Initial results
‘Young and already internationally famous. Although these two things may be mutually exclusive anywhere else, the junior company of the renowned Zurich Ballet achieved this right from the start. The press expressly honours Heinz Spoerlis commitment to supporting new talent. The critics have greeted the achievements of the juniors with equal acclaim. The first members of the junior ballet have meanwhile been accepted into the Zurich Ballet. Others quickly found employment with other renowned ballet companies.’ Martina Wohlthat, Basler Zeitung, March 25, 2002

Pursuing mastery with great flair
‘Theyre a chip off the old block. After barely a year, the young ensemble Zurich Juniors from Heinz Spoerlis Zurich Ballet has already acquired some of the virtues of its parent company. Their basic approach follows the modern classical idiom. The young women are fast and flexible en pointe, the men are disciplined with good elevation.’ NZZ, June 30, 2003 by Christina Thurner

Young virtuosi Spoerlis Junior Ballet in the Opera House
‘These dancers have lightning-fast legs, and elegant arms as well. In Hans van Manens ballet Solo, Dmitri Govoruchin, Arman Grigoryan and Vitali Safronkin take turns to whirl across the stage with breathtaking effect. This virtuoso dance set to Johann Sebastian Bachs Partita for Solo Violin is obviously great fun for these young men, and despite the technical difficulties, they seem to find it childs play. Heinz Spoerlis Junior Ballet, which danced in the Opera House on Saturday as part of the Zurich Festival, showcases itself as an accomplished ensemble. Not least because its repertoire consists of demanding pieces throughout. Approaching Clouds, for example, set to music by Alfred Schnittke and performed in Zurich, was created by Spoerli in 2000 for his main company, the Zurich Ballet. The juniors seem less radical in the at times grotesquely eccentric movements and poses. However, the six young dancers also succeed in conveying the impression of bodies which are totally subject to their captivating artistry. The Junior Ballet reached the limits of facility in the opening piece, Preludes, which Spoerli choreographed in 1982, while he was still in Basle, to music by Rachmaninov. Particularly in the Pas de deux, it becomes obvious that apart from the mens body size it is probably only the dancers experience which can make the turns, balances and lifts appear totally effortless and harmonious. The dancing of the five couples from the Junior company was technically usually impeccable, but the concentration was written all over their faces. The young dancers seem to find more enjoyment in less serious works. They positively bloomed in Spoerlis La Milonga, for example, and threw themselves sensually into the dalliances of a tango scene. The Junior Ballet is bringing forth some very respectable talent. For the dancers, the Junior Ballet is a transitional period between training and fixed employment. Moreover, it offers the juniors a unique opportunity to make their mark in solo parts; in the corps de ballet of a large ensemble, the young virtuosi would probably start out by dancing in the back row.’ Cape Argus, Beverley Brommert, Thursday, 6 May 2004

Young dancers show mettle
‘These performers may be young, but they need no allowance whatever made for their tender years. They dance with all the authority of seasoned artists, and moreover command a range of dance styles which more experienced performers might well envy. Boneless bodies prove obedient to Spoerlis exacting choreography as the dancers, like exquisite, leggy insects, tease the audiences imagination.’ Kasseler Nachrichten, Siegfried Wehy, January 21, 2004