked pieces are one of the supreme tests of a classical ballet troupe.'
Natasha Rogai, South China Morning Post
(24.5.2021)
'Ye Feifei was excellent as the Diamonds ballerina. She was pure and radiant in the long and exposed duet, one of the greatest in Balanchine’s oeuvre. The guest star Daniel Camargo was outstanding as her handsome cavalier, and hugely exciting in his dazzling virtuosity, especially his spectacular series of multiple pirouettes which was impeccably danced.'
Kevin Ng, EJ Insight
(25.5.2021)
‘The always clean and precise Nana Sakai as Galatea and Shen Jie as Pygmalion have a remarkable chemistry. The choreography in the duets is incredibly inventive with plenty of unusual lifts and supports. As the relationship develops, there’s just a hint of provocativeness from her that pulls him along. Both also reach out brilliantly across the digital divide in their solos. I also very much liked the revolving clockface projected onto the floor that represents the passing of time, and on which they dance. It’s easy to see why the work has won awards. Galatea & Pygmalion is quite, quite superb, and for all the other excellent pieces, the undoubted highlight of five(by)six.'
David Mead, Seeing Dance
(18.3.2021)
'It’s an excerpt from the Vietnamese choreographer Nguyen Ngoc Anh’s Beyond The Line. The décor is striking, and the music is quite exciting. Nguyen’s choreography is the best in this whole programme. It is a clever fusion of Asian and Western influences. A dark combative male duet is well contrasted by the succeeding more flowing female duet, before the four dancers perform together.'
Kevin Ng, EJ Insight
(26.3.2021)
'Faced with only 21 days of rehearsal due to pandemic restrictions, as well as the need to integrate a number of new recruits to the company, Webre and his artistic team rose to the challenge and deserve much credit for staging the production so successfully. The overall standard of dancing was high and the dancers full of energy.'
Natasha Rogai, Dancing Times
(1.11.2020)
'The lead dancers (Li Lin and Chen Zhiyao) are superb, with the female lead (Chen) particularly strong. The elevation and pirouettes of the second half really stand out.'
The Prickle
(3.11.2020)
'As Basilio, Shen Jie was at his most dazzling in virtuosic power. His leaps and turns were most spectacular. His two one-handed lifts early in Act 1 were rock solid. Kitri was performed in a remarkable debut by Amber Lewis, a talented coryphee dancer. She was dancing with an amazing confidence. The technical fireworks held no fear for her; her debut and triple fouettes in the Act 3 grand pas de deux were breathtaking.'
Kevin Ng, EJ Insight
(4.11.2020)
‘Hong Kong Ballet’s The Nutcracker, with its adaptions and fresh choreography performed by its able team dancers, sprinkled localness over the classic Christmas ballet: a celebration not only of the season but also of Hong Kong’s (rising) ballet dancers.’
Zabrina Lo, Asian Review of Books
(3.1.2020)
‘Although the Hong Kong Ballet together with the Hong Kong Sinfonietta have staged Kohler's version for several years, they managed to thrill the audience by bringing a unique performance every time through the exquisite performance of the cast.’
Bonnie Chen, The Standard
(6.1.2020)
‘Tan Yuan Yuan and Vitor Luiz delighted in Edwaard Liang’s The Infinite Ocean, a graceful dance of entwining bodies and delicious lifts set in front of an orange sun on a red sky. Soulful and subtle, it too suited Tan and Luiz perfectly.’
David Mead, Seeing Dance
(31.10.2019)
‘Matthew Golding made a strong impression in Yixi, a new solo choreographed for him by Hong Kong Ballet’s Yuh Egami. Set to Bob Dylan’s version of Jerry Jeff Walker’s Mr Bojangles, this little gem demonstrated the exceptional ability of both dancer and choreographer to tell a story and generate emotion with the simplest of means.’
Natasha Rogai, Dancing Times
(1.12.2019)
‘To the credit of all concerned, the company produced a solid performance that night despite the stressful circumstances. I enjoyed Luis Cabrera and Nana Sakai’s sparkling Neapolitan, Jessica Burrows did a fine job of leading the swans and it was good to see Jonathan Spigner back from injury in good form.’
Natasha Rogai, Dancing Times
(1.12.2019)
‘What makes the work really tick is Webre’s sense of humour, both in storytelling and choreography—in his hands this well-known and popular children’s story is, quite unexpectedly, turned on its head.’
Kevin Kwong, South China Morning Post
(19.8.2019)
‘Webre’s choreography is superb.’
Kevin Ng, Asia Times
(26.8.2019)
‘From the moment the curtain rose on The Rite of Spring it was clear that this was a Hu and Egami ballet… Hu and Egami are to be congratulated first and foremost on the magnificent way the choreography responds to Igor Stravinsky’s music. They also deserve kudos for finding a genuinely original concept, turning the original tale of a Chosen Maiden sacrificed in a fertility rite into a parable of humankind’s destruction of nature.’
Natasha Rogai, South China Morning Post
(3.6.2019)
“The final storm and shipwreck scene was most theatrical.”
Kevin Ng, ejinsight
(4.4.2019)
"Another triumph for Asia’s premier ballet company."
The Prickle
(18.2.2019)
“The ballet is packed with Webre’s trademark high energy, technically demanding choreography, including much intricate and risky partnering. It’s a feast for the eyes.”
Natasha Rogai, South China Morning Post
(18.2.2019)
“The costumes, by Cirque du Soleil designer Liz Vandal, range from the whimsical to slinky to sheer fun, perfectly matching the stunning fashion-forward sets by James Kronzer.
Taipei Times
(12.12.2018)
“Jin (Jin Yao)’s soaring jumps and beautiful feet are ideally suited to the Romantic style and she made even the most demanding passages look effortless.”
“His (Shen Jie) dancing was as inspired as his acting – elegant, expressive and gloriously light.”
“Ye (Ye Feifei)’s dancing was outstanding, with great beauty of line and phrasing.”
Natasha Rogai, Dancing Times
(9.12.2018)
“[Headline] A Traditional Giselle Danced with Vitality and Refinement”
Carla Escoda, Dance Journal
(9.12.2018)
“ALICE nevertheless has a satisfying narrative arc and plenty to delight youngsters, their parents and seasoned balletomanes.”
Taipei Times
(6.12.2018)
“(Sarah Lane and Herman Cornejo) They were dancing so harmoniously and in tune with each other in Twyla Tharp’s Sinatra Suite that it was sheer bliss.”
“Shen Jie danced energetically in the Beatles ballet from A Day in the Life choreographed by Trey McIntyre.”
“This gala was a triumph indeed for the company.”
“Wei Wei gave the best performance of his career on this occasion.”
Kevin Ng, Asia Times
(10.11.2018)
“[Hu Song Wei Ricky’s When You See] The visual impact is riveting and is matched by a sense of profound emotion from Cabrera (Luis Cabrera)’s performance”
“[Hu Song Wei Ricky’s When You See] A beautiful piece, original and compelling.”
“[Forrest Oliveros’s Mellifluous] The choreography was assured and musical”
Natasha Rogai, Dancing Times
(13.9.2018)
“The production is packed with spectacular theatrical effects, fast and furious dancing and blazing energy.”
Natasha Rogai, Dancing Times
(3.9.2018)
“Septime Webre’s ALICE (in Wonderland) for the Hong Kong Ballet is a vivacious, visually
attractive, child-friendly romp through the subterranean hides of Victorian morality… it runs an entire spectrum of humour from the surreal to the slapstick.”
“A flamingo spoof on Swan Lake that works as both parody and homage.”
“The company’s overall quality shines through. Xia Jun, whose dancing has the hint of the androgynous, is a wonderfully strange dodo bird and Ye Feifei as Eaglet, his female counterpart, tossed of a series of very fine á la seconde turns.”
