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About cubanmiamiboy

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    Diamonds Circle

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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)**

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  1. Puzzled...I mean, really...😢😢😢
  2. Can somebody report on Copeland's Kitri, please...? I have a friend's report about falls...less fouettes and some sort of less than a perfect performance. Anybody to confirm or deny such...?
  3. Edited: deleted. Double post.
  4. AMEN to that!!!!πŸ‘πŸ‘πŸ‘πŸ‘πŸ‘πŸ‘
  5. fun!! One of my dearest, favorite ballets EVER! (And one that I have not seen live since I left Cuba in 2001...sadly😞) Alonso has kept this ballet pretty much alive at her company. She made Taglioni's one of her personal favorite roles. Let's note she was already blind in the above video, and only relied in the trust she had of those dancing around her. Here is the one clip I always refer to when talking about the piece. Of is an all stars cast. I have also thought of a modern cast for GPDQ. I might include a dancer that has just retired for which I am sure that she would be very capable to show up and dance it if that was the case. Mme. Taglioni- Aurelie Dupont.-(Elegance...Class..Pose) Mlle Cerrito- Jeanette Delgado-( Freshness...Charm..Flirt...Smiles) Mme Grahn- Natalia Osipova (We need a footwork super power for all those entrechats) Mlle Grissi- Tiler Peck- (Coquette...Airborne) πŸ˜ƒπŸ˜ƒπŸ˜ƒ
  6. 😝😝😝😝😝😝
  7. I have only seen LeCrone once-(Dewdrop), and I thought her to be completely miss casted. Not enough energy/atack.
  8. Magaly Suarez was the main force behind the ceeation of the Cuban Classical Ballet of Miami. She used to invite Lorena, Taras, Hayna Gutierrez, Alihaydee Carreno and many other Cuban dancers to dance in ballets otherwise unknown to Miamians-(the complete 4 acts SL, Corsaire, Carmen, La Fille mal Gardee-(Hertel/Nijinska), etc. She had been a professor to all those dancers back when she was teaching in Alonso's school in Havana.
  9. Taras is coming down here! (Hint hint Lourdes Lopez😊)
  10. Michael was such an easily recognizable face within the troupe. Very buoyant...energetic...unaffected. He really shined when dancing with Zoe Zien...another recent loss. The one role I will always cherish of him is the lead in the 1953, earliest rendition of Valse Fantaisie-(which he also shared with Zien)- which I think MCB might be the only company currently keeping it in its active repertoire. Good luck to Michael. We will certainly miss him!!😞
  11. 😍😍😍
  12. What a great source of information, ABTfan! Thanks for it. I think Kondratieva mentions in the above video the name of Misha as one of those who benefited from Liepa's reconstruction. So it looks like the choreography is well rooted both in NYC and Russia, as well as in Havana. I wonder how and when the parisians got the ballet. To be honest...the staging with Legris and de Vulpian is my favorite. It certainly shows the poses we see in the old Nijinsky/Karsavina photos more than other takes, and like no other it really takes you into the feeling that The Girl is feeling the presence of La Rose during her somnambulism. The particular segment where they are facing each other and La Rose suddenly opens her arm in front of The Girl, "hitting her" with his perfume, to which she kinds of tilts her torso back, also opening her arms is particularly beautiful. Liepa's take is also wonderful. He is the one that really pays the highest homage to Nijinsky's surreal makeup, making his character less human-like, which I think is EXTREMELY important for this ballet.
  13. Thank you all for your responses and video sharing. One of the subjects I find most fascinatings in ballet viewing has been to try to uncover the roots of a given staging or production. Le Spectre has had quite an interesting performance history, given that Fokine was still around way into the XX century-(he died in 1942)-, and by joining the de Basil troupe in 1937 he was able to give continuity to his old ballets. The are two sources I know of how the ballet has been staged. One is its insertion in the Soviet repertoire at the Bolshoi in 1966 by Maris Liepa. He learned the role by a dancer who had worked under Fokine himself, and by so I guess his approach to the piece can be considered quite close to the original. I also saw this ballet many times in Havana. Alonso had known the role since her years in NYC-(since the early 40's)-, while Fokine was still around, and she staged it for her troupe in Havana in 1949, along with "La Mort du Cygnet" . She had also previously imported Fokine's "Petroushka", "Prince Igor's Polovtsian Dances" and Les Sylphides" in 1948. All this ballets had had a carbon copy continuity ever since their insertion in the Cuban repertoire, as it is well known Alonso doesn't allow for re stagings or changes.-(she has been very vocal and fierce as to what she think should be kept as it was danced during her tenure with BT). Then there is POB, another troupe that has kept this ballet pretty much alive. What is its source...? . And how about ABT...? I don't have the booklet for those ABT performances some years ago, but I don't think there was a historic reference to its staging in its notes. I believe that much of ABT's current takes on many ballets are the product of Baryshnikov re stagings. I pretty much suspect ABT had been dancing older versions of many historic ballets up until his arrival. If so...what would be the ground of the current staging of Spectre...? Misha and how he learned the role in Soviet Union...? Or maybe Makarova...? Or Kolpakova...? (and if that was the case, then they would be all derivatives of Liepa's historic re staging) .Any thoughts...? Here is a staging in Havana. Giusseppe Picone and Annette Delgado. And here is a performance of Liepa's staging. Liepa and Kondratieva are the leads. Notice how much faster and difficult the choreography is here.
  14. Thank you for your responses! is quite a shame that we don't have a proper stage clip of divine Soloviev in this role. The tiny studio and bad shape of the film, although we all know he owned that rare quality on muscular dancers to have such plush, soft landings and huge jumps. Eglevsky seems to had it too. La Rose also can become quite a One Man Show, where the dancer completely takes total control of the ballet, outshining The Girl-(classic example...Nureyev). Too showy for my taste. And yes, Cornejo. I think he will come down in ABT history as one of the finest in this role. As I said...he carefully crafted a perfect mix in between androgynism, masculinity, technical skills and stage-share with his ballerina. Oh yes...and THAT jump. ;-).