cubanmiamiboy

So...this is the type of surprises we're subjected to experience down here with Villella's strange anti-stardom policies. There is always the chance of witnessing a company apprentice steal the show during curtain calls from the Principal Dancer. Yes...this was what just happened a while ago, when amazing Nathalia Arja-(last night's Sugar Plum Fairy)-brought the house down during curtain calls after dancing Dewdrop. It was very strange to see this very young girl-(completely unknown to me until now)-getting all the glory, and in the process shadowing a less than perfect Hayan Wu, tonight's SPF. High point of the night: Arja's Dewdrop and GREAT Corps member Sara Esty substituting Tricia Albertson as the Marzipan leading Shepherdess-(I hope this is her...I didn't catch the substitution announcement, and she looks very much like her sister Leigh-Anne, but I'm 99% positive that this was Sara). Low point. The SPF PDD...Wu and Yang Zou didn't look too comfortable dancing the Adagio...there were some faults and Wu looked tired. I've been taking notes on certain details of Balanchine's production that I would like to inquire about, but...season is not over yet. I might go back tomorrow night...

Isn't this the same combination of steps used for the opening of Youskevitch second variation in T&V...?

I just noticed that there will be a lot of Les Sylphides performances... Please, report back!

Yes and yes...pirouettes to go offstage and arabesque to hold the flower. Now, when Lienz Chang partnered her, she would THROW the flowers-(but still, while in arabesque)-for him to catch them mid-air.

Millie...ballet performances in Havana are given all year around...there are not "seasons" there. You just have to go to the box office of the theater-Grand Theater of Havana -at daytime and buy the ticket. Ballets and casts are always posted outside the theater. Chances are you'll see either Giselle, Swan Lake, Coppelia, La Fille Mal Gardee, Don Quixote, The Nutcracker or Grand Pas de Quatre, or if it is a PDD night, you'll get Diane&Acteon, Tchaikovsky PDD, Sylvia PDD, Grand Pas Classique etc... Can I jump in your luggage...?

Canbelto...the Cuban Giselle is still performed just as when it was first staged in Cuba a gazillion years ago...! Dolin was the very last regisseur of the ballet, when he flew to Havana to coach Mme. when she danced the role with Vasiliev in 1980. Ulanova also went to coach him. Talk about Ballet Theatre vs. Bolshoi style...! In which part of the choreography...?

Canbelto, there's nothing I could add to your great, accurate description of Alonso's Giselle, included her terre quality. Ir is very interesting that the majority of the Cuban ballerinas are more about pirouettes and fouettes than jetes. I believe their physique has a lot to do with that. As someone noted, the totality of the ballerinas I posted in the tribute threads are very rounded...big hips, thick legs, strong ankles...and I think that's also what makes them very strong on the floor but less capable on the air. Alonso was no exception. About the Cuban Giselle, it does contains a lot of original music and sequences that are deleted in both the Russian and the American productions. Berthe's extended mime telling the story of the Willis, Albrecht's entering the right cottage and re appearing as Loys-(Beaumont, "The Ballet called Giselle", P.91), the huntsmen playing dice in the forest and scared away by the willis-(Beaumont, same book, p 109), the wagon where Giselle is placed as Queen of the Vintage, Myrtha's extended variation, right after picking two lilies, etc... One of the things I miss from this video is the throwing of the lily in the air. I had the honor to see the very last performances of Alonso's Giselle, back in the early 90's, and Lienz Chang, her last partner, used to jump and grab the lily mid-air. It was beautiful. Another of the little nice details of this production is the body position of the Willis while dancing in their presentation, with the characteristic romantic-era head tilt that is usually lost in many modern stagings of the ballet. On, I could go on and on and on...you know me, but I'll stop here. I'm loving your Gisellethon...!!

