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Marianela NuņezRoyal Ballet Principal


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#16 Nanarina

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Posted 19 September 2009 - 03:24 PM

:) I think she is excellent as Myrtha in the second act of Giselle, featuring the wonderful Alina Cojocaru & her partner
Johan Kobborg, I often watch this DVD. and find it very good. Although Alina is my top favourite dancer with Aurelie Dupont at the POB, I would be very interested in seeing Marianela Nunnex and also Laura Morera, in preference to Rojo who I just find rather boring I am sorry to say. and does not compare to the others for me. I have the DVD of Snow White and I find her quite disapointing.


The other dancer mentioned who I regret to say, despite his many achievements. is not to my liking is Carlos Acosta I prefer a more lyrical style even if it is a guy. There does not seem to be much flexibility in his technique, and I just do not enjoy watching him dance. Maybe it is the Cuban style training.

#17 Nanarina

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Posted 19 September 2009 - 03:55 PM

Soares on the other hand - I don't think it's fair to imply that he is only Principal because of the relationship of him and Nunez. I agree he's not the RB's best, but he is tall, and with so many tall ballerinas, tall male principals are needed. I think Monica Mason has a very big sense of justice, and if Soares (and Makhateli, and Pennefather) dance the roles and the schedule of principal, because good partners of their height are needed, she will give them also the salary and the status of principal - which is fair no, if they do the job?


For myself I usually try to see ballets where both principals are of a certain standard, but surely only Yanovsky in the RB is unusually tall and until he retired last year Mason imported Kenneth Greve to dance with her. The idea of male dancers gaining the status of principal on the basis of height rather than achievement quite appals me.



:) I think it is so unfortuinate how often we hear nowadys that this or that Dancer has been promoted because of any relationship they may have in their private life within companies. They have a saying in France "It is the tongues of Vipers". To be realistic how could this work in a large professional organisation like an Opera \house or Theatre. When you consider that relationships occur between both Dancers, Stage crew and Orchestra Members, not to discount other staff members. It would make the running of the organisation rather difficult if this practise was really followed.


In 2007 Aurelie Dupont's husband Jeremie Belingard, already a Principal Dancer, having won various competitions in the company to achieve the rank, was promoted to Etoile. There was quite a lot of comments to the same effect. But you only had to see him dance to understand he was more than worthy of his promotion. The critiques he was awarded for his role of Frederie in L'Arlesienne soon quelled the trouble makers.

#18 cubanmiamiboy

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Posted 19 September 2009 - 04:30 PM

re: Carlos Acosta.

I find him much to "rigid" and straight...

Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... :)

#19 richard53dog

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Posted 19 September 2009 - 04:37 PM

re: Carlos Acosta.

I find him much to "rigid" and straight...

Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... :)



That's SO comforting to know!

#20 cubanmiamiboy

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Posted 19 September 2009 - 05:09 PM

re: Carlos Acosta.

I find him much to "rigid" and straight...

Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... :wink:



That's SO comforting to know!

Isn't it...? :)

#21 kdubzz

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Posted 19 September 2009 - 07:20 PM

re: Carlos Acosta.

I find him much to "rigid" and straight...

Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... :wink:



That's SO comforting to know!

Isn't it...? :)


Ha, double entendres aside, I like the 'upright' nature of the Cuban trained men when it comes to their pirouettes. Jose Manuel Carreno has that incredibly 'pulled up' feeling to him too (I won't say 'straight' - lol). For me the Cuban training doesn't look as good for some reason on some of the women, esp Viengsay Valdes, or maybe it's just a body type preference.

#22 Nanarina

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Posted 20 September 2009 - 03:24 AM

:)

re: Carlos Acosta.

I find him much to "rigid" and straight...

Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... :cool:



That's SO comforting to know!

Isn't it...? :clapping:


Ha, double entendres aside, I like the 'upright' nature of the Cuban trained men when it comes to their pirouettes. Jose Manuel Carreno has that incredibly 'pulled up' feeling to him too (I won't say 'straight' - lol). For me the Cuban training doesn't look as good for some reason on some of the women, esp Viengsay Valdes, or maybe it's just a body type preference.




:innocent: Carlos Acco. I think I had better clarify that I meant "Pulled up", sorry. obviously I was refering to his technique!! I just could not think of the correct term at the time (It is the rampages of age you know!!) Back to the subject of the Cuban Style, I just do not find Carlos A. appealing. But now Jose Manuel Carr. has a different quality for me. I think he is superb. and I cannot help saying I put him in a completly different catergory. I have not seen this live at all, so I hope to go up to London when the Cuban Company are at The Coliseum later. Maybe I will learn something.

#23 carbro

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Posted 20 September 2009 - 11:57 AM

Just a gentle reminder, the title of this thread is "Marianela Nuņez". :)

#24 CarmelaSMira

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Posted 20 September 2009 - 12:11 PM

She will make her debut as Countess Larisch in Mayerling and in Sphinx when the new season starts at ROH.

Also she will perform in November Aurora in the Sleeping Beauty. I hope very very much that she will perform the Lilac Fairy again as well - in my opinion, Marianela is simply the best Lilac Fairy around! Not only does she perform technically the variation to perfection but she has great mime and a wonderful warmth when performing this role.

