cubanmiamiboy

Oh, Paul...how WONDERFUL! I wonder if I could ever see that company.. I would be very interesting to compare both versions. One thing i notice from Fracci to Johnson to all the Cubans is that they, unlike the Russians and Americans, don't get the initial arabesques into penchees. It still kind of shocks me a bit to see the amplitude of the Russians in this step in Giselle. Thanks so much for the clue on the Harlem company! I will rent the DVD.

If she's selected, I hope that she could finally build a bridge to the great Cuban exiled balletic potentia CURRENTLY RESIDING IN THE CITY and so largely and historically ignored and unused by MCB and for which the classics could finally find a permanent home within the Miamian repertoire via proper experienced ballet mistresses and appropriate coaching. Lourdes knows about it...she's been and danced in Havana...she knows the value of what has been so sadly wasted over here so far. Let's just pray.

It is, sadly, quite "lost" already...

One beautiful rendition of the Pas Seul. Ah, Hayna...if only things would had been different and you would had stayed in MCB and dance for us here...

Me too...and because I don't know anything about all that stuff of rights and Trusts and whatever else, I admit having been foolished. Actually, if the rights issue would turned out to be just as the OP states, and Martins would come out with the idea, crazy as it is...would anyone here miss the Premiere, even if attending was a mere matter of curiosity...?

Of course, Sppessivtzeva's variation-(Giselle's Pas Seul). What else...?

Allow me to answer my own question. There's a pic in Octavio Roca's book of a 15 year old Alicia Alonso dancing with boyfriend Fernando the divertissement in the 1935 Yavorsky-after-Merante staging for Pro Arte Musical, 1935 Havana. Fernando is wearing what appears to be a golden Roman helmet and is bare chested. Alicia wears a chiffon Greek-inspired tunic and a golden laurel wreath as a headpiece.

What was that other poster said of something like"champagne price with beer taste.."? Sorry...back to "Firebird"...

So keeping up with the guessing, if the Discorde/Guerre segment never made it to Petipa's staging, then am I to assume that Balanchine was the one responsible for its revival more than half a century after it was notated...? If so, was he also responsible for any other "lost" fragments...? I've never seen Frankling staging, but I would guess he did not include material that he didn't know from his tenure with the BRdMC. Enrique Martinez previous ABT staging did not have it-(and his was an "after Alonso" work), neither Alonso has it in Havana. I'm all for doug, rg Mel or atm711 clues...

I was reading some info from various sources on Coppelia, including the following Youtube poster, which I borrowed to cite the origin of the different numbers of Act III. Now, I just realized that I don't seem to recognize the "War and Discorde" segment in the Bolshoi reconstruction... Could that be that they left them out for Osipova's performance but they still reconstructed it...? From the clip I recognize: 1-Introduction 2-Valse des Heures 3-L’Aurore-(our "Down") 4-La Priere-(Our "Prayer") 5-Le Travail-(rechoreographed as the extra female variation that follows the Adage in the PDD). We can also recognize it as our Franz variation. 5-Could this be "L’Hymne"? ...not sure. (Honestly, according to the costume design and the props in the ballerinas' hands, this looks to me as "Le Travail", but don't mind me...I'm only guessing... 6-Now, HERE it should be "La Discorde et La Guerre"...Where is it...? 7-And HERE there should had followed, originally, "La Paix"- (which was reinserted in the PDD as the Adage... by Petipa? ...not sure ) Grand PDD-(Danse de Fete) 1-Adage-(which turned out to be the original "La Paix" that followed "La Discorde et La Guerre") 2-Extra female variation, originally "Le Travail"- (which originally followed "La Priere", which it is said to had been choreographed back then to the same music of Sylvia's PDD male varaition, now also included as Franz variation almost everywhere, including MCB). 3-Franz Variation. (Music is not by Delibes, but by the French-American composer Ernest Guiraud) 4-Swannilda variation 5-Galope Finale http://www.youtube.com/watch?v=uCj9V8Sua2w&feature=relmfu Any clues, anybody...?

When you see the Bolshoi reconstruction, or even other productions-(BT New Yorkers can probably account for it)-you will see way more people onstage. MCB is a small company...after a while you start knowing each and every one of the faces. Sometimes a same face gets to be a Mazurka dancer in Act I, one of Swannilda's friends in Act II and probably one of the Hours of the Waltz in Act III. The realization is more obvious when there are dancers you tend to follow, or if they have a distinctive mark-(like the Esty Twins...they can't hide! ). Still, I applaud the way the fill the stage, which never really looks empty. (Hint...are they pulling the props in a way they get to occupy more space, hence covering for the lack of more dancers...? I am under that impression ever since Giselle... ) BB...I haven't seen the staging you mention, so I can't answer your question, but yes, here the mime is charming, funny, non mannered at all and very credible. Two thumbs up! . Still ahead, Albertson/Cerdeiro...

