cubanmiamiboy

Very well deserved. Congrats, Amanda!!

Odile's variation: ( , Cinnamonswirl!) http://www.youtube.com/watch?v=ypeUwNAxOCA&feature=player_embedded# Giselle Act II PDD with Giuseppe Piccone. http://www.youtube.com/watch?v=aoxRSKwFw58&feature=related Another Black Swan PDD, this time with Yoel Carreno. http://www.youtube.com/watch?v=9cBajHxmWGE&feature=related

True. http://www.ballet.co.uk/images/rb/jr_apoll...ose_top_500.jpg

A few more thoughts on the performances, from some notes I wrote in the programmes. Divertimento No. 15. 1st. Solo. Tricia Albertson's elegance and delicacy while doing the "broken wrists"-(01/10) Divertimento No. 15. 2nd. PDD. Ashley Knox doing those "touching the air" gestures. Very charming. (01/10) Divertimento No. 15. 3d. Solo. Jennifer Kronemberg doing three great executed sissonnes toward the end, just before her "Pin-Up Pose"-(01/10) Divertimento No. 15. 6th Solo. Mary Carmen Catoya's great Petite Allegro-(01/09) and doing a beautiful final diagonal that reminded me that of Spessitzeva's Solo-(01/10) Divertimento No. 15. The 8 Corps dancers variation. 8 ballerinas playfully interacting with each other and as a group, just as a bunch of mischievous, happy girls. (I even wrote in the program "The Playground Scene" )-(01/09) Valse Fantaisie 1953. Daniel Sarabia's Solo. Great sissonnes!-(01/10) Valse Fantaisie 1953. Michael Breeden's dancing. Wow, wow!...who knew?-(01/09) Diamonds Pas de Deux. Ethereal Deanna Seay, attentive Mikhail Nikitine-(01/09-01/10) The Golden Section. Super Human dancers!. The Golden Section. Daniel Baker's amazing, effortless partnering skills..(lifts, etc...). Patricia Delgado throwing herself at him in a fish dive much more a la Olga Lepeshinskaya/Bolshoi style.-(01/09) The Golden Section. Rolando Sarabia's old self giving some DEVILISHLY FAST PIROUETTES!-(01/09) Slaughter on Tenth Avenue. Rolando Sarabia's comic mimicking of some male classical variations.-(01/08) Something else I want to add in a more extended manner. During Divertimento No. 15, when that long beautiful Adagio starts playing, and the 8 soloists start dancing a PDD-(the three bailarines partnering the five bailarinas)-I realized after a few minutes that right there and then I was watching an amazing homage paid by Mr. B to ALL the PDD's of the classical Russian repertoire. Whereas in other Balanchine's PDD's, even being "tutu ones", one can see here and there some traces of a more modern language that obviously doesn't belong to the XIX Century-(a la "Diamonds PDD")-, here I was just watching a pure, exquisitely choreographed Petipa-inspired Adagio with a 100 % Imperial Ballet language. For a few instants, I saw Swan Lake-(both the Black Swan and the Love Duet)-, Bayadere, Fedorova's Sugar Plum and even Don Quixote. It was just EXQUISITE. I think that right now Divertimento No. 15 is my FAVORITE BALANCHINE! bart...now is all up to you my friend. Can't wait to see your post.

The ballerinas I grew up watching had voluptuous bodies...I don't remember ANY "non-stickarina" Cuban dancer from back then...(and even now the examples are few and rare)-, so when I started watching all the Somovas, Zakharovas, Lacarras and the like, I couldn't get over it...(I still can't..sometimes the view being too disturbing ). My all time favorite "non-stickarina" is my beloved Rosario Suarez-(AKA Charin)-, who despite having a less than the "ideal" physique-(VERY thick legs and VERY curvy hips)-could be as ethereal as a feather...BRAVA!

dirac, can't agree with you more about "House"!-(BTW, the ONLY TV show I watch, after ER was canceled). And I LOOOVE Hugh Laurie AND his character. I really hope he wins, along with the show. As per the films, I only saw "Precious"-(from which I predicted a winning Mo'nique)-and Almodovar's "Broken Embraces" -(pretty much in the same line of his "Law of Desire". , but still...this is a director whose films I always look for...and from which I have had only a couple of disappointments..."Kika", for instance...). Right after I'm done posting this I will be on my way to the movie theater to see "A single man". Will report back.

