mira

Just my opinion, but I wouldn't sell MCB short now! MCB is considered byt the NY Times critic, Alastair Macaulay, as one of the best "Balanchine" companies - he reviews them regularly and with enthusiasm. I think they'll continue to shine without the dancers you mention. You may have read that former MCB Principal Yann Trividic has rejoined MCB after his guest lead in Villella's Neighborhood Ballroom this spring. He is amazing. Edward has also hired Reyneris Reyes. And don't be surprised when Isanusi Garcia (one of my favorite male dancers ever!) is on the roster this year too. I think Miami (and New York) audiences are in for a big treat. Who knows who else Mr. Villella has in mind! :-)

Miami City Ballet's new season will face a challenge, the fact of having lost the majority of its male force. Started with the departure a while ago of Principals Jeremy Cox-(the most charismatic dancer of the troupe)-and Isanusi Garcia, the exodus just took a new force after the newest absences on the roster-(Quenedit, Wong, Baker, Sarabia II and Principal Sarabia). As I pointed earlier in another thread, this leaves this normally short troupe even smaller, and definitely without some of its best men. When I came back to give MCB a second try after my first exposure/disappointment 9 years ago-(Giselle)-and of course, my introduction to Balanchine via BT, little by little I started to feel new sympathy feelings not only toward this new to me repertoire, but mostly to the great dancers that made me "eat" Balanchine just as a kid gets convinced little by little to "eat your vegetables because they're good for you". I'm sure that I'm not an isolated case, and that there are many ballet lovers here in Miami who, even still mourning the absence of the "war horses", took enormous pleasure in the artistry, energy and devotion of these men and women.

So now...what? Yesterday I passed by the MCB building and on top of it there's a big poster announcing the 25Th anniversary of the company. Albertson, Panteado, Jeanette, Kronemberg and 'Guerra are the only ones on it. And thinking of it, NOT EVEN all of them are able to carry on the weight of certain demanding roles. All of this made me think of certain points, which maybe at this very moment could be getting replicated in other places.

-MCB is a Balanchine-focused company, and there's not too much visible intention to diversify it.

-Dancers/audience are not being exposed to the very basis of every T&V, Pas de Dix or Diamonds. Does the 2010 ballet dancer not want to try an Albretch, Odile or Colas at some point before being too old for it...?

-Could Miami City Ballet been actually losing dancers and audience because of it...?

I have a friend who's always defending the idea that MCB does not need the war horses and that it is enough for him with the repertoire that we have down here. What he does not explain is why then does he jumps on a plane to NYC every time there's a Nikiya, Medora or Giselle announced at ABT. For once, I can not afford to do that...and I truly feel that I'm missing a lot.

Have you, as audience-(or maybe as a dancer)-ever been faced with a company that doesn't fulfill your needs...?

Cristian, you expressed so beautifully exactly what I saw as well. Thanks for putting it in words. Agree completely. :-)

reporting back...tardy. Both performances were lovely. How wonderful to see Balanchine's Nutcracker in the nation's capitol. I kept thinking about the state of the arts in this country and why is it that we don't make arts funding a priority and why is it that we don't have the national pride to create a national ballet company? Standout performances to my eye? The corps work in Snow and Flowers = thrilling dancing. Favorite soloists? Abby Mentzer's Marzipan, Meredith Reffner's Coffee, Francis Veyette's Tea, Jermel Johnson's Candy Cane and Soldier. Riolama Lorenzo was injured and I think it was Arantxa Ochoa who danced Sugar Plum Friday night - she is lovely. (sorry to add that her partner seemed a little out of it...) I think Amy Aldridge stepped into Dewdrop that night too - she is a precise technician, but musical and beautiful, too. Peter Weil as the Nephew (and Little Prince) was charming and totally believeable (Friday night). His alternate, Thomas Harrison, danced the role on Friday afternoon, and was handsome but stiff. The production is lavish - huge growing tree with a floor to ceiling bay window behind it with the snowy night behind it. I also loved the snowy forest set. Favorite costumes? The mice! and the Mouse King. Nutcracker costume was perfect. Loved the bed! :-) Yes, they do do the sliding arabesque "trick" in Sugar Plum - so magical! Sorry if I've forgotten anything - I'm sure I have. Am going to see them in Philadelphia next weekend and will report back.