Once more Jeanette ruled! One thing I want to congratulate MCB for is the beautiful, organic way they are doing all the mime. Act II here has LOTS of mime segments-(much more than Cuban Coppelia)-and they are doing a FANTASTIC job. The sequence of Swannilda inside Coppelius' house discovering and telling her friends the real nature of the doll was priceless.

Heading to Delgado/Panteado again tonight..!

Albertson/Cerdeiro..? I might see that...Cerdeiro is getting very intriguing. I didn't know he could be a fit for Giselle, and i was proved completely wrong. Back to MCB Coppelia... THE WALTZ OF THE HOURS Something I think was a total faux pas was the Waltz of the Hours. Fact is, there's no way to guess whatsoever that these 12 dancers represent the 12 hours of the clock. The costume design, even being pretty as they are, look more like flowers than anything else. The piece was also very under choreographed. I couldn't help but go back to the Cuban version, which has the women's bodices with embroideries of the 12 numbers in Roman digits. They also have a little thing in their hands with the numbers, and the final pose simulates a clock with a specific hour on it-(can't remember which one). The Waltz of the Hours suffers from the same illness as the Down, Prayer and Spinner varaitions; lack of clues.

I'd have more patience for Kirkland's scorn for "glorified triviality" if her and her husband's version of "Sleeping Beauty" weren't such a godawful, wrongheaded mess. I guess we have to take it as it is. Just another choreographic assessment, probably one that's not very popular, although also probably with a few followers here and there. Just as our own opinions. BT's "Favorite variation" and "Least favorite variation" have its good share of pieces that belong to both threads.

THE DANCERS. THE SETS AND COSTUMES. MCB Coppelia dresses, just as in its Giselle, with ABT's borrowed clothes. Act I uses nice pastel colors for Swannilda's friends, and a peasant long skirt for Swannilda. The costume for the doll in Act II is really beautiful, with a bell like, ruffled tutu with fluffy arms. Now, I must confess I'm still not used to Swannilda's long skirt in Act I and her weird wedding dress for Act III. I really missed the short tutu'ed Swannilda. Alonso's version has her in tutu the whole time. A pink one for her Act I and the short little white one for Act III. Franz white costume for Act III is very nice also. Now, the really low point for me here was the costumes for Down, Prayer and Spinner. What was all that about with all those colored, sparkling museline nighties....?!? Those looked more like something a Victoria's Secret model would wear on top of their undies for a fashion show. Didn't like those costumes at all. The sets for Act I show a colorful village with an orthodox church in the back, and Coppelius house interiors in Act II are dark and mysterious. I'm not sure I liked the bright colors of the device that carries Swannilda and Franz for their Act III entrance. the bell on top of it looks too cartoonish too. To be continued... MCB keeps showing a strange limited display of principals. Lately, out of 6 male Principals, only two of three are being actively casted. Same with the same amount of Principal women, out of which also only a couple are being seen. This Coppelia in Broward had only two castings. Delgado/Panteado in opening night and matinée and Catoya/Reyes on Saturday. I wonder where is the rest of the people...(Cox, Carranza, Isanusi, etc...). Well, down to the subject of my favorite performance, the one and only prize definitely goes to Jeanette and Renato. Whereas Delgado's Giselle was still a work in progress, and she obviously needs to dig in what the romantic style is, her Swannilda was all allure, freshness, buoyancy, and with the proper amounts of comical touches. Her partnership with Panteado is a happy one. She went on that stage ready to make the role her own, and she did. Technically she was beautiful...she did some great Italian fouettes, and even though she took that silly fall, it only made for a better performance afterword. No mannerisms..she IS legitimate in her sparkling display, and her smile was this time in its shameless right place. Panteado definitely has a stage knowledge that made for his little technical faux pas-(he decided not to perform a final tour en l'air during his variation in Act III at the last minute...). They both did all the mime in a very natural, organic way, and the story really came out easy and well told. Call me crazy, but Panteado, when he puts on his black sleek wig, reminds me a bit of those pics of Youskevitch. I fantasized a little and tried to "see" Igor in him and Alonso in Delgado. . I had my own fun. In Act II Delgado was also delightful as the doll-(although Catoya showed more of a stiffness, almost in an unreal way!). The whole scene of Coppelius and Franz was very funny. Panteado really owned it. People laughed a lot during the chasing segment. On Saturday Catoya/Reyes were a little undermined. The big plus of this couple is definitely during the adagio moments, where solid Reyes lifts tiny Catoya as if she is a weightless feather. The effect is beautiful-(more noticeable during their Giselle). Catoya can definitely turn very fast, although she lost her pointe a couple of times, once during her Swannilda and in two moments the day before during her Spinner variation. Reyes did not suppressed any step. He-(as Panteado and Catoya)-must be in his late 30's, early 40's, but they are both still very energetic. I didn't like the stagings of the three variations in Act III. These weird looking ladies come out of nowhere and dance, and the audience has no clue whatsoever what are they and why are they dancing in such outfits. Day 1 was the weaker, with Albertson as Down, Kronenberg as Prayer and Catoya as Spinner. Again, Albertson and Kronenberg show signs of tiredness, Catoya trying somehow to save the segment. Day 2 was a happier one, with Manning as Down, a lush, beautiful Suzanne Limbrunner as Prayer-(VERY well done that arabesque penchee, Miss Limbrunner ! )-and Jennifer Lauren as a better Spinner. Still, the lack of coherence on their settings and the awful costumes made for a less than happy moment in the ballet. Coppelius had two very enjoyable portrays. Day 1 showed tall Trividic in a more subtle version, slower demeanor, as in a more tired, older Coppelius. Day 2 had Didier Bramaz as crazy Coppelius, walking all over the place with fast, little steps and adding many comical touches to his stage moments. He even ventured to simulate an accident to his private parts during the chase to Franz across the table in Act II. He,he.. . I really enjoyed both guys. As I said earlier, Catoya's doll was priceless...she REALLY LOOKED non human. A special kuddos to the male leads of the Czardas, the two Brazilians Kleber Rebello and Renan Cerdeiro. Cerdeiro did some great pirouettes while lowering his body, and Rebello was his usual airy great technician. The Esty twins were their perfect partners here. To be continued...

