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Cristian's NutcrackthonCuban Classical Ballet of Miami


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20 replies to this topic

#1 cubanmiamiboy

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Posted 10 December 2010 - 09:26 AM

Tonight I officially start my own Nutcrackthon...! :P

My first production is from Florida Classical Ballet, which takes place at the charming Olympia Theater downtown. This is a small troupe just created by Miss Magaly Suarez. Miss Suarez is an experienced ex Cuban National Ballet's teacher and regisseur, and until recently the main head and brain behind the creation and development of the Cuban Classical Ballet of Miami. After departing her own way she founded this company, which is a mixed of students of her own school and guests Principals from different companies. According to the website, Joseph Gatti, from Boston Ballet, will guest tonight. Suarez danced in the Alonso-after-Fedorova production back in the days, and her staging of the Nutcracker honors her recollections.

Will report back. :thumbsup:

#2 mira

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Posted 10 December 2010 - 12:01 PM

isn't Magaly's Nutcracker at the Gusman tomorrow (Saturday, Dec. 11) at 8 pm? I hope so - I'm going! :-)

From her Facebook page (The Art of Classical Ballet)
Tomorrow, December 11
Florida Classical Ballet presents "The Nutcacker"
Where: Gusman Center for the Performing Arts
When: Tomorrow from 8:00 pm to 11:00 pm

#3 cubanmiamiboy

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Posted 10 December 2010 - 12:57 PM

Yes!! OMG, Mira...thank God you wrote this! I've been looking at the wrong date in my watch for like 5 days now...(another early Alzheimer moment, I know...). I even brought the clothes and everything to change and go after work...and even told my mother to meet me at the theater... :blushing: Now I have to call her and tell her.
Now, tomorrow I had already planned to attend the Saint Petersburg Classic Russian Ballet , which basically follows Vainonen's staging-(which I like in certain sections...)
But...I'll stick with Mamicha/Fedorova instead... :thumbsup:

#4 mira

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Posted 10 December 2010 - 02:31 PM

ok good glad I could help.

major annoyance going to downtown Miami for no show - especially with Mom!

:-)

#5 cubanmiamiboy

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Posted 11 December 2010 - 02:23 PM

ok good glad I could help.

major annoyance going to downtown Miami for no show - especially with Mom!

:-)


I know...! :P . Well, not only am I trading the Russians for the Floridians, but also I just realized that the Hubbard Street Dance troupe from Chicago-(which I had been planning to see)-is also performing tonight...but you know...Ivanov call is more urgent... :wink:

#6 mira

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Posted 12 December 2010 - 07:38 AM

yes lots of choices! fun night - great to see Magaly and the dancers. :-)

#7 cubanmiamiboy

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Posted 12 December 2010 - 08:54 AM

Mira..I did have a great night. I loved seeing the full house, and the production, if maybe too ambitious for Mamicha's current resources, both economical and human, it was very lovely, particularly the snow scene. I just wish Suarez would take a little liberty and ignore Fedorova's cut of the music during the Grand Adagio... :) . She used teen girls and boys for the party, and so all the girls were on pointe, but totally credible as girls...(I think this is the right choice...to use young students, but old enough to display technique..). For the first time I was not annoyed by the kids playing mice onstage. They were very cute, because there were a lot of girls, with little tutus, and they were rehearsed to be naughty and annoying around Clara, instead of violent...Clara looked very fed up and wanted to kill them all...! :D

Something I want to note...the Sugar Plum Fairy was danced by Mayara Pineiro, and Prince Coqueluche by charismatic First Soloist Joseph Gatti, from Boston Ballet.About Pineiro, here's some background, from a friend's e-mail I received a while ago...

[font="Comic Sans MS"][size="4"]"Here is a video that I think you will enjoy. It is about a girl named Mayara who defected about a year ago when a group of students from the Cuban National Ballet School were performing in Canada. I got the chance to meet her when I was visiting Mamicha last summer. She was actually only 17 when she defected, so technically, she couldn't. She went through a very scary ordeal in the police station in Buffalo, NY, where she almost got sent back to Cuba because she was under age. She then went to live with her aunt and uncle in Orlando, who, in the video appear to be very supportive of her dancing,
but actually wanted her to get a job, which didn't allow her time to study ballet anymore. One day, one of Magaly's former boy students (also Cuban, but they didn't know each other before), walked into the store where she was working. It was fate and they started dating, and last summer he brought her to Magaly.




She is now living with Mamicha, and just two weeks ago she won the gold medal for her Esmeralda in the Tampa regionals of Youth America Grand Prix."[/size][/font]



#8 mira

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Posted 12 December 2010 - 10:15 AM

yes, great that she is getting opportunities here. and didn't Joey look amazing? (as always!)