Congratulations to Mr. Villella and Miami City Ballet! How wonderful and visionary of the Knight Foundation to make this generous award to MCB!!

:-)

I'll be seeing both shows on Friday - can't wait! Would love to know your thoughts on the show you see.

Bart,

I was there and agree completely with your sensitive review. Would only add that I love MCB's Open Barre performances - what a rare treat.

:-)

Some thoughts -- very much delayed -- on the Saturday matinee performance of Open Barre.

It was a full full performance, with each segment introduced by Edward Villella. A temporary proscenium separates the dancers (on the studio floor) from the audience (in chairs on risers). Lighting, costumes, etc., are as they would be a staged performance. But sitting in the first row, as we were, feels very much like watching a dress rehearsal in a real dance studio. It's difficult to capture the whole picture or the full effect. Instead, the thrill comes from being able to observe innumerable small details.

In the Night.

First couple: Tricia Albertson and Didier Bramaz. Lovely dancing, especially from Bramaz, though without much emotional contact. One of my favorite bits is a pause at which the two dancers stand apart, facing one another. Each performs a simple, deep inhalation of breath. It's a preparation for the more rapturous central portion of the pas de deux. As Bramaz took his breath, his chest rose, his body seemed to grow in height, he looked deeply in Albertson's eyes. It was an invitation for something more. Albertson did not respond, so they carried on more or less as before.

Second couple: Jennifer Kronenberg and Carlos Guerra. This partnership has become, in the past couple of seasons, truly marvelous. I don't know whether Kronenberg has danced this before. (At the performances I saw in March, she did not.) But it's perfect for her.) She has the grandeur, allure, and physical beauty to carry it off. Guerra, who was a tenative partner just a few years ago, has become confident, romantic, and a pleasure to watch all on his own.

Third couple: Jeanette Delgado, as the tumultuous, insecure, "I adore you/ don't touch me" woman was a revelation. I've never seen anyone dance this with as much abandon and intensity, especially in the scenes where her partner (Renato Penteado) lifts her and she beats her arms in the air in protest. She was literally furious. I'm not sure whether this worked or not. Penteado seemed unsure of how to handle her, as many cavaliers probably would. Delgado's over-the-top beginning made the gesture of kneeling at his feet seem somewhat comic in contrast. Conclusion so far: wonderfully danced, but maybe needs a little rethinking?

Black Swan Pas de Deux. Mary Carmen Catoya and Rolando Sarabia. This is definitely a work in progress. Catoya has so much going for her in this part, but I don't see the characterization that several posters on other threads have described. There is a lack of consistency in facial expression. I noticed that she has increased the difficulty of the fouette sequence by including doubles at every-other turn, and by concluding with 450-degree turns. Right, now, this bravura comes at a price: significant travelling around the stage. Sarabia raises the phrase "attentive partner" to new heights. He's an elegant dancer -- much subtler and more classical than I thought when I first saw him. His variation was simply beautiful.

Four Temperaments. Callie Manning and Carlos Quenedit danced the First Theme in a way that was so serene, serious, and flowing that it became almost sacramental. (They appeared again in the finale.)

In Sanguinic, Patricia Delgado was wonderful, capable of big moves and openness when required, and shifting easily to edginess and speed. This version of Balanchine doesn't seem to come naturally to Sarabia. He has a roundedness, even a softness, that seemed to belong in another ballet. But somehow it worked. I enjoyed watching Sarabia in the final movement, where his slightly off-style approach actually made the male ensemble more interesting to me.

Choleric was Jennifer Kronenberg. Her movement is a bit plush for this role, but she has -- amazingly -- the speed and attack. I loved it.

At the end, when the ballerinas a lifted high above their partners heads -- appearing to leap and float in the air like dolphins amidst the waves of corps dancers -- I was hooked. 4 T's is currently my favorite ballet (again !!!). Tears came to my eyes, as I confess they rarely do any longer in something like Swan Lake.

saw the 7pm show - my favorite was a beautiful presentation of the first 5 minutes of Serenade!

from a friend :-)

I'll be in row N on the left side.

am going to see Jennifer Kronenberg dance Tchai Pas on Saturday at 2!

