The 2014 Arts Festival offered contemporary dance from established international masters along with new wave work from Asia, Scandinavia and Hong Kong itself.
Tag - Hong Kong
The Festival kicked off with two classical ballet companies presenting very different versions of the oldest and most celebrated Romantic ballets in the repertoire: a classic rendering of Giselle and a radically different take on La Sylphide...
The production provides a welcome showcase for the power and virtuosity of the company’s men who are on magnificent form, led by the splendid Chen Jun.
Quintessential Eifman packed with athletic choreography, striking theatrical effects and superb dancing, it makes gripping entertainment if not high art.
It’s My Turn is the 2013 edition of City Contemporary Dance Company’s annual showcase for new choreography... Although this wasn’t a vintage year, all four pieces offered something to enjoy...
The show is lively, entertaining and features stand-out performances in the leading roles
Bouvier’s concept is valid and interesting, the execution less satisfying. She is certainly a talented choreographer and produces some striking images...
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...
City Contemporary Dance Company’s closing show of 2012 was a welcome revival of Helen Lai’s 2004 The Comedy of K, a seminal work which shows this celebrated choreographer at the height of her powers.
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.
Overall, this thoughtful piece confirms Yang as a choreographer of intelligence and originality. Design, lighting and music are all excellent, as is the dancing from this fine ensemble company.
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...