cubanmiamiboy

I'm not sure if you're joking. No...I was not. Lohan has gotten herself definitely into such tumultuous life that we might think there's no way she could make it all the way to make a movie, but hey...Hollywood has been in this position before many, many times, from Clift to Monroe herself to many other actors and actresses having been employed while battling all kinds of substances abuse and even while serving jail time. As per Theron, yes, I agree she is probably too tall and Amazonian but I don't know if this is worst than the underwhelming Williams, who looked to me as a young girl with a platinum wig trying to dress up as Marilyn for Halloween. Williams could be a fine actress, I don't know..(I haven't seen much of her...I think only Brokeback Mountain and something else I can't remember now), but she always look too distant and fragile to the point of uninteresting TO ME. Monroe needed someone else.

I was watching today the DVD "ABT at the MET", where Bisell dances in Sylvia PDD, and wow...what a handsome, well trained bailarin he was...

Allow me to pick this thread up right where I left it, mid Act II Tea. Love, love, LOVE this divertissement. It totally used to be owned by Mr. sky high jumper Alex Wong. Now the honor belongs to Kleber Rebello, nothing short of Wong's spectacular Grand Ecartes. In a different cast, Shimon Ito wasn't up to Rebello's hyper extensions and ballon. Anyhow, Balanchine wins hands down this time. Marzipan Shepherdesses. This is a very cute piece in Balanchine's staging, although at one point the female lead spends several bars of music just kneeling and waving her arms or even standing up changing poses. Here I much prefer some other versions where there's a couple, the bailarin playing with her ballerina scaring her while disguised as a wolf-(Baryshnikov's...?)-or even Vainonen's rococo inspired Pas de Trois for children. Still, Balanchine's has beautiful choreographic moments, like the series of sautés on pointe for the lead ballerina. Here's one of the few stands where I think Hayde Morales' costume designs didn't win, for which I much prefer the Reeses look alike from Kirstler's DVD. From the three castings I attended, it was bubbly Sara Esty who danced it more beautifully. Mother Commedia . I must confess I used to be reluctant to this divertissement, as it was completely alien to me, being omitted in Alonso's production. More and more I've grown fond of it, and right now I'm really loving it. What I find amazing about it is that Balanchine uses choreography that mirrors adult dancing, including all those lovely courtsies and reverences, or the little ones burreing in demi-pointe. Chase Swatosh, just as Jack noted, was great on the role. The ballet really comes alive during this segment...is is a very happy moment, and a nice hor d'oeuvre for everybody's favorite next big moment...the ubiquitous Dewdrop and her garland of flowers. Waltz of the Flowers. Another definitive Imperial flavored moment. Lovely, grand, MAGNIFICENT! Morales designs are sublime..they remind me of a beautiful flower we have in Cuba-( maybe there are here also, but I've never seen them)-; the Marpacific. The breaking and formation of patters here are just amazing...the moment when all the flowers lay on the floor row by row to them stand up just as when the real flowers bloom...aah, marvelous. I saw three different ballerinas here also, the always reliable Tricia Albertson, who doesn't do less or more than what's expected, Mary Carmen Catoya, who nailed her attitude turns like no one else and Jeanette Delgado, my own diva...(can I praise her a little more...? ). Of course, I'm all for Delgado here, but I must agree with Jack about Catoya. She's in better form than ever. The flowers were soldiers in perfection. Bravis! To be continued...

Very poorly constructed sentence, for which I apologize. It should have read, "where she has bad hair and sleeps in cars." Obviously I didn't mean to suggest that cars have bad hair, although I've seen some upholstery that might qualify.

How about Madonna...? http://www.talentsta...1008/1008p2.jpg http://www.youtube.com/watchv=jjOLh2so3M

Saw it and not impressed at all. (Williams has never done it for me anyhow...too much of a grey type of actress). Marilyn is FIRE when you see her on screen-(whatever her real persona might have been), and Williams does not have what it takes to project that. Plus, the physique was WRONG. When my mother saw her she turned to me and whispered..."She's toooo skiny...that's NOT Marilyn!" And she's right. What about Charlize Theron...? http://www.flickr.com/photos/the_hookups/222375626/ or Lindsay Lohan...? http://nymag.com/ima..._lindsay_lg.jpg

Yes, Natasha and BB...both programs will be performed here, but I'm not sure I will be attending. For once, I've been very aggravated in the past by those troupes-(can't forget my last trip to see an unfortunate Swan Lake up in Broward)-and then, they will be performing at the Jackie Gleason Theater, a Miami satellite of the SF based Fillmore brand, which allows their performances to be share with served refreshments and even food..yes, including waiters roaming around tables placed around the orchestra area and everything, which makes the whole thing sort of what I remember as cabaret show in Cuba... Nope...I'll thing I'll pass this time. I'm getting too old and cranky.

