roger

They will be dancing Diana and Actaeon pas de deux, she has a beautiful characterization of the Godess, and I would be looking forward to seeing his jump, and feet-leg combination at jumping, he is perfect and impresses jumps, leaps and combining legs poses. She in the coda takes some arrows out of her quiver, bends her bow, and releases the arrow. That is too quickly, in one turn between fouettes, I have seen her in slow motion and is a desastrous, but on stage it really impresses and is beautiful. Her variation is not good, not conditions at all for it, just turns. Comment on the performance for me to have details of the show, They are a show, above all she. rogelio@flex.uh.cu

Friends, It is a pity the fact that I cannot be there. Osiel and Viengsay are wonderful Cuban dancers. He is one of the new ones, and lately she has been dancing in his shadow. She has always been a virtuosa, not technique at all, much training during the rehearsals, I would say, some artistic-failure, not the same with him, just that lately he had been taking his fake way, and luckly someone has given him some important advice in order for him not to get off course, or get the wrong one. But anyway, definitely, they are great, he the most. No matter what they do with their artistic self-styles and dominance on stage. You will never want to see Vi, as we balletomanes call her in Cuba, dancing Odette, Gisell willi, or those romantic and lyrical roles, Les Sylphides is a desastrous feat for her. Just enjoy of her in Kitri (excluding The dream of Don Quijote), Giselle peasant, Dido abandonada, some of La fille, The magic flute, and Black Swan (sometimes loosing lines, her body has not been made to ballet, but exquisitely characterized, I enjoy her reverance, it is unique). Dont be fooled by her acrobatic tricks, her fouettes are not the best ones, she lacks too much en dehors, and her combination of turns of different types is not the best, although she impresses quite much. He is a real virtuoso. Latest performace of Coppelia they gave their best performace, but not their most beautiful one, aesthetically speaking. The came out to the stage to heat up the audience, as we Cuban balletomanes say. But enjoy them anyway, I hope they will know how to manage with temptation abroad. comments atto rogelio@flex.uh.cu

I am not entering this site anymore. Contact me to rogelio@flex.uh.cu

Sorry, I think I entered a site where people are not so sensitive as I believed them. I thought I would be finding nice people here, but now I can see someone very "cultured" trying to correct my punctuation marks. Just kidding! I could certainly have done it better, just that I have no much time to surf. On the other side, I have never found an Odile-32-fouette video. Actually, I can not see videos on line. Someone to check whether each of those 32 fouettes has the working leg a la seconde when the supporting leg is completely on the floor with the slightest of en dehors. Besides, are they following the music without jarring with it in any time of the sequence? Good luck!

to tell you the truth, i have no idea, but what I know is that the only version containing such a step is the CUban version, I have never seen another version with that series, have you ever eye-witnessed the performing of the step??? its great, I hope to see it tonight, and some other nights as well

hey, you guy. thanks for the information, actually, this is the first time I use the page, its really interesting what you find here, I hope that you can contact me someday to talk more about it.

Many have atributed Odile the performing of 32 fouettes, I have studied that the music is kind of composed so as to perform only 30 fouettes at muscial tempo, with each musical space, and close the coda turns with 2 en dehors turns only, not many ballerinas do this even, beacsue, if they do not failed to try to perform the continuos 32 fouettes just doing 31 or 30, losing one or two during the subsequent turns in musical tempo, they use a double turns in the middle of the coda, and so the music do not serves the 32, not even the 30, you see, To perform 32 fouettes in odiles coda, the bbalerina cannot use doubles turns, and has to kind of go faster withouht jarring with the music (to avoid losing beauty in tempo-turn) and take as her a small space of musical tempo in each fouette, to gain such space of musical tempo to peform two more fuettes and 30+2 equals 32, beacause the musical tempo has 30 musical spaces, SO you never see that 32-fouette stuff, just try to find videos to chek it up, or contact me to rogelio@flex.uh.cu to comment more about or to talk more about real technique and virtuosness in ballet, mainly coda turns, real real, not circus performace, but nice and beautiful virtuos steps, mainly turns, performed with real technique and pure beauty., as tamara rojos coda in le corsair on july 15 2010, during Royal ballet perfomrance in Cuba, where she uses turns a la second and ended with four en dehor turn, follwing the music in each turn-fouette.

Have you ever seen the CUban version of Swan lake, after odiles fouettes, prince siegfried performs a virtous diagonal alongside the stage, rigt after it, odiles, who stands close to the front part of the stage, on the left side, rises her arabesque a begin jumping on her tip, she crosses almost the whole stage jumping while the cuban audience claps at tempo with each jump, 28 jumps sur la pointe en arabesque. at the end. a crack ballerina make a long balance and turns her head to the audience, as ssaying, you see what i have made and I am almost done wiht my work, I have trapped him, she then performs a cricle of piques and siegfried elevates her over his head a makes her a great sensational pas de poisson, some ballerinas go down penche while jumping sautees en arriere sur la potnte, you try to find a video.