Joy Wang X. Y., SeeingDance
(26.8.2018)
“Stage effects are impressive and occasionally recall Disney and Cirque du Soleil.”
“Alice reaching a gigantic size while dancing on pointe is spectacular and delighted the children in the audience.”
“The divertissements, with a duet for the eaglet and the Dodo bird at the centre, as well as dance for a female corps de ballet of flamingos, provide a satisfying scope of classical dancing.”
“A dragon dance and a fireflies dance are pleasant.”
“James Kroner’s set designs are excellent, especially the backdrop resembling a cubist painting in the rabbit hole scene in Act 1.”
Kevin Ng, Time out
(24.8.2018)
“A luminous, sensuous, fanciful world that while being timeless also references elements from contemporary popular culture.”
“The Jabberwock is an improvised version of the contraption used in Chinese dragon dance, providing a sweet local touch.”
“Chen Zhiyao’s Alice who was completely believable as a curious young woman with a spring in her step.”
Chitralekha Basu, China Daily
(24.8.2018)
“The choreography is consistently well crafted and has some magically inventive moments… Alice doing graceful balletic backstroke in the Pool of Tears.”
“The company’s classical technique is showcased in a delicious homage to the 19th century grand pas de deux in general”
“There’s excellent use of child performers, who are cute without being cloying and perform with astonishing discipline”
“The concept and costumes by Liz Vandal, known for her work with Cirque du Soleil, offer an ingenious realization of Carroll’s fantasy ideas.”
“Venus Villa… is petite and feisty, and made a more convincing little girl, but the taller Chen Zhiyao more than made up for it with some ravishing dancing.”
“Terrifying Queen of Hearts were particular gems, while Shen Jie and Jonathan Spigner stood out in an astonishing variety of roles.”
Natasha Rogai, South China Morning Post
(20.8.2018)
“The staging is ingenious: the dancers grow, shrink and soar while caterpillars grow wings.”
“The score, for strings and percussion, is evocative and accessible, with hints of music from lands as varied as Alice’s own adventures.”
“The choreography both entrances and sparkles.”
“it’s a fairy tale, but quite extraordinary. And fun.”
Peter Gordon, Asian Review of Books
(17.8.2018)
“[Christopher Wheeldon’s Rush, Alexei Ratmansky’s Le Carnavel des Animaux , Trey McIntyre’s A Day in the Life] Each of them is designed with a vision that not only to tell ‘stories’ but also to break down the conventional idea of how to give ballet a close-to-heart dialogue with the audience”
“[Alexei Ratmansky’s Le Carnavel des Animaux] Ratmansky reimagines how the animals move and interact in ballet vocabularies.”
“[Alexei Ratmansky’s Le Carnavel des Animaux] The dancers are venturing toward a more narrative approach to their movements as well as their emotional expressions.”
“[Alexei Ratmansky’s Le Carnavel des Animaux] Several dancers are exceptionally skillful and attractive as their characters. Xia Jun’s cockerel is outstanding with his constrained energy as a gentle alpha male. Chen Zhiyao’s elephant is a big highlight of the piece, with her showing weight as an enormous beast without losing the grace of her port de bras. Wang Qingxin’s swan catches laughter through Ratmansky’s mockery of SWAN LAKE. Wang shows the swan’s excessive obsession with her narcissism is very on point, but one will not miss her incredible skill with her pointes.”
“[Christopher Wheeldon’s Rush] Wheeldon’s choreography of fast movements, demanding dancers to have the precision of swift dancing feet, turns and lifts, has already transmitted a glorious feeling to the audience of seeing the sunshine in California.”
“[Christopher Wheeldon’s Rush] Wheeldon’s strength in novel formations through classical ballet languages, as well as his sensitivity in transitions, holds the piece’s riveting energy through the end.”
“[Christopher Wheeldon’s Rush] Liu Miaomiao, Li Lin, Ayano Haneishi and Jonathan Spigner as the two outstanding couples from the corps de ballet do catch their opportunities to be the highlights of the piece…”
“[Christopher Wheeldon’s Rush] Ye (Ye Feifei) achieves that in a world-class fashion. Her techniques are unmissably spectacular. Her energy constraint that the dance requires has never been failed, while her port de bras and pointes, even in the semi-mid-air, are strong and tight… To see Ye dances Rush is to stop one’s heart.”
“[Trey McIntyre’s A Day in the Life] The openness of his world is so vast that it gives liberation for dancers to ‘create’”
“[Trey McIntyre’s A Day in The Life] Shen Jie… shines as the lead of the pieces. He totally embodies the journey of his ‘character’, and through his skillfully executed movements… an ovation has already been given before the piece ends.”
Clement Lee, Broadway World
(15.6.2018)
“[Alexei Ratmansky’s Le Carnavel des Animaux] It is a delightful ballet which provides a full scope for classical dancing. And it suits the strength of the Hong Kong Ballet.”
“[Trey McIntyre’s A Day in The Life] Shen Jie and Li Lin both impressed in the two leading male roles in the Sunday afternoon cast. Shen Jie’s solo was particularly full-bodied. And Lai Nok Sze Vanessa shone as the leading woman.”
“[Christopher Wheeldon’s Rush] The main duet in the second movement, impressively danced by Li Jiabo and Ye Feifei, is dreamy and ecstatic”
Kevin Ng, Asia Times
(8.6.2018)
“[Alexei Ratmansky’s Le Carnavel des Animaux] A performance that perfectly encapsulated the wit, charm and inventiveness of Ratmansky’s choreography.”
“[Trey McIntyre’s A Day in The Life] A mesmerizing one-minute tour de force that left me wanting more.”
Natasha Rogai, SCMP
(4.6.2018)
“The company is in good form. Ye Feifei’s dancing is luscious and creamy. She is well matched by Li Jiabo who has improved tremendously in the role of the Nutcracker Prince. In the supporting roles, Naomi Yuzawa is impressive as Clara, while Jonathan Spigner stands out as her naughty brother Fritz.”
Kevin Ng, ejinsight
(19.1.2018)
“Xia Jun’s electrifying Lankendem, vividly acted and spectacularly danced, Ye Feifei’s superb Gulnare and Shen Jie’s thrilling Bribanto. As Ali, Li Jiabo brought the house down with a magnificent manège of barrel jumps.”
“Chen’s Gulnare was simply dazzling, Wei’s Lankedem and Hu Song Wei Ricky’s Pasha were funnier and more detailed.”
“The costumes and sets by Hugo Millán, oiginally created for Bocca’s National Ballet of Uruguay, were suitably lavish and Corsaire connoisseurs will be happy to hear that the shipwreck came complete with a full-size ship. This was a proud moment for HKB and new artistic director Septime Webre. The challenge now will be to maintain this exceptional standard going forward.”
Natasha Rogai, Dancing Times
(1.1.2018)
“On the first Saturday night, Hong Kong Ballet’s dancers were on their best form in this production.”
“Lucas Jerkander was also convincing as Birbanto. And Xia Jun was impressive as the evil slave-trader Lankendem.”
“Ye Feifei danced sharply as Gulnare. Chen Zhiyao stood out in the trio of odalisques. The short storm scene at the end was vividly and imaginatively presented.”
“Hugo Millan’s colorful sets and costume designs also enhance this production.”
Kevin Ng, Asia Times
(14.11.2017)
“(Heading) Pirates on pointe: a flawless retelling”
“HK Ballet soars to bold new heights with passionate execution of Le Corsaire.”
“Every now and then in the life of a ballet lover comes along a performance in which everything gels together so perfectly that you leave the theatre walking on air. The November 5 matinee of Hong Kong Ballet’s new production of Le Corsaire was one of those moments.”
