| "...unyielding physicality, sensible technique, and dynamic artistry." |
| - Kenichi Kiriyama, Asahi Shinbun, 1999 |
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| "A dance artist who possesses grandeur conception and has the aptitude to ommunicate such power" |
| - Hakudai Yamano, Asahi Performing Arts Award, 2008 |
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| "Intellectual stimulation like a puzzle" |
| - Bin Umino, Dance Magazine (Japan), 2007, for "Life Casting" |
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| "Powerful impact like an explosion of movement affluent of variation" |
| - Kyoko Sasaki, Asahi Shinbun, 2007, for "Life Casting" |
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| "Portrays the expansion of the contemporary dance scene using diverse methods with a basis in the artist’s inquiry into life and the human body..." |
| - Makoto Urawa, Tokyo Shinbun, 2007, for "Life Casting" |
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| "Hirayama’s "Le Sacre du Printemps" is a probably declared the best harvest this year. Two grand pianos are placed facing each other on the upper tier, with the pianists ( Eisuke Tsuchida and Masanobu Shinoda ) repeatedly striking the piano score of one of Stravinsky’s masterpieces immortal in the history of ballet. A large speckled circular scene resembling skin and fur fills the floor of the lower tier, and through the craftsmanship of the solos and duets of the two dancers ( Hirayama & Masahiro Yanagimoto ), the masterpiece’s world of "sexual sacrifice" ( sexual fantasy: artists notes ) was brilliantly performed fully with breathtaking technique and intimacy within." |
| - Shiro Kusaka, Video Corporation, 2008, for "Le Sacre du Printemps" |
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| (NOTE: Above reviews were originally written in Japanese.) |
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| "If dancers and choreographers like Motoko Hirayama continue to be received and recognized for their talent, both at home and abroad, I hope and expect we will be hearing more about Japanese dance in the wider world soon." |
| - Hans Rinderknecht, ballet.magazine, 2006, for "Le Sacre du Printemps" (Nijinsky) |
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