cubanmiamiboy

How about doubles so Diana can throw some arrows in between her fouettes...? http://www.youtube.com/watch?v=hZPczXfs-cc&feature=results_video&playnext=1&list=PLC61A72C2C812217F

May I take the liberty here to aknowledge personal friends Mrs. Darla Carlton and husband for their patronage of the orchestra during the present season...?

Well, both Dores and Clara are in the correct spot alphabetically. However, Mr. Quenedit still remains between Mr. Spaulding and Mr. Yamamoto True. Quenedit should be right after Mr. Price Scribner...

..and I got to see that very cast, dear friend...and it was FABULOUS!

It is one of those works that gets easily catalogued in your "completely forgettable" mental folder... And then, here're some fragments of MCB's "Ballet Imperial".

From Viscera...Mmm, let's see... I liked the Jantzen swimmwear/50's inspired costumes for the ballerinas.

Welcome to MY club, BB! You've certainly got good taste...

I really must agree with you about how Catoya danced the role as opposite Jeanette's dancing, which even while being technically superb, had that "lady-in-waiting" feeling rather than a princess one-(although as the second ballerina, she ought to be behind the leading female in terms of hierarchy, right...? I didn't see her in the lead role though...). Robbins little jewel of ballet was my mother's evening favorite! You can't go wrong with such dreamy music-(played by perfection by pianist Francisco Renno). She even told me that the dress belonging to the third couple's ballerina had reminded her her big sister's party dresses from the 50's! ;-). Anyway, the three pas de deux work looks to me as three different kinds of relationships between a man and a woman. The par in the first duet, danced by Tricia Albertson and Didier Bramaz, seem thrilled to be dancing with each other in this place, in this occasion and to this music-(Nocturne, Opus 27, No. 1). They're dressed in their best, the stars are shining and the night air is full of promise. You can almost sense a breeze that whips them around. Tricia Albertson, in Mazzo's role, was her usual reliable, self contained self, which here really worked for me. Bramaz is a bailarin that has been given roles I think a bit over his capabilities, both technical and dramatic. He didn't look to me as being in the same level as Miss Albertson, but again, I've seen the same problem with him while dancing with several other ballerinas. The dancers in the second one were Jennifer Kronenberg and hubby Carlos Guerra. The Verdy/Martins roles couple is by the choreographer's choice more elegant, more mature; theirs is a long-standing love. Kronenberg and Guerra were beautifully reserved as their entered arm in arm, subtly capturing with their feet and manner the hint of a folk tune in the tranquil nocturne-(Nocturne Opus 55 No. 1, my favorite one from the ballet). Still, suddenly passion explodes and Guerra walks backward , holding Kronenberg offstage overhead in a surprising way the image is not conventionally "beautiful" but very hunting. I really liked this two in the role. Kronenberg has always looked to me more of an adagio ballerina, better suited for soft, romantic roles instead of technically demanding, fast footwork ones. The very fact that they're a real couple offstage always adds allure to their dancing. PS-(Am I wrong or do I remember they entered during the last running from the stage left wing...?) Then we had the third couple, the one that take us to their tumultuous story of ruptures ad reconciliations. McBride and Moncion's roles were danced by lovely Katia Carranza and long limbed, elegant Yann Trividic. The two of them came together, fly apart, leave the stage just to return helplessly to each other. "Can't live with you, but can't live without you" seems to be their mantra-(en ever present one to almost all of us mortals). What can you do about it..? Just get down on you knees and recognize your love, weakness and/or devotion for the other one, even if it takes touching his feet-(why does people nervously laugh to this climatic, emotional sequence...?!?! It makes me MAAAAAAAAAD listening to the irritatingm laughing, geez ). The music, Nocturne Opus 55, No. 2, is a storm itself. This is my second run on this ballet. During the first one, a few years ago, I almost fall sleep, but now I really, REALLY enjoyed it. Bart Birdsall...I CAN'T believe you were there. I don't have your cell phone-(dropped my other one full of numbers on the beach, and for some reason I thought you would be going just to the Saturday night performance. I will send you my number via PM, for which I'm planning to go see Les Trocks with my mom, who asked me if you're also going...she sends her best wishes, BTW ).

