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Natasha Rogai
Led by prima ballerina Qiu Yunting, whose dancing was exquisite, this purists’ version of Giselle was only marred by the recorded music.
The Australasian Dance Collective’s show is an imaginative combination of technology and dance but the choreography is disappointing.
Despite amazing vocals, the opera by Gaetano Donizetti needs more space than offered by Hong Kong City Hall’s Concert Hall to truly shine.
‘Kung Fu Artistry: Bruce Lee’s No Way as Way’ by the Hong Kong Dance Company is a powerful mix of dance and martial arts.
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Time will tell if the shoes, created in Hong Kong and used in the dance performance The Next Movement, will spur a major evolution for tap.
The soprano talks about how she champions sustainability through music and her work to highlight the health benefits of music and the arts.
Recently dancing in Hong Kong, Natalia Osipova talks about going from Russia’s Bolshoi Ballet to Britain’s Royal Ballet and her future hopes.
From lead to chorus, the performances in Aida are superb, but the production suffers from its more intimate approach and unusual costuming.
Guest artists Marianela Nuñez and Matthew Ball were excellent in the leading roles, with the HKB cast also impressing when their turn came.
For all its amazing vocals, music and acting, production suffers from a confused one-track concept, dull sets and repetitive video designs.
With 10 principal dancers and numerous soloists, the famed Russian company performed classic and modern pieces with precision and grace.
Work by Hong Kong’s City Contemporary Dance Company, with its ‘trapped’ performers and manhandled women, is more horror than moral tale.
Ballet adapted from one-act work shows vignettes of artist Frida Kahlo’s life, with striking choreography and costumes, but feels stretched.
The Hong Kong Arts Festival’s presentation of the famous opera gives a fascinating sense of what audiences experienced 150 years ago.
Mariinsky Ballet’s Maria Khoreva shows why she is making waves, hometown hero Lam Chun-wing earns acclaim in tribute to a legend of dance.
Hong Kong Arts Festival programme was performed beautifully by the Czech National Ballet. It’s just a pity there was no live music.
Production by Hong Kong’s City Contemporary Dance Company seemed less spectacular than the 2006 work that inspired it.
Kelvin Mak’s brilliantly original choreography illuminates The Night Before Tempest, but the narrative could flow better.
Ip Man is portrayed brilliantly by Chang Hongji in a high-energy martial arts and dance show that idealises the kung fu master’s life.
Yeung, 57, reflects on age catching up with him as he revisits exhibitionist solo dance work at Freespace in Hong Kong.
Showcase for mezzo-soprano’s vocal virtuosity sometimes came at the expense of musical purity, but Macao Orchestra impressed nonetheless.
Created in-house, this version of the classic story blends ballet with Chinese dance, and has an incredible score and amazing choreography.
Performed at the 2024 Macao International Music Festival, the Mariinsky Theatre’s production of Puccini’s opera Tosca was simply immaculate.
Oscar-winner Tim Yip talks about designing the set and costumes for Hong Kong Ballet’s The Butterfly Lovers and his fascination with dance.
Dance drama takes a surprisingly sombre approach to the classic Chinese story, and features a great performance from lead dancer Hao Ruoqi.
The Wizard of Oz by the Hong Kong Ballet is big and bold, with special effects, spectacular designs and energetic dancing, but the music and story structure lack emotion.
Tirion Law talks about her surprise promotion to principal dancer of the National Ballet of Canada and her upcoming Hong Kong performance with another of the city’s international stars, Lam Chun-wing.
Hong Kong troupe rise brilliantly to the occasion in a work, radically different from anything it has danced before, that depicts what happens to the characters after the action in Shakespeare’s play.
American mezzo-soprano’s show Eden, about the importance of nature and the ravages of war, draws on 400 years of song. DiDonato’s deeply felt singing and vocal and physical expressiveness were captivating.
Ye Feifei has never danced the Odette/Odile role better, and guest dancer Matthew Ball was her ideal foil, in Hong Kong Ballet’s new Swan Lake. But the production is marred by some questionable choices.
Related Topic
Performing arts in Hong Kong