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#31 carbro


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Posted 23 February 2009 - 11:03 AM

You may be interested to know that these costumes were recycled. They were originally designed for the Baryshnikov-Tchernicheva staging of Le Jardin Anime as a free-standing act, back in the '80s. If anyone has the video of ABT's Petipa evening* (also including staging of Raymonda Act III, the pdd from La Fille Mal Gardee and Aurora's wedding), you'll see them.

I rather wish they'd use them again for the JA scene in ABT's current Corsaire, instead of the bright, garish, cheesy tutus they now use.

*Broadcast as a "Live from Lincoln Center" just as home video recorders were becoming popular and, I believe, never released commercially.

Edited by carbro, 23 February 2009 - 12:14 PM.

#32 cubanmiamiboy


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Posted 23 February 2009 - 11:18 AM

His training is Cuban, but in Camaguey, not with Alonso.

Well, not with Alicia bart, but with that of the original Alonso, who was undoubtly the real force behind the modeling of the Cuban style: Fernando Alonso. He was kind of forced-exiled to the province of Camaguey after divorcing Mme. and then and there he created a wonderful Company while implementing his teaching method. At some point I will open a thread to aknowledge this troupe, which along with that of Laura Alonso-(Mme's daughter)-are to be the basis of the Cuban classical ballet.

so wait...does it mean you didn't get Delgado in West Palm Beach...? :o

#33 bart


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Posted 23 February 2009 - 12:24 PM

Carbro, thanks for that information. I also love the costumes for the girls in the wedding scene: 3 in pink tutus of the sort that look like tent marquees -- and 4 in pale tangerine. (The rst were in something less striking -- which I've forgotten.) Without being garish, the specialized costumes and colors helped one to see quite clearly the intricate interactions of the various groups within the corps.

Cristian: very interesting information regarding Camaguey. I really urge you to share more of this Cuban background with us. Who knows, perhaps with political changes here and in Cuba, we'll be seeing a lot more of these dancers in the context of their home companies. You can really help us by sharing your experiences and knowledge.

Guerra, by the way, strikes me as being very different from the other Cubans I've seen, who tend to dance BIGGER. I can't speak about technical details, but Guerra definitely had a greater reserve and even tentativeness stage when I first saw him. His development at MCB has made into a dancer quite different from, let's say, Isanusi-Rodrigez, Daymel Sanchez and the Sarabias.

RE: Jeanette Delgado. I missed the Saturday matinee, so I assume she danced then. When I bought the tickets long ago I didn't want to sit through Don Q four times. After Friday night, however, I realized I had made a mistake. But by then all the good Sat. matinee seats were gone. :)

Edited to add: There's a nice little tribute to Don Q in the Palm Beach Post.

Itís the perfect ballet for the Miami group, who are my biggest source of cultural discovery of the last several years.

Scott Eyman is almost the only cultural reviewer left on the Palm Beach Post following extensive layoffs. His specialty was books, originally, and certainly not dance. But now he's assigned to almost everything. It's nice to see him going through the process of learning about -- and coming to appreciate -- ballet, and MCB in particular.

Thanks, dirac, for the link.

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