“The Company has long been distinguished by its energy, commitment and technical strength, but this time the dancers reached another level.”
“Jin Yao was a radiant, assured Medora and guest artist Matthew Golding made a splendid swashbuckling Conrad. Wei Wei was a convincingly rapacious Lankendem, while Chen Zhiyao was a ravishing Gulnare.”
“Li Lin soared and spun his way through some of ballet’s most famous solos as Ali, while Shunsuke Arimizu brought the Pasha to hilarious life. As Birbanto, Jonathan Spginer not only produced his trademark outstanding acting, but danced with a fresh brilliance and attack. Dong Ruixue, Lai Pui Ki Peggy and Ayano Haneishi danced flawlessly as the Three Odalisques and the corps de ballet gave a scintillating account of the Jardin Anime. Judith Yan’s conducting of the City Chamber Orchestra brought out the best in the music and was admirably sympathetic to the dancers.”
Natasha Rogai, South China Morning Post
(8.11.2017)
“Season opener was the first re-run of Nina Ananiashvili’s lively 2014 staging of Don Quixote (see Dancing Times, October 2014) and it was even better this time around: sharp, vivid and tight, with electrifying energy from the whole ensemble. In recent times the emphasis has tended to be on technique and it was refreshing to see the dancers performing with more freedom and making a stronger connection with the audience.”
“Salenko proved that her star status is well merited – a small, blonde firework of a ballerina, her virtuosity was thrilling and her acting delightful. A guest of this caliber always lifts the company and Wei was galvanised, partnering impeccably and dancing with new-found élan.
Ye Feifei gave Salenko a run for her money in a performance packed with dazzling dancing, her earthy, feisty Kitri well contrasted with a grand classical style as Dulcinea. Her partner Li Jiabo looked a different dancer than on his 2014 debut, dancing with brio and partnering with assurance.
There were good performances in solo roles – Li Lin’s smoking hot Espada, Naomi Yuzawa’s exquisite Cupid and Yuzawa with Dong Ruixue as Kitri’s friends were a pleasure to see again, while Gao Ge’s assurance as the Queen of the Dryads and her seductive Street Dancer showed how much progress she has made in the past three years. There were impressive debuts from Chen Zhiyao as the Queen of the Dryads and Tirion Law Lok Huen as Cupid. Among others who stood out were Zhang Xuening, Xia Jun and Nana Sakai. The production was enriched with an abundance of comic detail by Lucas Jerkander’s deliciously daft Don, Yuh Egami’s endearing Sancho Panza, Ricky Hu Song Wei’s irascible Lorenzo and Jonathan Spigner’s gloriously over the top Gamache.”
Natasha Rogai, Dancing Times
(1.11.2017)
“A fresh, innovative approach included setting up a mentorship panel to give the young company choreographers artistic and technical guidance and presenting them to the audience on stage. All eight short pieces looked impressively polished and focused, with two works in particular standing out.”
“The most accomplished, Demons, came from the most experienced choreographer, Hu Song Wei Ricky. Superbly performed by Chen Zhiyao and Lucas Jerkander, in just seven minutes this stunning duet offered a riveting exploration of lust, desire and dominance.”
“(Infinity Awaits by Li Jiabo and He Chaoya) An intelligent combination of Chinese dance movements with ballet technique showcased the gracefulness of the women, led by the enchanting Liao Miaomiao and the athleticism of the men. This is the kind of Chinese-themed piece which, if expanded a little, would make a great touring card for the Company.”
Natasha Rogai, Dancing Times
(1.11.2017)
“The Hong Kong Ballet showed off its mettle in choreography in mid-September.”
“(Demons by Hu Song Wei Ricky) This powerful erotic pas de deux, which contains a lot of lifts, is superbly danced by Lucas Jerkander and Chen Zhiyao as ‘the lady in red’.”
“(Infinity Awaits by Li Jiabo and He Chaoya) The choreography is a skillful blend of ballet and Chinese dance. Li Lin is impressive as the lady’s lover.”
“(The Bow by Li Lin) It is a fluent work with imageries flowing smoothly. A sense of suspense is evident throughout. At its heart is a powerful pas de deux impressively danced by Ye Feifei and Wei Wei.”
Kevin Ng, ejinsight
(13.10.2017)
“[Headline] Hong Kong Ballet’s Don Quixote leaves audience wanting more..”
“(Iana Salenko) Her technical virtuosity is scintillating and breathtaking. Her partner Shen Jie also danced admirably, as Basilio, while Lukas Jerkander made the Don most human. Chen Zhiyao impressed as the Queen of the Dryads, and Li Lin was an energetic Espada. Hong Kong Ballet has certainly commenced the new season in good form.”
Kevin Ng, Asia Times
(1.9.2017)
“[Headline] Hong Kong Ballet’s Carmen is powerful and superbly danced.”
“Production tells Bizet’s story of love, betrayal and revenge from standpoint of an older Jose – danced stunningly by Liang Jing and Wei Wei – looking on as his yonger self gives in to jealousy and despair.”
“Carmen confirms the team’s strengths – the ability to think outside the box, make brilliant use of music and design and, above all, generate dramatic and emotional power.”
“The use of music (Rodion Schedrin’s 1967 reworking of Bizet plus some excellent original music by Hong Kong musician Mike Orange) is extremely effective.”
“Liang Jing as the older Jose was simply stunning – his charismatic stage presence and the combination of emotional intensity and subtlety in his acting (less is more) were riveting. Wei Wei also gave and extremely moving interpretation of the same role, showing how his skills as a character dancer are continuing to grow.
“In the title role, both ballerinas shone – Ye Feifei’s strong, self-assured portrayal was closer to the original character, matched with Li Jiabo’s violent, impassioned yong Jose, while Liu Miaomiao brought a different nuance as a woman doing what she had to in order to survive, partnered by the poignant Li Lin. Jonathan Spigner did a remarkable job of bringing the least developed character, the boss, to vivid life.”
“Jorma Elo’s athletic, Balanchinesque Shape of Glow made a lively opener and showcased the Company’s energy and high technical standard in sparkling style.”
Natasha Rogai, South China Morning Post
(29.5.2017)
“[Headline] Charming Coppélia shows Hong Kong Ballet at its best”
“Classic production was vividly acted and beautifully danced, and showed the value of the troupe performing in city’s satellite venues.”
“You couldn’t ask for a better production of this ballet, the most light-hearted of all the major 19th century classics. Hynd’s comedy is beautifully judged, his choreography responds with elegance and élan to Delibes’ irresistible score and Roberta Guidi di Bagno’s delicious designs are the icing on the cake.
This is an ideal show for family audiences – an easy-to-follow story for children, plenty of good dancing for adults and humour which appeals to both.
The warm reception from a packed house at Sha Tin shows again how rewarding it is for company and audiences alike for the Ballet to perform in venues beyond its home base at the Hong Kong Cultural Centre in Tsim Sha Tsui.
Liu Yuyao and Shen Jie brought the feisty heroine Swanhilda and her wayward fiancé Franz to life with vivid, natural acting, impeccable comic timing and an abundance of charm.
Liu’s lyrical quality and lovely feet are perfectly suited to the Romantic-Ballet-influenced choreography, as are Shen’s crisp beats and bounding jumps.
Ricky Hu Songwei has become a specialist in playing elderly characters and his Dr Coppelius was convincing and extremely funny, with the proper touch of pathos at the end. Dong Ruixue gave an exquisite account of the Dawn solo, dancing with lightness and precision.
Swanhilda’s friends in particular did a delightful job in the sequence where they sneak into Coppelius’ house. It was also good to see two young Hong Kong dancers who joined the company in 2015, Tirion Law Lok-huen and Leung Sau-long, making excellent progress.”
