cubanmiamiboy Posted September 7, 2007 Share Posted September 7, 2007 I was recently reading an old program from Ballet Nacional de Cuba from october 2000, when Mme. Alonso organized a program called "Gala tribute to George Balanchine" during the XVII Havana Ballet Festival. The program notes is based in an interview in which Mme. Alonso describes some of her experiences working with Mr. Balanchine. I thought it would be a good idea to translate some of these notes . Here they go: Mme.Alonso on "Theme and Variations": "In 'Theme and Variations" Balanchine kept testing me all the time, stablishing a kind of fight between my technical strenght and his choreography. So he would ask me, for instance: G.B-'Do you think you could do entrechat-sixes here...?' A.A-'I'll do them!' ...and then he would say... G.B-'So, could you do now pas de chat en tournant..?' A.A-'If you want to, i'll do it!' ...and so he would keep torturing me , adding new steps, new dificulties, to see if i would say 'No, i can't ', but i never gave up! That's why the version of 'Theme and Variations', as it was presented on the premiere, was technically and musically very, very complicated. When other ballerinas danced the role later on, some of them that were my friends-(among them Maria Tallchief, who was Balanchine's wife)-would tell me 'But Alicia, how did you let him put this ...?!, or that ...?!, now we are in trouble!', and I would answer: 'Well, it was Balanchine who put it there!...'Another thing that i can't forget is that with 'Theme and Variations' Balanchine made his debut as orchestra conductor, and aside for the importance of it, I will always rememer this because the tempo was madly fast. We all ended up breathless!" Link to comment
cubanmiamiboy Posted September 20, 2007 Share Posted September 20, 2007 I was recently reading an old program from Ballet Nacional de Cuba from october 2000, when Mme. Alonso organized a program called "Gala tribute to George Balanchine" during the XVII Havana Ballet Festival. The program notes is based in an interview in which Mme. Alonso describes some of her experiences working with Mr. Balanchine. I thought it would be a good idea to translate some of these notes . Here they go: Mme.Alonso on Balanchine and "Theme and Variations". Youskevitch's variation: "The variation that Balanchine made for Youskevitch, so celebrated by the critics, had its evolution during the stage phase of the work. Initially, i remember that he created a variation very par terre, technically simple, based on positions and designs of diferent angles of [Y] body's line. Then he overheard that Youskevitch wasn't pleased with the variation, because he considered that i had too little technical complexities. B. acepted the challenge and said: G.B: 'All right, we will do a variation based on three brilliant choreographic themes', and it resulted in what probably is the variation with the highest technical virtuosism among all those that he created for men" Link to comment
Farrell Fan Posted September 20, 2007 Share Posted September 20, 2007 Thank you for your translations of these notes, Cristian. Let me say, as a long-time devotee of Ms. Farrell, how much I am struck by and admire your devotion to Mme. Alonzo. Link to comment
cubanmiamiboy Posted September 20, 2007 Share Posted September 20, 2007 Thank you for your translations of these notes, Cristian. Let me say, as a long-time devotee of Ms. Farrell, how much I am struck by and admire your devotion to Mme. Alonzo. Thank you for your aknowledgment...and it'is an honor and a pleasure to write them... Link to comment
cubanmiamiboy Posted September 21, 2007 Share Posted September 21, 2007 I was recently reading an old program from Ballet Nacional de Cuba from october 2000, when Mme. Alonso organized a program called "Gala tribute to George Balanchine" during the XVII Havana Ballet Festival. The program notes is based in an interview in which Mme. Alonso describes some of her experiences working with Mr. Balanchine. I thought it would be a good idea to translate some of these notes . Here they go] Mme. Alonso on the staging of the White Swan PDD by Balanchine for her and Youskevitch: AA- "I remember that it was Balanchine who made me realized of a characteristic