cubanmiamiboy

Tchaikovsky Pas de Deux I have my own standards for this piece, which includes a shameless display of pure, sweat driven technique-(ok to call it tasteless, vulgar, pyrotechnic, gymnastics/cirquish-related and so on...),particularly for the male variation and the coda. Right after the adagio is over, I don't want to see any more subtleness or anything that is not the total desire of the dancers to make the audience gasp . Was this the original Balanchine approach...? Maybe yes...maybe not, but that's how I got to know this PDD, and hence, anything different from that looks suspiciously bland on my eyes. But, enough of my monologue, and on with the performances. Friday and Saturday there were Catoya and Panteado who took the challenge, which they both did very well during the adagio. Catoya looked very cute, precise, as clean as she could be...her movements picture perfect, with the right accents here and there...a very studied, MUSICAL approach...that's the word. Panteado knows her, and she never looks better that when he's her partner. Now, the great stuff started when Panteado came for his variation. What a GREAT variation!! His pirouettes are spotless, his fifth position landings breathless...beautiful tours en l'air. His final kneeling landing just down to the second along with last note of the score. He couldn't get that variation any better...on both nights. Great. Now, Catoya's approach was more careful...she did show more control over the choreography than in Miami-(like the final series of sautees), but I wish she could have sped up a little more her final sequence of pirouettes/piquees/chainees. She chose to be very careful about it, and that subtracted weight to the usually spectacular ending of the variation. Wrists are still not as broken as I like to see them here...but in general she did comply with all the steps, if not with the right pacing-(or at least right to me, IMO). Now, the biggest problem came during the coda, which started just great...Panteado's brisé volées were magnificent, and so on...and then...here they were: the fish dives. I think there's a mix of factors for which these famous dives didn't work here. Catoya didn't look all that confident in that that she wasn't going to brake her face on the floor, and then Panteado didn't separate himself enough from here so she could have plenty of room to run and throw herself with the proper amplitude. End of the story. In general, they were very well liked, and I enjoyed a lot their interpretation. ...but then, Sunday matinee came,and guess who's in the program to dance the PDD...Oooh yes...my two stars: Hurricane Delgado and Sarabita. That was a surprise, as they did not danced it in Miami. OMG...I won't go over and over about this two, which I've done several times on this board. Jeanette just can't contain herself-(and she shouldn't for God's sake!)-and Sarabita just went back ten years ago and was, once more and for some precious minutes-his old astonishing self. Long live this partnership! And Jack...weren't this time the fish dives just AS DARING AS THEY SHOULD BE?...I mean...she reminded me that old Lepeshinskaya's clip on Youtube...or even the stories I've heard when Alonso used to just jump in the darkness of her blindness being completely sure that the clock precise Youskevitch was right there where she KNEW he would be...not a millimeter out of his place. That's when one just realize what makes a GREAT PARTNER. Now, people...That was THE TPDD to see.. Coming up...Company B-(yes...I will review it a bit...let's see how bad I am... he,he )

