cubanmiamiboy

Oh, I know Miss Kadow...she is the sister of Kate Kadow, currently with the Cuban Classical Ballet of Miami. Last december Emily came over and danced Clara in the Company production of The Nutcracker, while her older sister danced the Sugar Plum Fairy.

Testing...? What kind? Was it inforced...? Unless this is a potentially "banned-to-be" topic, I am interested to know.

I think I'm the first one to vote for the "I have little opportunity to see ballet, and I see what I can". Now, this is just because of my current geographical situation. Living in Miami, and with the "seasonal" guideline that ballet follows , at least here, I need-(and I like)-to go to all ballet-related events that I can. Besides MCB, I'm glad to get at least three other less powerful Companies-(Cuban Classical Ballet of Miami, Ballet Gamonet and Ballet Etudes)-that I can go and see the works that Eddie's troupe doesn't offer in its repertoire. When I was in Havana, with non interrupted performances all year around, I certainly discarded many performances due to a non favored dancer or a non attractive work. Also, the fact that Eddie follows the non-star system here, and hence performers are not listed in advance, makes the situation even more difficult, si I just go and see all I can...

I think value-per-dollar Elvis C. delivered the most--you could "close your eyes and listen to the music"! Uuh...it wasn't exactly the case... cubanmiamiboy, tastes do vary widely for all sorts of good reasons, and I would not rush to spend money on a ballet with an EC score. I have, however, eagerly rushed to hear him in concert. He's a very smart and literate songwriter... Oh, I believe you Kfw. I myself own his "Blood and Chocolate" and "Momofuku". Sadly, this wasn't the case of Tharp's piece score...

I think value-per-dollar Elvis C. delivered the most--you could "close your eyes and listen to the music"! Uuh...it wasn't exactly the case...

I didn't know that. All I can say is...wow. That's outrageous! But he's not alone. I think in general there's a huge disparity b/t what, say, a dancer gets paid and what a "hot" (?!?) choreographer can garner. Unfortunately, ballet companies that can will actually pay these inflated fees. Which was exactly my point when I mentioned Tharp's last abomination at MCB. Yes, I do realize that they were selling her name-(and also that of Issac Mizrahi as the costume designer, which BTW, was Abomination # 2, with capital A and Elvis Costello's with a live band onstage ). I can't even imagine the whole Grand Total... Cha-Ching !!

I had to studied it too when I was in High school. "Quien mato al Comendador...?! FuenteOvejuna, Senor!" (Who killed the Comendador?! Fuenteovejuna Lord !) Lope De Vega.

A little , but now that you mention his name, I miss Mr. Fullington's posts on this forums... But back to "La Esmeralda"...

Cuban Classical Ballet of Miami 2009/2010 Season Sunday, December 20st 2 p.m. & 6:00 p.m. “The Nutcracker” -(staged by Magaly Suarez after A.Fedorova & Petipa/Tchaikovsky) Dade County Auditorium ----------------------------------------------------------------------------------------------------------------------------------- February 20-21 “Coppelia” -Ballet In III Acts. (Saint-Leon/Delibes) Fillmore Miami Beach at the Jackie Gleason Theater ------------------------------------------------------------------------------------------------------------------------------------- Saturday, March 20th & Sunday, March 21th Highlights of the Diaguilev's Ballets Russes Series. "Chopiniana" or “Les Sylphides”-CCBM Premiere-(Fokine/Chopin) “L'Apres-Midi d'un Faune" (Afternoon of a Faun)- (Nijinsky/Debussy) Also: -“Grand Pas de Quatre”-( Dolin after Perrot/Pugni) Dade County Auditorium --------------------------------------------------------------------------------------------------------------------------------------- April 24 & 25 Excerpts from the Classical Repertoire: “Raymonda” Suite- (Petipa/Glazunov) “The Kingdom of the Shades”Act from "La Bayadère" (The Temple Dancer)- (Petipa/Minkus) “Don Quixote” Pas de Deux- (Petipa/Minkus) “Le Corsaire” Pas de Deux- (Petipa/various composers) Dade County Auditorium --------------------------------------------------------------------------------------------------------------------------------------- Sunday, December 19th “The Nutcracker” -(staged by Magaly Suarez after A.Fedorova & Petipa/Tchaikovsky) Dade County Auditorium --------------------------------------------------------------------------------------------------------------------------------------

