cubanmiamiboy

And going a bit , but digging further in Farrell's first ballet appearances, it's very interesting that the very first role in a major production she got was that of Clara, in a 1955 Ballet Russe performance of the Nutcracker in Cincinnati. She recalls her very first encounter with the Sugar Plum Fairy-(Alicia Alonso)-and her Cavalier-(Igor Youskevitch): "The curtain went up and I was in heaven. The Sugar Plum Fairy and her Cavalier-(Alicia Alonso and Igor Youskevitch)-came in a little wheeled boat, but as he stepped elegantly out of the boat there was a huge noise, and all the scenery shook. Youskevitch had tripped. He nonetheless retained his noble bearing and I was very much impressed. After the performance I asked Alicia Alonso for her autograph, and she was very kind. She sat me down, and holding a silk stage lily, told me the story of 'Giselle' while my mother took photographs" I keep looking for any references of the matryoshkas in this pre-Balanchine productions of the Nutcracker, but can't find anything. I wish someone could recall what was going on back then with these characters.

Fedorova's again...by Bejart's ballet...

The Cuban version goes back to 1953, and it was staged by Mery Skeaping, Charles Dickson and Fernando Alonso, with the inclusions of Fedorova's Sugar Plum Fairy PDD and the Ballet Russes Snow PDD. The choreography has barely been touched-(with perhaps some extra pointe dancing for Clara in Act I)-including the entrance of the Dolls. Communism didn't get to Cuba until 1959. Didn't Christensen's 1944 staging included this Soviet-Social-Realism-driven awakening ending...?

Nina Novak Ballet also uses Fedorova's version. http://www.youtube.com/watch?v=9XObCPPacm8

A year later, and after the valuable answers provided by Mel and rg on my original questions-( ), I do have a third one to add to the former.... 3-Does anyone remembers what these character were in the old Fedorova production?-(Either @ Ballet Theatre or Ballet Russe). atm711...?

...so I MADE IT!! I was able to go see the Youth Ballet at 7, and then drive across town all the way to Little Havana just in time to catch the second act of the Cuban Classical Ballet of Miami performance around 9:30-(just the second Act, but that's just fine for me...) I'm coming back for more of the Cuban Company at tomorrow's matinée. Gotta go see that beautiful Pas de Deux all over again. . Will report back.

...excuse me, but... (oops... ...sorry about that, so back to DeFrutos... )

Interesting that Fedorova's was my first thought to the original question. I've said many times how fond I am of this version, for which is the one I grew up with. (Actually, tomorrow I will see it, in its CCBM re-incarnation). The thing is, I often wondered why was its grand adagio score chopped off in its most beautiful climax, so when I saw Sir Peter Wright's-(which is basically the same one, PLUS the missing bars, PLUS that lovely passage of the ballerina being carried on pointe on top of the musseline wrap)-..well, then I loved it even more. Interesting too, the music is still chopped off in Cuba, so it is in the CCBM's version. Talk about being faithful to the past! Fedorova's in Havana. CNB. Lorna Feijoo and Osmay Molina Fedorova's in Miami. CCBM. Jordan Elizabeth Long and Miguel Angel Blanco http://www.youtube.com/watch?v=hQIc-G5GGQY Sir Peter Wright's . Dowel and Collier Fonteyn and Somes, at the very end of the clip.

Sir Peter Wright's.

Kuddos for gravity-defying Wong! Now time has come for him to start proving more versatility.

You're right, Carbro, and I apologize for not being more specific. I should have referred to a "traditional ending in my own history of Nutcracker attendances and viewings...". See, Clara's awakening was the ending that I grew up with, and so I was kind of shocked when I saw the flying device for the first time. Now, going a little deeper in my homework, I found Petipa's notes to Tchaikovsky, and this are his indications after the Sugar Plum Fairy variation. Ninth Dance. A Grand General Coda for everyone on the stage, including those who have already appeared in their dances. 128 bars, 3/4, very brilliant and ardent. Tenth Dance. Multicolored fountains. Lighted fountains, etc. Grandiose Andante from 16 to 24 bars. "Février 29. 1891. J'ai écrit cela; c'est très bon" .

