傳媒
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舞評
《心兒與她的奇幻恐龍書》
「舞台上有一本大書，每揭一頁都投放不同影像…即使沒有3D眼鏡，也令人投入劇中的氣氛，啟發小朋友的想像。」
「製作給與年青舞者發揮，舞者酒井那奈尤其突出，充分展現芭蕾舞的活力。」
《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.’
《港芭呈獻美國芭蕾舞劇院工作室舞團》
「一整晚豐富而耐人尋味的演出，再次佐證了舞蹈並無國界、更不受時代禁錮。」
《香奈兒：潮流教主傳奇一生》
「以兩小時舞劇重溫香奈兒一生傳奇，難度不可謂不高，惟編創團隊因善用道具、佈景與背景音樂，為舞劇敘事增添光彩。」
「飾演香奈兒與『影子』的舞者葉飛飛和張雪寧皆發揮出色，將角色的明暗兩面詮釋得生動又傳神。」
《羅密歐＋茱麗葉》
‘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.'
《布蘭詩歌》
「《布蘭詩歌》是一部富有詩性魔性的作品。第一環節是詩性［最後的歌］，第二環節是魔性的[布蘭詩歌］，宛如由數個獨立小章節組成的新小說，在港樂和合唱音樂的環繞下，每個章節，將你不曾存在過的想像情節顯示於視野裡：魔幻、趣怪、痛楚、感傷、野性、掙扎、重生，以及渴求的美和愛。」
《仙履奇緣》
「隆重盛大的舞會、浪漫的邂逅以及午夜零時失效的魔法，皆為《仙履奇緣》裡耳熟能詳的橋段。此一經典芭蕾舞劇經多次搬演、改編，其中不乏以華麗奪目的方式再現童話，或以大膽現實的新編重寫原著。香港芭蕾舞團在忠於原著的同時，加入教育導賞元素，使灰姑娘的尋夢旅程轉化成入門者初探芭蕾之旅。」
再現夢幻童話需借助豐富的視覺語彙，此作的服裝、佈景設計與舞步編排相輔相成，角色的性格與心理狀態得以外現。
「舞會中群舞穿梭，尤其到了作曲家浦羅哥菲夫著名的華爾茲音樂樂段，男女舞者翩翩起舞，裙襬此起彼落，在背景的長條窗幅的光影中，反映出迷人的情調和畫面。男女主角王子與Cinderella 的雙人舞和炫技亦有發揮……尾聲男女主角二人再出現在森林與一群仙子作舞，主角再度共舞等都貫徹港芭作品壓軸的華美特色。」
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.’
《胡桃夾子》
「二○二一版最大特色是融合香港元素，場景與內容不乏本土物象，故事亦設於二十世紀初，佈景及服裝設計中西合璧，既有西洋華麗之風，亦有中國傳統格調，單是看場景已十分豐富耀眼。」
「整套演出予人熱鬧、瑰麗、洋洋大觀兼而有之的感覺，在場景方面更有考究。」
「第二幕以長洲太平清醮代之以原來的中國舞，那三座包山活靈活現之餘，更像隱喻了香港的摩天商廈，搭配似是搶包山運動員的舞者，以及兩頭shocking pink的南獅，對香港歷史悠久的exotic印象既是戲仿也是致敬，給香港芭蕾舞團一個真正signature的舞碼。」
「到了第二幕，在柴可夫斯基的動人音樂下，原本的民族舞蹈集錦也被做了各種關聯香港特色的轉化，其中最令人驚喜的是，原本的阿拉伯舞變成了許仙與白蛇的雙人舞。兩位舞者用手部曲折的動作模仿人與蛇的交纏，而在肢體的動態上又突出了白蛇的柔軟與媚態，恰到好處的中西結合收穫了觀眾的熱烈掌聲。」
《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. '
《愛麗絲夢遊仙境》
「熱鬧中不乏芭蕾之炫技，卡通化的造型與舞台裝置帶領觀眾進入想像力豐富的童話世界。」
「讓人有如看電影般感受到變戲法般的特別效果。」
「布魯克林 · 麥克以客席飾演的渡渡鳥與港芭首席葉飛飛飾的小鷹的獨舞和雙人舞及炫技，二人穩紮而帶動量的動作為舞劇送上觀眾喜愛的渴望欣賞富芭蕾技巧的舞姿。 」
「《ALICE》在場景與造型方面的心思展現出洋洋大觀的歷遊境象。」
「毛毛蟲的場景…整段獨舞動作難度很高，表演者身體的柔軟度和控制能力很強。」
「飾毛毛蟲的葉飛飛（日場）、黎諾詩（夜場）；小鷹的陳稚瑤（日場）、葉飛飛（夜場）均展現了她們紮實的舞技造詣。」
「舞團成員的身段和技巧比以前提升了，凌厲的空中兩週或三週跳、遊走圓台連續飛躍的空中一字馬、原地踏足的持續旋轉，以至飛躍後的定身、翻滾後的凝住，都得心應手、乾淨利落」
「節奏明快，熱鬧繽紛，叫人目不暇給，佈景及服裝等各方面亦相當出色。」
「每段的舞蹈編排都乾淨利落，節奏及式樣跟故事情節一樣出人意料之外，點子層出不窮，輕鬆中卻顯見難度…愛麗絲一連串的芭蕾後翻動作，優雅之餘，也凸顯其技巧及力量。 」
「最突出的是演白兔先生的尊納芬 ·斯納，他每次上台都能叫人感受到白兔先生的靈巧慧黠。」
盡演（芭蕾）藝術節：《古典芭蕾冇有怕：〈仙履奇緣〉篇》
「飾演灰姑娘的劉奕詩在劇中有很好的發揮，她乾淨利落的技巧演活了灰姑娘調皮活潑的性格。在幻想與王子起舞的獨舞中，她面部表情及情緒的即時轉化，深切地表達了一個憧憬愛情的少女轉至思念亡母的心情。」