Here are my impressions on the Broward performances. I will divide the post in three, to connect them with the beginning of the Palm Beach performances Allegro Brillante On Friday, the cast was the same as in Miami. Allegro Brillante was danced by Jeanette and Sarabita...and it was just that...BRILLANTE. Not the flawless/too-impeccable Sarabita from Havana 1999, but one with a stronger sense of what a true cavalier is supposed to do with his woman...support her, show her, be attentive to her...be THERE for her, which made Jeanette FLY with all the freedom she needed....fearless as she should be...the stage her kingdom. They also danced it on Saturday night. Now, on Sunday I was happy-(and surprised)- to get to see my first MCB favorite dancing the ballerina role: Miss Deanna Seay, which was paired-(not wisely, IMO)-with Carlos Guerra. What an interesting rendition did Miss Seay gave of AB!! This is a ballerina that has mastered to the limits that "beyond technique" area, pretty much as Sarabita. Like him, her movements and footwork are not that pyrotechnic...she is not as ballistic as, let's say, Delgado, but ooh...her UPPER BODY...is just a master work. Seay is a ballerina that pretty much just SPEAKS with her arms...showing an impeccable port de bras...as delicate and fluid as it can be. Her projection has become very grand, regal...with a marked princess-like presence. I have studied her line in detail , not only onstage, but backstage and even while teaching class, and she does posess-(or have aquired with her many years of experience I bet)-a particular "serene", effortless look..with an impressive epaulement that talks a lot about what a real ballerina should LOOK like. Her approach to the choreography was simplified, but very enjoyable . To me she is, if not the biggest company technician, the most beautiful, ladylike dancer that Villella has. Watching her as she looked stunningly elegant in her first pose of AB made me think of how wonderful would be, at this point of her career and with the new qualities that she has aquired, to be able to see her dancing something like "Chopiniana"...before she retires for good. As I said, Guerra was chosed to be her partner, which looked kind of awkward, since I'm pretty much used to see him partnering his wife. Guerra is a bailarin that does not take too many risks, basically offering what is expected from technique and interpretation...no more, no less. He is the reliable dancer...the boy that can dance everything, and looks good either as a Petipa prince, a Villella ballroom character or a Tharp running device...Actually, he is one of the VERY FEW top rank dancers of this company whom I would be satisfied to see as a Siegfried or an Albrecht...(something that can't be said of all of them). He did his best partnering Seay, but didn't look quite as comfortable as when he dances with his wife-(Kronemberg). Seay NEEDED to be paired with Sarabita, as it has been in the past with excellent results. Kuddos to the other dancers during the three performances: On Friday Amanda Weingarten/Stephen Satterfiel, Cindy Huan/Didier Bramaz, Allynne Noelle with a substitution for Quenedit-(am I right Jack...?) and Nicole Stalker/Yang Zou. On Saturday Weingarten/Ezra Hurwitz, Callie Manning/Didier Bramaz, Noelle/Quenedit's substitution and Nicole Stalker/Neil Marshal. On Sunday Zoe Zien, Daniel Baker, Leigh-Ann Esty-(with a substitution for Alex Wong, which I can't recall)-, Sara Esty/Michael Breeden Ashley Knox/Daniel Sarabia. Coming up...TCHAIKOVSKY PAS DE DEUX...

You just answered my question. Thanks.

Wow... "About 2.5 million people have been killed in the Congo since 2004, as a result of civil and tribal warfare. There was ethnic cleansing in the former Yugoslavia and death squads in South America..." Now, THAT was intense... Don't know what to say...

...just a quick question, out of curiosity-(and I hope not to be out of topic)...How's the Peasant Pas de Deux danced in this current POB production...?

As part of tonight's Miami's "Sleepless Night", Miami City Ballet School presented "Stars of Tomorrow" at the MCB Studios/Ophelia & Juan Js. Roca Center: November 7, 2009 at 7:00 p.m. and 8:30 p.m. I wish I could have gone...but I was busy admiring Miss Delgado on the neighbor county... http://www.miamicityballet.org/performances.php http://www.soulofmiami.org/2009/10/31/slee...schedule-11709/

Just came from tonight's performance...Loved Jeannette EVERY SECOND!!

On my way out, but first, it was a pleasure to see you both Jack and Susan! Jack, I'll see you tonight again... Mira...I will look for you! More comments at the end of the weekend...

Anybody going to Fort Lauderdale's performance tonight...? (I'll try to make it...let's see if the unpredictable I-95 wants to behave herself )

The film sequence in which he tries to rehearse a fragment of Giselle with a humorous Krassovska-(she ordering him to do the steps and both shouting in Russian while laughing at Zoritch's claim of being "too old" to run after her)- is just priceless... . Later on there is a moment of great tenderness when both share a kiss in the lips... I'm sure atm711 got to see his dancing at some point...Would love to hear about it.

Certainly one of the most handsome male dancers ever... http://www.georgezoritch.com/images/Florence.jpg This are sad news...the old troupe is shrinking more and more... RIP, Mr. Zoritch...

Just won it..!! (thanks, rg...and keep'em coming... )

Good question, bart.. For a while I got used to the term "Principal dancer"-(following the common trend of BT)-to name the top category within the Cuban ranks, but then I realized that this would be somehow misunderstood for those who get to know the ranking system of Alonso's company, where Principal Dancer exists too, but stands as an inferior category of that of Primer Bailarin or Primera Bailarina. The best translation I can think of would be that of Premiere Danseur or Premiere Danseuse. The Cuban ranking system goes as follows: 1-Prima Ballerina Assoluta 2-Primer Bailarin-(Premiere danseur/ballerino)/Primera Bailarina-(Premiere Danseuse/Ballerina) 3-Principal Dancer 4-Premiere Soloist 5-Soloist 6-Coryphee 7-Corps A 8-Corps B 9-Corps C

Three male dancers have been promoted to Primeros Bailarines: Ernesto Álvarez, Elier Bourzac and Javier Torres. Well deserved, guys...CONGRATS!!!

