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Thank you, Rosa...I figured that this production would have been addressed before in this board, but I was unable to locate the thread. I will start reading it now.

If this has been discussed in another thread, please mods...redirect me to the correct place. If not... My friend recently brought me the DVD of Nureyev's "Cinderella" for the POB with Letestu and Martinez . Can someone fill me in about this production...? After reading the change of the story setting I'm a little... Thank you...!

Ditto.

I will be attending the premiere of the theater play "The last performance" on August 27, 2010 at the Byron Carlyle Theater, in Miami Beach. This play will showcase former Cuban Primera Bailarina/Cuban ballet darling Rosario Suarez-(AKA Charin). http://translate.google.com/translate?hl=en&sl=es&tl=en&u=http%3A%2F%2Fwww.cubaencuentro.com%2Fcartelera%2Fagenda%2Fla-ultima-funcion-242540 "The earliest encarnation of this play was a monologue written by one of the most important playwrights of the Cuban scene in recent decades, Mr. Abilio Estevez. This piece was the result of its author's love, respect and admiration for Rosario Suárez, as it was reflected in the author's dedication: "To Rosario Suárez, Charin, with the immense admiration of one who has met both the ballerina and the great friend." In his final version Estevez incorporates a second character, a teacher of wide spectrum who represents all those who have accompanied the dancer in various stages of her artistic and personal life, played by actor Julio Rodriguez. The challenge is continuous and mixed feelings are exposed. Phrases like "there something that the body learns only after a long time," "In Havana that there was nothing else...only you" and "I do not try to fly...I try to dance while I'm flying" or "dancing is to forget the past and the future ", make of this play a wonderful journey along the paths of success, fame, loneliness and sacrifice". http://www.dailymotion.com/video/xe6lgy_la-ultima-funcion-con-rosario-suar_creation

A generous soul has just posted some excerpts from Miss Suarez in one of the roles that made her probably the most loved and sought after ballerina in the entire history of the Cuban National Ballet. The role is Giselle. As I will be watching her soon in a theater play, I wanted to post this precious fragments, as a homage to our beloved dancer. We'll be there to applaud you one more time, Charin. Spessivtseva's solo. http://il.youtube.com/watch?v=cnMcRyJbIJ0&feature=related Madness scene. http://il.youtube.com/watch?v=a5jQcFOtn9s&feature=related Giselle and Albrecht's encounter. Act II. http://il.youtube.com/watch?v=pg-ju6tcCx8&feature=related

Ah, you spoiled New Yorkers...enjoy that little luxury of yours...

Ah...just as Spessivtseva with the set of fish dives in the Adagio, added for her when she danced the role in Diaghilev's production...(at least according to Danilova's memoirs...). Well...isn't that also something we all expect nowadays...? I've also noticed the Russians omit them too in their productions...

I totally agree with all your above statements: Kirkland's technical decline due to illness, Kolpakova's passed her prime, Fonteyn inability to nail perfect 32 fouettes and even Somova's improvement-(which I observed in her Giselle's solo a while ago). Now, that's exactly my point. Valdes excels in ALL THAT, and even if I admit that she's not the best actress or the most refined ballerina, I don't think she's in the very back of the line either. On top of everything, she's someone that can assure you a very EXCITING night at the ballet, backed by a SOLID TECHNIQUE, and not merely on little stunts like Somova's extensions. Now, just as you pointed at other directions on Somova, I want to invite you to watch Valdes in another tour de force. Giselle. I don't think she does it too bad... Spessivtseva's solo. http://www.youtube.com/watch?v=VIex1jCpGTk&feature=related Madness scene. http://www.youtube.com/watch?v=OATx9qmtiKs

Please, report back. I'm VERY curious about this production, particularly if Ratmansky will be using anything from either Gorsky, Vainonen or maybe even some of what's left of Ivanov around...

http://www.bailarinas.kit.net/Fotos/La%20Bayadere/Svetlana_Zakharova_Leonid_Sarafanov.jpg http://www.bailarinas.kit.net/Fotos/lago_dos_cisnes/Svetlana_Zakharova_developpe_cisne_negro.jpg http://www.pollsb.com/photos/o/9630-svetlana_zakharova_principal_dancer_bolshoi_ballet.jpg http://www.geneschiavone.com/gallery/d/10739-1/_DSC0049.jpg http://www.for-ballet-lovers-only.com/Afb/London1.jpg