Natasha Rogai, South China Morning Post
(27.3.2017)
“Liu Yuyao and Wei Wei were exemplary in the grand pas de deux in Act 2. Liu’s perfect long line was shown to best advantage here. Her dancing was radiant as well as grand. There was an inevitability in her steps which were impeccably executed. Wei Wei on this occasion was above his form, dancing and partnering most nobly.”
“Company performances were also strong. In the supporting roles, Jonathan Spigner stood out as Fritz, dancing vivaciously with bright spirits. Shen Jie dazzled as an Italian doll. And the Hong Kong Sinfonietta was impressive under the baton of Andrew Mogrelia.”
Kevin Ng, Time Out
(4.1.2017)
“The ballet moved on opening night because of the touching simplicity of Yao Jin’s Marguerite…Both dreamer and charmer, Yao’s Marguerite charms us and even more charmingly seems to charm herself. Cresting on the pearly washes of Chopin’s score, she seems to foat in an ether; arms tracing gentle curves while waltzing through space, shoulders twisting with fragrant breeziness.”
Joy Wang X. Y., Seeing Dance
(10.11.2016)
“Offers much to enjoy – sparkling dancing (especially by the company’s excellent men), attractive costumes by Robert Glay de La Rose and charming Chopin music played superbly by pianist Colleen Lee Ka-ling with the Hong Kong Sinfonietta conducted by Benjamin Pope.”
“Caniparoli’s version has established itself in the repertoire of several respected companies and his choreography is smooth and well-crafted, the high points being the love duets.”
“The ballet was selected in part as a star vehicle for Jin Yao, who looked stunningly beautiful and danced with her customary technical excellence.”
“Lucas Jerkander was a fine Duval, with vivid acting and heroic partnering. The troupe’s wonderful ensemble of male soloists shone in Acts 1 and 2, led by Li Lin, Shen Jie, Xia Jun, Shunsuke Arimizu and Leung Chun-long. Gao Ge had fun as Gautier’s bitchy rival Olympe, and Dong Ruixue was a delightful Nichette.”
“It was a pleasure to see Lindzay Chan, a legend of local ballet, back on stage as a splendidly over-the-top Prudence.”
Natasha Rogai, South China Morning Post
(8.11.2016)
“The final Pas de Deux towards the end of Act 3 for Marguerite and Armand is quite moving. And the group dance in Act 2 provides some exciting solos for the male soloists, particularly Li Lin and Shen Jie.”
“In the title role of Marguerite on the opening night was Jin Yao, celebrating the 20th anniversary of her dancing career. This ballerina role is perfect for her. She’s blossomed into a sophisticated dance actress, highlighted by her superlative turn as Marguerite.”
“Jin is strongly partnered by Lucas Jerkander, a talented Swede dancing his first major role with the company. Jerkander makes a handsome Armand, and his acting and dancing is superb.”
“On the production side, Robert Glay de la Rose’s costume designs are lavish and beautiful, particularly the white costumes in the Act 2 country garden scene. David Gano’s set designs are sparse but effective, and the Hong Kong Sinfonietta is superb under the baton of Benjamin Pope.”
Kevin Ng, Time Out
(7.11.2016)
“I think these ballet dancers are the happiest people I have ever seen. Bright smiles and pure enthusiasm emanated from them.”
“The strength of this company created something marvelous…Each person had the same classically-trained technique, which never allowed my eye to pinpoint one to either extreme. Their male dancers were incredibly strong, artfully skilled in partnering, and as sensuous and graceful as their female counterparts. There is chemistry between all the dancers and even though that sounds hard to believe, when they are in New York again, you will see what I see in them. Jessica Burrows and Jun Xia had legs for days and extension that was the envy of any dancer…With all the disappointing companies I have seen over the years, the Hong Kong Ballet is certainly not one of them.”
Marsha Volgyi, TheBroadwayWorld.com
(7.10.2016)
“[Serenade] The lead ballerina in the second movement, to the Tema Russo section of the Tchaikovsky score, was joyously danced by Yao Jin…She danced on a big scale and was extremely musical. “
“[Sacred Thread] Set to propulsive music by John Adams, Liang’s choreography was certainly musical and full of vitality…The joyful and folksy first part reminded me of Jerome Robinns’ West Side Story Suite for New York City Ballet…The leading couple, excellently danced by Yu-yao Liu and Jia-bo Li, seem to have an uneasy relationship, as shown by their tense pas de deux in the middle of the work, which has him trying to subjugate her at one point.”
Kevin Ng, Dance International
(4.10.2016)
“Hong Kong Ballet has a fine tradition of presenting a choreographers’ showcase nearly every year. This enables some of its own dancers to try their hands in creating new pieces.”
“More interesting is the next piece Shogun, choreographed by Ryo Kato, a soloist of the Company. It explores the rituals of a shounate. Jia-bo Li looks striking as the chief shogun in red. His duet with Yuh Egami is pretty exciting. A good contrast is provided by a female combative duet.”
“[Lin Li’s Follow Your Heart] Jun Xia stands out in a sinuous solo which is pretty feminine. Yu-yao Liu impresses as his muse.”
“[Jia-bo Li and Chao-ya He’s Night Thoughts] Jun Xia is once more impressive in this piece set in moonlight. The central duet for Fei-fei Ye and Ryo Kato has some big lifts, and is quite tender. The dancing for the ensemble is energetic.”
“Dan·Sheng explores the hua-dan (young female) and wu-sheng (male martial artist) roles in Chinese opera. Yao Jin is most expressive as the opera diva.”
Kevin Ng, ejinsight
(30.9.2016)
“A beautifully trained group of dancers who exhibit their versatility in contemporary works and the
full-length classics.”
“[Shape of Glow] The choreography showed off the strengths and classical lines of the company’s dancers.”
Mark Kappel, Dance Critic
(30.9.2016)
“She [Jurgita Dronina] was excellent in the double role of Odette/Odile. As the White Swan Odette, she was meltingly tender and lyrical. Her dancing was musical, and had weight and gravitas. And as Odile the Black Swan, she was dazzling in her technical fireworks which she accomplished with ease and smoothness, especially the final series of turns around the stage.”
“Miao-miao Liu impressed in her solo in the Act 1 pas de quatre.”“This is an encouraging start to the Hong Kong Ballet’s new season.”
Kevin Ng, Time Out
(8.9.2016)
“Jurgita Dronina’s, touchingly intimate telling, emphasises the woman instead of the proud mystical creature of yore. When her wrists brush against the profile of her face it is less the caressing touch of a swan’s wings than a woman miming strings of tears…the depths of her despair and later, the fullness of her courage is moving because it feels true.”
“Liu [Yu-yao Liu] has long lines and a lovely wingspan. She has beautiful moments particularly when her physical fragility opens up to reveal a sudden dam of hidden passion.”
“When he [Ryo Kato] dances he flies lifting a performance with him. His dancing is handsome, strong, full of promise.”
“The Principals were well supported by the rest of the cast in both performances. In general, the men in this company are endowed with airy jumps and clean lines. The women have gracious epaulement and a pleasant directness. The Corps is disciplined and the production, by John Meehan, shows them off effectively.”
Joy Wang, Seeing Dance
(31.8.2016)
“[Sacred Thread] Liang’s choreography is certainly musical and full of vitality. The lead couple, excellently portrayed by Yu-yao Liu and Jia-bo Li, seems to have an uneasy relationship as signified by their tense duet in the middle of the work.”
Kevin Ng, Ejinsight
(12.8.2016)
“[Pas de Trois from A Room of Her Own] Yu-yao Liu was particularly striking with her remarkable extension and her dramatic ability. Liu, together with Miao-miao Liu as the pretty mistress, and Jia-bo Li as the strong husband, presented a mesmerizing short story ballet.”
