12 replies to this topic

[cubanmiamiboy]

Maybe digging a little around here will get me somewhere, as Google doesn't give me many options.  Osmany Molina, a beautifully lined "Danseur Noble" and ex Principal of Mme. Alonso's Company left the island a while ago, and seems to have vanished.  I was lucky to see him dancing Albretch in the Cuban Clasical Ballet of Miami's last production of Giselle, partnering Alyhaydee Carreno.  I think last thing i knew of him was that he was dancing in a Company in Puerto Rico, but i don't believe the island's main Company-(which has suffered several name changes)-has a website.  No videos are available on Youtube either, other than his old ones from his days in Cuba.  If this name rings a bell, please let me know.  Back when Sarabita-(Rolando Sarabia)- was the new baby tiger on the Havana stage, Molina was the always correct impecable and messured dancer per se, the most of the times partnering Lorna Feijoo.

[cubanmiamiboy]

While backstage last night with Lorna Feijoo at the CCBM gala I was able to chat a bit with Molina's father-(I hope I'm able to post this "non oficial" thing here...is really harmless, I promise..)-and he told me he's fine and still dancing in a company in Puerto Rico-(no website available, sadly),and that he was to dance Apollo today over there, staged by Nilas Martins.  He also cited Molina's complete aversion to the cold weather among the main reasons for him not joining a top American company up north back when he was offered the chance.  I'm happy to know that "the prince"-(as Mme.Alonso used to called him)-of the Cuban ballet is still active and onstage.  I wish the best for him.  Certainly loving memories I have of him and Feijoo's magical nights back in Havana.  From the next press release I also realized that another ex Principal of the National Cuban Ballet, Mr. Romel Frometa-(Viengsay Valdes' long time partner and her Basilio in the Cuban DQ DVD)-is also dancing currently there, along with Miss Bettina Ojeda, another ex member of the CNB.  Interesting also to notice that Jimmy Gamonet-(ex Miami City Ballet resident choreographer and ex AD of the now difunct Gamonet Ballet)-is working with them, bringing is version of "A Midsummer Night's Dream"


"What is it with mythology that it always seems so fascinating? We lose ourselves in the tales about the gods who become infuriated and descend to Earth to change the course of things, nymphs who drive us crazy, and narcissus that were born as a result of vanity. Our species is all about the myth.  
And so, the next mise-en-scène of Ballet Concierto de Puerto Rico (BCPR) promises to be a feast for the imagination and a challenge for corporal movement, because the two pieces to be premiered are, precisely, a fusion of ideas.
“Apollo” was composed between 1927 and 1928 by Igor Stravinsky and choreographed by master Russian choreographer George Balanchine (co-founder of the New York City Ballet) in 1928. This would be the first time that BCPR presents this piece that tells the story of Apollo, the god of music in Greek mythology, and his three muses: Calliope, the muse of epic poetry; Polyhymnia, the muse of rhetoric; and Terpsichore, the muse of dance.

For the montage, the répétiteur of the Balanchine Trust and longtime principal of the New York City Ballet, Nilas Martins, traveled to Puerto Rico. Martins is a renowned figure in international ballet and the son of ballet legend Peter Martins.

“This is the second time I’ve worked with the company and it’s always a wonderful experience to teach something from scratch and then see how in a short period of time they are able to attain enough confidence to create within the boundaries of the choreography,” Martins said about the ballet in which only three female dancers and one male dancer take part.  “There is much emotion, character and interpretation,” he adds.

In addition to “Apollo,” the audience will be able to enjoy the world premiere of the ballet, “Midsummer Night’s Dream” by renowned Peruvian choreographer Jimmy Gamonet de los Heros, in collaboration with the Puerto Rico Symphony Orchestra concert series, conducted by maestro Rafael Enrique Irizarry, and featuring Coral Lírico de Puerto Rico directed by Johan Herrero. The general conduction of the Symphony Orchestra is by its principal conductor, maestro Maximiano Valdés.

The musical score of “Midsummer Night’s Dream” was composed by Félix Mendelssohn and is based on the work by William Shakespeare. The scenography is by Checo Cuevas and David Higgings, and the costume design is by Gamonet himself.

Guest artists include, Romel Frómeta, Osmay Molina, Ana Serantes and Eloy Ortiz from Andanza Dance Company, whereas ballerinas Tania Muñiz and Betina Ojeda will head a dance company of 45 with Carlos Cabrera as artistic director".

http://www.elnuevodi...?id=1218871&t=3

[diane]

I am so glad to have these dancers brought to my attention.

Thank you.

