cubanmiamiboy

I have seen pics of the old Imperial productions, and yes, I am aware that children were used-(as well as in Swan Lake to play little swans, if I remember well). But this fact does no add that much to my perception that little kids diminish-(on my eyes)-a professional production. I see it more as me being part of a different, more demanding audience, that of the XXI Century, in which flying Willis and the likes are gone to give room to more technically daring/dancing-oriented productions. Plus, the denomination of "adult" vs. "kid" is objectionable too. For me 16 y.o is being adult already, (coming from a place where this is the legal start of adulthood), whereas according to American standards 16 y.o's are still kids... Thanks for the info on Clara's original dancer. I didn't know about her. But well, as the old saying says: "I just know that i know nothing" Oh, just remembering that was the age my great grandmother had when she got married

On the contrary, having real ballet dancers of 17,18 portraying kids aged 13-16 in a profesional production had been a more pleasant experience to me that that of having the impression of going to an elementary school ballet recital. At the end, for me, the more pointe work, the more visually motivated I get, so if none,well... boooooring! So about leaving the Nutcracker alone, yes....let's leave it to real dancers.

I just want the words DEFECTOR and EXILE to disappear FOREVER from the Cuban history, along with all the damage that it has caused to all of us, including ballet dancers...

Isn't this a clip of the reconstructed version...? http://www.youtube.com/watch?v=vF-IvqbLEjk

Well, then we should divide this, because i thought that we were talking only about filmed versions. If this is the case, Wright, as I said earlier, is my pick. Live, I go for Alonso's even OVER Wright's.

After one year post defection, ballerina Hayna Gutierrez hasn't been hired permanently. Out of the three dancers, only Taras Domitro went to become Principal at San Francisco Ballet-(and receiving rave review for his recent appearance in The Four Temperaments). Blanco usually appears with the Cuban Classical Ballet of Miami, most recently in the Nutcracker. I've tracked down Gutierrez to find that she just danced as a guest with Peoria Ballet of Illinois partnered by Miami City Ballet's recent loss, ex Principal Isanusi Garcia-(also a previous defector from Alonso's troupe). They did the Nutcracker. Whatever they go, I wish them both the best luck, and I hope that Gutierrez gets placed where her Prima talent can be truly appreciated. http://www.pjstar.com/entertainment/x22599...oves-impressive

Isn't Somova on those clips from Youtube...?

Here's a review of the recent performance of CNB;s Nutcracker in Canada. Nutcracker. Alicia Alonso's Cuban Version..Magical! By Danny Gaisin Tchaikovsky’s NUTCRACKER BALLET is based on a tale by E.T.A. Hoffmann. Like the composer; the writer was one interesting individual. As a young man he had a love affair with an older woman & composed a song about same (think of Anka’s DIANA); was a staunch liberal before the concept became popular; and interestingly was sent to Prussian East Poland where his job was to German-ize Jewish names:- mssrs Goodbaum; Applebaum; et.al., thank old E.T.A. for the surname! Years later, Jacques Offenbach (a French Jew) honored him by using some of his stories in the famous ballet – Tales of Hoffmann. The Nutcracker (originally nussnacker or in Spanish- cascanueces) tells the story of a young girl; a Christmas party; special gifts; and a Godfather who arranges a magical trip for the little lady and her defending hero. Cuba’s world-famous NATIONAL BALLET brings the innovative Alicia Alonso artistry and choreography that updates the more familiar Balanchine and Baryshnikov versions to its Canadian tour. Last night’s Hamilton Place performance was a memorable occasion. I left feeling old; reflectively awkward and definitely clumsy. Seeing the poise, discipline and agility of the youngsters who are part of the CANADIAN BALLET YOUTH ENSEMBLE who perform in Act I; then watching the nimbleness, coordination, and athleticism of the older (slightly) Cubans; I may never get up on a dance floor again. They walk with more grace than I could even attempt. Dear readers, there’s still today & tomorrow’s performances…don’t miss this experience. The orchestra is comprised of members from our Hamilton Philharmonic, and while they began with a rather tentative introduction to the overture, under the guest baton of Cuba’s acclaimed maestro Giovanni Duarte, the HPO musicians soon reached their normally high levels of technical and lyric standards. The slow beginning was probably a result of nominal rehearsal opportunity with the conductor. The sets are minimalist; appropriate- as the object of focus is on the dancers and their exquisite choreography. Immaculate jétées; pirouettes that defy laws of balance; en pointe that looks easy are compounded by airs-above-the-ground that disregard gravity- all epitomize their talent. Prima Anette Delgado projects a gymnast’s control and suppleness that is musical artistry. One senses that her vocation is one of both love and pleasure, almost without effort. As her prince, Ernesto Álvarez must be an athlete of the nth degree. There is a dance duel in Scene 2 between Yanier Gómez’ Nutcracker and mouse-king Yonah Acosta that to this adjudicator- ended in a 1st-place. The corps du Ballet, especially in the ‘snowflakes’ vignette are so incredibly coordinated that one actually imagines it must be enhanced with mirrors, à la Busby Berkeley! The rolls of Clara/Maria are alternatively performed by Kayla Kuskevics (13) and Ilianna Nunes (10); and then by Gretel Morejón in Act II. Alas, no idea which of the two youngsters we observed, but whichever one it was, her discipline and concentration were commendable Post-performance, we were hosted at a reception by José Ramón Rodriquez Neyra of the Cuban national press. Through him, it was our distinct pleasure to be introduced to many of the visiting dancers and especially conductor Duarte. In person, he appears just old enough to vote. For only thirty-three, his resume and accomplishments astound. Another positive observation- the youngsters’ [both local and Cuban] behavior was collectively mature and well-mannered; obviously a result of the discipline of dance! The Cuban Company taking the final bow. http://www.haltonartsreview.ca/index.php?o...05&Itemid=1

On DVD, Sir Peter Wright's.