“[Castrati] The audience went wild with applause and vocal appreciation.”
Rose Marija, TheBroadwayWorld.com
(22.3.2016)
“[Headline] Hong Kong Ballet, Polished and Ready for More”
“Company of lovely dancers”
“[In Light and Shadow] The stage brightens and is filled with the ensemble, as well as quick sections that highlight the qualities of individual dancers: the engaging wit of Jessica Burrows, the sunny appeal of Dong Ruixue and the extraordinary airiness of Xia Jun.”
Gia Kourlas, The New York Times
(20.3.2016)
“[In Light and Shadow] The piece begins with the Aria from the Goldberg Variations, where Yao Jin, partnered by Wei Wei, was beautifully lyrical. She radiated a warm and soft presence.”
Andrew Blackmore-Dobbyn, Bachtrack.com
(18.3.2016)
“[Pas de Trois from A Room of Her Own ] The technique of both women was a superb blend of classical ballet and modernistic steps. Their sinewy arms rippled as Mr Jerkander would cast each one around in passion."
“[Castrati] I was truly blown away by the strength, bravura, exuberance, freedom and the dynamic abilities of these nine male dancers…I can attest that the men of the Hong Kong Ballet are as talented and disciplined in their performance as the greats from ABT long ago.”
“[In Light and Shadow] Jun Xia’s gorgeous arched feet and 180-degree extension were reminiscent of the famous Vladimir Malakhov. I believe I will continue to hear of his accomplishments, and that he will obtain the admiration of many balletomanes.”
“I honestly haven’t seen an entire company dance with such skill and heart in a long time. Artistic Director Madeleine Onne; Senior Ballet Master Jing Liang; Ballet Mistress Min Tang; and all those who have coached these dancers need to know that their efforts have come to fruition. Please continue to keep classical and neo-classical at this level of excellence.”
Marsha Volgyi, TheBroadwayWorld.com
(18.3.2016)
“A technical and beautiful force” “[Pas de Trois from A Room of Her Own] Leg extensions gorgeously highlighted by the skirts underscore this soulful and sad work that compels the audience to view it with wonder.”
“By and large, the most memorable piece of the night is the turbulent Castrati…The presence of the full cast evokes a visceral viewing experience split by intrigue.”
“[In Light and Shadow] Ability and artistry cannot be contested as the dancers are clearly expert in their craft.”
“Hong Kong Ballet’s reputation is well earned and under the direction of Madeleine Onne continues to prove itself as an important staple in the world of ballet.”
Eye On The Arts
(17.3.2016)
“The dancers handled Duato’s choreography well, and Jie Shen danced the chosen boy with an extraordinarily rich emotional range.”
“[In Light and Shadow] The women were the focal points, led by a somewhat solemn woman in a blue-green skirt (Liu Miao-miao), a vivacious, sensuous one in a red dress (Jessica Burrows), and a vibrant one in a yellow print skirt (Dong Ruixue) who brought a particularly lively, youthful air to her dancing. All three lit up the stage whenever they appeared, regardless of the lighting used to illuminate them. The concluding section of the piece, in which groups of dancers occupy separate areas of the stage and take turns as the segment’s focus, is particularly well choreographed and interesting to watch.”
“A woman in a lovely blue gown, Liu Yu-yao, sits in a Spartan-looking room at an equally Spartan-looking desk, writing. A man Li Jia-bo) and younger-looking woman (Liu Miao-miao), both in white, suddenly materialize and dance together passionately.”
“This is an engaging group of dancers, who might well be a very fine group of classical and contemporary ballet dancers judging from the company’s repertoire and its determination to be a player in international ballet.”
Jerry Hochman, Critical Dance
(16.3.2016)
“[Castrati] The ensemble cast of Jie Shen, Jun Xia, Wei Wei, Jia-bo Li, Lucas Jerkander, Shunsuke Arimizu, Chun Long Leung, Ricky Hu, and Lin Li brought great power to Duato’s choreographic images…From the efforts made by the Company’s Artistic Director, Madeleine Onne, and the excellent performances of the dancers, in this performance Hong Kong Ballet proved itself to be a company of international standard.”
Mark Kappel, Dance blogger
(15.3.2016)
“The Sleeping Beauty was beautiful, graceful and exact. The dancers made this impossibly technical performance look effortless. While the ballerinas spun quadruple pirouettes on point and the ballerinos did saubresaut’s two feet in the air.”
Taylor Boileau, Apt613
(7.3.2016)
“The powerful and crisp Hong Kong Sinfonietta – paired with outstanding performances from specific members of Hong Kong Ballet – made this production a festive season must see.”
“This amalgamation of creativity produced new movement and new characters whilst still being set to the timeless elegance of Pyotr Ilyich Tchaikovsky’s intense and revered score.”
“This plot change allows Fritz to have a more significant role in the ballet, and the partnership of Clara and Fritz performed by Dong Ruixue and Shen Jie was most enchanting.”
“Most poignant was that of the Egyptian Duet which was expertly choreographed and exotically executed by Gao Ge and Lucas Jerkander. The Russian Dolls, danced by Jessica Burrows and Shunsuke Arimizy received great applause for their performance too.”
“It was most impressive to see a culmination of new and intuitive choreography paired with Tchaikovsky’s traditional composition.”
“Made for a wonderful family-orientated performance, full of Christmas merriment – a treat for old and young alike.”
Jeena de Beer, Hong Kong Free Press
(24.12.2015)
“Liu is currently the most outstanding female principal dancer in the company. Her artistry is in full bloom and she is currently dancing at the height of her power...She is ecstatic in the balcony duet, and her death scene is moving.”
“The supporting roles are also strongly cast. Shen Jie is a vivacious Mercutio. Jin Yao dances authoritatively as Lady Capulet, while Li Lin is convincing as the evil Tybalt. The sets and costume designs by Toer van Schayk are sumptuous.”
Dance Critic Kevin Ng, Time Out
(3.12.2015)
“All the more credit to the first cast of Wei Wei and Liu Miao-miao for some ravishing dancing – swift, fluid and musical. Liu was radiant in her debut as a gentle, moving Juliet, while Wei has the happy gift of always making you believe he’s in love with his ballerina…Shen Jie (as Romeo) and Dong Ruixue (as Juliet) – both making their debuts – also shone. Their youth and intense rapport made them utterly convincing.”
“In the supporting roles there was dazzling dancing. Both Tybalts – the sneering, silkily feline Li Lin and the ferocious, snarling Lucas Jerkander – were outstanding. Also impressive were the two Mercutios – Shen displayed immaculate dancing and vivid acting while Xia Jun did well in his first big dramatic role and produced some thrilling virtuosity.”
Dance Critic Natasha Rogai, South China Morning Post
(21.11.2015)
“It’s not only full of innovative dance, but also rich in dance vocabulary, allowing the dancers to show a wide range of performance skills…Hong Kong Ballet danced with dynamism. The choreography is musical and is pleasing to watch.”
“Liu Miao-miao is made for the role of Juliet. Her tiny and graceful frame is perfect. Her technique is steely and her performance is moving. The moment in the pas de deux when she throws herself from a considerable height into Romeo’s arms was most touching…Wei Wei is a warm and gentle performer who communicates well with audience.”
“The rest of the cast also produced high quality dance…Lucas Jerkander has a sharp, quick, ambitious quality as Tybalt and acts up a long stormy fight with Xia Jun’s excellent Mercutio… Xia Jun’s performance was perfectly furnished with fast turns and precise jumps, all topped off by warm communicative acting that made his death a true tragedy.”
Jade Li, Critical Dance
(20.11.2015)
“Hong Kong Ballet’s choreographic showcase programmes are a vital means of identifying and nurturing creative talent in the company.”
