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MCB Program III. Giselle


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#16 Helene

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Posted 17 February 2012 - 11:48 AM

Carrie Imler made Myrtha an equal, at minimum, character in the PNB "Giselle".

Is Delgado related to NBC's Annette Delgado?

#17 bart

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Posted 17 February 2012 - 12:00 PM

Cristian will probably know about any family connections, but I believe that both Delgados are Miami-born and -trained.

#18 cubanmiamiboy

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Posted 17 February 2012 - 02:42 PM

No, Helene and bart. The Delgado sisters are Miami born and raised-(and they both speak perfect "Cuban", BTW...Posted Image ). Yes, I'm a little un-aggravated about the Giselle issue by now. Whatever it is, everybody knows who's who and which dancers are constantly pushed in your face while others keep waiting. Same situation, different company. Still, the fact that Giselle is such a rare animal in the MCB zoo makes it for a very frustrating case, given that the two best dancers in the company won't be dancing the leading roles. And then instead you get Cerdeiro, that kid that still looks like an apprentice onstage...?!...and next to veteran Albertson..?!?! This again will take me back to my Blanche Dubois case scenario that I used to imagine back in the days. I'm going tonight, of course, to see Myrtha. Danilova wrote in her book that it could be easy for a Myrtha to steal the performance from Giselle, given that the two roles used to be given to Principals. Tonight is the typical scenario. We'll see.

Edited to add: Extra, extra..!!

Ok...I came back from my first performance. The ballet presented was "Myrtha" Posted Image

More to come when I'm done with the three castings...

#19 Helene

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Posted 17 February 2012 - 04:42 PM

Cerdeiro does look like a kid, but he may surprise you with what he can muster for Albrecht: iconic roles can bring out the best in dancers. I hope he got supportive coaching along the way.

I remember reading an interview with Heather Watts, who when Martins first proposed she dance with Jock Soto, many years her junior, all she could think about was mutton and lamb. (Not a quote, but the same concept.) Martins said, "No, you'll look great together", and a partnership was born. In Seattle, one of the partnerships with the most charisma and simpatico is Kaori Nakamura and Lucien Postlewaite. (Nakamura moves like a 24-year-old, which helps.) And, of course, there was Fonteyn and Nureyev, which, at the time, many, including Fonteyn herself, questioned. The Albertson/Cerdeiro partnership might work out just fine.

#20 bart

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Posted 18 February 2012 - 05:42 AM

Ok...I came back from my first performance. The ballet presented was "Myrtha"...Posted Image

More to come when I'm done with the three castings..

I was wondering: maybe, in a wierd way, Myrthe might actually be a good introduction to Giselle for Jeanette.

Act II is so different from Act I, though the two acts are of course linked by story and themes. Act II is more like a Balanchine abstraction (one of those story ballets without a realistic story,) like La Valse. Cristian, both of us feel in the gut that Jeanette Delgado has the resources to be a superb Giselle. On the other hand, maybe Myrthe is a good starting point for Giselle herself, especially for someone without a lot of experience in narrative ballet and who has yet been challenged by the need to create pathos in a complex, highly detailed role (as Giselle's is in Act I). Hmmm. ....

P.S. I wonder whether there have been great Giselles in the past who started out as Myrthe. If it's at all possible to achieve, I'll place my bet on Jeanette.

#21 Helene

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Posted 18 February 2012 - 10:33 AM

P.S. I wonder whether there have been great Giselles in the past who started out as Myrthe...?


That is a great topic for a new thread:
http://balletalert.i...great-giselles/

#22 cubanmiamiboy

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Posted 18 February 2012 - 11:05 PM

Tonight I finally saw "Giselle"...Or, let's rename it...I saw "Giselle AND Albrecht" ! Posted Image

More to come after casting # 3 tomorrow...

#23 bart

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Posted 19 February 2012 - 07:05 AM

Cristian, have the casts Friday and Saturday been those originally posted? I mean ....

-- Friday: Jennifer Kronenberg and Carlos Guerra, with Jeanette Delgado as Myrthe

-- Sat: Mary Carmen Catoya and Reyneris Reyes, with Callie Manning as Myrthe.

If so, I'm especially interested in hearing (in detail, please) what you thoughts about Catoya/Reyes. I would not have suspected that Catoya would create the kind of Giselle that makes "cubanmiamiboy" enthusiastic. And few of us have seen much of Reyes -- a veteran Cuban dancer who was a principal at Boston and Royal Winnepeg -- even though this is his second season at MCB. I'm thrilled that you loved them, and very curious to know what it is they did that made them stand out for a viewer who has seen (what?) a hundred or so Giselles.

If you can talk about Manning (a favorite of mine, as you know) I'd be grateful. My own feeling is that she could be a superb Myrthe, with just a little tweaking having to do more with matters of focus and "address" than to anything technical. I'd love to hear what you think, especially if you can

P.S. You have revitalized my enthusiasm for the Kravis season, coming up in a few weeks. Posted Image

#24 cubanmiamiboy

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Posted 19 February 2012 - 02:32 PM

I just came back from the matinee with Albertson and Cerdeiro. May I retract from my former words on Cerdeiro...? Well, I was proved wrong, people...Posted Image
More to come...

#25 Birdsall

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Posted 19 February 2012 - 06:45 PM

bart...I just came back from the matinee with Albertson and Cerdeiro. May I retract from my former words on Cerdeiro...? Well, I was proved wrong, people...Posted Image
More to come...


