cubanmiamiboy

A while ago I saw the Cuban film "Barrio Cuba"-(2005). I strongly suggest it, as is one of the most powerful/dramatic portraits of the contemporary Cuban society I've seen in ages. "Potent emotions and engaging characters are the hallmarks of "Barrio Cuba," a rangy, earthy item from esteemed helmer Humberto Solas that strips away the tourist view of la Isla. While the pic stumbles, particularly over its final reel, too close to the old schmaltz formulas, this warmly human portrait of a society desperately seeking upbeat moments in relentlessly downbeat circumstances provides an invaluable cinematic record of a city that looks on the verge of collapse" JONATHAN HOLLAND http://movies.nytimes.com/movie/343154/Barrio-Cuba/overview

This quote is so interesting. I do can relate to that feeling, having seen just a replica of the above in Alonso's last years. But there was certainly something fascinating in the way this things were done, how calculated were the cuts, how brilliant the elisions became or how puffy and big the romantic tutus were designed to serve this purposes. The camouflaging didn't look as just the mere basic desire to trick the audience. As we all know, a knowledgabe public gets hardly impossible to lie to. At the point where the absence of former vitality and strenght becomes obvious for both the dancer and her aoudience, this is also a unique opportunity for the ballerina to reveal that other side that only comes from years onstage: maturity, artistry and a good dose of histrionism and acting skills, things that are sometimes quite hard to find in vigorous starlets. In other words, the lacking gets replaced, and the final result is a solid sense of balance. I too would LOVE to see more of Markova's younger years. I have all her Giselle excerpts with Dolin in a DVD, downloaded from Youtube, along with Spessittseva's, Alonso's, Fracci's, Ulanova's, Chauvire's and now lovely Kirkland's.

I'll be attending to this film series, whikch starts tomorrow, as part of the Ballet Festival. The Miami Hispanic Ballet & American Airlines present “Dance on Camera” as part of The International Ballet Festival of Miami Artistic Director: Pedro Pablo Pena, program curated by Karen Couty http://mbcinema.tix.com/Event.asp?Event=210317 Thursday, September 03, 2009 at 8:00 PM Miami Beach Cinematheque 512 Espanola Way Miami Beach PROGRAMME: Gaite Parisienne (Victor Jessen, 1954, 38min.) Choreographed by Leonide Massine, this film has exuberant performances by Alexandra Danilova, Frederic Franklin, Leon Danielian with the Ballet Russe de Monte Carlo to the ballet composed by Jacques Offenbach. Capriccio Espanol (Jean Negulesco, 1941, 20min.) Choreographed by Leonide Massine, Argentinita, with performances by Tamara Toumanova, Alexandra Danilova, Frederic Franklin, Andre Eglevsky, Leonida Massine with the Ballet Russe de Monte Carlo and music by Nikolai Rimsky Korsakov. This 1939 ballet of five divertissements was inspired by the rhythms of folk dances of Spain. My Madness is My Love: Impressions of Vaslav Nijinsky (Joe Davidow, Finland, 2007, 59min.) Choreographed by Jorma Elo, in residence with the Boston Ballet, the film is a process film showing a dance group working on a variation of a piece by Vaslav Nijinsky. While the Director/Choreographer of the Company reads 'The Diary of Nijinsky,' his mind drifts, and we find ourselves in the Insane Asylum where Nijinsky spent over 20 years.

Close to that, but not exactly the same case, I did swear not to go back to another performance of Giselle after coming back home from the very first one I saw after the "standard" one had been in the past for quite a period of time...Well, later on I DID surrender and went back for another Giselle. I did not comply with the former vow for many reasons: One, because when I saw it announced, I noticed that the performers had been part of that "standard" at one point-(which in this case doesn't get reduced to just the principals, but the whole concept of the ballet). And I'm glad I didn't keep my own promise. On the other side, I've met some balletomanes here in Miami that had openly tell me that they are better off not going to the ballet whatsoever and just keep their old memories and standards alive in their minds and hearts.

"What we found remarkable is the importance the arts play in Cuban life. No one seems to have any money, but the arts are an essential part of their lives. That was a revelation." Francia Russell, co-artistic director of Pacific Northwest Ballet, who traveled to Cuba in February with Sen. Maria Cantwell.