“The high point was guest Nguyen Ngoc Anh’s Evol, inspired by the city’s ultra-modern architecture...A dazzling piece in the manner of William Forsythe, it was danced with daring and energy by a cast of five, with Xia Jun and Gao Ge the stand-outs.”
“The most substantive work from the home team was Li Jiabo’s dark, dreamlike Keep Watch, set to music by Arvo Pärt and performed movingly by Liu Yu-yao and Shen Jie.”
“Two young dancers showed promise as choreographers. Yui Sugawara’s Enlightening was impressively accomplished, with strong structure and excellent use of space, while Kenneth Hui Ka-chun’s Panta Rhei evoked the daily struggle of life in a crowed city through bold, dynamic movement.”
Dance Critic Natasha Rogai, South China Morning Post
(6.10.2015)
"The whole evening is held together and lifted by Shen Jie, who dances with effortless virtuosity and makes a vividly expressive Pinocchio"
"…lavish production values, strong dancing and a star performance from Shen Jie in the title role"
"Isberg's choreography is attractive and expressive, notably for the Cricket (the delightful Liu Yu-yao) the Cat (the slyly sensuous Liu Miao-miao) and the Fox (the dashing and sinuous Li Lin)."
"Fantasy material demands top-notch design and here Pinocchio is a triumph. Jérôme Kaplan's costumes, Bo-Ruben Hedwall's sets, Jordi Castells' painting and Aya Mok's props are ingenious, imaginative and skilfully executed."
Dance Critic Natasha Rogai, SCMP
(31.8.2015)
"This is a sophisticated retelling that succeeds where many ballet adaptations of fairy tales fail – captivating children with stage magic and engaging adults with nuanced portrayals of character and conflict."
"The handsome company shows commendable range not only in the authority of their bold allegro work, but also in the polish of their mime and in the delicate precision of their commedia dell’arte antics."
"The fleet-footed Shen Jie won hearts in the role of Pinocchio. ….. Li Jia-bo was an exceptionally fine Gepetto ….. Jin Yao as the Blue Fairy was tentative and remote…"
"What this theater demands is the seriousness of the child at play," wrote Kenneth Gross"...a demand that Hong Kong Ballet has triumphantly fulfilled."
"One can simply be dazzled at the visual spectacle of the ensemble in full commedia finery."
"Wit of the highest order is on display in Kaplan’s costuming. No less fantabulous are Hedwall’s abstract sets and backdrops..."
"The simplest of effects work like magic against these spectacular backdrops, moodily lit to convey tranquility, sadness, or a sense of menace."
"Throughout, the Hong Kong Sinfonietta soared in the Respighi score, imaginatively confected by conductor Benjamin Pope."
Carla Escoda, Bachtrack
(30.8.2015)
“The production (Bolero by Yuh Egami and Ricky Hu) is a technical tour de force, from the constantly transforming set to the black fans with knives in their blades that open and close on the heads of the demons, a dark echo of the white fan on which the girl ultimately writes her suicide note. The risky, amibitious concept was executed superbly by Egami, Hu and the design team of Siu Wai-man(sets), Bridget Steis (costumes), Aya Mok (props) and Alice Kwong (lighting)."
"The cast maintained the impeccable precision called for by the technical aspects while performing with passion and commitment. Liu Yu-yao gave a searing portrayal of a girl losing touch with reality, and Lucas Jerkander was poignant as her lover."
"Alexei Ratmansky's version of Saint-Saëns' Le Carnaval des Animaux reflected the wit and charm of music. If not one of Ramtmansky's major works, it shows his inventiveness, musicality and humour. It was splendidly performed, with the dancers romping through the technical difficulties and bringing out the comedy."
Dance Critic Natasha Rogai, South China Morning Post
(2.6.2015)
“The production is a superb piece of theatre, distinguished by Weir’s fine choreography and Bill Haycock’s stunning designs.”
“Dancing the title role for just the third time, Zhang Siyan made it her own. As seductive as she is imperious, her Turandot gloats over her prey like a gorgeous, glittering praying mantis. Zhang is equally convincing portraying Turandot’s anguish over the ancestor whose rape and murder inspired her hatred of men and her rapturous discovery of love. Her dancing is magnificent, with the long-held arabesques that are a signature of the role a high point.”
“Li Jiabo made an impressive debut as Calaf two years ago. He has maintained the passion and emotional intensity of that performance while adding greater technical assurance, particularly in the partnering with its many soaring lifts. Li’s physicality and freedom of movement are ideal for Weir’s choreography and this is an outstanding interpretation.”
“Dong Ruixue was an exquisite Liu – touching in her devotion to Timur and Clalaf, lyrical in her dancing and her body responding to the choreography with immense expressiveness.”
Dance Critic Natasha Rogai, South China Morning Post
(10.2.2015)
"[Horn] Yuh Egami and Ricky Hu are already established choreographers and this was evident in their offering, Horn."
Dance Critic Natasha Rogai, South China Morning Post on Horn
(2.12.2014)
"Hong Kong Ballet gave a passionate and technically daring performance"
"Wei Wei (Calaf) and Liu Yu-Yao (Turandot) make for an elegant pair, with each vigorously interpreting Weir’s intricate and sometimes acrobatic choreographic perspective. The same goes for the fleet-footed Liu Miao-Miao (Liu), who fully embraces the joy and tragedy of her doomed character."
"A chorus of 20 dancers moves as one breathing body, serving as shadowy mourners and graceful celebrants. This is a virtuosic and personable company, currently under the direction of Madeline Onne... Bill Haycock’s set and costumes as well as Kim Lee’s lighting all are worthy of mention."
Caroline Palmer, StarTribune
(7.11.2014)
"[Serenade] Liu Yu-Yao was both beautiful and expressive as the waltz ballerina and she's a natural Balanchine dancer with long ethereal lines. Wei Wei was her partner in the pas de deux. As the ‘Russian’ ballerina, Nina Matiashvili danced with bright energy, and the final elegy movement in which both Kostyantyn Keshyshev and Zhang Si-Yuan were commendable, was intense and moving.
"This premiere of Serenade is definitely a triumph for the company"
Dance Critic Kevin Ng, Bachtrack on Serenade
(28.10.2014)
"[Serenade] ... all the principals caught the feeling of the ballet well, with fine performances by Nina Matiashvili, Dong Ruixue and Frank van Tongeren."
"[Castrati] ... Shen Jie repeated his riveting interpretation of the lead role, and Ricky Hu and Xia Jun were also outstanding."
"[Swan Lake Act III] ... Zhang Siyuan was both glamorous and technically brilliant; Li Jiabo brought new assurance to his variations as well as his partnering."
Dance Critic Natasha Rogai, South China Morning Post
(28.10.2014)
“Hong Kong Ballet's 2014/15 season opened in style with a sparkling new production of Don Quixote by former Bolshoi stars Nina Ananiashvili and Aleksei Fadeechev."
"Nobody knows Don Quixote better than Ananiashvili, one of the all-time great Kitris and Fadeechev, who has staged it before, notably at the Bolshoi. This production is admirably tailored to fit the Hong Kong Ballet’s resources and local audience tastes without sacrificing authenticity."
"...The result is a fast-paced feast of non-stop dancing, as entertaining for family audiences as it is satisfying to ballet lovers. The concept is well matched by Thomas Mika's designs - bold and colourful, with good, clean lines that enhance the movement."
"There was outstanding solo work from Zhang Siyuan, Li Lin and Naomi Yuzawa, a hilarious Gamache from Jonathan Spigner and an endearingly confused Don Quixote from Kostyantyn Keshyshev."
