| Madame Butterfly |
April 30, 2001 |
National Ballet of Canada |
| “Outstanding in Madame Butterfly
was Chan Hon Goh who stole the show with her performance
as Cio-Cio-San.” |
Deirdre Kelly
The Globe and Mail
|
|
| "As Cio-Cio-San--- the Madame Butterfly
of title--- Chan Hon Goh can add another triumph to her
already impressive resume with the company, partnered
here by van der Wyst in a graceful and convincing turn
as the story's ugly American B.F.Pinkerton." |
John Coulboum
The Toronto Sun
April 30, 2001
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|
| Tides of Mind |
Summer 2001 |
Queensland Ballet, International Ballet Gala in Australia |
| "Of the modern pieces, Dominique
Dumais' Tides of Mind, performed by van der Wyst and Chinese-born
Chan Hon Goh, was emotionally the most intriguing, imbued
with a powerful psychological undercurrent of searching
and struggle between the past and future. The couple's
intense connection was also evident in their chemistry
in the Black Swan pas de deux ." |
Olivia Stewart
The Brisbane Courier Mail
Aug.7, 2001
|
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| Scotch Symphony |
2001 |
The Suzanne Farrell Ballet |
| "But disbelief was mostly suspended
here, lost in the elegant devotion of Ben Huys's Scotsman
and the merry, sweet-tempered performance of Chan Hon
Goh, a longtime principal with the National Ballet of
Canada who bears a faint but potent resemblance to Margot
Fonteyn. Ms. Goh brought a fleeting, old-style perfume
to the role of the sylph, and the lyrical quality of her
dancing… "Chan Hon Goh, a true ballerina
whose impeccable classical schooling and experience
dancing a traditional Romantic repertory amplified her
performance as the lead in Scotch Symphony. With a soft
jump, stylish ports de bras, a gutsy attack and secure
balances in which she appeared arrested in flight, Goh
was marvellous in this divertissement with variations
on Romantic themes.
|
New Jersey’s
The Star-Ledger Newspaper
|
|
| Romeo and Juliet |
Fall 2001 |
National Ballet of Canada |
| “Flawless technically –
her pointe work was impeccable – Goh moves with
a kind of porcelain grace that is hard to define but impossible
to resist.” |
Alison Mayes
The Calgary Herald
|
|
| "Finally, however, it was Chan
Hon Goh's Juliet that made the greatest impression. Flawless
technically- her pointe work was impeccable--- Goh moves
with a kind of porcelain grace that is hard to define
but impossible to resist. Her arabesques, for instance,
in the Act One balcony scene pas de deux with Harrington
were breathtaking in their beauty; indeed, the intense
yet almost ethereal quality of the interaction between
both principal dancers throughout that critical scene
proved pure rapture, eliciting bravos and fervent applause
from many in the audience when the curtain came down.
Beyond technical facility, though, what was so special
about Goh's performance was her uncanny ability to project-both
in the way she looked and in the way she held herself-that
she was, in fact, Juliet." |
|
|
| La Sonnambula |
2001 |
The Suzanne Farrell Ballet |
| “La Sonnambula contains one of
Balanchine's most haunting pas de deux, performed by an
urgent Mr. Huys and a drifting, unattainable Ms. Goh for
a suddenly rapt audience." |
The New York
Times |
|
| “…she brought human depth
to the role of the Sleepwalker in La Sonnambula. Not vaporous,
but tormented, she walked the edge of a psychological
precipice, supplying a modern version of the rooftop in
Aumer's Sonnambula of 1827." |
New Jersey’s
The Star-Ledger Newspaper |
|
| Apollo |
2001 |
The Suzanne Farrell Ballet |
| "As the favored Muse Terpsichore,
Goh was uninhibited, animated and equally rhythmically
keen." |
Sarah Kaufman
The Washington Post
Oct.5, 2001
|
|
| Jewels |
February 15, 2000 |
National Ballet of Canada |
| “When it features the flame-limbed
Chan Hon Goh, strongly paired with Aleksandar Antonijevic,
it transcends the hard edges of gemstone to become a living,
breathing memory to treasure instead.” |
John Coulbourn
The Toronto Sun
|
|
| "To say it was danced to perfection
by the radiant Chan Hon Goh and the romantically seductive
Aleksander Antonijevic is to suggest it touched the secret
crannies of the soul." |
|
|
| Cinderella |
May 8, 2000 |
National Ballet of Canada |
| “The exquisite Chan Hon Goh in
the title role, moving with the grace of something poured
in from a bottle of vintage champagne…fittingly
capturing the pent-up energy, the explosive grace, or
the cork.” |
John Coulbourn
The Toronto Sun
|
|
| Giselle |
2000 |
National Ballet of Canada |
| "The porcelain beauty of Chan Hon
Goh, Persson's Giselle for the evening, served particularly
the ballet's ethereal second act." |
Gary Smith
Hamilton Spectator
May 29, 2000.
|
|
| "French Romantic ballerinas cultivated
a gravity-defying lightness that Goh, with her easy buoyancy
(a quality known in ballet as ballon), embodied particularly
well." |
William Littler
The Toronto Star
May 26, 2000. .
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