So tonight I decided to take my friend and my mother to see Balanchines Nutcracker, and voila...I had an epiphany…THIS IS THE NUTCRACKER!!. It is definitely glorious…and time came for me to confess it. If I would be left only to see the Snow Scene and the Waltz of the Flowers, I would still be equally happy, for which they are two of the most beautiful ballet moments Ive ever seen in my entire career as a balletomane… I never sit upstairs, for which I have very poor eyesight, and so center orchestra is always my choice, but tonight I wanted to really see the patterns of the snowflakes and the flowers, and being up there certainly changed my whole perspective on the ballet. There is a moment when several rows of flowers execute a developpe devant, one row right behind the other one to then fall in the floor to a white swan position, arms extended, head facing down that is just breathless…same with the snowflakes, when at one point they get all grouped together and right to a sharp chord they extend their arms and lower their heads while pointing their branches forward. Oh, thats SO beautiful… Anyway, Im very happy to having been up there…it was like watching an entirely different ballet…and on the way not getting to see sweating faces and trembling hands. BTW…theres a little story that needs to be told, but I will move it to a more appropriate place here …

From the Nutcrackthon thread... So Act II of Balanchine’s Nutcracker starts, and I don’t have a programme- (always trusting in my instant recognition of the dancers at first glance, but then I'm way too far this time, and it is too late to get out and grab a playbill). Then suddenly the Sugar Plum Fairy shows up and executes a LOVELY variation, and here I am, totally clueless for which I can’t really see very well, and she doesn’t look like any of my favorite Principals. Well, I keep watching, and thinking that I need new prescription glasses, for which I can’t recognize the dancer. The PDD moment arrives and she and her partner deliver one of the most amazing performances I’ve seen of this choreography. When she jumped two times on Coqueluche’s shoulder in the two opposite diagonals with such lightness and he than started turning with her on top, it was amazing…so fast and clean and effortless. I turned to my friend and whispered…”Look…this is how this should be done”…(referring to V. Part and her partner’s attempt of the same step, with an entirely different result). When the coda was over the theater roared …me included. As soon as I got out, I grabbed a programme, I found her name-(totally unknown to me)-and went ALL OVER the company roster. Nothing…from Principals to Corps and her name is not there. I then thought that she must have been an unexpected guest dancer or something. When I got home, just a while ago, I started flipping the pages of the programme, and right there, in the very bottom, with no photo or bio or anything, I see her name, along with another seven. She is Nathalia Arja…a Company Apprentice, who was also one of the snowflakes in Act I. Would I have gone to the theater knowing that an apprentice was to dance this role…? Absolutely not. Am I happy to have seen her? More than with any other Sugar Plum Fairy I’ve ever seen at MCB, my beloved Jeanette Delgado included. Yes...a great lesson for cubanmiamiboy…