International Ballet Festival of Miami Performances 2009 http://www.intballetfest.org/ International Young Medalists Performance Medal Winners of International Ballet Competitions Saturday, September 5th at 8 p.m. Manuel Artime Theater 900 SW 1st St., Miami Tickets: 305 549-7199 Contemporary Performance, Modern & Contemporary Ballets Sunday, September 6th at 5:00 p.m. Colony Theater 1040 Lincoln Rd., Mimi Beach Tickets: 305 674-1040 or at theater box office Etoiles Grand Classical Gala International Stars of the Ballet with the Presentation of the Lifetime Achievement Award “A Life for the Dance” to the Legendary Prima Ballerina, Lupe Serrano Saturday, September 12th at 8 p.m. Festival Closing Gala of the Stars All Company Participants with a different program and the Presentation of the Dance Critic Award “Criticism and Culture of Ballet” to internationally acclaimed Anna Kisselgoff of the New York Times Sunday, September 13th at 5:00 p.m. Both Performances At: The Fillmore Miami Beach Jackie Gleason Theater 1700 Washington Avenue, Miami Beach Tickets : Theater Toll Free 877- 598-8698 or at theater box office www.livenation.com Website: www.intballetfest.org Collateral Activities & Performances Dance Film Series 2009 August 28 to Sept. 6 In collaboration with the Dance Film Association and Miami Dade College Tower Theater Miami 1508 SW 8th ST August 28, 29, 30 & September1 Cinemateque Miami Beach 512 Espanola Way September 3 - 6 Tower Theater Art exhibit inspired by the Dance at A Coral Gables Gallery (TBA) 2980 Ponce de León Boulevard. Coral Gables Dance Workshops Sept. 1 – Sept. 13 Featuring Guest Teachers Ballet Master Classes (Only for guest festival dancers, available for student observation) Featuring Guest International Ballet Masters (from Austria, Carlos Gacio from Miami, Ballet Mistress Magalys Suarez) Rehearsal hall at Fillmore Miami Beach Jackie Gleason Theater 1300 Biscayne Boulevard, Miami, Fl. Sept.12–

A little , but thank God for the Cuban Classical Ballet of Miami and its repertoire. Guess which is one of their next season works..."Chopiniana"

Kathleen, but if there's something highly unlikely to happen, is the fear to start having just a "few students" that will be able to "write a sentence or two themselves for practice"-(this translated into the ballet world as a few ballet students able to learn a couple of ballet exercises for themselves). Reality is, ballet schools, ballet technique and ballet competitions are fierce and in high demand. More and more kids are trying to get into companies, and they are sharper than ever. The feeling is certainly very enthusiastic, and even better than that...the kids want to dance the classics, and dance it good. I will always remember when I read Kirkland's book, and her internal struggling when she realized that she wanted to dance the classics, having to leave NYCB in order to do so. I sill this is still happening.

Simon, I do understand your point, but when I think of all the beautiful, excellent choreography that is being left in the dark for years and years-(not only Giselle and Chopiniana, but Tudor, Massine, Nijinska, etc...)-to the point of getting the risk of being forgotten/lost, getting to know that my local Company-(and one of the most talked about ones in the country)-won't included one Petipa during the whole next season, is kind of frustrating...Then, when I hear the production cost that "Nightspot" carried on...well, I just want to An anecdote: At one point, Alonso's company was doing its Chopiniana using the Wilis tutus against a plain black backdrop...so talk about an expensive ballet-(and MCB does have Giselle)

"Carefully preserved" doesn't sound like a bad idea to me at all, to be honest...If faced with the non probable question of choosing between dancing ONLY the preserved XIX repertoire with no room for anything else, or electively choosing to loose it, and keep experimenting...I would go for the first choice.(But again, this is a highly hipotetical thing)

Exactly. So if audience and dancers are both satisfied...what's left...? The choreographer's ego?

To be honest, I would be more interested in getting to see more of the old choreographers works. (C'mon, when was the last time I was able to see Giselle...7, 8 years ago...?) I mean, the repertoire is so extensive-(and technically difficult)-so, why not starting with that first...? Eg. Did MCB really NEED to put on that brand new Tharp's abomination-(AKA "Nightspot" )-if Miamians don't even know "Chopiniana"?

I found this excerpt from Miss. Lobe, rehearsing with a very young Toto Carreno. The choreography is Alberto Mendez' "El Rio y el Bosque"-(The River and The Forest). The quality of the video is not very good, but so far this is the only clip that I've been able to locate of Lobe. Hope you like it. http://www.youtube.com/watch?v=N2zRRd0bCSo

That thing looks like some kind of medieval torture machine: "Tell us the enemy's plans, you dastardly villain, or we'll put you in the Pro-Arch® (now available at fine dance suppliers from Lotharingia to Wessex. Local Danegeld may apply.)!!!

I was digging a bit on this thread, as I've been looking for productions which have tried to retain the 77 score in its original acts. So about this 6 variations-(including the "Andante con Moto" one)-is it definitive that they have not been used in the Ballroom act of any current Company...?

To be honest, from the following image, I like better the "before" than the 'after". But again, this is from the non-expert point of view. http://edge.shop.com/ccimg.shop.com/220000...lt_16309838.jpg

Yes, indeed. http://www.youtube.com/watch?v=QurGibs8P_I

And while on the subject, what about this...? “The Pro-Arch® is a device designed to increase the flexibility and strength of the ankle and toes, achieving the best possible arched foot” http://www.kaboodle.com/hi/img/c/0/0/c/d/A...AAAAAAAzaog.jpg

Well, he does indeed plays all that sequence of fanfarre/waltz starting several times, if this is what you are referring to. The waltzing itself seems to go on and on forever.

Beautiful... Thanks a lot, rg!