Thanks for the correction, mcbfan! I couldn't hear the substitutions on the first night, and somehow I got confused between Jeanette and Patricia...which even not being identical twins-(or maybe not even twins altogether?)-, they look REALLY IDENTICAL onstage! Also, I noticed that Jeanette was substituted all along the three performances...sometimes by amazing Ashley Knox...sometimes by Catoya. Also, Patricia has showed such FORCE during this program-(usually her sister's presentation card)-that I got even more confused the first night, thinking that it was Jeanette dancing, but I think that they are equally strong by now... Correct me, mcbfan, if I'm wrong here: 1st solo: Tricia albertson (by now I'm used to her self-contained demeanor. She looked very elegant...very interesting doing all those "broken wrists") 2nd solo: Ashley Knox-(kuddos for this young Corps member substituing someone like Jeanette, and dancing along, in such high level, all those Principal ladies) 3d solo : Jennifer Kronemberg (her Pin-Up finale pose was delicious) 4th solo: Patricia Delgado-(what else to add ?...she has been FIRE all along this program. She even got me confused, taking her for her sister!) 5th solo: Renato Panteado. (Those PERFECT landings!) 6th solo: Mary Carmen Catoya. (beatiful Petit Allegro!)

Valse Fantaisie was sublime, Jack. On Friday night, the male role had Zou, as I said before, but last night, it was Corps member Michael Sean Breeded who danced..and BEAUTIFULLY, IMO. Michael is a very young dancer, and hasn't has too much exposure to soloist roles, but here he demonstrated that he has indeed matured. The three bailarinas on Friday were Corps Jennifer Lauren, Corps Sara Esty and Corps Zoe Zien. Last night they were Corps Ashley Knox-(super expansive bailarina!)-Corps Nicole Stalker and Corps Leigh-Ann Esty. Mr. Breeden handled the three of them REALLY good. So summarizing...last night Valse Fantaisie 1953 was ALL danced by Corps members, and to be honest..I did NOT perceived ANY flaws..I LOVED IT!! They danced it again last night, and the PDD looked even more dreamy this time. Yes, they do little variances here and there, sometimes looking at each other, sometimes avoiding each other eyes...it was amazing. They received a big ovation. I got to the theater just in time for the performance-(the traffic was HORRIBLE with all this freezing weather)- but I don't think Villella did any talking this time. bart, on Friday night the Strip Tease girl was indeed Kronenmberg, and Guerra the Hoofer, Didier Bramaz as the Big Boss, Stephen Satterfield and Marc Speilberger-(someone with great qualities for Character dancing)-as the bartenders, Ezra Hurwitz as the Thug and Daniel Baker, Alex Wong and Daniel Sarabia as the Cops. Last night the casting was the same-(according to the Programme)-...but I did not stay. :blush: A little BTW...Next time I attend Villella's pre-performance talking, I'm tempted to ask him when and if he plans to revive Theme and Variations. C'mon...Jeanette Delgado and Renato Panteado are just BEGGING for it!!!