thing of my dancing that i had for instinct without realizing. One day, after watching me dance the II act of Swan Lake, he said to me: GB-'You, your arms...they dance the melody more than the rythm' Youskevitch and I had the wonderful experience that the master personally rehearsed us on that II Act. Of all those rehearsals i haven't forgotten one little detail from him : the importance he gave to trying to keep inmaculate the ballerina's tutu. That means that, during the performance, one have to treat the costumes in a technical way which, in general, express the extreme attention that the partenaire should give to the ballerina." Mme Alicia Alonso Link to comment
cubanmiamiboy Posted September 22, 2007 Share Posted September 22, 2007 I was recently reading an old program from Ballet Nacional de Cuba from october 2000, when Mme. Alonso organized a program called "Gala tribute to George Balanchine" during the XVII Havana Ballet Festival. The program notes is based in an interview in which Mme. Alonso describes some of her experiences working with Mr. Balanchine. I thought it would be a good idea to translate some of these notes . Here they go: Mme.Alonso: "Tribute to Balanchine". "In 'Theme and Variations' Igor [Youskevitch] and i developed a hard and passionate work. We both were achieving our own particular concept of the PDD, with an essentially expressive feeling, like a dialogue, very warm and personal and way far from the usual form established by Balanchine. That's why we couldn't avoid , on the execution of the new choreography, to interpret it in our own way, as much as what the enormous technical demand would allow to. To give a sense of dancing to a melody, to express a sensibility, to follow a theme, to achieve a humanization, or in other words, to make a duo between a man and a woman. As it was expected, Balanchine noticed, but for some reason, he didn't criticized us; he stared at what we did, silent, but he respected it. He only told us: G.B-'Is not exactly what i'm asking , but i like it..." Mme. Alonso. Link to comment
cubanmiamiboy Posted September 23, 2007 Share Posted September 23, 2007 I was recently reading an old program from Ballet Nacional de Cuba from october 2000, when Mme. Alonso organized a program called "Gala tribute to George Balanchine" during the XVII Havana Ballet Festival. The program notes is based in an interview in which Mme. Alonso describes some of her experiences working with Mr. Balanchine. I thought it would be a good idea to translate some of these notes . Here they go: Mme.Alicia Alonso: "Tribute to Balanchine" "I didn't have a chance to see Balanchine towards the end of his life, but i often received his messages. I remember,for example ,in 1976, when i was dancing at the Matropolitan Opera House as a guest artist of the American Ballet Theatre, doing "Carmen". Back there, i was receiving some physical therapy by an ex ballet dancer friend of mine, Bill Weslow. Balanchine also was having some treatments with Billy, so he gave him this message to me : GB-'Please, tell Alicia that many years have passed but so far nobody has ever danced "Theme and Variations" the way she did'. I appreciate a lot, coming from the master, that judgment and that he still remembered me. " Mme Alonso " Link to comment
innopac Posted December 2, 2007 Share Posted December 2, 2007 From Irina: ballet, life and love. Viking 2005 Irina Baronova writing about a memory from the tour to Havana where they performed at the Pro-Arte Musical. "One day Mr Yavorsky asked Jerry and me to come and watch a young girl in his class whom he considered very, very talented. Tania and Lichine came as well, as they were always interested in seeing new talent. The young student was just fourteen, beautiful to look at, already quite strong technically, and possessed that elusive special quality that a person is born with--either you have it or you do not. That young girl had it all. Her name was Alicia Ernestina de la Caridad dei Cobre Martinez Hoyo". page 206 Link to comment
cubanmiamiboy Posted December 2, 2007 Share Posted December 2, 2007 The young student was just fourteen, beautiful to look at, already quite strong technically, and possessed that elusive special quality that a person is born with--either you have it or you do not. That young girl had it all. Her name was Alicia Ernestina de la Caridad dei Cobre Martinez Hoyo". aka my beloved Mme. Alicia Alonso Thank you, Innopac! Link to comment