Nijinska's Fille does has a current continuity , via Jose Pares. Mr. Pares, who recently passed away-(on April 23 at the age of 79)-was a Puerto Rican ballet master, teacher and choreographer, internationally regarded as one of the most important Latin American educators to have contributed to the history and development of ballet in the Latin continent. Born in 1925, Mr. Pares went to New York as a very young man, where the then basic Ballet School of Arts gave him his initial training, and where he would be later on influenced by such names as Anthony Tudor, Anton Dolin, Edward Caton-(who was a direct disciple of Agrippina Vaganova), Margaret Craske (an ex member of the Diaghilev troupe and a direct link to Cecchetti)-and Vera Nemchikova, who had already worked with Nijinska and Massine. In 1951 José Parés became a member of the corps of Mme. Alonso's company, where he would remain with the rank of soloist until 1970, also holding the nomination of character dancer. Around this time he would also be in contact with other two influential figures in his life as a choreographer : Leon Fokine and Alexandra Fedorova. All along this time, Mr. Pares became a Cuban audience favorite, imitated and applauded for his interpretations of the role of Dr.Coppelius of Coppelia, and even more for his Mama Simone in La Fille Mal Gardée. Alonso's staging of Fille had Pares collaboration, who had his own experience with the ballet from his old New York days, which were enhanced by Mme's own experiences with it. That way they ended up staging the Nijinska/Gorsky version that we all love in Havana I recently found a couple of clips of Miss Adiarys Almeida, dancing the role of Lissette in Puerto Rico, to a Pares staging of the ballet, and it is indeed identical to what I remember seeing in Cuba. (Maybe Almeida, as a former member of the Cuban troupe, also knew the role from back then). In any case, I'm glad that this choreography has survived outside Cuba, and that is being passed to younger generations of dancers. Here are the clips. Enjoy! Mme. Alonso as Lissette with Jose Pares as Mama Simone in the early 60's Adiarys Almeida as Lissette with Ballet Concierto de Puerto Rico in 2006 " La Fille Mal Gardee " Choreography by Jose Pares. Joseph Gatti as Colin.

I can't help you about the cygnets question, as I've never seen this film before-(but I'm pretty sure some of the soviet ballet experts here will)-but as to your Black Swan PDD question, I can only guess that you might have had access to a recording which contains the original Tchaikovsky's 1877 score, which didn't contain what we know now as the Black Swan PDD. This music was originally placed in Act I-( as the "Pas de deux for two Merry Makers", and not even the totality of it...just the Entree, Adagio, male variation and Coda...the female variation then and there was another tune: "Tempo di Valse", now almost unknown). The "original" Odile/Siegfried PDD music-(Miss Odile wasn't even a black swan back then)-was what we know now as the music of Balanchine's "Tchaikovsky Pas de Deux". The new changes took place in 1895, when Petipa, Ivanov and Drigo reworked the ballet, all with Tchaikovsky's brother approval. That's how the new Black Swan Pas de Deux was born...just as we know it nowadays. And again, some recordings might show the 77 score instead of the 95-(like the Dutoit). Edited: rg...we were probably writing at the same time. My apologies for pointing again at what you had previously explained.

...pretty much the concept of the end of Giselle's act II. Death that fades away by the morning light just when it's about to claim another exhausted victim... thanks for the clip..!

dirac...it was MAGNIFICENT. I've always been owed of the simple scheme-(a partial up and down the scale)-of the main tune of the Ode.It has a down-to-earth quality that serves as basis of series of variations, superimposed on the finale's grand structure. It sounds just so...raw...pure...I don't know. It always gets me big time. NWS's conductor, Michael Tilson, is such an iconic figure in our arts scene, and his orchestra is one of the strongest assets-(both financially and professionally)-of Miami. The program also contained excerpts from "Fidelio" in its first half, but at that time I was watching Allegro Brillante and TPDD across the plaza. We had soprano Christine Brewer, mezzo Kendall Gladen, tenor Anthony Dean Griffey, bass-baritone Luca Pisaroni and Joshua Habermann leading both the Master Chorale o South Florida and the University of Miami Frost Chorale. TWO THUMBS UP!!

bart...on Friday and Sunday: Kronemberg and Guerra. On Saturday: Patricia Delgado and Panteado.