Thanks, Natalia! I have been trying to find more info. From what I have found online I think the "Legends of Russian Ballet" is being performed in Miami as well as Corsaire.... 3 Miami performances (1 Legends and 2 Corsaire), but in Jacksonville there will only be a Corsaire (one night only). Bart Yes, Natasha and BB...both ballets will be performed here, but I'm not sure I will be attending. For once, I've been very aggravated in the past by those troupes-(can't forget my last trip to see an unfortunate Swan Lake up in Broward)-and then, they will be performing at the Jackie Gleason Theater, a Miami satellite of the SF based Fillmore, which allows their performances to be share with served refreshments and even food..yes, including waiters roaming around tables placed around the orchestra area and everything, which makes the whole thing sort of what I remember as cabaret show in Cuba... Nope...I'll thing I'll pass this time. I'm getting too old and cranky.

ViolinConcerto...isn't Mr. Alonso celebrating his 97 birthday...? The thread title states 87, but I believe he's older than ex wife Alica, who's 91. Anyway...here's an interesting documentary-(in Spanish)-on his life and career. http://www.youtube.com/watch?v=WcQaUys9Uj0&feature=related http://www.youtube.com/watch?v=2q_aMXBIcDg&feature=related

Thanks, Natasha for the heads up! The Vienna's New Year TV special is something I NEVER miss...

Mr. Alonso...the one and ONLY founder of the Cuban ballet class syllabus and never to be forgotten by those who know the real history of the Cuban ballet despite those who, having bigger than life egos, have been trying to minimize and even erase his name within the island. Shame on them, and HAPPY BIRTHDAY, MAESTRO OF MAESTROS!!

Why is Hilarion called "Hans" on the site summary of the ballet...?

...AND the guy ends up striking a perfect tendu devant pose...!

How about the guy starting his walking steps in FULL POINTE..?

Wishing you all the happiest Christmas. May the blessings of health and peace come upon you and your loved ones. http://www.jacquiela...1938&path=83563

Sure...! I've done it several times, but I'm alway glad to promote it in every opportunity... Sir Peter Wright's staging, after Karsavina's Imperial performances recollections. Alonso's staging, after Fedorova's Imperial performances recollections and Markova's memories from Sergueev staging. http://www.youtube.com/watch?v=HUBCnJdvcyo

Just came from tonight’s run of the Nutcracker in Broward. Here are some thoughts: Glad to run again into Mr. Jack Reed..! (Hey there…I might see you back again tomorrow) Act I This year I decided to sit upstairs, so I could take a different view of the corps, and glad I did..! The ballet is an entirely new thing when watched from up there. I never realized how HIGHLY CHOREOGRAPHED the whole thing is…including the ballroom and battle scenes. THE PARTY SCENE The ballroom sequence is definitely delightful. To see how Balanchine creates this vintage feeling to perfection, how he integrates the children in such organic ways into the action is just a marvel. Never have I seen a production that tells so much about the life in such high class environment. Particularly interesting is how he makes the kids dance along the adults without looking too affected or unreal. I’ve seen many other productions where even adult dancers never look as comfortable in such choreographed situations. Balanchine’s party scene is being studied to the ultimate detail, including social classes differences little touches here and there-(like the way everybody, including the children, hand their coats to the female servants without even looking at them sometimes). One can tell that these are children in training to make their future insertion in society easily and with complete success, sort of miniature ladies and gentlemen. THE BATTLE SCENE The battle scene was another discovery. How is that I never saw all those lines and diagonals and the quasi mathematical moving of bodies, both of the mice and the soldiers…? At one moment I even thought..”This is as complex as the Waltz of the Flowers!” …and sure it is…From orchestra one can only see lots of running onstage, but from upstairs the designs come to life…Balanchine really uses lots of space to accommodate his designs, and the battle is no exception. Again…the vintage feeling is here too…the costume designs of the soldiers are lovely…they really look like those old cartoons from the 40’s. Kudos to the kids, and my highest respect for them and their ballet master. They were rehearsed to PERFECTION. THE SNOW SCENE What can I say but just to reinforce my total devotion to this little jewel of corps choreography…? If anything, I wish Balanchine would have used many, many, many more dancers to make this marvel of scene even grander. Again, from upstairs this is a completely new choreography. Note: Thank you, whoever is in charge, for returning the snow balls hand devices to the ballerinas. In past years there were substituted by silvery branches, and the effect wasn’t the same. That aside from the fact that the snow balls things are a direct link to the Imperial production designs, as we can see from the pic in “Apollo’s Angels”. Act II I have only one complain about the introduction, which I have voiced before in this board, and is the fact that Balanchine changes the roles of the parade girls from its original matryoshka dolls form to angels. Then also, it is never explained-(at least in this production and in this city)-that this are the Nutcracker’s sisters welcoming their brother back to the kingdom. A little clarification and background story would be nice, particularly for the non connoisseur audience. And here comes my biggest disappointment from Balanchine’s staging. The dis-articulation of the Grand Pas de Deux. As we all know, now the Sugar Plum Fairy dances the well known Pas’ “celesta variation”, and in my humble opinion, here Balanchine’s own choreographic ideas never came close to the beauty of the original one, so well preserved in some other productions around the world. The Sugar Plum Fairy anticipated variation is rather bland, although nice to watch but nothing for which the ballerina can really make a statement. THE DIVERTISSEMENTS. The Spanish Dance is great. I’m not a real fan of character shoes in ballet-(they rather bore me)-and so Balanchine's’ pointe work preference here is definitely welcomed. The leads were danced by Isanusi Garcia-Rodriguez-(a very underused principal, IMO)-and a rather stiff Maya Collins-(or was she substituted …? Help me here, Jack! The Arabian Dance is another topic I want to discuss a little. In this era of many popular belly dancing and circus contortionists inspired choreographies for this dvertissement, it is great to see such subtle and elegant rendition of what we can see as a fantasy of an eastern dance. One never see a bit of any sexual/pelvic gestures as it is so popular in many productions nowadays, or the never ending lifts and rollings of snake-like ballerinas on top of male dancers, sometimes more proper of a modern harem than that of a treat from Confiterinburg. Balanchine’s coffee looks like taken out of one of those old films, where Hollywood actresses moved and danced just as that…as American women imitating to their best foreign dances and gestures. Still, just getting to see again that the “vintage” feeling has been preserved is a nice touch. I’m sick and tired of vulgar odalisques dancing to the children exposing their crotch open wide. To be continued…

