Thanks for the posts regarding CBCL's recent Swan Lake performances "CarolinaM" and "sunday". I haven't seen this production yet except in excerpted videos. The sets look very good (glad it's set in the more traditional--correct?--medieval time) and the costumes truly beautifully detailed and a wonderful pallette.
Having seen most of the dancers mentioned in previous performances of different reps, I can agree with most of Carolina's comments regarding the soloists and corps. (I must also say I greatly enjoyed the clips I've seen of them rehearsing "Raymonda ActIII Variations" with Herman Cornejo.)
In the only clip I've seen of Natalia Tapia in Swan Lake--the Act2 pdd--it seemed very fast, which sort of negated the lyricism. That surprised me because I remember her in La Bayadere where she was both technically strong and graceful. I really wish I could see both her and CBCL in Swan Lake soon!
RE: Fernando Bufala: Ever since I saw him do "Clear" two years ago, I noticed the similarity to Angel in his presentation/technique; though I am glad to say, Fernando is still able to project his own distinct personality and abilities separate from his boss. (As a sidelight to his dancing, Fernando has also ably photographed CBCL in many performances.)
And finally I must note...(Moderators please move the following to FFD thread if necessary)
Soon after the San Cugat SL's, Angel & Carmen flew to NYC for performances of "Solea" at Fall for Dance. Their plane was delayed by the general strike in Spain, and they landed with barely 2hrs to get to NYCC, change, prep, warm-up and then perform...but still, they were both in top form Wednesday night. As noted before, they performed "Solea" previously during CBCL's engagement at NYCC last March, and have also toured Spain with it since then. I think it is a very deft piece that does what it's supposed to do: 1) Allow Angel and Carmen to dance together and express their warm supportive relationship, (2) Show aspects of flamenco and ballet simultaneously to allow one to contrast/compare, and(3)convey some Spanish culture to a general audience through its music, dance, and Spanish exemplars.
(RE: Gia Courlas' NYT review...Carmen's choreography in "Solea" is not as fast or fiercely technical as her brother's so I think there is a very good reason why she did not compete with Angel's virtuosity; ie. blame the choreography, not the dancer.)
However, despite some tightness in his trapezius/neck I noticed--and who wouldn't have that after a long plane ride and no time to recover?, I haven't seen Angel dance as well as he did Wednesday night in two years. I saw both perfs but Wednesday's especially had super control in the piro sequences; speed, height, and form in the diagonal, and a final menege of jetes that flew with the 180 form, ballon and technique I always remembered. The audience of course was just thrilled to see AC & CC (technique or not) and vociferously proclaimed their support, but I simply got a lump in my throat and could only smile inside & out; all the time thinking: "He's finally back; in more ways than one."
Corella Ballet SWAN LAKE
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