Thanks for the report, BB. I would have gone to the performance, but working schedule didn't allow me to...

THE performance of Broward Coppelia happened on Friday night. Saturday was, indeed, weaker. THE SETS AND COSTUMES. MCB Coppelia dresses, just as in its Giselle, with ABT's borrowed clothes. Act I uses nice pastel colors for Swannilda's friends, and a peasant long skirt for Swannilda. The costume for the doll in Act II is really beautiful, with a bell like, ruffled tutu with fluffy arms. Now, I must confess I'm still not used to Swannilda's long skirt in Act I and her weird wedding dress for Act III. I really missed the short tutu'ed Swannilda. Alonso's version has her in tutu the whole time. A pink one for her Act I and the short little white one for Act III. Franz white costume for Act III is very nice also. Now, the really low point for me here was the costumes for Down, Prayer and Spinner. What was all that about with all those colored, sparkling museline nighties....?!? Those looked more like something a Victoria's Secret model would wear on top of their undies for a fashion show. Didn't like those costumes at all. The sets for Act I show a colorful village with an orthodox church in the back, and Coppelius house interiors in Act II are dark and misterious. I'm not sure I liked the bright colors of the device that carries Swannilda and Franz for their Act III entrance. the bell on top of it looks too cartoonish too. To be continued...

...Nijinska being responsible for the interpolation of the excerpt reveamped as a Trepak danced by the "Three Ivans" in Diaguilev's 1921 "Sleeping Princess" .

Coffee from Arabia and its usual display of contorsionists...

I'm glad you liked my link, BB. This way you'll be able to realize about the similarities-(AND the differences, very important)-on the way this coda segment is handled and danced by two dancers with a 55 years time gap. More to come... some thoughs on the costumes, props and the dancers.

That is great news -- to Ms. Magnicaballi. I don't know the ballerina, but to start off right after an injury with no other than...PAQUITA! Wow...brave woman she is..

Gee. Ad hominem, much? Kirkland has been very honest about her personal problems (not all of which were in their most severe form when she left the company). That doesn't mean the aesthetic reasons she gives for not wanting to be in the production aren't genuine --which is not the same thing as having to agree with those reasons or accepting that those were the only reasons for her unhappiness at NYCB. In any case, this is Kirkland's truth, out and about for people to agree with it or not. I'm sure that, like everything in life, there's more than one side to pick from.