The season began with a high-energy mixed bill which showed the company on sparkling form.
Ideological qualms aside, White Haired Girl is an odd bird. The choreography is a hybrid between textbook classical vocabulary and Chinese opera, an idea interesting in itself but here executed with a lack of imagination…
This new production of Nutcracker is ambitious with a complicated but intelligent libretto which makes a welcome change for the audience.
“While this may not be a Nutcracker for those looking for subtlety or sophistication, it’s a fun show designed to thrill adults as well as children.
Hong Kong Ballet presented a diverse and well-balanced mixed programme in early November, consisting of two premieres and a revival of a major work.
…an outstanding production which deserves to be seen again.
The choice of programme was something of a curate’s egg – disappointingly so in view of the company’s rich repertoire – but two out of the four works were excellent and the dancing was spectacular.
I saw the first cast led by Jin Yao, the top ballerina in the company. Her acting was superb, and her dancing too had a warm glow throughout.
The whole troupe’s dedication and excellence in performance was most commendable, if only there were brighter sections to provide a better contrast to the pervasively dark and mournful tone of this piece.
The story is clearly narrated and easy to follow. Harangozo’s choreography is proficient overall though not particularly inventive. The two pas de deux are warm though lacking emotional depth.
Keshyshev made a remarkable debut as Albrecht, partnering Zhang Si Yuan who was also dancing Giselle for the very first time. Both dancers were so confident, and assured, that it was hard to believe that they were actually making debuts…
The company brought two contrasting programmes, one classical, In the Steps of Petipa, and one modern, 4 Tendances (Four Tendencies). Of the two, the dancers looked far more at home in the contemporary pieces…
Underpinning all of these familiar devices is the remarkable, intoxicating charisma of this extended family of performers, many of whom have been with the company for 30+ years. They continue to represent, with a comfortable faultless ease, Bausch’s unique cultural legacy…
Dominic Wong is one of Hong Kong’s more unpredictable choreographers. Each new work he creates seems to explore a new direction and Blind Chance, his latest creation for City Contemporary Dance Company (CCDC), is no exception.
…in late March the troupe revived Turandot, created in 2003 by the Australian choreographer, Natalie Weir, and one of the best works premiered during the tenure of the former artistic director, Stephen Jefferies.
Local audiences also saw the return of the Lyon Opera Ballet. Their mixed programme consisted of two ballets by Benjamin Millepied, a ballet by Maguy Marin, and best of all, Balanchine’s masterpiece, Concerto Barocco, staged by Nanette Glushak.
Anyone who went to Les Ballets de Monte Carlo’s Le Songe, artistic director Jean-Christophe Maillot’s version of Shakespeare’s A Midsummer Night’s Dream expecting a family show will have been in for a shock. Packed with graphic sexual imagery from start to finish, this is the kind of production that has small children asking “What are they doing, Mummy?”…
Grosse Fugue by Maguy Marin… Performed with energy by the dancers and received with rapturous applause by some of the audience, this is either genius at work or less fun than watching paint dry, depending on your point of view.