I was impressed with Cerdeiro in Ballet Imperial (Program 2....second show that I saw). He doesn't look like he would pull off roles that are heroic, but his dancing is really good. He just looks too young and lanky, but there is artistry there.

#26 cubanmiamiboy

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Posted 25 February 2012 - 09:41 AM

From last night's Giselle.

Why, oh why do we have to know about certain standard steps-(turns in attitude, double pirouettes in passé with opposite legs DONE OVER ONLY ONE LEG AT THE TIME and so on)-so well that we know exactly when they're changed and even suppressed when faced with the inability to be performed...? How can we make it acceptable for a modern ballerina to not be able to perform what mid century dancers were doing more than fifty years ago..., eg. Markova, Alonso...?

To be continued...

#27 cubanmiamiboy

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Posted 25 February 2012 - 10:44 AM

From last night's Giselle.

Why, oh why do we have to know about certain standard steps-(turns in attitude, double pirouettes in passé with opposite legs DONE OVER ONLY ONE LEG AT THE TIME and so on)-so well that we know exactly when they're changed and even suppressed when faced with the inability to be performed...? How can we make it acceptable for a modern ballerina to not be able to perform what mid century dancers were doing more than fifty years ago..., eg. Markova, Alonso...?

To be continued...


...AND with the the certainty that the variations are being respected and cared for by others...



#28 Birdsall

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Posted 26 February 2012 - 08:35 AM

Cristian, I have tickets to the Friday at the Kravis, and I am sure that will be with Kronenberg and Guerra (like in Miami and Ft. Lauderdale). If I purchase for a second performance, which cast should I see? Catoya/Reyes or Albertson/Cerdeiro? Manning is Myrtha for both those casts.

Please advise, b/c I think I want to see 2 performances altogether.

#29 cubanmiamiboy

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Posted 26 February 2012 - 11:45 AM

DEFINITELY Catoya/Reyes. Reyes has the advantage of knowing the essence of the ballet back from his prime times at CNB, and is the best package for an Albrecht among the three bailarines in terms of physical attractiveness and technique. Catoya is the strongest ballerina among the three Giselles and the one with the most flair for Act I.

#30 cubanmiamiboy

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Posted 04 March 2012 - 09:50 AM

Some sketchy impressions on MCB Giselle.

First of all, I must try to explain the general impression that this production had on me. Miamian Giselle feels to me like one of those shiny borrowed jewels the starlets get to wear on red carpets events. They get to be worn with pride and theres an effort to make them feel to the viewer's eye as if they belong to they user when in reality that's not the case. Giselle is a magnificent jewel of a ballet hard to be disliked by anyone. Starting with that, I must say that I'm happy I went to see this staging. Now, fact # 1. We all know this is an uncommon ballet for this company. It is not in their bones, and for much of the dancers it is like a new shiny costume that they get to play with for the first time. It takes time, MUCH time to make Giselle a company's own. It needs to be cherished, pass on, engraved on both the dancers AND the audience minds and hearts for it to be understood and loved. Otherwise it is just another XIX Century balletic curiosity, when in reality this is the most human of all ballets, for which it speaks of the ever present human stigma of helplessly loving someone who doesn't deserve that kind of love-(please, rise your hand if you haven't been thru it at some point of your life). Sad thing is, many of us choose to be bend over to such love and show irrational unconditionality, just as our ballet heroine, instead of getting our life straight, put all that baggage behind and choose to pick a deserving partner.

Point of my story, also related to the Miamian dancers being: do our current youth REALLY believes in that kind of stoic suffering...? Are those dancers/kids prepared to UNDERSTAND the essence of such huge life decisions as to show such enormous amounts of forgiveness, as our heroine ghostly nemesis does...? I doubt it. On the contrary, maybe at the age of our three Giselles-(Kronenberg, Albertson and Catoya)-this is a better understood subject, which is one of the reason that, on one side, I love to see mature dancers on this role. Sadly, on the other side, there's the inability to be technically proficient to execute Sppessivtzeva's diagonal, at least over here...

SETS AND COSTUMES.

This is not OUR production. Scenery and props were borrowed by long time godmother of this ballet, ABT, and costumes belong to Les Grands Ballets Canadiens de Montreal. Our Cinderella gets to wear her magic for a while, but we all know that the midnight will arrive at some point, and all will disappear into thin air, leaving the troupe back with its Balanchinean second skin. Another red carpet ephemeral moment. So, about ABT's scenery, I must say I never saw such luxurious sets for Giselle ever in my entire life. Giselle's cottage is now a three stories townhouse, and Albrecht castle is nicely seen in the distance. The Canadian costumes are beautiful also, with multicolored patterns for Act I-(lots of reds)-and lovely fluffy romantic skirts for Act II.

At fault: What is the hunting party doing in ballroom attires in the middle of the forest...?

CHOREOGRAPHY.

"Adapted and re-staged by Edward Villella" states the playbill. Did he had such exposure to the ballet during his dancing years to be able to do so...?

My own intuition and some knowledge on different versions tells me that MCB is a mitch match of several stagings. I SAW fragments of the Cuban AND the Russian Giselles, carbon copied, and I suspect that video played a huge role in here. There were winner moments. Like in the Cuban version, this Giselle contains the WHOLE Berthe's scene, with no musical cuts. The miming tries to compress everything...the story of the Willis who keep dancing in the forest coming to life at night from underneath to kill men because of their anger of having died before being wed, which could happen to Giselle if she insists on dancing despite her weak heart. Lots of info, but Miamian Berthe manages to say it all. Two thumbs up! (and two more for Miss Callie Manning, of the BEST Berthes I've ever seen.

To be continued...


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