传媒
新闻稿
舞评
《心儿与她的奇幻恐龙书》
「舞台上有一本大书，每揭一页都投放不同影像…即使没有3D眼镜，也令人投入剧中的气氛，启发小朋友的想像。」
「制作给与年青舞者发挥，舞者酒井那奈尤其突出，充分展现芭蕾舞的活力。」
《舞姬》
'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.’
《港芭呈献美国芭蕾舞剧院工作室舞团》
「一整晚丰富而耐人寻味的演出，再次佐证了舞蹈并无国界、更不受时代禁锢。」
《香奈儿：潮流教主传奇一生》
「以两小时舞剧重温香奈儿一生传奇，难度不可谓不高，惟编创团队因善用道具、布景与背景音乐，为舞剧叙事增添光彩。」
「饰演香奈儿与『影子』的舞者叶飞飞和张雪宁皆发挥出色，将角色的明暗两面诠释得生动又传神。」
《罗密欧＋茱丽叶》
‘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.'
《布兰诗歌》
「《布兰诗歌》是一部富有诗性魔性的作品。第一环节是诗性［最后的歌］，第二环节是魔性的[布兰诗歌］，宛如由数个独立小章节组成的新小说，在港乐和合唱音乐的环绕下，每个章节，将你不曾存在过的想像情节显示于视野里：魔幻、趣怪、痛楚、感伤、野性、挣扎、重生，以及渴求的美和爱。」
《仙履奇缘》
「隆重盛大的舞会、浪漫的邂逅以及午夜零时失效的魔法，皆为《仙履奇缘》里耳熟能详的桥段。此一经典芭蕾舞剧经多次搬演、改编，其中不乏以华丽夺目的方式再现童话，或以大胆现实的新编重写原著。香港芭蕾舞团在忠于原著的同时，加入教育导赏元素，使灰姑娘的寻梦旅程转化成入门者初探芭蕾之旅。」
再现梦幻童话需借助丰富的视觉语汇，此作的服装、布景设计与舞步编排相辅相成，角色的性格与心理状态得以外现。
「舞会中群舞穿梭，尤其到了作曲家浦罗哥菲夫著名的华尔兹音乐乐段，男女舞者翩翩起舞，裙摆此起彼落，在背景的长条窗幅的光影中，反映出迷人的情调和画面。男女主角王子与Cinderella 的双人舞和炫技亦有发挥……尾声男女主角二人再出现在森林与一群仙子作舞，主角再度共舞等都贯彻港芭作品压轴的华美特色。」
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.’
《胡桃夹子》
「二○二一版最大特色是融合香港元素，场景与内容不乏本土物象，故事亦设于二十世纪初，布景及服装设计中西合璧，既有西洋华丽之风，亦有中国传统格调，单是看场景已十分丰富耀眼。」
「整套演出予人热闹、瑰丽、洋洋大观兼而有之的感觉，在场景方面更有考究。」
「第二幕以长洲太平清醮代之以原来的中国舞，那三座包山活灵活现之余，更像隐喻了香港的摩天商厦，搭配似是抢包山运动员的舞者，以及两头shocking pink的南狮，对香港历史悠久的exotic印象既是戏仿也是致敬，给香港芭蕾舞团一个真正signature的舞码。」
「到了第二幕，在柴可夫斯基的动人音乐下，原本的民族舞蹈集锦也被做了各种关联香港特色的转化，其中最令人惊喜的是，原本的阿拉伯舞变成了许仙与白蛇的双人舞。两位舞者用手部曲折的动作模仿人与蛇的交缠，而在肢体的动态上又突出了白蛇的柔软与媚态，恰到好处的中西结合收获了观众的热烈掌声。」
《睡美人》
’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. '
Van Cleef & Arpels梵克雅宝荣誉呈献《巴兰钦〈珠宝〉》
「陈稚瑶表演的独舞变奏表现出那种全然陶醉在自我的内在喜悦情绪，流畅自然。她跟葛培治的双人舞配合得恰如其分。沈杰跟刘奕诗表演的双人舞呈现相互角力，爱玩闹及略带调情的互动关係，十分称职。叶飞飞与丹尼尔．卡马哥合演双人舞，『慢板』一段尤其优雅高贵。叶飞飞从容地完成舞姿，动作规范到位。卡马哥外形讨好，腾空跳转能力很强。」
「加了张纬晴的现场钢琴演奏令原本节奏轻快的〈红宝石〉散發一种独有的现场观感，张的指法具张力，刘奕诗与沈杰在音乐带动下展现青春可人的活力，舞步轻快热情，双人舞在乐声衬托下尤为丰富和多变化，一双主角把大能量的快速动作源源送上，令人看得雀跃。另外高挑的汪庆欣手脚灵活地开合，每个跃动都带感，和众人一起把〈红宝石〉的炽热色调都演绎出来。
丹尼尔．卡马哥与叶飞飞的双人舞展示了不少古典动作，舞作亦让二人轮流solo展示男女首席的经典动作如跨跳、空中转圈和连续旋转等，都堂皇亮丽而又带一点点矜持。无论从技巧还是气质而言，叶飞飞在演绎这类角色上暂时是舞团的首选。」
尽演（芭蕾）艺术节：《六人五作》
「因疫情关係，原本在自由空间的现场演出不得不以录像形式呈现，这反而让香港芭蕾舞团及编舞们探索舞蹈录像（Dance on Camera）的呈现方法。而最后的结果甚有惊喜，把原来单面的观赏体验转化为多角度、非常立体的观赏经验，打开了舞团对这新的舞蹈类型（dance genre）的新尝试。」