Loved it. Was that final series of pique turns sped up..? (it was insanely fast). And what was that snap of Swan Lake they wrote about in the credits...? (cause I didn't see it)

Great, great, great!! I'm so happy Migue finally got placed, after all this time in limbo post defection. The Joffrey is just perfect for him. I'm sure he will love the repertoire. So down with Taritas and now down with Migue. Only Hayna is still out there...

Alonso's Company version. If there's a role in which Miss Valdes doesn't has to contain her usual over-the-top self is here. So yes, you will enjoy Viengsay Valdes' extravagant, non refined-(and not ashamed to be)- Kitri, Romel Frometa's Basilio's real "man's man" projection and sultriness and Taras Domitro's Gipsy's beautiful airiness and ballon, aside from some real, natural knowledge of the Spanish culture, a fact that gets to be much neglected quite often by many companies. Edited to add: If looking for elaborated sets and costumes, this is not your DVD of choice.

Miss Villa looks beautiful. Thanks, Leonid, for opening this thread. The choreography she's rehearsing here, Alberto Mendez' "Muñecos"-("Dolls")-is one of those works that roots deep inside the Cuban balletomanes hearts, for which it shows the classic Cuban tale of La Muñeca de Trapo y El Soldadito de Plomo-(The Rag Doll and The Little Tin Soldier)-and was also the vehicle for which Miss Caridad Martinez-(recently in my "I couldn't dance Giselle because I'm black" post)-and Mr. Fernandito Johnes-(RIP)-got to be specially loved in Havana. I'm happy she's reviving this ballet, and I wish her the best in her future.

From the Miami Beach Cinematheque website: http://mbcinema.tix.com/ScheduleSeatType.a...ationNumber=101 DIAGHILEV CENTENNIAL PROGRAM. 09/03/09. "Gaite Parisienne" (Victor Jessen, 1954, 38min.) Choreographed by Leonide Massine, this film has exuberant performances by Alexandra Danilova, Frederic Franklin, Leon Danielian with the Ballet Russe de Monte Carlo to the ballet composed by Jacques Offenbach. "Capriccio Espanol" (Jean Negulesco, 1941, 20min.) Choreographed by Leonide Massine, Argentinita, with performances by Tamara Toumanova, Alexandra Danilova, Frederic Franklin, Andre Eglevsky, Leonida Massine with the Ballet Russe de Monte Carlo and music by Nikolai Rimsky Korsakov. This 1939 ballet of five divertissements was inspired by the rhythms of folk dances of Spain. "My Madness is My Love": Impressions of Vaslav Nijinsky (Joe Davidow, Finland, 2007, 59min.) Choreographed by Jorma Elo, in residence with the Boston Ballet, the film is a process film showing a dance group working on a variation of a piece by Vaslav Nijinsky. While the Director/Choreographer of the Company reads 'The Diary of Nijinsky,' his mind drifts, and we find ourselves in the Insane Asylum where Nijinsky spent over 20 years. AMERICAN MASTERS: JEROME ROBBINS 09/04/09 "Something to Dance About" (Judy Kinberg, 2008, USA; 112min.) This extraordinary documentary explores this complex choreographer/director in all his contradictory colors. Directed and produced by six-time Emmy Award-winning filmmaker Judy Kinberg and written by best-selling Robbins biographer Amanda Vaill, it examines with candor and humor, his creative process, his perfectionism, and the controversies that plagued his life. "Ballerina" (Bertrand Normand, 2007, France; 77min.) 09/05/09 Russian ballerinas have always been a source of pride to their country and a revelation to the Western audiences, from Pavlova to Makarova. Normand, a Frenchman, explores his muse, the St. Petersburg ballerina, through interview and performance footage of Alina Somova, Svetlana Zakharova, Diana Vishneva, Ulyana Lopatkina and Evgenia Obraztsova. Each ballerina reveals her personal hopes and dreams, as well as the misfortunes that can interrupt a brilliant career. SWAN LAKE IN HD 09/05/09 Music: Pyotr Ilyich Tchaikovsky Choreography: Marius Petipa and Lev Ivanov Conductor: Valery Gergiev. Cast: Ulyana Lopatkina (Odette-Odile) Danila Korsuntsev (Prince Siegfried) JIRI KYLIAN PROGRAM 09/06/09 For over thirty years the creative collaboration of the Czech choreographer Jiri Kylian and the Nederlands Dans Theater has produced more than 60 extraordinary productions. The dance works made for television were directed by Hans Hulscher, a specialist in capturing dance and opera. Panel on mastering the Kylian style, as moderated with Robert Johnson, dance critic for the Newark Star Ledger, with Lawrence Rhodes. "Wings of Wax" (Hans Hulscher, Netherlands, 1997; 19min.) Opening with a a bare tree, hanging crown downwards with its roots in the air, the dancers emerge out of the black background, only to be absorbed back into it again in Jirí Kylián's take on the man who flew too near the sun. "Petit Mort" (Hans Hulscher, Netherlands, 1996; 18min.) Set to the slow tempos of two of Mozart´s most beautiful and popular piano concertos, choreographer Jirí Kylián writes "I am living and working in a world where nothing is sacred, and where brutality and arbitrariness are commonplaces. "Sleepless" (Hans Hulscher, Netherlands, 2004, 26min.) In this work for six dancers, Dutch choreographer Jirí Kylián uses Mozart's adagio and rondo KV 617 in C major to make a pun on 'moving, and being moved. He believes that "the nature of moving is such that, if you move towards something, you automatically move away from something else." “The Best of La Scala” "Mediterranea Stage: Teatro alla Scala" (77mins.) 09/06/09 Music: W.A. Mozart, G.Ligeti, G.P. da Palestrina and music from the Mediterranean area Choreographer: Sveva Berti Performers: Massimo Murru, Antonino Sutera, Francesca Podini, Gabriele Corrado, Antonella Albano, Andrea Volpintesta, Riccardo Massimi La Scala Ballet brings to the Teatro degli Arcimboldi what could be called a "sold out" premiere, which has indeed been the case worldwide for Mauro Bigonzetti’s much celebrated Mediterranea, a production that La Scala is adding to its repertoire in world exclusive. On this occasion, for the fifteenth anniversary of the show (created for the Balletto di Toscana in 1993), Mauro Bigonzetti will give the La Scala artists not only a revival but a true choreographic adaptation. Mediterranea, which does not indulge in the folklore but varies the musical genres, focuses on the gestures and the moves in a refined balance between lyricism and pure energy.