Over my super busy weekend, I was able to catch the Kirova Ballet production of the Nutcracker. This is the first season of this local ballet company/academy located in Hallandale, FL. Their founders, Boris Chapelev and Janna Kirova, are both ex Kirov dancers, and after recently relocated down here they have been focused on "bringing the art of authentic Russian Classical Ballet performances to its audience"-(via the company)-and "provide the very best in authentic Russian Classical Ballet training and to become one of the very best training centers for ballet dancers in US"-(via their brand new 6700 sf Academy), all this according to the programme notes. Anyway, theirs was a production loosely based on Vainonen's-(as I noticed is also the case with every touring Russian troupe). Vainonen's version-(just as Grigorovitch and the short lived Baryshnikov's)-just doesn't work for me, for which it totally destroys the story line by deleting important characters-(Sugar Plum Fairy/Coqueluche) and transforms Clara into an adult, thus totally altering the very essence of this ballet. This is the main thing I love about Balanchine's...that he-(just as with Fedorova's and Wright's)-respects the beautiful original libretto, one that doesn't need any changes, BTW. I was surprised with the luxury of the sets and costumes. The battle scene had soldiers on horses-(a costume device with the horse attached to the kid along with fake human legs). It was very pleasant to watch, and in the beginning of Act II, Clara and the Nutcracker’s arrived in a troika pulled by an unicorn…a real beautiful white horse with a long horn attached…I was REALLY surprised… Well, I won’t be talking too much about the performers, for which I know the policy about reviewing only professional dancers here, but I really have to mention the two girls and the boy of the Pas de Trois-(Marzipan divertissement). This is a Pas de Trois that I always enjoy a lot in this Russian productions. It was so lovely to watch this three very serious kids with their rococo costumes and dancing like adults, the girls on pointe and full tutu regalia, the boy the perfect cavalier, all with wigs and everything. So so cute. The programme listed four names-(probably two casts for the two days)…Phoenix Elmer, Tyller Dieckhas, Nina Fusco and Tate Lee. My friend agreed with me that this was the highlight of the night. Moving on, the main reason I went to see this production was because Veronika Part would be dancing Clara's role. I kept telling my friend, “Veronika this” and “Veronika that” and that “she's an ABT’s Principal” and that “she's the Myrtha you'll see at Vishneva's Giselle” and on and on… And so then...…what a total disappointment was to see a nervous, unprepared ballerina with no chemistry whatsoever with her partner-(ABT’s Gray Davis) and with no relationship at all with the role being portrayed. She didn’t looked comfortable during his over-shoulder lifts. I assumed that she just came probably the very day of the performance, and danced whatever she knew from previous stagings-(I believe she danced previously in McKenzie’s production…?). The Grand Pas de Deux was a total cut and paste from different choreographies. The Adagio was Ivanov, with the Fedorova’s music cut but with the suppression of its most thrilling moment, the pendulum-like swinging of the ballerina by the partner carrying her upside down by the waist. When I saw Davis I knew that there was no way that he could have done this with too tall for him Part. But THAT type of things is what really gets me mad. If you CAN’T dance a given step in a choreography, you shouldn’t be up there trying to cover up with inventions. I can’t stand that. That’s the most beautiful part of the Adagio, and from the Fonteyn/Helpmann clip to the Alonso/Esquivel to the Collier/Dowell, it is clear that this is the climax, so please, don’t ruin it and try harder to get it right.… The male variation was exactly as the one danced in Havana-(which is not the same danced by Dowell…), and then her variation came, and THERE’S where I couldn’t tell any longer what was going on. Part danced something that she obviously knew very well, and which wasn’t Ivanov nor Vainonen’s . I have the high suspicion that this is from Ratmansky’s new staging. At one point she did a peek-a-boo thing behind one of the wings curtains...VERY strange. The end of the ballet had Clara waking up from her dram next to the Nutcracker doll. I was disappointed with Veronika, and this is the second time I see her dancing, the first one as the Lilac Fairy. Next will be her Myrtha, so I will keep my fingers crossed, as I’ve heard really good things here about her in this role. Up next...…MCB again…

I saw the film today, and have mixed feelings about it. There are two main themes here. First we have the better idea, the portray of a ballerina who deals with two common issues in the world of ballet...quest for stardom and obsession for perfection. By the end of the film we're left with the impression that this girl was probably suffering from a more serious illness-(I thought of schizophrenia right away)-for which she is definitely a mentally ill person, aggravated by extreme exhaustion and professional pressure. Choosing to portray this side of ballet is not a bad idea...and one not out of reality. It could be the exception of the rule, but "Dancing on my Grave" came to my mind INSTANTLY. This is Kirkland's story, embellished with a thriller makeup. On the way we're also given some hints here and there of other items very much part of the ballet world, like a super absorbent "ballet mom" and the weight issue. The other side of the story is the most forced one-(and less credible). The director wanted to dilute the Black/White Swan duality item in the ballerina's personal story, and there's where the film fails. It just doesn't work. If he would have chosen to leave the unreal elements out and just present the intimate story of a mentally wrecked dancer, it would have been better. Still...I had a good time. Portman's "dancing" was pleasant...(they just showed her from her waist up), but she looked pretty credible.

, Major Mel..!!

Don't mind me. I'm just listening an old LP with this, one of my favorite compositions EVER. It never fails to put me in a great mood. I'm visualizing a ballet right now...tutus and everything... HAPPY HOLIDAYS EVERYONE!!!