Time to confess. A major reason for me to decide to miss the last two thirds of MCB's program on Sunday-(besides my inability to come to terms to what was going to be shown after AB and TPDD)-are shown next. Just understand that the offer was too tempting to let go. It was just a matter of timing both performances/intermissions and running across the street to to the Knight Hall to catch the second part of the NWS program, which was: http://www.music.miami.edu/choralstudies/e.../beethoven.html Yes...guilty as charged I am.

Ok people. Friday afternoon came and here I was, rushing as usual llike a madman after work to get to the Arsht Center in time through the traffic-(which wasn't that bad, thank God). I didn't have tickets, so I went to the sales window to find a VERY pleasant surprise, which was the announcing of a 30% off all tickets if bought at least an hour before the performance . Naturally, I had checked the website to see the ticket situation just before getting on my way to the theater, so I did as always...I bought a couple of the cheapest tickets available-(my mom would join me)-which with the extra 30% discount were 12 bucks each one-(great deal, right...?). Of course, the tickets were for the upper level-(5th)-of the Arsht Center, all the way to the back...and of course too, I ended up seating in 3rd row orchestra center...thanks to the always helpful habit to stay standing on an isle of the orchestra sides, so I can spot empty seats after the doors are closed, lights are going off and everyone is seated already.(It takes just a quick, good eye to spot the seats in a couple of seconds). As usual, the few empty seats I noticed were in the most expensive area...those which are harder to sell...orchestra center, first three rows. Old habits from my Havana days...and they certainly die hard...but hey...they work!! ). So Villella came out and did some small talk, mostly thanking some patrons for their contribution to the company. It was a brief speech, and off he went out of sight. Now the music started...and still...no orchestra...(damn...that canned music again! ). Anyway... here are my humble impressions from the three days. ALLEGRO BRILLANTE. AB on Friday was just perfection, which was materialized in the amazing dancing of Jeanette "Hurricane" Delgado and Rolandito Sarabia . OMG, OMG, OMG!!!...I strongly doubt that any other cast in this ballet will ever top what I saw here, which was the most fluid, strong, made in heaven-(with a touch of hell)-partnership I've ever witnessed since...I don't know...probably since Sarabita was dancing 10 years ago in Havana with Lorna Feijoo. What can I say...? One HAD to be there to see Delgado's nailed, stronger than ever turns, her attack, her AMPLITUDE. People...SHE WAS LITERALLY EATING THE STAGE!!! She was a demon...sweating profusely...and I just couldn't believe the beauty and strenght of her dancing...every one of her defined muscles popping out at every second. She threw herself with conviction in Sarabita's arms...she KNEW that he was there for her. I had seen AB before...but to be honest...I KNEW that I was watching it FOR REAL now...for the first time. Sarabita looks sharper...more interested...it's like if Delgado has made him believe in himself and his old stardom days all over again. He was radiant...he has lost weight...his epaulement is impressive...and his eyes were all for his ballerina. He made sure TO SHOW HER...he was smiling and he looked very happy...and the audience noticed. His movements still talk about Siegfried, Albretch and Solor...but that's him...and by now I'm used to it. On Saturday the situation wasn't the same. We had Tricia Albertson dancing again with Sarabita...but I'm afraid to report that I don't recall that much of it-(aside from the fact that I didn't make notes). All I know is that Albertson still projects this VERY contained aura..distant...even cold. I mean...she is a dancer with a beautiful line...and I remember liking her a lot a while ago in Rubies-(well...she danced it with Jeremy Cox, which used to show her really well)-but now what I saw was a self contained dancer...with clean technique, but with little "duende"-(bart...I know that at least you know what I'm talking about by using this word). I wonder if the situation should be the other way around...in which Mr.B would rather favored this impersonal approach over Delgado's passional one. Well...in any case, I'm not Mr. B, as we all may have noticed... On Sunday the same exact thing happened, now with Deanna Seay-(an old times favorite of mine...a beautiful dancer with a perfect line). Perhaps Carlos Miguel Guerra wasn't the best choice to partner her. Honestly...I quite didn't get into it. Or perhaps the memories of Delgado/Sarabita were still too fresh...who knows. I also remember Seay shining while dancing with Sarabita in the past-(particularly in "Pas de Dix" and "Swan Lake"...two roles in which Rolandito looked very comfortable). Now Seay seemed sort of lost...and