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Mary Carmen Catoya has departed MCB


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The abscence of Catoya was of the main reasons I sort of stopped chasing MCB performances. I think it was unwise of MCB to get rid of one of their most-(if not THE most)- powerful ballerina. Also shameful that she didn't have a proper farewell gala. Oh weell, "Bienvenidos a Miami"....

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This statement from the article above is how I perceived her most prized quality for being given placement in various roles.

“One of MCB’s purest classical dancers….

"“Working with you was a pure delight,” Villella wrote in a letter printed in Catoya’s photo book. “I was overwhelmed by your unbelievable passion, dedication, love of dance and your amazing work ethic. What your presence did for Miami City Ballet and more importantly, for our audience, was unparalleled.”"

'Edward's' statement has a feel of the sense of family along with exceptional talent that drew me to the company. I believe that Mary Carmen Catoya expresses this in the article. I'm fascinated and excited by Simone Messmer being given a Principal position. This could be a very good sign for the future direction and success of the company. On the other hand the 'sense of family' and the high level of performance that went with it is something that I hope the company holds on to. It's precious.

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I think the first time I saw Catoya, it was Emeralds, she was in the Verdy role, and I had to stand at the back of the auditorium, having arrived late, no thanks to Miami's wonderful traffic. I had seen Verdy herself in the role many, many times, and from a distance I couldn't get out of my head that I was seeing her again!

Reading my program at intermission, I earned that Very had coached Catoya. Excellent! An excellent coach, and a dancer who was prepared to absorb what Verdy had to offer - and as I saw from good seats at subsequent performances, who could add her own fine qualities! (When you have Catoya to watch, you go back, and then you go back again.)

And Ballet Imperial, as MCB was calling Concerto No. 2, an opposite kind of role - a "non-stop outpouring of kinetic exuberance" as Nancy Reynods says - was made for her too. (A supposedly astute person told Villella, when Villella announced the ballet, that MCB wasn't ready for it. I think they rehearsed it on and off for seven months, and, oh boy, were they ready! I wonder now whether Catoya's presence might have been the main reason Villella mounted it.)

In the Upper Room is not my kind of ballet, but there's a moment near the end, when two boys would pick Catoya up and toss her in the air. She never failed to crack a smile up there. She loved it, and because she did, I loved that moment too.

What a dancer! What a range!

Looking forward to Cristian's report.

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I think the first time I saw Catoya, it was Emeralds, she was in the Verdy role, and I had to stand at the back of the auditorium, having arrived late, no thanks to Miami's wonderful traffic. I had seen Verdy herself in the role many, many times, and from a distance I couldn't get out of my head that I was seeing her again!

Reading my program at intermission, I earned that Very had coached Catoya. Excellent! An excellent coach, and a dancer who was prepared to absorb what Verdy had to offer - and as I saw from good seats at subsequent performances, who could add her own fine qualities! (When you have Catoya to watch, you go back, and then you go back again.)

And Ballet Imperial, as MCB was calling Concerto No. 2, an opposite kind of role - a "non-stop outpouring of kinetic exuberance" as Nancy Reynods says - was made for her too. (A supposedly astute person told Villella, when Villella announced the ballet, that MCB wasn't ready for it. I think they rehearsed it on and off for seven months, and, oh boy, were they ready! I wonder now whether Catoya's presence might have been the main reason Villella mounted it.)

In the Upper Room is not my kind of ballet, but there's a moment near the end, when two boys would pick Catoya up and toss her in the air. She never failed to crack a smile up there. She loved it, and because she did, I loved that moment too.

What a dancer! What a range!

Looking forward to Cristian's report.

I will definitely report, bart. Here's an excerpt from bart's impressions on Catoya's Swannilda, back in 2012. Not having her contract renewed was, I think, a huge mistake on MCB's Powers That Be. Boo!!

Agree with Bart Birdsall's pleasure at Mary Carmen Catoya's Swanilda on Sunday. I got to see her twice, once in rehearsal. It was an amazing performance, perfectly balancing the acting and the dancing demands. Catoya has a rare gift of projecting clarity. Every movement of feet head and upper body can be seen, no matter how fast the tempo. Never ever seems fudged or blurred.

I confess to a partiality to dancers who can combine super-fast, super-accurate footwork with a serene smile, elegant epaulement, and the illusion of effortlessness. Catoya's Swanilda Sunday pulled it all together. I can still close my eyes and visualize 6 or 7 combinations that remind me why I love classical ballet so much. Two lines of brises volees, a fantastic Scottish dance (agree with Bart B. on this), and ... that wonderful pas de deux. There was an instant towards the end in which Rebello promenaded her in arabesque penchee, with support coming only from each dancer's extended arms. At the end, Catoya rose into a gorgeous high, unsupported first arabesque. She held it. And held it.. A great moment, especially since the pdd is followed almost immediately by the super-fast, super-difficult finale dancing for Swanilda and everyone else on stage.

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Thanks for the quote from bart, Cristian. I didn't see her Don Q - I have a real problem with some music - but she brought very similar qualities to her Ballet Imperial. (If I'm right about Villella's reason for mounting that, that would be an even greater tribute to her than anything we can say; but don't let me stop you! I'm enjoying this.)

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