cubanmiamiboy

...a balletomane in progress...

How's the War and Discorde divertissement...?

Miss pastor is indeed French, but she did her studies at the Cuban National Ballet school. Probably the most powerful legs of todays' ballet world. I call her Miss Fouette. Definitely legs of steel. Miss Pastor is currently Principal Dancer at the Aalto Ballett Theater Essen in Germany, and a usual guest at CCBM. http://www.aalto-bal...tor-adeline.htm http://www.adelinepastor.com/ Miss Pastor at the age of 10 At the age of 15, with a very young Rolando Sarabia in Havana. ...and some of her signature turns.

Just took notice of this "new", but here it is...just to keep track. "After 3 years with the National Ballet of Cuba, Nieser Zambrana defected to the U.S. He stars as Puck in A Midsummer Night's Dream at the Straz Center in Tampa..."

As usual, thanks rg for the wonderful photos..!

Never mind me...I went back to doug's narration and saw that the "Tempo di Valse" trumpet piece was danced in 1895 by Gorsky as a fourth nameless cavalier-(and probably choreographed by him as well). So it looks as if that piece of music was not cut off for the 1895 reworking, but was somehow erased-(along with the character)-later on. Then the WHOLE music of the Merry Makers PDD made it to Petipa's new staging, so the big changes were that Gorsky used that music as his variation-(whereas I assume it was given to the Merry Maker female dancer in 1877)-plus the brand new "L'espiegle" for Odile. I also find interesting that doug mentions that Odile DID dance a part in the 1877 Pas de Six-(was Odile's participation danced to the Russian Dance, which is attributed to Pelageya Karpakova?) What I've read is that this dance was added at one point after the premiere, but I'm not sure if Karpova was dancing Odile's part, or if she was just another national divertissement dancer. And if she was not Odile, and the Russian Dance was just a simple character piece, then what was Odile's part/music in the ballroom act from 1877 to 1895...? The 1877 trumpet "Tempo di Valse" piece has always been an enigma to me, since I thought it had never been used post Reisinger. Thanks to Doug's master presentation, I know now that it was used by Gorsky for the "nameless fourth cavalier" in the ballroom Pas de Quatre. Interesting to me, the Skeaping staging that is used in Cuba since 1954 uses it as a variation for Siegfried IN THE WHITE ACT-(in a sort of truncated way, musically wise)-, right after the White Swan Adagio/Love duet, and before Odette's variation-(the one with the a la seconde poses)-, which makes it for a complete Adagio/2 variations/Coda formal PDD. Other than that, I've never seen this piece of music used in any modern staging of SL. I'm curious to know if there's any history about this, or when did the "nameless cavalier" variation dissapear. Could it had happened at the turn of the century, or even later on..? Could Skeaping had any sort of reference to this by the time she staged the Cuban SL...? Here's a clip of it. Anette Delgado as Odette, Osiel Gounod as Siegfried. Love Duet starting at 04:03 Siegfried's variation to "Tempo di Valse", Odette's variation and Coda.

How evident the cold war. No Soviets in that list...(wasn't by that same year-1956- Ulanova and some of her peers somehow known in the western ballet world...?)

Never mind me...I went back to doug's narration and saw that the "Tempo di Valse" trumpet piece was danced in 1895 by Gorsky as a fourth nameless cavalier-(and probably choreographed by him as well). So it looks as if that piece of music was not cut off for the 1895 reworking, but was somehow erased-(along with the character)-later on. Then the WHOLE music of the Merry Makers PDD made it to Petipa's new staging, so the big changes were that Gorsky used that music as his variation-(whereas I assume it was given to the Merry Maker female dancer in 1877)-plus the brand new "L'espiegle" for Odile. I also find interesting that doug mentions that Odile DID dance a part in the 1877 Pas de Six-(was Odile's participation danced to the Russian Dance, which is attributed to Pelageya Karpakova?) What I've read is that this dance was added at one point after the premiere, but I'm not sure if Karpova was dancing Odile's part, or if she was just another national divertissement dancer. And if she was not Odile, and the Russian Dance was just a simple character piece, then what was Odile's part/music in the ballroom act from 1877 to 1895...?

