cubanmiamiboy

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About cubanmiamiboy

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid balletgoer, fan
  • City**
    Miami Beach
  • State (US only)**, Country (Outside US only)**
    Florida

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  1. πŸ‘
  2. I really can't remember where did I get this quote from Balanchine-(and it was fairly recent that I read it...in someone's memoir...maybe D'Amboise's?), but there is a moment when someone asks Balanchine that if he had to name ONE single name from the myriad of ballerinas who inspired him in his long choreographic life, which would his favorite and he, without hesitation, rapidly answered "Allegra". And something along the lines that he still knew that he couldn't get all he wanted from her, but it was her "The One".
  3. Edited: I posted a message meant to go on Wassup!! 😢😢😢
  4. I loved Homan's book..although her grim epilogue spoiled the whole thing.😑😑😑
  5. Oooh...thanks for the notes, RG. I have never heard that name-(Albisson). I thought Toumanova was the lead in Les Rubis. Well...it was fun "visualizing" Albisson as Toumanova in the original color scheme of the ballet.
  6. I have seen Symphony in C-(not too often)-and mainly in NY, a couple of runs in Miami and several online videos. Still...every time I watch the John Clifford 1973 video-(on my smart TV)-I get glued to the screen whenever the second movements comes along. What is with Allegra Kent that makes this section...almost surreal..???. There is something on her which I can't quite describe...that comes from within and out. She dances this all the way from her face to her fingers. There is as if she truly inhabits the music...as if she BECOMES the music itself. Very rarely I have seen a ballerina that is able to transmit almost a hypnotic quality to the choreography. What was that?! I can't describe it as aloofness...or sadness-(could it be maybe..??), but it is certainly something she has...probably a natural quality of hers. It is very strange, but that particular movement WITH HER, doesn't fail to move me to tears. Can someone shred some light on the subject...? What is this strange feeling of Kent that she radiates...? Who IS Allegra Kent..? What was going on with her as a ballerina-(or maybe as a person)- while in NYCB....? Yes...it is very peculiar what she gives...what she does....but definitely beautiful and certainly-(and strangely)- unique.
  7. So...only one cast for the three nights...?
  8. I watch quite often the older multi colored version of the ballet-(as well as the all white 1973's Clifford's video). Here, in the POB, when I watch the first movement in red, I swear I can "see" Toumanova in the solo ballerina, fouettes and everything!-(which was her trademark). She even looks like pics of Toumanova I have seen! Who is she..?
  9. I am...but I think she has been, for quite a time now, heavily underused, and for that matters totally absent from the big major roles of the company's last seasons-(Odette, Giselle, Titania and now The Fairy). She is being used rather as a soloist, and I just find that appalling.
  10. I have edited the pictures. I must had mixed up the names while posting them-(I have been thinking heavily about Messmer during this run to why is that I still don't get her being, apparently, the most favored dancer of the company right now. Anyhow... I saw both opening night and last night, and it was indeed the same casting. I don't know what's up with the fairy costume, but I found it makes Messmer look quite square. The tossing of the baby among The Fairy and her entourage was indeed awkward, although I suppose it hints at their general disregard for human life. Oh...and last night I also "heard" the lovely "None but the lonely heart", which came and went inadvertently over my head the previous night.
  11. Ok. I repeated tonight, if only originally for "Walpurgisnacht", which I saw from a box on the left. For Baiser I went up to the second tier, to enjoy the company of our fellow BT'r Natalia-(hey Natasha...always a pleasure to have you over here!). Did the upper visual angle help me to better "see" the ballet tonight...? Maybe. who knows. Last night it bored me-(although not as much as "Polyhonia". Tonight I liked it, but I still don't love it. Ok. Here I go with Simone. I still don't "get" her, and I still can't understand why she got all this roles-(Odette, Giselle, Titania and The Fairy)-in such rapid succession...and all of them in opening nights. I notice that she has a tendency to DANCE heavy. She doesn't seem to be fluid in petite allegro, and he looks quite compact, body frame wise, Now, I know by experience that this doesn;t necessarily equals heavy dancing. I saw many Cuban ballerinas back in the days with such frames...thick legs...ample torso/waist and there were still very airy. Some famous men in ballet have had the same airborne quality with similar big bodies-(Andre Eglevsky or Yuri Soloviev). Anyhow...I might like Messmer at some point, but definitely not tonight. The character dancing I found dull. I couldn't help but to remember great similar stuff I have seen like the village scenes of" Petroushka". Lauren Fadeley in "Walpurgisnacht". Simone Messmer as The Fairy and Jordan-Elizabeth Long as The Mother in "La baiser". Curtain calls for "La baiser".
  12. Thanks Drew and Natasha for your wonderful recollections. Garcia was very loved by the Cuban audience, and she was indeed a turner like almost anybody I have seen-(just look at the clips of Giselle or Tarde en la Siesta). She lost her battle with cancer too soon. May she RIP.
  13. I really don't get it. I was once seated next to both sisters, who were watching their peers onstage, and I briefly approached them and congratulated them for the years of wonderful dancing they have given us. And to my question of " When will we be seeing you guys onstage again..? We miss you!..perhaps "Giselle"..?" , Jeanette answered.."Oh...maybe". It turned out...none of them were nowhere to be seen during the running of either Giselle, Swan Lake, Midsummer and now "Baiser"-(Messmer got the opening nights for all of them, and Jeanette just landed the character bride of "Baiser")-and for that matters...in any major role, all the way up to this season's Serenade-(Jeanette/Russian girl). I remember the same situation happening toward the end of Mary Carmen Catoya's tenure with the company...until her contract wasn't renewed and she vanished into thin air...no farewell performance...no confetti...nothing. And she WAS one of the top classicist of the troupe. Jack Reed might agree with me.
  14. And then...when you see this video...you wish you could had witnessed instead Balanchine's version, which the all seem to love in the conversation. According to their accounts it was lavish. Oh...and the interpolation of "None but the lonely heart"...❀❀❀
  15. A completely forgettable experience for me. Interesting that the most valuable sequences toward the end of the ballet are not even Ratmansky's originals, but rather iconic flashes of some great ballets of the past-(including Nijinska's famous pyramid of faces for her Les Noces). Natasha told me that there is an explanation by Ratmansky on this, but really...without having such explanation, the ballet comes out as a dull bore with untinteresting choreography played against an even more uninteresting backdrops. And then you go..."Oh...but that diagonal line is Giselle's...and that pyramid is just like Les Noces...and wait...that pose is...SERENADE!!" (Oh yes..I guess one ought to know what Ratmansky has to SAY about his choreo in order to "get it". Otherwise is very awkward). Well...I didn't see the Works and Progress thing...so on first impact it was not good. Simone Messmer was totally underwhelming. Walpurgisnacht was the only enjoyable section of the night. What a quick, brilliant ballet! Toward the end the stampede of loose multicolored haired women is a great thing to watch, and Arja's fast footwork in her petite allegro was up to the challenge of the choreography. That Pholyphonia thing was soporiferous.