Of course I won't hate you, Simon...far from that... . But my problem is a simple one. When a RA is about to start, I'm already in the expectation of well executed, nailed balances...(and for some reason I suspect everyone else too). Now, if right away I come across with something like those Obraztsova's unfortunate stumbling moments...well, then the magic of what Petipa intended with the step is gone. Those are things that one can let pass if watching an icon, a veteran ballerina who still performs, for which one will be looking at other details-(usually in the artistry area)- that will certainly make up for the lack of technique-(that happened to me recently with Kent's Giselle). Here is another example. http://www.youtube.com/watch?v=8rxcWA6wFAk But for a young starlet...? Not acceptable. Same with Kitri's 32 fouettes, for example. http://www.youtube.com/watch?v=HV7nnbS4O2s

My pleasure Gina. And then, here are two examples of just what certainly should NOT happen in the RA. No, no... http://www.youtube.com/watch?v=JAbrbbZZOcg NO,NO,NO!!!

I'm so happy for my balletomane friends in La Habana...Thanks Leonid for the heads up!! "The opportunity to return 50 years later almost fell apart after the Obama White House balked at allowing outside American sponsorship to help pay for it." "When it seemed that the New York-based company would have to decline the historic invitation, the Cuban government stepped forward and pledged to accommodate the company's members while in Havana at no charge."

...just switching from the "Best balancing act" discussion to this more apropriate thread. I think so too, Gina. I've seen many Rose Adagios in my lifetime, and there have been many, many times where the ballerina didn't fill my expectations, either because: 1-She couldn't nail those balances-(which are definitely the technical highlight of the choreography. 2-She couldn't keep her arms up in couronne in between them. 3-Or she didn't convince me as being a tender teenager, due to real age issues-(something that for some reason Giselle can get away with) 4-For all of the above reasons PLUS getting lost in the character's interpretation.-(a la Somova) Viengsay, even with her showing off element, does justice to all that...and still can make up for a very exciting performance.

Wow...those winged costumes reminded me a lot of that of Anna Sobeshchanskaya-(love'em, BTW) http://wpcontent.answcdn.com/wikipedia/commons/thumb/b/b2/Swanlakesobechshanskaya.jpg/220px-Swanlakesobechshanskaya.jpg

Agree, agree. agree and agree. This is precisely why I posted Valdes clip under this "Best balancing act" thread... Now, about the "Best interpretation of the Rose Adagio's pathos, either musically or balletic", no doubt that many other versions and interpreters can come across as better choices.

From the MCB blog... http://www.miamicityballet.org/blog/2010/08/09/our-summer-in-one-sentence/delgados-in-acapulco/

Oh, Helene-(and excuse me for going a little )-, but you just watched my very "first-(and greatest)-love" in therms of filmography... ...but back to Hilarion...

But I wonder if she has the right fearless attack , essential in some sections...(like those series of super fast chainee turns in three opposite directions in the ballerina's opening variation...) No, bart...he's not. I just momentarily forgot the "Garcia" Oh, that's right. Well, in that case, I guess Reyes can be paired with Patricia-(another option for her besides Garcia-Rodriguez) Even if he's never been Jeannette's frequent partner, I think Panteado would be a good choice for her. I mean, he has shown great, clean technique in the past seasons. He turns really well-(a high point of T&V for the male dancer). But for some reason I suspect he will be assigned to dance with Catoya, whom I hadn't included in my initial list. About Albertson and Wu...

The ad on the ABT website contains photos of Gomes and Murphy (photos taken by Fabrizio Ferri). It's reasonable to assume that they will be cast. Their pics are also in the back of the card.

I felt bad for the last prince-(particularly in the first set of balances...).The poor guy stayed there, looking at her with devotion and offering her hand full of love and expectation...and then Aurora decides not to take his offering...! . Being one of the others, I would had been secretly celebrating the sign that he's out of the contest. But then, she decides to to THE SAME at the end, WITH A DIFFERENT PRINCE!! . For me this is just as if she was announcing that there's nothing personal with the first rejected prince..."I'm just not into any of you, guys...so thank you but no thank you..."

Even I got the card...! (due I guess to my purchase of Alonso's Gala ticket). It is indeed very nice, with a very vintage looking. In the front it shows Clara on pointe, but it looks perfectly appropriate with the dancer's age. Apparently the part will be danced by a very young adolescent playing the role of a very young adolescent. Smart idea.

(and just because only 5 emoticons are allowed...)

Ditto