- Karin von Aroldingen: We know he was a great musician, and before he would choreograph he would play the whole score. And he knew much better than some of the musicians what music is all about. He would visualize the music. And he brought out, as it was said often, that you could see the music and hear the dance.
- Francia Russell: He was good at shaking everybody up and sometimes doing a work that no one expected, which startles then. He's not going to do that anymore; we know where we are with him, the work has fulfilled all of our expectations, all of the expectations of the critics and the dance historians. But of course the main thing is that the work is so great, that there's a whole library of wonderful ballets, no two alike, that is such a treasure trove for every artistic director planning a season.
- Bernard Taper: Authenticity is of course highly desirable. But along with authenticity there has to come vitality. A sterile authenticity is of no use. So the achievement of that combination is what the stagers are trying to bring to their transmissions of these works. How to keep these ballets not merely correct, but with all their wondrous vitality, is the key effort. And it seems to me that that is being achieved remarkably in scores of companies throughout the world.
- Jean-Christophe Maillot: I believe that for any choreographer, any artist, any creators, that inspiration is nothing divine. Inspiration is only memory. And from memory you can, with your experience, your vision of the world, bring new ideas. Say again what's been said before. But with the aesthetic of today. And at that level, I think Mr. B is a very good reference for us choreographically, because he provides really the starting point from abstract ballet.