| Swan Lake |
1999 |
National Ballet of Canada |
| “(Goh is) a dancer of enviable
poise and quicksilver movement, who even tossed doubles
into her fouetté sequence in the black swan pas
de deux.” |
The Toronto
Star
|
|
| Giselle |
1999 |
Singapore Dance Theatre |
| “She is blessed with an exotic
natural beauty and a porcelain fragility which cleverly
disguises her great pliancy and strong technique. Her
musicality shines forth in her lyricism and she made an
enchanting peasant Giselle and an ethereal but warm-blooded
spirit.” |
Dance Magazine
|
|
| Romeo and Juliet |
February 13, 1998 |
National Ballet of Canada |
| “As Juliet, she revealed herself
to be an intensely dramatic ballerina who is able to telegraph
even the smallest detail of emotional change with her
wonderfully expressive face and body.” |
Paula Citron
The Globe and Mail
|
|
| “The dance calls for quicksilver
character transformations. Both Rex Harrington…and
Chan Hon Goh, debuting in the Juliet role…met the
challenge…Goh’s evolution from girl to woman,
from innocence to passion to despair, is deftly handled.
This dancer preserves something of the girlish Juliet
right to the end. In the bedroom scene (they) projected
fierce desire and made their dancing speak for a love
hellbent for catastrophe.” |
Susan Walker
The Toronto Star
|
|
| The Four Seasons |
February 14, 1997 |
National Ballet of Canada |
| "Spring is all crispness, point
work, and youthful leaps…The charming Chan Hon Goh
is as much a delicate butterfly as she is youthful flirtation." |
Paula Citron
The Globe and Mail
|
|
| The Nutcracker |
December 20, 1997 |
Hong Kong Ballet |
| “Goh has a formidable technique
and a fine tuned musicality. Her dancing radiated an irresistible
joyfulness. Long phrases flowed effortlessly from her.
The amplitude of her beautiful long line projected grandeur.
She was also a natural actress.” |
Kevin Ng
The Hong Kong Standard Newspaper
|
|
| Onegin |
November 30, 1996 |
National Ballet of Canada |
| “Goh, dancing with William Marrié,
was a Tatiana who wore her heart on her sleeve. Her emotional
intensity in the final bedroom scene bordered on hysteria,
but this frenzy only electrified her already energetic
dancing.” |
Deirdre Kelly
The Globe and Mail
|
|
| The Sleeping Beauty |
1994 |
National Ballet of Canada |
| "…an irrepressible hummingbird
of a dancer...with her light easy jumps, playful musicality,
her elegant line and her daring balances, she's already
an Aurora to remember." |
The Globe
and Mail |
|
| "Chan Hon Goh gave a spirited,
lighthearted performance distinguished by some impossibly
prolonged one-foot balances in the famous pas de deux...." |
Michael Crabb
National Post
Nov 17, 2000
|
|