Me, I will see... MCB's Balanchine...(not my favorite, but want to see all I can of Seay last performances before she retires) Cuban Classical Ballet of Miami's Fedorova. (My favorite...always enjoy the complete SPF PDD, Pavlova's Snow PDD and the traditional waking up of Clara at the end.) Ballet Etudes-(another "traditional" staging. Hoping to see Kowroski and Askegard in the SPF PDD like previous years) Thomas Armour Youth Ballet. (with Riolama Lorenzo, Principal Dancer of Pennsylvania Ballet as the SPF) ...will have to play with the performances dates and venues. Let's see.

I just came across this thread, and even not having had the pleasure to meet Miss Mahr, just wanted to add my condolences as a member of the exiled Cuban ballet lovers community, to which she seemed to had been a true icon. Thanks Mel and Glebb for recognizing her labor in this site. Rest in peace, Miss Mahr. Martha Mahr, ballet matriarch, passes away "Martha Mahr, ballet matriarch for over 50 years, slipped quietly away on Monday, June 8th 2009. Miss Mahr trained generations of dancers in her Coral Gables studio. Born and trained in Argentina, Miss Mahr was a member of the Ballet Alicia Alonso in Cuba in the 40s and 50s. After fleeing Cuba in the early 60s, Miss Mahr opened her Coral Gables studio. Her former students have gone on to perform with world reknowned companies such as American Ballet Theater and New York City Ballet. She will be missed dearly by the dance community." http://thomasarmouryouthballet.org/images/martha_mahr.jpg http://thomasarmouryouthballet.org/

I have decided to track down some Nutcrackers this year besides MCB's and CCBM's. I found two other performances. Hence, this Saturday I will try to see the following performance-(see below)-at the Dade County Auditorium and then drive across town to catch the second act of the Cuban troupe at the Manuel Artime Theater-(just in time to catch the Sugar Plum Fairy Pas de Deux). So let's see... “The Nutcracker”. Presented by the Thomas Armour Youth Ballet Sat. Dec. 5, 2009 @ 7 PM Miami Dade County Auditorium With guest ballerina Riolama Lorenzo-(Principal Dancer of Pennsylvania Ballet) http://thomasarmouryouthballet.org/

...if only could I have seen her in the waltz of Chopiniana... That would have been THE perfect role for her in this stage of her career. Yes, Miss Seay...you will be certainly missed.

What can I say...In the current times were I've been the witness of such sad events as the dissolution of the 4 decades old wonderful Florida Concert Association and the struggling of smaller institutions-(symphonic orchestras, ballet troupes and the like)-, this come as wonderful news. The Knight Foundation, with Mr. Alberto Ibarguen as its current head, has a long history of community work and arts support since 1950. As per its involvement with MCB, they were the ones that made possible its pairing with the Cleveland Orchestra with a $250.000 grant, and previously they had granted Eddie's troupe with another gift...this time of $900.000. Not bad at all, right...? Things are certainly changing within the orchestral environment now, for sure. For instance, the Miami Symphony Orchestra, with director Eduardo Marturet at its head, has launched an aggressive campaign that has included a brand new full season, mail and e-mail listings and current plans to take over the Lincoln Theater in Miami Beach-(yay..South Beach again)-once Mr. Tylson moves his New World Symphony to the new glossy City Center building across the street. Mr. Tylson himself has done an AMAZING job to keep his money coming, and his orchestra and seasons are just out of this world-(next concert this upcoming weekend, and all Brahms...). Both New World Symphony and Florida Grand Opera have a strong economic foundation-(their heads being both VERY charismatic individuals, always screaming for money before performances...)-and I have always noticed some lesser degree of aggressiveness in MCB's pledges. Anyways...again, what can I say, just that I am very thankful to have live music back!