:-)

As the mother of one of the dancers Matt cast in his piece for Institute last year, I had the privilege of seeing his sensitive choreography. As well as being an amazing dancer, Matt has a voice as a choreographer. He's a sweet guy too (spoke with him afterward) and I hope he sees this as a door opening to another important career path. Best to him!

Dena Abergal will be assiting Garielle Whittle, the Children's Ballet Mistress at NYCB-announced in a letter from SAB to parents of dancers at the school

But DC can look forward to Pennsylvania Ballet's The Balanchine Nutcracker at the Kennedy Center in November!

:-)

I had the good fortune to attend a performance of NYCB's Nutcracker in 1996 or 1997 (not sure...) with Alexandra Ansanelli as Dewdrop. She lit up the stage - so completely alive and captivating. I didn't know much about ballet then, but as just an ordinary audience member, she left me with an indelible impression of joyful artistry and delight. I wonder if any of her perfomances are available on dvds/videotape? thanks and best wishes to Alexandra!

Just to share a memory, I saw Darci years ago in Mr. B's Swan Lake. I have never had the same feeling, before or since, of seeing such a radiant creature who was not quite human. Incidentally she fell at that performance and injured her elbow/arm. She has had more than her share of injuries. I know that the word beauty is overused but my memories of Darci's dancing at the time make me recall her glowing beauty. I don't mean pretty, correct, huge this or that technically (although not lacking in any department) but her beauty. That said, I believe she's stayed too long at the ball.

If anyone doubts this lovely compliment, they need look no further than The Balanchine Photo Album and Memoir (published by Rizzoli, 1985) for the most radiant photo of a ballerina I have ever seen - Darci Kistler as the Swan Queen with Sean Lavery as Siegfried. transcendent!

this may not be the right thread for this question, but I read that you saw ABT II on their recent visit to south Florida... would you be able to post your thoughts on these young dancers and the program they danced? I'm sorry I missed it. tia.

Re: ABT's lack of home-grown stars. Having just seen a performance of their ABT II company, I noticed that most of the dancers were now trained at (or finished at) the relatively new company school. Perhaps they now have a mechanism for training future stars, and not just corps members?

Ruteyo, don't worry about the If this quite interesting diversion develops, I'll start a new thread to accomodate it, so that the ABT London visit can be the focus here.

Darci is, and has been from a very young age, a supremely gifted dancer. If you haven't had the opportunity to see her dance, Balanchine's The Nutcracker with Darci as Sugar Plum is on dvd. Although, her retiring is a sad passage for her fans, I've seen her teach and she is just as devoted and gifted a teacher. Her students are so lucky!! vaya con dios, Darci.

yes, same one. hope you are doing great. best wishes from both of us.

Bart,

I am Christina Hampton and I want to thank you for the beautiful words you wrote about my retirement performance in May 2005 with Ballet Florida. I googled my name today and found your article/blog and had to find a way to tell you how much it meant to me to read the nice things you wrote about such a momentus occasion in my life. Thank you from the bottom of my heart...

hi Christina,

Elizabeth and I were there that night and remember it so well. You are beautiful and an amazing teacher as well. She's at SAB now. She'll be happy to know you are here online.

"Mira" ?? I'm wondering if your daughter Elizabeth is the student I worked with privately a few years ago in W. Palm? Please let me know either way...

I'm so pleased to hear you were at my retirement performance. I'm glad you got a chance to see my grand finale.

Bart,

I am Christina Hampton and I want to thank you for the beautiful words you wrote about my retirement performance in May 2005 with Ballet Florida. I googled my name today and found your article/blog and had to find a way to tell you how much it meant to me to read the nice things you wrote about such a momentus occasion in my life. Thank you from the bottom of my heart...

hi Christina,

Elizabeth and I were there that night and remember it so well. You are beautiful and an amazing teacher as well. She's at SAB now. She'll be happy to know you are here online.