#9 cubanmiamiboy

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Posted 12 December 2010 - 10:19 AM

yes, great that she is getting opportunities here. and didn't Joey look amazing? (as always!)


He's indeed very charming. When he smiles he lights up the stage..! I was hoping that Almeida would come too to dance in the production... :(

#10 mira

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Posted 12 December 2010 - 03:04 PM

agree - she's recovering from an injury - should be good as new soon!

#11 floridian

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Posted 12 December 2010 - 03:34 PM

Magaly's new company is Florida Classical Ballet (FCB). Florida Classical Ballet Theater, its a different company in palm Beach.

#12 floridian

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Posted 12 December 2010 - 03:38 PM

Just to clarify...
Magaly's new company is Florida Classical Ballet, FCB; there is another company in Palm Beach named Florida Classical Ballet Theater.

#13 llittlesister

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Posted 13 December 2010 - 03:22 AM

Florida Classical Ballet Debut Performance

#14 cubanmiamiboy

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Posted 17 December 2010 - 08:06 PM

Just to clarify...
Magaly's new company is Florida Classical Ballet, FCB; there is another company in Palm Beach named Florida Classical Ballet Theater.


Thanks for the clarification! I edited the OP accordingly. :thumbsup:

Moving on:

I just came from the MCB opening night. Theirs is, as we all know, a Balanchine production. I won't be talking about his staging per se, for which I've done this at length before, but rather about the ups and downs of tonight's performance.

The Downs:

A charmless Clara and Nutcracker kid. If the main thing of Balanchine's staging is to make real children the heart and soul of the ballet, then they better try to make them more alive next time. This observation is extended to the party kids, which at some points were like little lifeless robots following given steps, many times not even smiling. In Act II Clara and the Nut looked as if they had been placed in time out in the back of the stage. Where are the gestures of amusement and the surprised faces when presented with such feast...? Also, in the video they are given a table full of candy and other delicacies, so they can be entertained eating-(as kids usually do)-while watching the show. If this is not part of the original thing, then it was a great idea to insert it.

The Snow Scene's tutus. The romantic skirts didn't move too much. They were stiff and not very full, thus totally breaking the illusion of the floating entities swirling across the stage that worked so beautifully in the video. Also they didn't have the right attack that got me so much-(again)-in the DVD. Those were crazy snowflakes, at some point even looking as if they were really the body of a snow storm, right when the snow starts making this concentric movements with the wind. The Miamians snowflakes were sweet smiling girls...too sweet.

The substitution of the devices the snowflakes have in their hands, from the ones resembling real snowflakes -(and very much like the original Imperial ones)-to silver glittery branches, again loosing the intended effect.

The mourning of the Company's loss of the BEST Candy Cane-(Daniel Baker) and Tea-(Alex Wong) I've EVER seen. Baker's jumps with that hoop and Wong's Grand Ecartes were priceless.

The absence of live music, which made the whole thing look even more schoolish than ever...

The Ups.

Two dancers made the night for me. Principal Patricia Delgado as a wonderful Dewdrop and Corps member Nicole Stalker, who was FEARLESS and committed to light up the stage during the Waltz of the Flowers. :clapping:


At the end of the story, I should say that the auditorium was packed, and people had a great time, according to the cheering heard during curtain calls, so don't mind my non sense rampage. If the audience is happy and nice revenues are collected, then the mission has been accomplished.

Next, Cuban Classical Ballet of Miami-(tomorrow night).

#15 canbelto

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Posted 17 December 2010 - 10:37 PM

cristian, I don't know, because I haven't seen it, but my guess is that even though the MCB follows Balanchine's choreography, it's a much smaller company with much smaller resources, so there are some major differences with the production now playing at the NYCB. (Although I've seen disastrous, lifeless performances of the Nut at the NYCB too.)

Re: the children, the SAB is right in NY, across the plaza in fact, and every year children are handpicked to be in the Nutcracker. They rehearse a lot and thus often give the best performances bar none. At MCB I would guess the situation is much more difficult.

About the costumes and snow wands, that is strange because I agree, they are one of the best parts of the Balanchine production. At the NYCB they've always been fluttery and soft, to give the illusion of a real whirling snowstorm, and the orchestra always accelerates the music faster and faster, as the snowflakes dance up a blizzard (forgive the pun).

I think part of the issue is the recorded music. A live conductor can create effects seemingly spontaneously, like the one I spoke of above. But when it's recorded music, seems as if the dancers would have to rehearse carefully to that recording and that recording only, to make sure nothing is "off." I imagine the effect on dancers must be a loss of spontaneity and musicality.


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