Press Room
Press Releases
‘Hong Kong Bling’ is an Opulent Feast for the Senses 23 Jun 2026 View Details China Minsheng Bank Hong Kong Branch
Proudly Presents The Sleeping Beauty
Enchants Audiences with Ten Acclaimed Performances 18 Jun 2026 View Details Vladimir Malahkov’s The Sleeping Beauty Brings Together World-Renowned Ballet Stars with HKB Artists for a Dazzling Debut 12 May 2026 View Details Hong Kong Ballet and Hong Kong Disneyland Resort co-present StellaLou’s Wonderful Wishes Ballet with an Exciting New International Ensemble 6 May 2026 View Details Hong Kong Ballet’s The Studio 54 Ballet Gala 2026: Glam & Groove Rocks the Stage and the City Skyline 14 Apr 2026 View Details Hong Kong Ballet and PURE Fitness Announce Landmark Partnership
Blending Strength and Grace 23 Jan 2026 View Details
Reviews
Sam and her Amazing Book of Dinosaurs
‘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.’
La Bayadère
'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.’
‘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.’
American Ballet Theatre Studio Company
‘The show had high standards and high energy, with great group dynamics shown in the ensemble pieces.’
Coco Chanel: the Life of a Fashion Icon
‘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.’
‘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.’
Romeo + Juliet
‘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.'
‘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.'
‘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.’
‘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.’
'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.'
'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.'
Carmina Burana
'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)
'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.’
'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)
M+ Live Art x Hong Kong Ballet: Beyond Carbon
‘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.’
‘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.’
The Nutcracker
’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'
'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.’
'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.'
‘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.’
‘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.’
“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.”
“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.”
“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.”
The Sleeping Beauty
’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.‘
'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.'
'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. '
ALICE (in wonderland)
'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.'
'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.'
“The production is packed with spectacular theatrical effects, fast and furious dancing and blazing energy.”
“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.”
“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.”
“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.”
“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.”
“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.”
Balanchine’s Jewels
‘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.’
'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.'
'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.'
five(by)six, turn(it)out festival
‘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.'
'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.'