Thanks Leonid for this. I can see Miss. Villa is doing just great. Alonso's school gets another honoree... BRAVA POR LA CUBANITA!!

Sorry about my ignorance, but I really didn't get that... Metaphorically. My fault for still been clueless ...sorry Carbro. Language barriers.

Part III This is an excerpt from the so-called "Under-water scene" 1. Variation of the White Pearl (music: Cesare Pugni) 2. Variation of Two Red Corals (music: Cesare Pugni) 3. Variation of Ocean (music: Boris Asafiev) 4. Variation of the Blue Sea Flower (music: Ludwig Minkus- this solo also turns up in the so-called "Paquita Grand pas". It was originally danced by the ballerina Anna Johansson when she performed the title role in Petipa's revival of Perrot's "Ondine" in 1892. The ballerina Alla Sizova added it to "The Little Humpbacked Horse" in the 1950s, and it subsequently found its way into "Paquita".) -White Pearl: Zhanna Zinitsina -Red Corals: Tatiana Loginova & Elvira Loginova -Ocean: Vitaly Tsvestkov -Blue Sea Flower: Anna Polikarpova http://www.youtube.com/watch?v=tfNKqb4VPIE...feature=related

I still do...after many Swans and Lakes...

Sorry about my ignorance, but I really didn't get that...