I would probably never had known about them otherwise, living and working as I do on another part of the planet, in a cold-climate with little sun.
(oh, how I sympathise with this dancer who preferred to stay in warmer climes!)

Thank you again, Cristian, for posting these videos and sharing your knowledge and experience of these and other dancers.

-d-

[cubanmiamiboy]

My pleasure, diane.  Always trying to bring into balletic focus all my exiled fellow citizens...

[Helene]

Wow, wow, wow:  they are incredible together.

I love the plush quality that he has and that is prized in Cuba.  I couldn't believe the ease with which he performed double tours in both directions in the solo.  Sigh.

[cubanmiamiboy]

Helene, on 17 June 2012 - 01:55 PM, said:

Wow, wow, wow:  they are incredible together.

I love the plush quality that he has and that is prized in Cuba.  I couldn't believe the ease with which he performed double tours in both directions in the solo.  Sigh.

Yes indeed, Miss Kaplan.  Molina was never flashy like Acosta, a child star like Sarabita or a choice for Alonso's late partnering toward the end of her dancing career like Lienz Chang.  He actually rather suffered from Sarabita's meteoric climbing thru the ranks with less casting, but he had this wonderful, elegant, soft demeanor onstage that made him fabulous to watch.  By coincidence, while talking to his father-(whom I just met at Feijoo's dressing room)-he graciously invited me to visit him to show me his private collection of amateur videos of the Cuban company, many of which contains Molina's dancing.  He happens to live just a couple of blocks away from my apartment..!

[diane]

That "plush quality" is something which sort of went "out of fashion" for a time, it seems. Not sure if it is "back in" now or not, but I do like it.

Cristian, how nice that Molina's father invited you to view his videos of the company dancing! What a treat!


Helene, I was also very pleased to see Molina doing those gorgeous, wonderfully elevated double tours to both sides.
(I am one of those teachers who insists that students practice each side at least equally, which is not what many of them want to do. -sigh-)

-d-

[Helene]

I was very happy to see that Osiel Gounod, Viengsay Valdes' partner in "Don Quixote" when National Ballet of Cuba visited Vancouver earlier in the year, had the same plush quality.  For me, that will never go out of style

Wasn't it amazing that the turns looked equal to each side, with the same ballon and ease?

[Natalia]

Thanks, cubanmiamiboy! I am amazed to read that Ballet Concierto still exists in PR. They had disbanded for a while.

[cubanmiamiboy]

I love those tours en l'air on both sides too, Helene and Diane! In fact, if I remember well, wasn't the step reconstructed by Fullington for the PNB Giselle's Peasant PDD male variation, and later on not used by choice...?

Natasha...yes, I was very happy to see that the Puerto Rican company is still up and alive.  There are several Cuban dancers there, and I just saw they're doing an opening casting.  I wish they could build a website too.

[Paul Parish]

That plush quality, softness of landing in demi-plie, and accuracy of landing in fondu with a real melting quality, is incredibly beautiful and very rare. Anthony Dowell had it.

Karsavina in her book on technique, the flow of movement, recommended the practice of fondus as the mechanism of the jump -- and looking at this I found myself thinking that without a good fondu on each leg, it's probably not going to be at all easy to land a double tour equally well in both directions.... Anyway, he's wonderful, and I bet he's 20 times as wonderful live as he is on video, since it's in the theater that that softness and accuracy in landing is most thrilling. I'd love to see him dance Apollo!

And thanks also for more views of Lorna Feijoo. -- so! musical!

And for a chance to see the thrilling Cuban audience. Bliss must it be to be in a house like that, when the audience is already on their feet cheering before the flying-fish dive (I'm calling it that since I've never seen one before and don't know what to call it...

[cubanmiamiboy]

Paul Parish, on 18 June 2012 - 02:52 PM, said:

Bliss must it be to be in a house like that, when the audience is already on their feet cheering before the flying-fish dive (I'm calling it that since I've never seen one before and don't know what to call it...

I know, Paul!   The Cuban Black Swan coda definitely has a great, exciting pathos...fouettes, sautes voyages on pointe, pique turns  and flying fish dive!  When one hasn't recovered from one flashy moment, the other is on its way already to surpass the preceding one...

[diane]

I am sitting here just smiling, thinking about all of this.

What a pleasure and a treat to be able to share thoughts on dancers and dances like this, continents and also years away.
We are lucky, indeed.



Paul, re. fondus: that is an interesting observation, and I think it is probably correct.
I really like fondus and think highly of them ;) , so I put them into quite a few exercises for my students, who do sometimes tire of them.
But, all to a good cause, I hope!

-d-