"The first night saw a splendid Basilio from Wei Wei - funny, charismatic and stylishly danced. Liu Yuyao made a charming Kitri and, in her first turn as principal, lifted her dancing to a new level."
Dance Critic Natasha Rogai, South China Morning Post
(26.8.2014)
…the dancers are so good that there’s pleasure to be had in simply watching them move…
Tresca Weinstein, Times Union
(20.6.2014)
Subtle, powerful, eclectic - these words best describe the three pieces performed Thursday night by The Hong Kong Ballet at Jacob's Pillow Dance Festival.
But if I had to pick just one phrase that best characterizes this modern ballet company, which performs through Sunday at the Pillow, it would be austere beauty.
I've seen other dance groups perform Castrati before, but The Hong Kong Ballet's performance of this disturbing work had a sharpness and crispness that really made the piece stand out.
What better way to start another great season this summer at Jacob's Pillow?
Ken Ross, MassLive
(20.6.2014)
Under the expert leadership of Madeleine Onne, the group seems even more of a cohesive unit since its 2012 Pillow debut, and a number of individuals boasting generous artistry and technical prowess bathe the company in a warm glow….
……[Fei Bo’s] A Room of Her Own left me wanting much more….Repeatedly, a right tone is struck; these are not mannered, fussy dancers who cant enigma into melodrama.
….Krzysztof Pastor’s 2000 In Light and Shadow…..Pastor deftly — but surely it is with a magician’s hand! — keeps the near-chaos always within a structure. Somehow, everything belongs here: a cheeky women’s section in which only their lower legs are fully lit, a haunting male solo, two side-by-side but stylistically miles-apart duets. Tatyana van Walsum’s costumes, a potpourri of color, texture, and style, could be incongruous but instead are a fabulous match, more punch for the party.
The dancers, meanwhile, just nail it with their sincerity, the truth of their joie de vivre.
Janine Parker, The Boston Globe
(20.6.2014)
“…a well balanced mixed programme… This new production [of Michel Fokine’s 20th century plotless masterpiece Les Sylphides] staged by the artistic director Madeleine Onne, is a welcome addition to The Hong Kong Ballet’s repertory.”
“the pas de deux was beautifully danced by Jin Yao and Wei Wei, while Wu Fei-fei stood out among the four soloists.”
“The pas de deux from act two of Le Corsaire was stylishly danced by two soloists of the Royal Swedish Ballet – Jordan-Elizabeth Long and Adilijiang Abudureheman”
“Tan Yuan Yuan and her long-time dance partner Damian Smith, both principals of the San Francisco Ballet…first performed the intense duet Finding Light by Edwaard Liang. Here they were completely in tune with each other. They were even more ecstatic in Christopher Wheeldon’s Five Movements, Three Repeats. This was a perfect showcase of the dancers’ great partnership. Tan has an amazing plasticity, and her ethereal body is pliable. In this duet, her arms were most expressive, while her legs just floated off the ground in supported lifts.”
“This energetic piece [Jorma Elo’s Shape of Glow] consists of three sections without any prominent lead soloists…In the allegro first movement, the choreography is dazzling in its virtuosity. The second adagio movement is the best crafted of the three and features several couples. The most expressive being the lead couple of Li Jia-bo and Liu Miao-miao…Male dancers Li Jia-bo and Shen Jie particularly stood out in their solos…[Shape of Glow is] a challenging technical showcase finely danced by the whole company. It was certainly a rousing end to the evening.”
Dance Critic Kevin Ng, Time Out on Les Sylphides and More
(12.6.2014)
[The] Hong Kong Ballet's new mixed bill showcases the company's impressive range and technical strength.
Les Sylphides - Li Ming's speed and sparkling footwork, Wu Feifei's lyrical arms and Jin Yao's soaring jumps in the mazurka were all outstanding.
[Shape of Glow] is a strong addition to [The] Hong Kong Ballet's repertoire and a triumph for its dancers.
Shape of Glow - the whole cast was superb, especially Dong Ruixue, Liu Miao-miao, Shen Jie and Li Jia-bo, while two corps de ballet members, Shunsuke Arimizu and Jun Xia, made a striking impression.
Dance Critic Natasha Rogai, South China Morning Post on Les Sylphides and More
(27.5.2014)
“Tan Yuan Yuan was warm and tender in the duet from Lady of the Camellias by Val Caniparoli. Her long line and large-scale dancing were an aesthetic delight.”
Dance Critic Kevin Ng, DanceTabs
(12.11.2012)
“[Le Grand Pas de Deux] Zhang Yao was hilarious as the rough male dancer, while Liu Yu-yao was superb as the poor ballerina.”
Dance Critic Kevin Ng, DanceTabs on Le Grand Pas de Deux
(12.11.2012)
“[Dancing with the Wind] Li Jun, whose choreography is quite fluent, has managed to create an extremely watchable ballet with a Chinese flavor… Particularly outstanding in this work were Wu Fei-fei, who danced authoritatively at the end, and Liu Miao-miao.”
Dance Critic Kevin Ng, DanceTabs on Dancing with the Wind
(12.11.2012)
“[Castrati] The whole cast certainly deserved praise, especially Shen Jie who was most impressive as the chosen victim.”
Dance Critic Kevin Ng, DanceTabs on Castrati
(12.11.2012)
“Rounding out the bill was guest star Tan Yuan Yuan in two pas de deux designed to show off her lightness and plasticity. She was partnered impressively by fellow San Francisco Ballet principal Vito Mazzeo.”
Dance Critic Natasha Rogai, South China Morning Post
(5.11.2012)
“[Theme and Variations] Every inch the star, Ye Fei-fei danced with sublime assurance, making light of the technical difficulties. She was ably partnered by Zhang Yao.”
Dance Critic Natasha Rogai, South China Morning Post on Theme and Variations
(5.11.2012)
“[Dancing with the Wind] The relentlessly pretty choreography is competent… Kudos goes to Gao Shuai-nan for bringing a welcome touch of gravitas.”
Dance Critic Natasha Rogai, South China Morning Post on Dancing with the Wind
(5.11.2012)
“[Castrati] Nacho Duato’s choreography combines strong movement with an androgynous quality as disquieting as it is distinctive… The company’s men have always shone… they danced with extraordinary speed, power and intensity. Shen Jie gave a searing portrayal of the youth about to be sacrificed and Yo Takahira’s astonishingly fluid solo was a stand-out.”
Dance Critic Natasha Rogai, South China Morning Post on Castrati
(5.11.2012)
“Li Jia-bo’s intriguing Unable to Rewind had depth as well as disciplined complex form and was performed superbly by Jin Yao and Wei Wei. It was a big night for Li: a talented musician, he composed the attractive music for his own piece and arranged the score for White Lies, in which his dancing was also a stand-out.”
Dance Critic Natasha Rogai, South China Morning Post
(24.9.2012)
“Liu Miao-miao’s Fin had some imaginative lifts that showed off Ye Fei-fei’s gloriously pliant physique and fine partnering from Li Lin.”
Dance Critic Natasha Rogai, South China Morning Post
(24.9.2012)
“Two first-time choreographers (Liu Miao-miao and Li Jia-bo) impressed with duets that brought out the best in their dancers –the prime function of any pas de deux.”
Dance Critic Natasha Rogai, South China Morning Post
(24.9.2012)
“Li Yiran’s Soundless stood out as a mature, accomplished work that marks a big step for its creator… the piece was structured and polished.”
Dance Critic Natasha Rogai, South China Morning Post
(24.9.2012)
“The 2012 edition was the best yet and included work worthy of a place in the company’s permanent repertoire. The evening’s longest and most substantive piece, White Lies, by Yuh Egami and Ricky Hu, was a tour de force. Complex, ambitious and stylish… Egami and Hu know how to deploy their dancers en masse with skilful use of space as well as how to make individuals shine… The fun side of the piece is balanced by the emotional intensity of Wei Wei’s solos set to Nina Simone and his stunning duet with Wu Fei-fei and by the mournful, elegiac ending.”