Guerra wasn't enough to save the performance. He should be left alone with his wife Jennifer, which usually makes up for a good formula/outcome-(but not in this Program, as I will note later). TSCHAIKOVSKY PAS DE DEUX TPDD started on the upper level on Friday. I was very excited, with high expectations, as this would be the first time in 8 years since I saw this great PDD for the last time, back in Havana. In this first performance we had Mary Carmen Catoya and Renato Panteado. They danced the adagio beautifully. This two have always looked good together, and they seem to know each other's bodies really well. Then Panteado danced his variation with such brilliance that I couldn't contain my whistling at the end of it-(yes...I love to whistle to a pyrotechnic variation...again: old habits die really hard ). I mean...his landings in perfect 5th position...his nailed pirouettes, his POWERFUL JUMP!!...if Sarabita is THE partner of this company, Panteado is THE technician. Now, everything was fine…’till then, when Catoya came out for her variation, and…I wasn’t completely pleased with it. Yes, she was doing her best to be charming and all…but I couldn’t feel the sharpness that this variation requires…the right ACCENTS that makes it so unique. A while ago we were discussing in another thread that now deceased clip on Youtube of the 10 ballerinas dancing this variation, and all I can say is that Lorna Feijoo-(whom I saw dancing it live...with Sarabita, BTW)-is definitely my standard, and a hard one to surpass, I’m afraid. Catoya also had problems keeping her leg up on that series of backward sautees , and later on she didn’t speed up enough the final series of pirouettes/piques/chainees. Also, those characteristic broken wrists during the piques were missing. She opted for a more classical approach, maybe less risqué for her… The coda had some problems too. Either Catoya was a bit nervous, or Panteado didn’t give her enough space to throw herself on him with amplitude during those usually breathless fish dives. They were a bit shaky…and later on Catoya even fell off pointe. On Saturday, the honors were given to Jennifer Kronemberg and Carlos Guerra. They usually dance well together, but this time I noticed some irregularities, like her being way off center in some supported turns-(his fault…?). His variation was the best moment of the whole Pas, and he was very clean and sharp-(still, the memories of the magnificent Panteado the night before were still too fresh, so do the math…). Now, the real problem came when it was time for her variation-(and also at the coda). For some reason, Kronemberg decided to try some face mannerisms that I had NEVER seen on her before…those “ta-daah!” gestures at the end of a difficult step, trying TOO HARD to enhance them. It was awkward, as she kept repeating them all along her variation and even more during the coda. At some point I could even swear that I actually HEARD her making some noises…(I was really close to the stage). In general, the audience liked the Pas, particularly Guerra's dancing, who received much more applauses than Kronemberg-(mine among them). Sunday matinee showed again Catoya and Panteado. This time things went smoother…Catoya looked quite lovely, and the fish dives were done with more attack . Panteado was, again, STUNNING…(No…I don’t get tired to repeat myself on this. He really deserves it, THAT good he was) Post’s Coda: I know that Symphony in Three Movements is missing here…but I have to be honest, as I’ve always been. I don’t understand it…I don’t know what’s up with all that power-walking and running onstage. I’m sorry about it guys, but I can’t talk about what I can’t still identify. The only time I ever saw this ballet, I was captivated by the score, beautifully played by the Cleveland Orchestra. Now that all I had was some canned music, it wasn’t the same at all. About Company B. well…I think I talked about it already. Jack…poor Cristian is still lost in space… Hope to have done my best here, guys… See ya!!

Needles to say, I'm all about the Alonso/Vasiliev 1980 Havana live production. Both come as what they were at the time...larger than life figures.

bart..I think it is necessary...or at least it helps a lot. Music and dancing that are very specific to a given culture, talking about its traditions, historic events or even religious values will be definitely easier to enjoy if one comes from the same background. Let's say, for instance, that I would feel way more amused watching something like the next clip-(taken from a dance company performance in Havana, Cuba). Of course, I would have to accept and understand that it will be boring and even hard to digest for many others.

..oh no, Jack...my comment was just specifically made over my total inability to establish some kind of connection with the whole Taylor/Andrews affair... As for the rest, it is fabulous...(even missing tutus... )

...not very well in that area, Jack...to be honest. I feel very lost...