Grissi

No. The last time I saw Don Q. was in Madrid, 1998, Royal Opera House. No more performances that I recall. It was the same cast: Rut Miró and Carlos López. Eduardo Lao was the toreador and, yes, I was astonished when a Spanish pasodoble was mixed with Minkus music, all the dancers shouting 'Olé'. I didn't like it. I thought it was a freak. But I agree with you, the production was brilliant, and Rut Miró could be compared with the top ballerinas of the moment. The company now is under the protection of the Comunidad de Madrid (Madrid regional government) and its name is Ballet de la Comunidad de Madrid. It is better for the company's budget, I assume.

Thank you for this thread. I have followed Victor Ullate's company for many, many years as, in my opinion it was (may be is) the best company in Spain. The company has obviously developped. It was new, at first, innovative in a lot of ways. In Spain, after the dictatorship of Franco, which lasted until 1975, the democratic government was in turn. As the Communist Party was legalized, and the Socialist party won the elections in 1982 (till 1996), the doors were opened mainly to Russian Ballet companies (although I was very little that time, I think I am not exaggerating). Mr. Ullate started dancing with María de Ávila, in Spain, and joined Maurice Béjart's company of the XXI century for fourteen years. In 1979, the Spanish governement appointed him to found the first official ballet company in Spain (it was 1979 and we had not yet a ballet company!!!). He directed the company for four years, and afterwards he created his own group. New times for Spanish ballet, thank God. Ullate's coreopgraphies: Arraigo, Arrayan Daraxa (my two favourites, absolutely top), Psicosis, Simun, El amor brujo, Jaleos, Ven que te tiente... Petit's Carmen, Balanchine's Allegro Brillante (I think the only Balanchine we saw in Spain for many years... It was 1994, and Tamara Rojo's feet were the only thing I saw on the stage), some Hans van Manen, some Rudi van Dantzig, some Béjart, Giselle, Don Q... Lastly, Mr. Ullate has permitted one of his former dancers, Eduardo Lao, to stage his own choreographies. Nothing to do with 'maestro', I'm sorry. Now, in Madrid, they are performing Al Sur, to music of the flamenco cantaor Morente. His first female star (20 years ago) was María Giménez. She used an artistic name: María de Torvic (de Victor), and was the absolute technician. Her star partner was Igor Yebra. Igor perfomances made the same impression as Nureyev's: it was like seeing a sensual animal in the stage. The couple won the gold medal at Paris Young Dancers Competition. Nowadays, María (after dancing with Ballet de Cuba), has her own company: Arte 369. Not very good, but they are on the start. Igor Yebra is a free-lance dancer (Giselle, this January in Seville). Those early years, in the corps, there were some dancers who attracted the audience attention: Tamara Rojo, Ángel Corella, Lucía Lacarra, Ana Noya (yes, Lovebird, she is now the principal), Joaquín de Luz, Rut Miró... After the defection of his principal stars (they complained they couldn't dance classical repertoire), the company level was below zero. I attended a Soirée Béjart at Teatro Real, 2002: Firebird, Bhakti III, Seven Greek Dances and Webern op. 5 (in this one, Trinidad Sevillano was the soloist), and I was absolutely disappointed. I couldn't realize why they had become a 'local' company. But, this autumn, I attended a perfomance at Teatro Albéniz, Madrid, and Ana Noya was incredible, she has matured and danced like angels. The corps have almost recovered its level. Difficult times. I know it is not easy... But I had a very good time.

I have some info: After leaving Boston, she went to dance with RB. But after a difficult relationship she decided to return to Spain. In Madrid, José Antonio Ruiz choreographed two solos for her, she danced with a contemporary dance group, Metros, and finally joined Víctor Ullate's company. She is actually retired and teaching in Centro Andaluz de Danza in Seville.

How amazing! I saw her in Teatro Albéniz in Madrid, this autumn, when Victor Ullate´s company was performing. And I wondered the same, what is she doing now? I will try to find the article and give you notice.

It was XVII century, not XVIII, that is important, I think. As Louis XIV inherited the throne from his father in 1643.

Thanks drb. I will attend Madrid perfomance. But I am not sure about the cantering...

Thank you very much Chris. The photos are wonderful. Thank you for the clue. I will try to find Ashton tribute. By the way, carbro, when I last saw Tamara Rojo performing (last week, in Madrid, partnering opposite Julio Bocca), I realized that, although she has been leaving and dancing in England for ages, she cannot get rid of the trade mark of her first coach, Víctor Ullate. I was astonished. May be the curves are RB, but believe me, her head and eyes were Victor Ullate's. She was incredibly elegant in Don Quixote pas de deux, not making the typicall tricks you suppose a Spanish dancer do, as quick movements of the head or of the hands. She was absolutely conscious of her porte de tête. Her retiré was incredibly high. Quality and technique. It was a pity that her fouettés were not good enough. But it was paradise!

Could someone tell me something about English National Ballet Swan Lake's production? Which is the version they use?

I find Rojo to be one of the most stunningly beautiful women out there - made even more so by her ability to transform herself. And yes, then there's her feet.... <{POST_SNAPBACK}> Yes, I do too. She's an actress of the first rate. I have seen her only live. Anyone knows of a film of hers?

Arms: I think the best arms I've ever seen are Aurélie Dupont's. Feet: Guillem's and Ferri's are incredible. But don't forget Tamara Rojo's. Legs: Marie-Agnés Gillot's and Agnés Letestu's. Hands: I never look at them as an isolate part of the arms, so may be Dupont's...