Well, yeah, individual fitting do wonders, but I guess if a woman's breasts are being placed by nature within a certain distance from, let's say, the clavicles, then no matter what, a bodice will have to be there, no lower, no higher. Nowadays, with all the breast implants experimentations, one can see the total opposite situation...breasts that almost touch the owner's chin. Then, I guess that this can be also the situation of someone with very short neck, etc...giving the illusion of less space between breast and face...

Beautiful pic, rg!..but...am I hallucinating, or do I see AGAIN a very low bodice...? or maybe she was one of those people with very long torsos...?

My all-time standard for Odile is and will always be Miss Rosario Suarez, our beloved and controversial "Charin". Her Swan Lake used to put Havana on her feet...(much more to Mme's disapproval IMO). (From 5:55 to 6:09... )

Fair enough, more clips of Charin are popping out on Youtube, to reassure what we all knew back then...that she was...IS... our own Prima Ballerina Assoluta-(in our hearts, that is...) Lissette's variation, in Nijinska/Hertel "La Fille Mal Gardee" In a magistral interpretation of "La mort du cigne" Don Quijote Pas de Deux Adagio with Lienz Chang

Thanks DM for the link! I see that Miss V keeps spreading the word on how she still owns Kitri's role. Act I http://www.youtube.com/user/GenoaMunicipal...7/1/58vCKb-xogM Act II http://www.youtube.com/user/GenoaMunicipal...7/2/DLNwgTfR1NA

West Palm Beach. I made it for the Sunday matinee-(1:00 pm...!! usually my breakfast time ). Never been there before, but the one hour driving from Miami was fine. Unpredictable Miss I-95 was in a beautiful mood...generous and happy-(thank you dear!!). The Kravis Center is a nice bright theater...warmer than the monolithic Miami's Arsht. The cast was the same one as that from Broward's Sunday one. Kuddos again to Seay's elegant AB, Delgado/Sarabita's impeccable TPDD and everyone else, including the corps, from CB and SITM. Highlight of the day; I FINALLY GOT TO MEET MR. BART!! -(Hey there pal ). I also had the pleasure to see Mr. and Mrs. Iwatchthecorps.-(hi there also! ). Me, my mom and my girlfriend had a great time.

Marga...you beat me up this time on that one..! ..BUT...another copy was just posted-(SAME SELLER)... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...%3D1&_rdc=1 ...AND I JUST GOT IT!!

Before the West Palm Beach running start, I just want to add a couple of thoughts to the performances of Company B from Miami and Fort Lauderdale, basically focused on the dancers. Even with my inability to "get" Taylor's work, due to the several times I got to see it, made me go for certain dancers in in some roles more than others. So here I go: "Bei Mir Bist Du Schon". It is a full cast display, BUT...Deanna Seay's characterization caught my eye during her brief solos...which didn't happen with Allynne Noelle when she danced the role. "Pennsylvania Polka". The Esty sisters alternated in this piece with Marc Spielberger, who danced it in all the performances. Loved him in it... "Tico Tico". Alex Wong was the favored dancer here, according to the audience's response...giving the character a sort of clownish interpretation, which people seemed to enjoy a lot, judging from the general enthusiastic laughing...(NOT ME INCLUDED... not my thing, I must say...). Ezra Hurwitz' toned down one worked way better for me... "Oh Johnny Oh Johnny". Daniel Sarabia was good at it...but I preferred Stephen Satterfield...I don't even know why...(maybe he gave more soul to the role...?) "I Can Dream...Can't I...?" Well...this VERY ambiguous piece-(which I would love to get some background about, if anybody here would be so kind to)-was Deanna Seay's COMPLETELY. Miss Noelle proceeded with a softer, cuter approach...which looked sort of cold, compared to Seay's story telling one... "Boogie Woogie Bugle Boy". Oh...that was Daniel Baker...he really got all those boogie movements...along with that nice full blond hair... "Rum and Coke". Jeannette Delgado. How wouldn't she get it right...? She's personifying the very Cuban national drink...the Cuba Libre!!! I'm doing this relaying on memory-(didn't write anything down)-so whatever is missing here, means that it didn't make that much of an impression in my less than perfect mind.