Swatosh is the new "pretty blond boy" of the company, a role flled out by Baker in the past. For some reason I think he will be mostly casted in character roles. I hope 'm proven wrong here...

Thanks Jack for the report. Balanchine's Nutcracker is definitely becoming a favorite of mine more and more. Every time I want to "get" the Christmas spirit at home I put on either his magnificent Snow Scene or the Waltz of the Flowers from the DVD-(two of the most beautiful corps scene I've ever seen during my entire balletic viewing life, side by side with Petipa's Shades scene and the Fugue of the Willis from Giselle). Those two plus Wright's staging of Petipa's Grand Pas with Dowel and Collier are definitely in my top five ballet sequences of all time. Anyway...I will write a little more when I have the time. I'm still planning to attend at least to one more performance at Broward, so I guess I'll see you there, Jack..! Just one anticipated word before my full review from the run at the Arsht. Jeannette Delgado as Dewdrop...WOOOOOOOOOOOW!!

Yes, indeed..!!

And as per the men's fashion issue, here's my ideal and oftenly copied look... [media]http://www.youtube.com/watch?v=l_FR2dNyrSY&featurerelatedmedia] You are too much! LOL I used to be able to dress like that! SIGH! Don't think my salt and pepper hair would work with that outfit now though! Salt and pepper can actually ADD to the success of the outfit, Bart ! I might get some ideas from Donatella for my weekend Nut run at Broward..

And as per the men's fashion issue, here's my ideal and oftenly copied look... http://www.youtube.com/watch?v=l_FR2dNyrSY&feature=related

Should we connect the issue with ballet?, So let's do so. Last thursday, during my personal oddissey at the Nutcracker, I was able to see the differences between the old school and the new way to raise kids. On the audience side I witnessed a mother obnoxiously engaged in a furious word exchange with an usher related to her daughter, who was out of control in her seat. The usher finally left the scene in frustration, the mother kept watching the performance and the girl was NEVER reprimended, At the same time, on the stage side, Mr. Silberhaus was putting Fritz in his place in front of everyone by giving him a good spanking after the kid's attempt to ruin Clara's Nutcracker.. Fritz, unlike the girl on the audience, seemed to react to the punishment. dirac, we all know to the degree to which physical punishment can be inflicted on kids. The idea is just to scare and embarras them in front of others, not to knock them out. The beatings to deaths cases we oftenly see around are an entire different animal. And yes, Bart B. My mother is also a public school teacher for 40 years now, and the fact that as per today she has to listen to some kids calling her names and many other things with her hands in her pockets, because only touching them is considered "assault and battery" is just ridiculous. When I was a kid I just needed to be shown the belt to know how to retract. Actually it NEVER had to be used, for what I remember.