Hey...and be grateful that she was wearing heels at least. It could have been worse, like flip-flops...

And I was leaving the meeting part for the end of my three part review, as the whipped cream of the cake, BB..!! Likewise, it was a pleasure to meet you too and your cute mom also. Looking forward to get together again for Les Trocks!

The obnoxious trip on 1-95 to West Palm Beach was worthy. MCB is in top form, tuned up to detail, and it really shows. Ballet Imperial was, of course, the crown of the evening. Moving forward to floating skirts, diamond tiaras, attentive gentlemen in sparkling white and glorious choreography was definitively part of an improvement wave that started last night with "In the Night". Divine Jeanette Delgado was the soloist in pale blue. Mary Carmen Catoya danced alongside Renato Panteado-(who went back to his old timer black wig for the occasion, completely justified here by the role). To be honest now, of the two ladies it was Catoya last night who impressed me most. She exuded such energy from her sternum, proud, inspired, refined and self assured. Her jetes were high and light, her balances as solid as rocks, and her turns devilishly fast. Her counterpart Delgado was her fabulous self, her dancing technically brilliant, as always, but still warm and approachable. Renato Panteado matched beautifully his two ladies' abilities to captivate . Last night he was the noblest of danseur nobles. His partner could had been a circus animal and you would never know it. He treated Catoya with utter respect, adoration in his glances and care in his partnering. His own dancing was top. He shows legs more well proportionated that many MCB males, and last night he pulled off double cabrioles with clean ease. His brises were sharp and crisp, his pirouettes perfectly centered. The corps women were just as lovely, specially Zoe Zien. Ballet Imperial, with its T&V/XIX century inspired final tableaux managed to put an elegant finish to the night. To be continued...

Who's doing BI tonight...?

I'll be just as happy revisiting Ballet Imperial, if that would be the only thing presented.

Thanks for the heads up, BB..! .I certainly will be there to meet you both if I can arrange my working schedule accordingly..I will send you my cell phone number via your messenger. Okay, it would be fun to meet!

Thanks for the heads up, BB..! .I certainly will be there to meet you both if I can arrange my working schedule accordingly..I will send you my cell phone number via your messenger.

"Bodas de Sangre"-("Blood Wedding")-has been part of the Cuban company repertoire for a long time-(it was staged by Gades himself over there), and was very popular back when Loipa Araujo danced the role of "la mujer"-("the woman"). Later on it faded away a bit...(I confess it was never my favorite, as I've always been partial to flamenco dancing.

Ah, Natasha...and you just got a point that has flirted with my head forever..! Every time I watch Giselle's second act, I have this wild thought about being able to watch the whole Sylphides right in the middle of it, which would make for a looooong and beautiful romantic ballet night. Can you imagine...? The would be NO NEED to alter a second of Fokine's choreography..!

I've been thinking on the general approval from this site posters of Balanchine's latter versions of some of his ballets and improvements made as a result of his "less is best" position toward the end of his creative process, and how I percieve the opposite phenomenom regarding Chopiniana, where the fluffier the skirts, the more affected and stiff the poses, the whiter the makeup and the redder the lips, the better the ballet looks. I even like a lot the gothic-inspired ruins from the Fonteyn/Nureyev video. Definitely, with Les Sylphides, more is best.

I saw it and loved it. Dujardin's handsomeness really gets accentuated with the old Hollywood glamour look, and Berenice Bejo looks very fresh and cute as Peppy Miller. The little dog, Uggie, was a real star, and the story line gets thru really smooth and easy. The final little dance sequence was a great touch.

I told you so, Natasha..! What I saw was not an off night. It was just an unprepared dancer thrown out to the stage way before her time...

Let's compare a bit how is Chopiniana treated by... The Russians... http://www.youtube.com/watch?v=6wRCQ_f7XTs&feature=results_video&playnext=1&list=PL49A356BAD8C38BFB The British... http://www.youtube.com/watch?v=alSWI4fhV6Q The Cubans...

Too much of grey going on with her...

Welcome to the "Chop. club" troupe, Natasha! I'm Cristian, commander in chief.