Wow, wow, wow...what a wonderful conference..! (Is there a part-part-part-time job for a nurse who's hopelessly enchanted by all this world of ballet investigation..? Just kidding...I certainly WISH I could be part of such elite of connoisseurs and researchers. My COMPLETE admiration, Mr. Fullington! .. ) About the male variation in the "Black Swan PDD"...I need to go back over Doug's dates, but I always thought that because there had been no grand PDD for the ballroom act-(but instead the Pas de Six involving the fiancees)-until Petipa's 1895 reworking of the ballet, the trumpet Act I Merry Maker "Tempo di Valse" piece-(which I assumed was being danced pre-1895 by the female "Merry Maker", as it was placed second following the violin one that now serves as Siegfrieds's and which I thought was danced by the male "Merry Maker")-had never been used by anybody, male or female as part of the new structure. In other words, I thought that the dancing design was was as follow: 1877 all the way 'till 1895. Act I. Pas de deux for two Merry Makers. Entree-(our current BS Entree) Adagio-(our current BS Adagio) Male variation-(the "violin variation", our current Siegfried's variation, MUSICALLY speaking, not choreographically) Female variation-(Tempo di Valse..what I now know was at one point used and choreographed by Gorsky for Siegfried's solo.Pre-1895/Petipa..?...that would be my big question) Coda-(our current BS coda) 1895-Act III. Odile/Siegfried/Rothbart Pas Adagio-(the ex Merry Makers Adagio) Siegfried's variation-(the ex male Merry maker "violin variation", with the violin segment now heavily orchestrated) Odile's variation-("L'espiegle") Coda-(the ex Merry Maker PDD coda) What am I missing here...?

I've seen that face shot of her before, sans Igor. It was definitely done for that purpose.

Welcome back, bart..! Long time no see...!

My pleasure, Quiggin. Yes, they do indeed love Miss Suarez very much-("Mamicha" as we all know her). She even accommodates dancers at her own place when they come from Cuba and don't have a place to stay at first. We all have lots to be thankful to her for, for which she's been the one person responsible for making possible that ballets like Spectre, Flower Festival at Genzano, full lengths Swan Lake, Corsaire, Don Quijote, Alberto Alonso's Carmen, Dolin's Grand Pas de Quatre / Giselle, Nijinska's Fille, Paquita's Grand Pas and many others are being seen in Miami. I really hope she continues her labor of love with the same enthusiasm that has always characterized her and that many other unseen balletic gems find a little space to call home next to the big Balanchine house .

Natasha...here's Anna Volkova in the title role... BTW....the way the female character dancers slide on the floor in straight and circular patterns,and even their stiff/cone-like costumes, is VERY similar as the way Alonso staged her Matryoshka dolls-(the Nutcracker sisters)-for the Act II initial parade http://www.youtube.com/watch?v=eRniCHjMBrI

Thank you all for your reports! . Here...two of the most iconic ones. http://www.youtube.com/watch?v=JbWDG3LU4bc AND...a little curiosity. http://www.youtube.com/watch?v=8BIEcFck5ok AND the infamous Vera Karalli in the iconic Cygne role.. http://www.youtube.com/watch?v=R1B9hS3H4O4

Those were the performances in which "Spectre.." was presented. They took place last Saturday and Sunday. On Saturday I was still in NYC, but on Sunday I just made it to the "Spectre.." performance at the matinee, after which I rushed to work. The Florida Classical Ballet is directed by Magaly Suarez, ex AD, co founder and heart and soul of CCBM. After she departed from Pedro Pablo Pena, also co founder of CCBM and now its sole director, she created her own troupe. Fact is, she is the one with the dancers connections. For many years she was a professor of male students at the Havana ballet school-(she was professor of 90 % of the current exiled male ballet dancers all around US and Europe). That's why they all come and graciously dance in her performances. Pedro Pablo was the one with the sponsors connections-(American Airlines has been sponsor # 1 since the very start). Now the dancers dance in both troupes. The other day I ran into Miss Suarez, and she told me she wants to get four Cuban ballerinas and stage Grand Pas de Quatre. "I only need four days of rehearsals and I'll do it...", she said... I'm thinking of Lorena, Lorna, Xiomara and Hayna. That could be wonderful!

It will. Lorna's sister, Lorena, has been a permanent feature in the company's productions ever since they started their journey. She's been Medora, Carmen, Giselle and Lissette, to Sarabita's Basilio and Colin. Gutierrez was also Carmen and O/O. It will definnitely be a pleasure to watch one of my all time favorite ballerinas, her sister Lorna, in a different , more mature light, now that she's approaching 40.

My pleasure, BB. I really mourn the abscense of Chopiniana from my city's ballet company. Being a permanent staple of Alonso's troupe, my ballet world vision is definitely highly influenced by it, and with no doubt I put it right after-(if not side by side if I think it twice)- Giselle. I can watch it at any time, probably even as a school performance and still find it fascinating.

http://www.youtube.com/watch?v=jxewIq7DG3A&feature=related

http://www.youtube.com/watch?v=Wqpf2UBjhN0&feature=player_embedded#!