I would advise that, if Marianela will perform Lilac Fairy, she will most likely dance it on Rojo's performances. I don't think she'll dance it on Cojocaru's performances because the dates don't seem suitable with her schedule. We will likely see a lot of new RB Lilac Fairies besides, since 2 who performed it last run have retired (Ansanelli and McMeekan).

#25 Nanarina

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Posted 20 September 2009 - 12:23 PM

sorryif I have gone

Just a gentle reminder, the title of this thread is "Marianela Nuņez". :innocent:




Sorry if I have gone :) but it just seamed to go on. Perhaps the comments regarding The Cuban Style could be transferred to another new Topic?

#26 cubanmiamiboy

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Posted 20 September 2009 - 02:08 PM

Perhaps the comments regarding The Cuban Style could be transferred to another new Topic?

We can do that!! :innocent:
and sorry too for contribuiting to the :) subject. Guilty as charged.
So back to Marianela...

#27 Nanarina

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Posted 21 September 2009 - 02:24 AM

Perhaps the comments regarding The Cuban Style could be transferred to another new Topic?

We can do that!! :innocent:
and sorry too for contribuiting to the :) subject. Guilty as charged.
So back to Marianela...




Hi Cubanmiamiboy :clapping: I will start a new topic for The Cuban Style, but I do not know how to transfer our posts to it, do you? Sorry but I am more likely to wipe it all out.

#28 jsmu

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Posted 12 November 2009 - 02:56 PM

Nunez's Myrtha is superb: icy, vengeful, remorseless, and with an
equal sang-froid in her technical command.
it is a shame she is criticized , implicitly or otherwise, for having
such a strong technique...

#29 Helene

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Posted 12 November 2009 - 04:49 PM

Not every dancer is going to be everyone's cup of tea.

#30 Shirabyoshi

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Posted 24 July 2012 - 12:10 AM

What; no posts in this thread since November 2009?

Wake up, everyone, wake up! Because... I think I'm in love!

When I popped La Bayadère into my DVD player two weeks ago, I thought I might like Tamara Rojo. I thought she might be my first favourite living-and-active dancer; a "way in" to this intriguing art form which had recently been unlocked for me (possibly more on that later).

Then, a fabulous golden creature stepped out of the wings and that was it for me. I didn't know her name, or that she was a principal dancer, or that she was playing such an important role, with a tutu and everything. I simply couldn't take my eyes off her. (In particular, her arms. Am I mad, am I unspeakably ignorant, or is there something special going on there?)

And by the end I knew she had something I hadn't expected, couldn't identify, didn't understand, and needed very badly.

Such was my first sight of Marianela Nuñez.

I moved on to her Lilac Fairy -- not without trepidation, as she would be competing with precious childhood memories of a certain other lady -- and found myself so warmed by her smile that if I had a notebook in front of me now, instead of a keyboard, I'd be drawing flowers round her name. And then came her Lise in La fille mal gardée, which I cannot even talk about. All I can do is throw open my arms and cry to the heavens: "THANK YOU, GOD."

Around that time I decided I wanted her, not any of the legendary ballerinas whose recordings survive, to be my first Swan Queen.

In both roles she was so beautiful I could hardly bear it.

Knowing almost nothing about ballet I have only my own highly subjective aesthetic and emotional impressions to go by; but I'd like to mention her Odile particularly. Now, I knew the story of Swan Lake, and I'd always considered Siegfried unusually dopey even by the standards of fairytale princes, for being unable to tell the difference between Odette and Odile.

Marianela made me forgive him.

Her Odile was so sexy, so glittering, so exultant, that Siegfried's poor little prince-brain, which had probably not had much exercise prior to this, just didn't stand a chance. Even if part of him did recognise that she wasn't quite his pensively lovely Odette, that part must surely have been drowned out by how much he wanted to believe that this gorgeous creature was his, and that it was their love which animated her so thrillingly.

I don't know if it was a deliberate part of La Nuñez's characterisation of the role, or whether it was her own enjoyment of the piece showing through; but she truly gave the impression of being a woman who was happy in her work, who just loved enslaving princelings. I adored the moment when Siegfried first glimpses Odile through the crowd, when she folds her arms Odette-style -- but the way she does it gives an utterly different feeling. It's a deliberate tease. An unwinking wink. Lacking anything to compare it with I don't know whether all Odiles might not do that, but it was special to me.

And yes, I did notice the wobble. I admit that it happened. I admit that it took me out of the story for those few seconds. But then, well, I was quite happy to get back into it...

Talking about this Swan Lake leaves me longing to see it again. But I do hope that while I'm away gazing in heart-eyed wonderment, others will chime in with their impressions of La Nuñez. Posted Image If you posted in this thread a few years ago, has your opinion of her changed in the meantime? If you're a new fan like me, what was it which drew you to her? Have you seen her on stage, lately or in the past? I'm especially curious about roles in which she hasn't been recorded.

I promise, by the way, not to rush off in a snit if you post that you didn't like her in such-and-such a role, or that she doesn't do a certain thing well, or that you just don't care for her overmuch. I'm interested in all of it, good or bad. It's all helpful in building up a picture of a performer's strengths and weaknesses -- though my inclination will be to view this particular picture through lilac-tinted spectacles. Posted Image


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