Miami City ballet. Program II Arsht Center for the Performing Arts Friday, January 8,2010 DIVERTIMENTO NO.15. MOZART/BALANCHINE Of course…set to beautiful Mozart's "Divertimento for string and French horn", I immediately liked the presentation of this piece as soon as I heard the initial notes, and then even more when the courtain went up and I saw the 5 ballerinas dressed in classical tutus-(always a plus to me!). 5 kneeling bailarinas and 3 bailarines, posing beautifully on a bare stage against a backdrop that imitates a theater audience, sort of mirroring the real audience-(the little faces wearing some XVIII century wigs, much a la Mozart’s times fashion), giving the ballet a tradition-meets-modern feeling. The choreography-(to which I still need some other viewings to start recognizing)- effortlessly unfolded alongside Mozart's music, with group patterns developing and elongating with the musical themes. I think I will try to see it tonight from the first balcony, instead of the orchestra seat I usually get, so I can appreciate them better. The second movement-(a musical theme-and-variations format)-, gives short but devilishly fast and tricky solos to each of the Principals. Among them-(all beautifully danced)-Renato Panteado's super precise-down to the very little accent got me the most. Patricia Delgado and Mary Carmen Catoya were amazing too. The corps de ballet was wonderfully engaging, as usual. VALSE FANTAISIE-(1953). GLINKA/BALANCHINE I perceived Valse Fantaisie as a truly delightful pattern of pure dancing, set to the joyfulness of the waltz rhythms of Glinka.. Here again, as in ''Apollo'' , a solitary male has not one but three women to interact with…or maybe to CHOOSE from…? . The bailarinas-(Jennifer Lauren, Sara Esty and Zoe Zien)-were all quickness and lightness…their beautiful musseline dresses floating as they leaped. The bailarin, Yang Zou, looked as weightless as a leaf in the wind, every step carefully shaped and under control. Zou is a bailarin to which I haven’t really paid too much attention in the past, but by now I realized that the roles that I mostly remember from him are those containing the lyrical quality…(like his elegant, tender offer in “Emeralds”). His dancing in VF possessed strength, but not force. His jumps were high; his landings, soft.. THE GOLDEN SECTION.TWYLA THARP/DAVID BYRNE ...BUT... SLAUGHTER ON THENTH AVENUE. RODGERS/BALANCHINE Cute stuff…but not my thing. The highlight for me was the spoken dialogue between Morrosine-(Rolando Sarabia, who has a DEEP resonant voice, and the Gangster, who was no other than Edward Villella!. Ha..it was very funny, particularly Sarabita’s mimicking of classical steps at the end of the "opening"…(great done, BTW). And then…I just want to dedicate my last words here to the last minute addition to last night’s program. To summarize it, I will transcribe the programme’s notes to the piece. DIAMOND PAS DE DEUX "To honor Principal Dancer Deanna Seay, who will be retiring in April after 21 Seasons with MCB, and to allow her many fans a chance to see her in one of her favorite roles, “Diamonds Pas de Deux”-(from George Balanchine‘s “Jewels”)-has been added to this program". Miss Seay danced a dreamy rendering of this PDD. Every movement had a logical sequence…every step done to perfection. When she abandons herself for her partner-(Mr. Mikhail Nikitine)- to catch her almost lowered to the floor, she was a vision of beauty. She seemed to FLOAT in Nikitine’s arms. Their subtleness really IMPRESSED me. I will certainly miss her A LOT next season. Will be back for some more on tonight’s performance.

Both Geltzer and Tikhomirov were 37 y.o at the time this clip was filmed. From the next link's picture,taken in 1905, one can see that both, but specially Tikhomirov, were heavier here than 8 years before. Ekaterina Geltzer and Vassily Tikhomirov with corps de ballet in Alexander Gorsky's revival of the Minkus/Saint-Léon Le Poisson doré. Moscow, circa 1905 http://upload.wikimedia.org/wikipedia/comm...er_Scene_-1.jpg

Yes indeed, Jack...they are all new ones to me... (Thanks, Paul for the feedback...will look for those sauts the chat )

I'm intrigued about this ballets, to which I will be-(as usual)-a neophyte. So after reading Jack's post and how he and Emilienne remember them, I was wondering if some of you can give me some more feedback on them. In the past your more Balanchinean eye has proved to be very helpful on giving me a different perspective before going to see a "new one". So thanks in advance!

Miss Sevillano had learned the role from Gelsey Kirkland, while at the London Festival Ballet-(and Kirkland did the pique-turns, as one can see from her clip),but later on she went to dance the role in Havana, where she was coached and tought the diagonal.

It isn't lost. shows how The Original performed it. Oh, I know it is VERY alive. This is precisely the starting point in my thoughts about the coda. I never saw the pique-turns substitution until I came to US-(by ABT). Among all the videos and live performances that I've seen of S'Solo, just Markova, Alonso-(along with all her ballerinas until present day)-and Fracci seem to have followed the diagonal. I just wanted to find out when and where the substitution started.