Cuban Classical Ballet of Miami Pertenece a la sección: Clásica Cuban Classical Ballet of Miami premieres "Spanish Classical Night" Artistic Director, Pedro Pablo Peña and the Cuban Classical Ballet of Miami, along with American Airlines, present the premier of "Spanish Classical Night" at 8:00 p.m. on Saturday, June 16th and at 5:00 p.m. on Sunday, June 17th, 2012 at the Fillmore Miami Beach at the Jackie Gleason Theater. CCBM successfully debuted "Spanish Classical Night" during their Summer of 2011 Spain tour. The Miami premier features principal Cuban dancers Lorna Feijoo, Hayna Gutierrez, Rolando Sarabia and Nelson Madrigal and Spanish principal dancers Sergio Bernal and Elena Cerro Garcia. Following the Cuban roots of CCBM, the performance opens with "Carmen Suite". "Spanish Classical Night" contains various fragments of repertoires - Don Quixote Suite, Paquita Pas de Deux, Spanish Dance from Swan Lake, Puerta de Tierra, Viva Navarra, Zambra De Turina - where both the subject and the styles are clearly Spanish, emphasizing the relationship between classical ballet and traditional Spanish dance, especially the school of the Bolera, which has influenced the repertoire of both the nineteenth and twentieth centuries. "Spanish Classical Night with a Cuban Flair." "The grand dance of the Cuban Classical Ballet of Miami debuts with success at the Festival de El Escorial." - Roger Salas, El País For more information please call 305.549.7711. About Cuban Classical Ballet of Miami Cuban Classical Ballet of Miami's mission is to promote and preserve the spectacular tradition of the world renowned school of Cuban classical ballet; to develop future career classical dancers; and to ensure that the organization achieves an international reputation as one of the preeminent classical ballet companies in South Florida. Cuban Classical Ballet of Miami represents the true essence of the classical ballet, and wishes to be recognized nationally and internationally for its high technical standards, artistic integrity and unwavering commitment to present the very best in classical ballet. CCBM was founded in January 2006 as a non-profit 501©3 organization. Cuban Classical Ballet of Miami Ph: 305.549.7711 www.cubanclassicalballet.org Cuban Classical Ballet of Miami © 2012 Danza Ballet La danza y el ballet en España Hecho en Barcelona Este artículo proviene de Danza Ballet http://www.danzaballet.com La dirección de esta noticia es: http://www.danzaballet.com/modules.php?name=News&file=article&sid=5415

You mean Ivan? Vladimir Vasiliev is about twice her age. Of course I meant Ivan...my bad, Ilya!! senior moment...ha,ha...

Yes, but even if the flowers come from Solor, they are definitely then a "consolation prize", which is even sadder and more humilliating, competition-wise. That's why I liked Part's portray, for which even if she takes the flowers and dance with them, she doesn't pretend any longer, as she's telling everybody and herself-(AND Gamzatti)- that she's definitely out of the happy picture.

Somova should had gone thru all the improvements BEFORE becoming a Principal. That she's changing, it is objectionable, but if it is true, then it is unfair for other dancers to see that she was promoted way before she was due. I still find her body completely distorted.

In a recent ballet performance I attended by the ex AD of the Cuban Classical Ballet of Miami, Le Spectre de la Rose was performed, and right then I realized that the last time I had seen this delightful jewel of ballet had been with the same exiled Cuban troupe, some years ago. Fokine has been largely neglected, definitely. Chopiniana will be part of the Cuban National Ballet next year program-(as it is usually included every year)-, so I would like to get reports on how the current Fokine ballets performances schedule looks like around America Which Fokine ballets have you seen LIVE in your lifetime...? Which company performed them...? In my case, the list is quite short. Chopiniana-Cuban National Ballet Petroushka-Cuban National Ballet La Mort du Cygne-Cuban National Ballet/Cuban Classical Ballet of Miami L'espectre de la Rose-Cuban National Ballet/Cuban Classical Ballet of Miami Polovtsian Dances from Prince Igor-Cuban National Ballet Firebird I've never seen in Fokine's original encarnation, so that's why it's not included, and from Schehrezade only fragments. How does your Fokine list looks like..?

Definitely, Ilya. While I was at the Cojocaru/Vasiliev performance, I coudln't help but thinking how thrilling would it be if at one point a performance could be arranged for Vladimir and Viengsay Valdes right there at the MET, in either DQ or Beauty-(two of her strongest points...). That would be THE BOMB, and it could bring her a partenaire of her same level, which she currently lacks. Dreaming, dreaming...