Thanks for the clarification! I edited the OP accordingly. Moving on: I just came from the MCB opening night. Theirs is, as we all know, a Balanchine production. I won't be talking about his staging per se, for which I've done this at length before, but rather about the ups and downs of tonight's performance. The Downs: A charmless Clara and Nutcracker kid. If the main thing of Balanchine's staging is to make real children the heart and soul of the ballet, then they better try to make them more alive next time. This observation is extended to the party kids, which at some points were like little lifeless robots following given steps, many times not even smiling. In Act II Clara and the Nut looked as if they had been placed in time out in the back of the stage. Where are the gestures of amusement and the surprised faces when presented with such feast...? Also, in the video they are given a table full of candy and other delicacies, so they can be entertained eating-(as kids usually do)-while watching the show. If this is not part of the original thing, then it was a great idea to insert it. The Snow Scene's tutus. The romantic skirts didn't move too much. They were stiff and not very full, thus totally breaking the illusion of the floating entities swirling across the stage that worked so beautifully in the video. Also they didn't have the right attack that got me so much-(again)-in the DVD. Those were crazy snowflakes, at some point even looking as if they were really the body of a snow storm, right when the snow starts making this concentric movements with the wind. The Miamians snowflakes were sweet smiling girls...too sweet. The substitution of the devices the snowflakes have in their hands, from the ones resembling real snowflakes -(and very much like the original Imperial ones)-to silver glittery branches, again loosing the intended effect. The mourning of the Company's loss of the BEST Candy Cane-(Daniel Baker) and Tea-(Alex Wong) I've EVER seen. Baker's jumps with that hoop and Wong's Grand Ecartes were priceless. The absence of live music, which made the whole thing look even more schoolish than ever... The Ups. Two dancers made the night for me. Principal Patricia Delgado as a wonderful Dewdrop and Corps member Nicole Stalker, who was FEARLESS and committed to light up the stage during the Waltz of the Flowers. At the end of the story, I should say that the auditorium was packed, and people had a great time, according to the cheering heard during curtain calls, so don't mind my non sense rampage. If the audience is happy and nice revenues are collected, then the mission has been accomplished. Next, Cuban Classical Ballet of Miami-(tomorrow night).

But if the Grand Pas de deux is danced by Clara...then what is the Sugar Plum Fairy doing in the story...?

It's not only you who has changed, bart...the ballet has changed, the society has changed, the WORLD has changed. Just look at your surroundings from back when you saw the ballet for the first time. There was not a lot of competition-(movie theaters, some TV, and done...), and the stage was a powerful force of entertainment. Now look at the kids who are the same age you were at the time, and see which things interests them the most...electronic gadgets that have the whole world comprised inside...no need to get out to be entertained. If they can barely take their eyes off their smart phones, well...you get the idea. Also...do kids still like old fashion fairy tales...? I'd be curious to see how popular Snow White is today compared to 50 years ago. As for the ballet, you're totally right. I've been watching Balanchine's version for quite a few years now, and I've NEVER been moved the way I was when I saw the DVD of the production with Kirstler. Since I got it I've been playing it almost non stop-(particularly the FABULOUS Snow Scene and the STUNNING Waltz of the Flowers. This DVD even made the magic to get me in the mood to take my Christmas tree and nativity set and set them up. And again...you're right. This is NOT the same production that I've seen here or at City Ballet when I tried it there. We're getting more and more skeptical, and as balletomanes-(yes, I'm a confessed one.. )-we don't have the advantage of the neophyte audience to get to try the ballet as something new. How can you be completely relaxed if you're unconsciously x-raying the whole choreography because you know it by heart or if memories of better productions come to mind...? We don't have to deal with making sense out of stories with abstract ballets, and with some others we still identify with given the currency of their stories, for which they're more "human"...dealing with lies and unfaithfulness in a relationship-(Giselle) or going crazy at watching your teenage daughter dating her first boyfriend behind your back...and one you don't like-(La Fille). But the Nutcracker is too pinky and surreal to try to incorporate it to our modern living. In this chaotic world of wireless life, such a story is certainly hard to digest-(Coppelia fallowing its steps), and if on to of all this you grew up viewing it as a seasonal thing, then it's even harder to pair it with the other warhorses.

I've been tempted to buy this for a while. Glad about your alert...

