bart, on 03 April 2012 - 04:45 AM, said:
I am sure that there are people in the Miami area who wish for such a transformation. On the other hand, I don't think this has played a part in the transitions going on in MCB right now. The experience of Cuban Classical Ballet, a start-up venture committed to just the kind of repertoire you mention, had difficulty establishing an audience and donor base. Their story is not encouraging.
You are very right. The usual audience you would see at the CCBM had nothing to do with the parade I get to see at the Arsht Center the most of the times. Yes, there were not rich donors, there was no theater, and it was definitely a romantic project heading to failure, Still, I really remember with much pleasure performances of works that I will probably never ever see again-("Spectre", "Graduation Ball", "Grand Pas de Quatre", Herte's "Fille", Ivanov "Nutcracker PDD" and so on)-, and everytime I see an Odile-(Hayna was, BTW, the last one I saw , right at CCBM)-I can't understand the lack of the very basis of the art form in a a company that projects to become international. I know Odile and Raymonda, and Lissette and Nikiya, and you too, and everybody else in this board also, but...is it fair to deprive dancers and audiences of them...? Haven't every single major company in the world included them as a matter of NECESSITY, both to show the very four legs of the ballet table and to give the chance to dancers to show that they can do fouettes...? Don't you realize that a carreer like that of Kronenberg and Albertson is an extremely limited one, due to the absences..? I would hate to see Jeanette ending up like that-(or like Ileana)-, to be honest, while the rest of the world talks about the wonderful Kitris of Osipova and Valdes, the amazing Beauties of Cojocaru and the triumph across the sea of Novikova's Raymonda.
SOMETHING has to change. The classics NEED to be part of a company, and they ought to be in the dancers and audiences view at all times, and I really believe that there are coaches out there that could do wonders with this dancers, without loosing their Balanchinean training.
Wouldn't be better for them to become more than "Balanchine babies"...?
Just a thought...