“Zurich Ballet is an undiscovered gem well worth checking out – The quality of his choreography and the dancers’ high technical standard made dance fans throughout Europe and Asia sit up and take notice”.
Kelly Apter Issue 559 of The List (20 September 2006)

“It was a sublime performance of a masterly work by the Zurich Ballet.”
Kevin Ng on Mozartina and Goldberg Variations (Hong Kong Cultural Centre, Ballet Magazine, February 2004)

“Dancers such as these are glorious to watch, especially when the choreography is like a flirtation of exquisite geometries…”
Mary Brennan on In den winden im nichts, Edinburgh Festival Theatre, The Herald, October 2006)

A mixture of history and modernity …
“The lighting and Florian Etti’s scenery are an exciting element of Spoerli’s “Sacre du Printemps” by Stravinsky, which aspires to the Baroque “blessing”, the enlightened “sermon” as a modern-archaic, other-worldly “sacrifice of the Mass”. The magical rock-face scenery looks like two Spanish pop-art combs lying on their sides, with a long wooden plank cutting across them like the Cyclops’ eye. A symbol of ? trickles white sacrificial ash on the mountain peak to the right. The sequence of this “prehistoric” folkloric ritual whips the dance into a frenzy, expressive, strongly rhythmic, chilling or, in the ensemble sequences, reminiscent of Jerome Robbins’ (“West Side Story”); Yen Han’s solo is wonderful. This was an evening which would have been complete with just one ballet.”
Frankfurter Neue Presse, March 4, 2005 Marcus Hladek

A homage to Stravinsky with Spoerli’s “Sacre du printemps”
“… Spoerli allows himself to be swept along by the music whose earthquake-like power, in the hands of conductor Michael Christie, is clearly palpable. Spoerli has succeeded in creating a ballet which is entirely in the spirit of the here-and-now, one which does not ignore the harshness of today. His “Rite of Spring” develops into a magnificent feat of choreography. Yen Han, fragile and fascinating to watch, veritably dances herself to death, collapsing at the end on the heaped-up sand without knowing whether her sacrifice has been worthwhile …”
Hartmut Regitz, Die Welt