I'm watching this right now. From the Tube source... Enjoy! Part I "Grand Pas des Nereids" from "The Little Humpbacked Horse". Students of the Vaganova Academy of Russian Ballet, 1989. Chor. is likely by Gusev, Vaganova, or some other notable Soviet-era balletmaster, done after Saint-Léon, Petipa, Gorsky, etc. Music by Cesare Pugni (this is some of the best music I have ever heard by Maestro Pugni). 1. Entrée des nereids 2. Entrée de la Tsar-Demoiselle. Variation. 3. Grand ballabile (waltz at the fountain) Here is a rare clip from the Vaganova School's production of the 'original' "The Little Humpbacked Horse", being the 'Grand pas' danced on the shores of the enchanted Isle by the Tsar Maiden and her nereids before she is captured by the Humpbacked Horse and Ivanushka. In Saint-Léon's original 1864 production this scene opened with nereids and mermaids sitting atop on a vast rock on the shore at the back of the stage which went all the way up to the rafters. The Tsar Maiden then made her entrance in a boat shaped like swan (one can certainly hear in the music all of the various cues for these passages). During the 'Grand ballabile' at the end (or coda) the Humpbacked Horse caused fountains to spring up out of the stage floor in order to keep the Tsar Maiden from escaping. In Imperial Russia this was known as the "Waltz at the fountain". http://www.youtube.com/watch?v=bU-6whoATpo...feature=related Part II "Danse des Fresques Animés" In this scene the Humpbacked Horse has given Ivanushka a magic whip that makes the Frescoes painted on the walls of the Kahn's palace come to life. http://www.youtube.com/watch?v=AqGYq247zaM&NR=1

Ah...if they follow the pathos of Christian Bale's "The Machinist", then it is good stuff...

Oh...it didn't matter where was I as a kid, either at a theater, cinema or my parent's friends house...I only had to get "The Look" from my father-(which was something like this )...and that's it...that would be the end of any programmed sabotaging action on my side...not even words had to be included with "The Look", BTW...

Bayadere, Shades Act PDD. Particularly the veil business in the Adagio. Hate to see variances on this . If you can't get it right, don't dance it.

see iczerman...? That didn't take that long. Thanks, bart!

iczerman...there is an older thread totally devoted to this-(favourite PDD's). I don't have the time to look for it right now, but I'm sure somebody else will help.

Caridad Martinez: "Prima Mulata Assoluta". Searching online on Caridad Martinez, the only black ballerina that has ever made it to the top in the Cuban Ballet, I discovered this article in which she remembers her struggling as a former member of the Cuban company...a Company that has been historically and controversially "white", in a country where racial mixing goes back in centuries. She is currently the director of the Brooklyn Ballet School. The article comes from the Brooklyn Ballet website. It is in Spanish, and I used the Google Translator, which seems to be getting worse and worse every time. Still, you might have a general idea of some of the issues that Martinez had to face until she finally decided to defect and leave the country. I: "Did you feel discriminated within the company for being black?" C.M: "More than that . I was told that I had a very hard image for Giselle, that I could not deliver a fragile Willi and that I wasn't suited for the madness scene because of my hard hair . It was humiliating, frustrating. I had the technique to dance the role, but I knew they would never give the role of Giselle to a black ballerina. From Sleeping Beauty I was only allowed to do the Grand Pas de Deux. Nor did I ever danced a complete Swan Lake." This is the Google translation http://translate.google.com/translate?hl=e...er-negra-190821 And this is the original link... http://www.brooklynballet.org/ And some old pics of her... As a little swan... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/11.jpg Mixed feelings... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/01.jpg As Princess Florine... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/13.jpg As Kitri... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/02.jpg In Grand Pas de Quatre... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/12.jpg Teaching in Brooklyn... http://www.cubaencuentro.com/var/cubaencue...1-esl-ES/10.jpg In the ballet Plasmasis, with Lazaro Carreno-(clip)... In the ballet Munecos-(Dolls) with Fernandito Jhones-(RIP)-(clip)... I'm very happy to know that Miss Martinez is doing such a beautiful labor within the Brooklyn ballet scene. She must know that she's being remembered as one of the most charismatic dancers the Cuban company ever had.

Actually atm711, you are probably the only person on this board who can account for having seen her do many acts II LIVE, while still at her peak. re: the ringlets. She always wore them..everytime she performed Giselle...way until her old age. They are still used by today's Cuban ballerinas...costume designs of the classics keep being reproduced as those used by her during the 40's and 50's... http://www.lajiribilla.co.cu/2004/n149_03/...y/octavio02.jpg