cubanmiamiboy

Who's her Basilio...? (I wonder if they will do Alonso's overhead throws and fish dives...)

YUUUUMMMM!!!!

Viengsay Valdes. Love it or hate it, but what superb technique. She will be the second bailarina ever to perform in Russia, Mme. Alonso being the first in the late 50's. I wish my cubanita the best... Vi...you know we love you and we'll be following and clapping your russian echoes from all over the world, and yes... MAKE THAT THEATER TREMBLE WITH YOUR QUITERIA!!! Natalia...I can't wait for your report. Here's some background. Giselle’s solo Act I http://www.youtube.com/watch?v=Ix198SFs4wc...feature=related The Dying Swan Black Swan Act III variation/coda DQ Kitri’s entrance/Dulcinea variation http://www.youtube.com/watch?v=WEfknMnP66s...feature=related SL Act II Odette’s solo/Coda/transformation as Medora in Le Corsaire

Seymour has her hair pulled back, but kind of in a loose do-(Alonso's production too)-which makes it easy to drop during the hysteria sequence. I find Seymour's business with her hair a little overdone though...About ballerinas manipulating their hair away from the face, I've seen a good deal, mostly at contemporary pieces, but being in the hair business I can't address enough what a common thing this mannerism is among the female population, crazy or not...

Such an intriguing question! I guess "Heartbroken" isn't in the DSM. Giselle suffered from Cassandra's Complex...

The Dutoit...definitely.

Likewise V.!!! I agree with your perception on the uneven quality of the Albertson/Wong duo on S in C 3th Mov. Yesterday his ballerina was Jeanette Delgado...quite a wiser choice. Albertson seems to fade away more and more each time...what a shame. Kronemberg was good in the 2nd Mov., but I liked Patricia better on it. I also missed Catoya on First Mov., even Seay being lovely too. Oh well...just a matter of tuning up my little knowledge on this ballet...(today was my third time ever, and I'm still getting to "know it" more and more, see...? ). Yes, Sarabita is still the old school charming guy, even being Wong now the jumper of the troupe. V., I wish you could have seen S. back in 1999/2000 when he had recently joined Alonso's Company. (sigh). I really miss the greatest turner I've ever seen in my entire life. "In the Night" was cute, but I'm not crazy about it.

Night is still young, but before I keep going, I want to second Jack's feelings on tonight's performance. Seay was glorious in Concerto Barocco. Stage presence, beautiful line...the right ballerina look...that's her. Sarabita...well...always the offering , attentive partner. They always make a great couple onstage. Mary Carmen Catoya was a delicate delicious porcelain figurine in the first Mov. of Symphony in C, Patricia Delgado, a first timer in 2nd, was at ease...the penchee couldn't haven more fluid. She danced with Sarabita. Jeanette Delgado...well...nothing I can say enough of my favorite cubanita. She and Wong were THE BOMB! Wong's ballon and jumps are amazing. The guy is going lighter and higher every time. I wonder if he's planning to break gravity rules. More stuff coming up tomorrow.

...hate, hate, HATE those news...

...oh yes, I know...especially there...he,he

As I write, I'm listening to the recording, which I finally got on Ebay. Wow, in between the Fistoulari and now this, I'm discovering many differences. What amazes me the most is the change in the order of some dances from Act I and then the rare Minkus PDD, which had been discussed in BT before. I just wanted to note that the music is not of that of those fragments performed by Nureyev and Seymour in their Giselle. Is a whole totally different music, very harp oriented-(totally Minkus). So hence, now I'm even more confused. If the Zuraitis seems to be the most loyal version to the original score, where is all the music missing...? (like Berthe's mime sequence...)...and where does the added music from the N&S version come from...? and where is that mentioned second trapped-man sequence ..? (cause I just heard only one of the Willis deadly dance theme, Hilarion's I assume). The ending passage is also a bit different, and so far I can recall having heard at least three different versions. Here there's not a final Albretch's extra music. It just finishes with Giselle's descending to the grave...(with some extra bars ), whereas I'm sure i've heard another ending in which the fanfarre' court music is interpolated...(Bathilde's returning to get Albretch from Giselle, as I've read somewhere...?) And what's up with the Fugue of the Willis...? Mel..!!!

Oh, it was beautiful. I don't know if it was me and my personal state of mind or the music, but I recall last night with such a pleasant feeling...as if the music seemed to float all around. Schumann's Symphony # 2 was absolutely beautiful, from the slow introduction of its mini-fanfarre to the splendid, virile climax. Brahms' Concerto was like all vintage Brahms, full of passion and rich with melody. The cello solist, Amanda Forsyth, was very captivating in her interpretation-(as well as her model-like looks... ), and she got a great ovation at the end. And then Stravinsky's Concerto in D...which I didn't know was the music for The Cage...definitely I want to see the ballet now. Where can I get a recording of it-(if there is any)...? I had a great night...

...and I'm going, of course... http://www.arshtcenter.org/tickets/calenda...ew.aspx?id=4339

http://www.cubanclassicalballet.org/programII.html

I will be celebrating the end of my school semester tonight by seeing the Dallas Symphony Orchestra at the Arsht Center, with Pinchas Zukerman as the conductor & violin and Amanda Forsyth playing the cello. This will be the program: Stravinsky: Concerto in D for Strings Schumann: Symphony No. 2 Brahms: Concerto for Violin, Cello and Orchestra Oh, I'm so happy...!!!

The debutante: A. Somova .

Oh, no...ha,ha ...nooo...not at all, Richard! . Somova is ALL about extensions...Valdes, on the contrary, has extensions, AND ballon, AND a powerful jump, AND those sissonnes cambres, AND the fouetees, AND DUENDE, and, and, and...

...or "On" ...right. (Edited to add: I was actually trying to focus more on the "international" concept rather than personal tastes on particular dancers). In the latter, of course well all know how wide can the spectrum be, ranging from divergences about Maria Tallchief-(as we've seen recently)- to Miss Valdes-(or Somova),

...or "On" ...right.

...arguable-(If I may...). I would go more for the "relative nationally unknown" title-( in reference to the lack of reciprocal relationship Cuban company/American audience. (E.g- the constant European/South American touring fact etc...)

...I just noticed the common denominator: "Melancholic"

Taras Domitro, SFB. His Melancholic's cambre was lovely...(I saw it on video... )

...her Rose Adagio is surreal. I remember from one time when she danced it, when she lowered her arm from the couronne position to her second suitor during the first set of balances, she suddenly declined and decided not to get his support , rasing it back up, just to calmly offered it back to the next suitor, so imagine...THAT unsupported balance lasted...well, WAY more than what Petipa intended I guess...