bart Posted December 2, 2007 Share Posted December 2, 2007 Try fitting Alicia Ernestina de la Caridad del Cobre Martinez Hoyo and Igor Youskevitch on the same marquee. (Does anyone know Youskevitch's patronymic, so that he could demand additional space?) Link to comment
innopac Posted December 2, 2007 Share Posted December 2, 2007 aka my beloved Mme. Alicia Alonso Here also is a beautiful photograph of Alicia Alonso taken around 1945 Alicia Alonso Link to comment
atm711 Posted December 2, 2007 Share Posted December 2, 2007 Here also is a beautiful photograph of Alicia Alonso taken around 1945Alicia Alonso Alas! I had that same photograph autographed to me by Alonso --if my memory serves, it said---un carinoso saludo--- Unfortunately, about 20 years ago (during a move) I sold part of my old memorabilia to the Ballet Shop in NYC. Link to comment
tempusfugit Posted December 2, 2007 Share Posted December 2, 2007 Silvy, Alonso was remarkable in every way, not least as a virtuoso. There was also (some time ago) a video on YouTube of Alonso dancing Black Swan on a checkerboard (black and white, probably) floor; as the squares are vividly delineated, it is possible to see EXACTLY how little the ballerina travels in her fouettes. Quite stunning, and may still be up. Link to comment
richard53dog Posted December 2, 2007 Share Posted December 2, 2007 Silvy, Alonso was remarkable in every way, not least as a virtuoso. There was also (some time ago) a video on YouTube of Alonso dancing Black Swan on a checkerboard (black and white, probably) floor; as the squares are vividly delineated, it is possible to see EXACTLY how little the ballerina travels in her fouettes. Quite stunning, and may still be up. This clip is material from a fimed documentary. The piece with the fouettes is from an odd but complete Black Swan pdd. In her varation she executes 2 two pirouettes, each with 5 revolution. There are also extended portions of a Pas de Quatre, Giselle and Carmen. There are also extended interviews . I dodn't know if the program has been released on DVD. My copy (which I can't seem to locate) was on VHS. Link to comment
rg Posted December 2, 2007 Share Posted December 2, 2007 this VAI release includes much of what was on the video cassette originally marketed as ALICIA: http://www.vaimusic.com/VIDEO/DVD_4343_AliciaAlonso.htm Link to comment
carbro Posted December 2, 2007 Share Posted December 2, 2007 Silvy, Alonso was remarkable in every way, not least as a virtuoso. There was also (some time ago) a video on YouTube of Alonso dancing Black Swan on a checkerboard (black and white, probably) floor; as the squares are vividly delineated, it is possible to see EXACTLY how little the ballerina travels in her fouettes. Quite stunning, and may still be up.Not only on a checkerboard floor, but against backdrop of columns. Alonso, to me, illustrates how it is possible to incorporate the "tricks" to artistic purpose. Link to comment
cubanmiamiboy Posted December 3, 2007 Share Posted December 3, 2007 quote]Not only on a checkerboard floor, but against backdrop of columns. Not only the checkerboard floor and the columns backdrop...but all this at 46 and blind! Link to comment
Hans Posted December 3, 2007 Share Posted December 3, 2007 I don't know, I just watched the Alonso clips to refresh my memory, and I have to say I prefer Beriosova. The way Alonso slowed down the music to accommodate her pirouettes in her variation (the changes in the choreography could have been due to a lack of space) as well as her long preparation time for them signifies what was apparently more important to her. Maybe one really needed to see her live for her magnetism to come across. Link to comment
cubanmiamiboy Posted December 3, 2007 Share Posted December 3, 2007 Maybe one really needed to see her live for her magnetism to come across. Amen. That's totally right. Link to comment
