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Natasha Rogai
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.
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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.
Hong Kong Ballet has commissioned a new production of Swan Lake. Artistic director Septime Webre, the troupe’s ballet master and senior ballerina talk about working with Yuri Possokhov on the ballet.
Emanuel Gat Dance’s LoveTrain2020, set to songs by 1980s band Tears for Fears, leaves much to be desired despite the energy and commitment of the dancers – what you can see of them on the dimly lit stage.
The Legend of Lanling, a new full-length production by the Hong Kong Dance Company, tells the tale of a real-life hero of the Northern Qi dynasty using a blend of Chinese dance and martial arts.
The frenetic pace and complexity of Andonis Foniadakis’ Strangelove, part of Hong Kong Ballet’s triple bill ‘The Rule Breakers’ performance, elicited a show of audience emotion rarely seen in the city.
A Sigh of Love, performed by Shanghai Ballet at Hong Kong Arts Festival 2024, had impressive sets, costumes and dancing, but the story was too thin and the score incoherent.
La Scala Theatre Ballet’s Hong Kong Arts Festival performance of Le Corsaire had its moments, not least a star turn by Nicoletta Manni as Medora, but was marred by odd story choices and some untidy dancing.
Ariadne auf Naxos, which opens this year’s Hong Kong Arts Festival, pits highbrow opera against lowbrow commedia dell’arte, with powerful vocal performances and a strangely monochromatic design.
Featuring outstanding choreography and superb performances, the Hong Kong Dance Company’s staging of Helen Lai’s HerStory had even more impact than when it was first put on in 2007.
The opening show of the 2023 City Contemporary Dance Festival in Hong Kong, Stream of Dust, involves thousands of black ping-pong balls – and clouds of dust being pumped around the theatre.
Ricky Hu Songwei, Hong Kong Ballet’s award-winning choreographer-in-residence, talks to the Post about studying in in China and New York and finding his artistic voice after switching to choreography.
Part of Hong Kong’s New Vision Arts Festival, the Hofesh Shechter Company’s Double Murder dance programme contrasts the nightmarish Clowns with the gentler The Fix.
Presented by the China National Opera and Dance Drama at the Hong Kong Cultural Centre, Tide of Era portrays China’s social, economic and technological development over the past 40 years.
The Hong Kong Tap Festival’s 10th edition was a showcase of tap dance talent from Hong Kong, Japan, Korea, Taiwan and Shanghai.
Guest artists from the Royal Ballet and Berlin State Ballet gave stellar performances in Hong Kong Ballet’s La Bayadère – a production that highlighted the company’s own lack of depth but ended on a high.
Principal dancers at the UK’s Royal Ballet Marianela Nunez and Vadim Muntagirov relish being in Hong Kong for two performances of La Bayadère with the Hong Kong Ballet.
Ballet Superstars of the Future, a Hong Kong show by the American Ballet Theatre’s Studio Company, showcases the talent of 12 young international dancers in an impressive and dynamic ensemble.
Created for the Hong Kong Ballet by a top international team, Coco Chanel: the Life of a Fashion Icon features ravishing costumes and elegant sets, but makes little emotional impact.
Natalia Osipova’s dazzling dancing and demonstrations of astounding flexibility lit up her Hong Kong Arts Festival performances, while the fearless male guest dancers also impressed.
Soprano shows the exceptionally rich tone of her voice but also delicacy and astounding control, in a programme of Russian and other songs, ably accompanied by her husband and pianist Rachel Cheung.
Coco Chanel: the Life of a Fashion Icon, which the Hong Kong Ballet will premiere this month, explores the life of one of the most controversial figures in fashion in the 20th century.