A different view on Vi. Her romantic side in Giselle. Giselle's entree, Act I. http://www.youtube.com/watch?v=OgBaqiizo08 Spessitzeva's Solo. http://www.youtube.com/watch?v=Ix198SFs4wc&feature=related Giselle's Initiation, Act II. Myrtha is Primera Bailarina Sadaise Arencibia http://www.youtube.com/watch?v=FbohYsx34tI&feature=related

While increasing my Giselle video collection with my latest adquisition-(Natasha/Misha)-I started to notice how common is the substitution of the final diagonal of pirouettes by the pique turns sequence at the coda during Spessivtzeva's solo. Then I started to review all my videos and clips and realized that the diagonal is almost nowhere to be found anymore. Besides the Cuban company, only Fracci appears performing it on a clip. This are fragments from a dialogue from a fellow Youtube poster on the topic. CMB: "Everything is fine, but WHY DO THEY KEEP IGNORING Spessivtzeva's diagonal...?! (given the fact that pique turns sequences are just in every other Petipa variation, from Dulcinea's solo to Odile's)" QD: "What is interesting is that the Russians themselves never adopted the tradition of the famous Spessivtzeva diagonal. It took 2 great non-Russian Alicias to honor the great Olga!!!Markova,and Alonso. CMB: "I wonder if the diagonal is still performed at the Teatro dell'Opera di Roma." QD: "From what i know, at Scala they do the piques. Alessandra never did the Spessivtseva diagonal, even in CUBA when she danced Giselle there". So, I have some questions. : 1-Does anybody remember how was this coda performed back in the days?-(In America or anywhere else) 2-Is the diagonal still performed in any other Company, aside from Alonso's ? 3-Is it still performed at Fracci's Company? Thanks in advance!

Short, but lovely. http://www.youtube.com/watch?v=v3jSDwQHmKI...feature=related

Glad you liked it, Innopac. Alonso's company is certainly way due on releasing material. Because of this whole generations of dancers are practically unknown to the rest of the world-(many of those whom I've included in the 60's,70's,80's ballerinas series). I know that everything is filmed, and keeps lying either in Alonso's personal arcades or some of her close friends. I myself witnessed one time a room FILLED with vieotapes,catalogued by performance, performers and dates. I guess that some stuff can't even go through the legal path-(like Balanchine's Waltz Academy), but others are just screaming to see the light, like some of Alonso's XIX century repertoire recreations.

January 1893 saw the premiere of a ballet with the title of The Magic Flute, choreographed by Lev Ivanov and music by Riccardo Drigo. The event took place at the Imperial School of Ballet in St. Petersburg. 24 years later, on February 13, 1917, Anna Pavlova danced the lead character during the premiere of the ballet in Cuba, at the National Theater (now the Grand Theater of Havana). 92 years later, the work was again seen in the same stage, revived and reworked by Mme. Alonso and her Company during the 19th. International Ballet Festival of Havana. The action takes place in a French village in the late eighteenth century. Farmers celebrate the apple harvest. Lucas, a young villager, and Elisa, the farmer's daughter, are passionately in love, but the girl's parents oppose the union... THE MAGIC FLUTE Comedy-ballet in one act Original Choreography: Lev Ivanov Revival and staging for the Cuban National Ballet: Alicia Alonso Music: Riccardo Drigo Costume/set designs: Ricardo Reymena Lighting: Ruddy Artiles Viengsay Valdes as Elisa. http://www.youtube.com/watch?v=hRLSy0jThPk&translated=1 Another variation, by the latest rising little star of the Company: Grettel Morejon

Oh, I'm not implying any "wrongness", dirac...I was just referring to a matter of picking up among two choices of televised programming.

From January 1st to January 1st there seems to be quite a gap-(which is , I confess, the period I spend without his offerings). Other than that, I insist that, instead of a televised parade, I would take his Strauss anytime. It is festive...it is happy, it comes with a celebratory mood-(much needed in the times we're living)-and it does cheers me up a great good deal. And let's not forget the visual part...all those gorgeous Vienna views... For the mentioned "seriousness" element-(which was never, I suspect, Strauss' main intention when writing his waltzes)-I can always return back to my Tebaldi's Tosca recording...probably right after Rieu's performance is over.

...difference being that Rieu' s performances contain BOTH the intentional kitsh element AND his real knowledge of the music he plays-(which he and his fellow performers do VERY well, BTW).. Somova, on the contrary, besides rising her legs up to her ears, has thousand limitations in terms of technique and style, which makes her a rather poor candidate for the "artistry" term.

Ah...I love his "Andros on Ballet" articles... RIP Mr. Andros.

Another thing I find interesting about this picture is Fedorova's PRONOUNCED cambree pose... I think I've seen other tsarist-era photographs also using this position for the ballerina.