For me, on the contrary, the appearance of Collier and Dowell made a lot of sense for which this is the only time that two dancers have really transmitted me the illusion that they're not human, but more like two little porcelain figurines, like those that are placed sometimes on top of a wedding cake, which could break at any moment. Collier is especially good at this, and her measured, regal dancing-(never too "human")-makes her character totally believable...I find them lovely to watch. Not crazy about Wright's Snow Scene. The one thing I love about both Alonso's and Balanchine's versions is the use of the romantic skirts for the snowflakes, which gives them a distinctive, easier flow.

MRTM-Ballet Russe de Monte Carlo (sorry about the T and N...my own typos... ). I edited it to BRMC

I find this whole business with the candelabra too bizarre...brrr!!

I just saw the clip, and find Miss Ringer's physique very lovely to watch...(actually much more closer to my own standards than the current underweight fashion...)

Patrick...we're connected! It is funny...just as I was copying and pasting your inquire from the other forum to take it right here, I see that you thought the same... So here it goes. No, Patrick, it is not...this title definitely goes to Giselle... ...BUT ...from my unorthodox experience with the Nutcracker- (which I've realize differs greatly from the majority of the posters here)-all I can say is that my own pleasure about this ballet has nothing to do either with Christmas or with childhood memories- (I got to see its full version once I had moved to Havana for college). What happenes with this ballet there- (just as with Coppelia or La Fille Mal Gardee)-is that it has been reworked- (heavily based on the BRMC version)-to be appealing BASICALLY to the adult audience, the very basis of it being, in order of appearance: Act I 1-The Toys variations. Here Alonso introduces the three toys from Petroushka, as a matter of a tribute, their difficult variations recreating Fokine's ballet. Three soloists. 2-The battle Scene. Choreographed a la Baryshnikov, with the Nutcracker tossing all kinds of tours and jetes. Te adult female corps of mice on pointe is very attractive too. 3-The Adagio danced by Clara and the Nutcracker Prince, right after the battle and before the Snow Scene, celebrating the transformation of the Nutcracker into a handsome bailarin. A classical Pas danced by couple # 1-(two principal dancers) 4-The Snow Scene. One of the most beautiful white scenes ever, which, if well choreographed, can easily compete and win over the Shades scene and even the corps of Swans scenes. I take its music over many, many, many of some other ballet music at any time. 5-The Snow Queen Pas de Deux. I know this is Pavlova's invention, but it works, and if it works, I don't see why it can't be considered a good idea. At the end, it doesn't even break the pathos of the ballet as the Peasant PDD does in Giselle. Two Principal dancers- (couple # 2)- in one beautiful classical adagio also lifted from the BRMC version. Act II 6-A beautifully synchronized choreography of female adult Corps dressed as matryoshkas and burreing their way as the curtain rises, giving the illusion that they're floating as they form all sorts of patterns onstage. Very effective. 7-Spanish dance. Choreographed with the same level of difficulty as its sister from Swan Lake. 8-Russian Dance. A great Trepak danced by three male soloists that could had been taken out of a performance by the Moiseyev Company. 9-Arabian dance. The chance to show the girl with the most Zakharova-like extensions- (I pass here...I've always found this loooooong variation boring, no matter which version). People usually loved it though... 10-No Mother Cigogne, so no over flown of families wanting to see their little girl up there. This is certainly NOT the version for them. 11-Waltz of the Flowers. Just as the Snow Scene, if well choreographed, it can compete with the best of the Sleeping Beauty's Grande Valse Villageoise or Swan Lake's Act I Valse: Tempo di Valse 11-And then, the most anticipated moment...the Sugar Plum Fairy PDD, in Havana just as respected and revered as the White Swan or the Veil PDD from Bayadere. Couple # 3, also formed by two Principals. Actually, even more opportunities than some warhorses to display several couples dancing classical numbers. Aside from the fact that one got to be totally brainwashed after years and years listening to Mme about "the importance of Ivanov choreography within the classical repertoire"

I feel this like a Volochkova zaga...

Yes, yes and yes..Viva Fedorova...!!