Dance Critic Natasha Rogai, South China Morning Post
(24.9.2012)
“Her (Jin Yao’s) acting was superb, and her dancing too had a warm glow throughout. In Act 1 she was ravishing in her playful solo with the broom. In Act 2 she was ecstatic in the ballroom duet, and danced impeccably her dizzy solo full of turns. Jin was strongly partnered on this occasion by the tall Ukrainian coryphée dancer, Kostyantyn Keshyshev. He danced nobly as the prince, his virtuosity in his solo was spectacular… Keshyshev is the finest classical danseur in the company at present… Zhang Si Yuan was sharp and precise in the winter fairy solo, while Shen Jie dazzled as the jester in the ballroom.”
Dance Critic Kevin Ng, DanceTabs
(18.9.2012)
“Allen’s best choreography is there when it matters most: for the two pas de deux at the heart of the ballet. The ballroom duet, which contains some soaring lifts, brings the right touch of romance and heart-warming emotion… The colourful sets and costumes by Peter Cazalet are rather tasteful.”
Dance Critic Kevin Ng, DanceTabs
(18.9.2012)
“Wei Wei certainly captured Skinny’s maniacal, if misplaced, energy in the ballroom scene… Special praise goes to Shen Jie for making the prince’s aid believable and likeable, as well as for his irresistibly light and elegant dancing… Li Ming stood out for the lightness and precision of her dancing in the fairy variations.”
Dance Critic Natasha Rogai, South China Morning Post
(5.9.2012)
“Liu Yu-yao proved yet again what a fine actress-dancer she is… Her dancing was expressive and beautifully phrased, with ravishing length of line… Wu Yan, whose solos showed off his buoyant elevation and excellent schooling… Wu and Liu danced well together… the closing pas de deux was confidently performance and made a charming finale.”
Dance Critic Natasha Rogai, South China Morning Post
(5.9.2012)
“Both dancers (Zhang Si Yuan and Kostyantyn Keshyshev) were so confident, and assured, that it was hard to believe that they were actually making debuts. Zhang gave a sincere and deeply-felt interpretation with emotional weight, and was pretty strong technically. Keshyshev’s dancing and characterization were no less fine… I would also rate this double-debut performance as the single most exciting performance of the company’s entre 2011-12 season… Dong Ruizue in particular impressed in the peasant pas de deux. The corps de ballet of wilis danced at their best.”
Dance Critic Kevin Ng, Dance Tabs
(26.6.2012)
“Technically she (Tan Yuan Yuan) was as usual iron-clad. Emotionally she was at her best in Act 2, most dignified and ethereal as a wili… Her mad scene was well-paced and built up to a shattering climax.”
Dance Critic Kevin Ng, Dance Tabs
(26.6.2012)
“Liu Yu-yao brought an icy, implacable beauty to Myrtha, her dancing distinguished by magnificent arms and musicality… and Li Yiran brought dignity and tenderness to the role of Giselle’s mother.”
Dance Critic Natasha Rogai, South China Morning Post
(28.5.2012)
“His (Kostyantyn Keshyshev’s) performance was thought out in every detail, convincing and deeply moving in the transition from vain, selfish seducer to grieving, repentant lover. He partnered well and produced some fine dancing, notably his series of entrechat six in Act 2. This is the best thing Keshyshev has done with the company and a major breakthrough for him.”
Dance Critic Natasha Rogai, South China Morning Post
(28.5.2012)
“So confident and complete was her (Zhang Si Yuan’s) performance… Touching in her innocence at the beginning, heart-wrenching in her mad scene and sadly, serenely loving in Act 2, this was an immaculate interpretation. Her dancing was equally good: musical, fluid and full of the lightness and speed the role demands. The way that she paced Act 2 to build the dancing to a climax was remarkable in its maturity.”
Dance Critic Natasha Rogai, South China Morning Post
(28.5.2012)
“[in the evening performance] Wei Wei gave a heartfelt interpretation of Calaf, including a magnificent account of the exacting Nessun Dorma solo.”
Dance Critic Natasha Rogai, South China Morning Post
(19.3.2012)
“One of the best works ever made for the company… In an electrifying matinee performance, three young dancers made outstanding debuts in the leading roles. Li Jia-bo danced Calaf with blinding commitment and impassioned intensity. Ye Fei-fei made Turandot’s transition from implacable ice princess to young woman in love totally convicing, and Liu Miao-miao was a lyrical, heart-rending Liu. The entire company performed with passion and vibrancy.”
Dance Critic Natasha Rogai, South China Morning Post
(19.3.2012)
“… Fei responds to the anguished intensity of the music with smoothly flowing, well-structured choreography and taut, dramatic storytelling. The emotional power of the work is generated by a riveting performance from Wu (Wu Fei-fei), who uses her whole body to express the character’s joy, pain and final disintegration. She is ably supported by fine work from Li (Li Jia-bo) and Liu (Liu Yu-yao).”
Dance Critic Natasha Rogai, South China Morning Post on A Room of Her Own
(6.11.2011)
“The long, intensely moving pas de deux in the middle was superbly danced by Wu Fei-fei and William Lin. Jin Yao made a good debut in this duet on the opening night. Praise also for Jonathan Spigner in the second cast as the leading man who dies at the end, who was as convincing as Li Jia-bo on the first night. Liu Miao-miao was charming, while Jae-eun Park was bright and lively.”
Dance Critic Kevin Ng, ballet.co.uk / Dance Journal/HK on Luminous
(6.11.2011)
“[Luminous] a truly satisfying piece, as quietly radiant as its title. The swift, fluid choreography is admirably musical and the interaction between the dancers has gained in emotional depth and complexity.”
“A dazzling duet between Jin Yao and Wei Wei deserves a special mention, but this quintessentially ensemble work was danced – and acted – beautifully by the entire cast and showed the company at its best.”
Dance Critic Natasha Rogai, South China Morning Post on Luminous
(6.11.2011)
“Jin Yao danced gloriously, with a fullness of tone throughout, Huang Zhen was her gallant cavalier and the corps de ballet danced with high spirits.”
Dance Critic Kevin Ng, Financial Times / Ballet2000 on Allegro Brillante
(2.6.2011)
“Shen Jie gave a seamlessly phrased virtuoso performance in this Bournonville pastiche…”
Dance Critic Kevin Ng, Financial Times / Ballet2000 on Grand Tarantella
(2.6.2011)
“… the most sophisticated piece was Yuh Egami’s OIOIO…Ye Fei-fei, Li Jia-bo and Li Lin performed admirably… Spare, sinewy and well-structured, this thoughtful piece would repay more than one viewing.”
Dance Critic Natasha Rogai, South China Morning Post on OIOIO
(19.4.2011)
“Liu Yu-yao and Wu Yan made an impressive debut as lead couple [in Rubies] and succeeded in capturing the playfulness the piece requires. Wu, a recent recruit to the company, displayed exhilarating speed and panache, while Liu’s musicality shone.”
Dance Critic Natasha Rogai, South China Morning Post on Rubies
(22.3.2011)
“The Company danced [Symphony in Three Movements] superbly. Jin Yao and Izak David Claase gave a fine account of the opening and closing duets and there was outstanding work from Wu Fei-fei, Wei Wei, Chen Qing and Ricky Hu”
Dance Critic Natasha Rogai, South China Morning Post on Symphony in Three Movements
(22.3.2011)
“…it was good to see the company perform them to such a high standard…”
Dance Critic Natasha Rogai, South China Morning Post
(22.3.2011)
