Jump to content
dirac

Friday, June 8

Recommended Posts

Chase Johnsey joins the English National Ballet.

Quote

Tamara Rojo, the director of English National Ballet who offered Mr. Johnsey a short-term contract in March, said she was “very sensitive about this being seen as a publicity stunt.” Instead, she said: “This is about reflecting the world we live in. There are different races, cultures and beliefs in our company — this is another aspect of that view.”

 

Share this post


Link to post

Karel Cruz is interviewed by Sandra Kurtz for Crosscut.

Quote

You’ve told an anecdote about when you were learning to turn in Cuba, standing on a piece of wood to cut down on the friction. And you have lovely turns, especially considering how tall you are. What else from your early training do you still think about?

I was lucky to have the turns — the coordination and a good feeling for the technique. Back in school, I remember the competition we had at that time. When I was in the last years of training in Havana the competition was really fierce. In the school, we had performances often and after class, I remember we had a cassette tape that was loaded with male variations. All you had to do was push “play” and it would go for a half hour. The studio was insane — everybody was practicing the turns and jumps for all these variations at the same time. And that helped with technique overall, the training in Cuba is very intense for male dancers. 

 

Share this post


Link to post

Matthew Ball takes on the lead of Matthew Bourne's "Swan Lake."

Quote

“It is nice to get used to the music and the story and then come at it from a totally different angle and interpretation,” he said. “Obviously it is an iconic ballet, it’s an inescapable part of a dancer’s life or at least a classical ballet dancer’s life. But I only get four shows at the Royal Opera House. [Bourne’s ballet] it’s almost a completely different style of dance.  It’s much more modern, much more contemporary, so it will be different.”

 

Share this post


Link to post

Stella Abrera talks about taking on the role of Juliet.

Quote

The role seemed distant, “like a beautiful star up in the sky,” she said, fluttering her slender fingers toward the ceiling of the press room at the Metropolitan Opera. “I wouldn’t allow myself to dream or to hope to do the role, because I would feel like it would be too painful if I didn’t do it. So I never allowed myself to want to do it.”

Share this post


Link to post

A review of the National Ballet of Cuba by Eric Taub for DanceTabs.

Quote

It’s not hard to love Grettel Morejon’s Giselle, as she embodies the qualities that make Cuban dancers so appealing: power and technical purity informed by an almost spiritual modesty. Her footwork, in particular, is a delight, her working foot always moving through a correct sur le coup de pied or passe, pausing just enough to show you the clarity of her intermediate positions, as her foot wends its way to grander things. From the first of her act one ballonnes and ballotes to her second act ronde de jambes en l’air, I sighed just a bit whenever her working foot left the stage; it was a tonic for the eyes. Indeed, to varying degrees this was the case with all the Cuban dancers in Alicia Alonso’s venerable production of Giselle, and I realized just how much I’ve missed watching Cubans.
 

 

Share this post


Link to post
  • Recently Browsing   0 members

    No registered users viewing this page.

×