ViolinConcerto Posted December 4, 2007 Share Posted December 4, 2007 To Cristian and other fans of Ms. Alonso, I got a link today that may be of interest -- it is possibly up on the "Links" thread, but I thought I'd pass it on directly. http://www.cubaheadlines.com/2007/12/03/74...ears_later.html I hope to read and collect all of Cristian's translations of Ms. Alonso's remarks about Mr. B. soon -- but am now in the midst of some very intense personal (good) preparations, etc. Thank you for those in advance! Link to comment
anettefan Posted December 16, 2007 Share Posted December 16, 2007 having been priviledged to witness Alonso perform regularly in Havana in the 60's and 70's I can assure all that she was capable and regularly opened her Black Swan fuettes with 6 piruettes, counted, 32 single fuettes and close with 6 piruettes, granted, since the music cannot accommodate all these turns at the speed she did them, it would only kick in when she came down from the piruettes and stop reight on the 32nd until she completed her closing turns. And she did not travel, in any direction. Link to comment
cubanmiamiboy Posted February 19, 2008 Share Posted February 19, 2008 I hope to read and collect all of Cristian's translations of Ms. Alonso's remarks about Mr. B. soon -- but am now in the midst of some very intense personal (good) preparations, etc. Thank you for those in advance! Always a pleasure !... Link to comment
cubanmiamiboy Posted February 19, 2008 Share Posted February 19, 2008 this VAI release includes much of what was on the video cassette originally marketed as ALICIA And now called "Prima Ballerina Assoluta". Thank you rg for the link. This is its content: Alicia Alonso: Prima Ballerina Assoluta A compilation of performances from 1963 to 1985 includes many of Alonso’s most celebrated roles. These range from Giselle, Swan Lake, Don Quixote & Coppélia, Romeo & Juliet, and others. She is joined by members of her company, The Ballet Nacional de Cuba. As bonuses are performances from the CBC (with Igor Youskevitch,1958) and Bell Telephone Hour (with Melissa Hayden, Nora Kaye & Mia Slavenska, 1960). 74 min., Color, B&W. Playable in all regions. Swan Lake: Black Swan Pas de Deux Music: Tchaikovsky Choreography: Alicia Alonso, after Petipa Dancers: Alicia Alonso, Azari Plisetsky, Hugo Guffanti 1968 Romeo & Juliet: Bedroom Scene Music: Berlioz Choreography: Alberto Alonso Dancers: Alicia Alonso, Azari Plisetsky 1970 Giselle: Act II Pas de Deux Music: Adam Choreography: Alicia Alonso, after Coralli & Perrot Dancers: Alicia Alonso, Azari Plisetsky 1963 Coppélia: Dr Coppélius and the Doll (Swanilda) Music by Léo Delibes Choreography: Alicia Alonso (after the original by Arthur Saint-Léon and the version by Marius Petipa) Dancers: Alicia Alonso, José Parés 1968 Don Quixote: Act III Pas de Deux Music: Minkus Choreography: Alicia Alonso, after Petipa & Obukhov Dancers: Alicia Alonso, Azari Plisetsky 1968 Pas de Quatre Music: Pugni Choreography: Alicia Alonso, after Perrot Dancers: Alicia Alonso, Mirta Plá, Loipa Araújo, Aurora Bosch 1968 La Fille Mal Gardée: Lisette Keeps Her Love a Secret Music: Hertel Choreography: Alicia Alonso, after Dauberval Dancers: Alicia Alonso, José Parés and Alberto Méndez 1968 Oedipus Rex; Bedroom Scene Music: Brouwer Choreography: Alicia Alonso & Jorge Lefebre Dancers: Alicia Alonso, Jorge Esquivel 1971 La Peri Music: Burgmüller Choreograhy: Alberto Méndez Dancers: Alicia Alonso, Jorge Esquivel 1985 Carmen Suite: Variations & Habanera Music: Shchedrin, after Bizet Choreography: Alberto Alonso Dancers: Alicia Alonso, Azari Plisetsky 1968 All with Ballet National de Cuba National Symphony Orchestra of Cuba Manuel Duchesne Cuzán conductor Bonuses Black Swan Pas de Deux (First Adagio) Music: Tchaikovsky Choreography: Petipa Dancers: Alicia Alonso, Igor Youskevitch Orchestre de Radio-Canada, Jean Beaudet December 4, 1958 Pas de Quatre Music: Pugni Choreography: Anton Dolin, after Perrot Dancers: Alicia Alonso, Melissa Hayden, Nora Kaye, Mia Slavenska Bell Telephone Hour Orchestra/Voorhees April 1, 1960 Link to comment
cubanmiamiboy Posted January 7, 2009 Share Posted January 7, 2009 This is another pic of Mme. that i would like to identify Any help will be appreciated-(choreography, music, costume design, etc...) thanks! http://home.comcast.net/~thomas.o.lee/Alicia.jpg Link to comment
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