Magaly Suarez-(Mamicha)-is trying her best, and the results are showing. The Artistic Director of the Cuban Classical Ballet of Miami showed up onstage last Sunday to receive a big ovation during the final bow of the second performance of her Nutcracker. Her work was nothing but a visual feast that had the power to take me-(and probably most of the audience)- back in time and place. This is a Cuban Nutcracker-(or Russian…?, well, maybe even American or English, considering how it got to be preserved). Anyways, in its survival some names names have to mentioned: Ivanov, Petipa, Sergueiev, Fedorova, Dolin, Markova, Wright, Alonso , and more recently Suarez.There was something naive and innocent about this production. One wouldn't mistake it for anything but Cuban. It fuses exotic colour with an attractive Spanish influence.Now, this wasn’t about lavish sets. I know there’s the concept that this is a fairy ballet, and it is traditionally expected to be all about sumptuousness. This is a struggling poor company, after all. They depend on the generosity and kindness of dance fans around to even get pointe shoes. So the sets are, well, borrowed props from Ballet Clasico de Santiago, Dominican Republic. Thanks to them. Now, the important thing: the production, which is shamelessly nostalgic. And that's right up my street. The Overture was played-(recorded…no enough money, so please, DONATIONS!)-with the curtains down. As they went up, we see the first attendants of the party scene come from the wings: Act I: The party scene with its happily integrated. There is a character that I had forgotten about: Herr Drosselmeyer’s assistant. This is a mischievous character that wears a blindfold and keeps playing around during the party. (Sort of like the bouffon from the Cuban Swan Lake. Another vehicle to toss put some male dancing steps) . the character was played by a vivacious and light Darlos Manuel Mijares. Right away all the party girls-(more like 12 to 14 teens/characters) went on pointe, and the dancing started right away. This is what I’m talking about. Nice choreography, very well integrated with the character shoes adults party attendants. The life size dolls were two sets. First there was Harlequin and Columbine, danced by Michelle Chaviano and Gleidson Vasconcelos and a a couple of soldier toys, male and female: Esperanza Montero and Jesus Farias. Herr DrosselmeyerbuffoonCarlos-(John Sheaffer)-was well characterized, amazing the party kids with his tricks but always respectable and usually very serious. The battle scene displayed some choreographed dancing done by the Nutcracker Prince-(an adult dancer, Tommy Bettin) and the Rat King-(Ignacio Rivera, who also danced the Snow King). Everything went more or less as expected leading us to: The Snow Scene: The Snow Flurries wore long romantic tutus with headpieces and handled branches ending in snow little balls. They were very well coordinated, and did some nice grand jetes. During the transformation music we were presented with the Snow Queen PDD, which was danced by elegant Grace Ann Powers and Ignacio Rivera. Rivera, a short but nicely shaped dancer, did a nice job partnering tall Powers, which has became one of the most attractive hallmarks of the company. She was precise and showed that impersonal halo that is part of her character. Act I ended with the image of Powers sitting on Rivera’s shoulder encircled by the kneeling Snow Flurries. Very nice. Second Part of the review coming after I'm back from Chrismas dinner. FELICIDADES!

Oh, BTW, If i may I would like to add the intersting fact that here in Miami we had the opportunity to see three different concepts ot Swan Lake-(A hight point)- ABT/Petipa via Martins, MCB/Balanchine via Villella and CCBM/Petipa/Alonso via Magaly Suarez. CCBM's as my pick.

Wow...a truly soviet girl. RIP

Ho,ho,ho!!! Merry Christmas to you Helene and everyone else!! ...or Feliz Navidad, acere!!! http://www.cafepress.com/cp/moredetails.as...ab=1&Zoom=1 (A cuban Santa Claus) Love and peace:

Here's my South Floridian humble contribution: The best: The possibility to see again three of my old time favorites “a la cubana”: 1-CCBM’s Swan Lake-(with incredible Hayna Gutierrez, my pick for “ballerina of the year”) 2-CCBM’s Nutcracker-(in their Fedorova version, and Jordan Elizabeth Long as the BEST SPF) 3-Ballet Etudes’ La Fille Mal Gardee-(Nijinska’s via Cuban National Ballet) and then: Getting to see some Balanchine for the very first time. In order of likeness: La Valse, Serenade, Bourree Fantasque, Pas de Dix, Square Dance, The Four Temperaments, Sonatine As per the dancers, this are my picks for the most remarkable performances: Hayna Gutierrez as Odile (CCBM’s Swan Lake) Deanna Seay as Odette (MCB’s Swan Lake) Ileana Lopez as Carmen (Ballet Gamonet) Mary Carmen Catoya as Dewdrop (MCB’s Nutcracker) Jordan Elizabeth Long as the Sugar Plum Fairy (CCBM’s Nutcracker) Jeremy Cox’s solo in Square Dance (MCB) Taras Domitro in Flames of Paris PDD (CCBM) Grace Anne Powers as Medora (CCBM: Corsaire PDD) Haiyan Wu in Sonatine (MCB) And I disliked: Mary Carmen Catoya’s characterization of Aurora (MCB’s Aurora’s Wedding) Balanchine’s Swan Lake concept-(which I still don’t get…sorry guys…) Balanchine’s Nutcracker concept-(well… this is known already) Ballet Etudes’ Corps And of course…the big winner of this part, the one and only THARP’S NIGHTSPOT!! (I promise…this is the last time I say it… ) …I’m sure I’m forgetting stuff. Oh well…

Was she acused of thinking of defecting..?

Wouldn't it be nice, then, if Acosta were to use his contract to get the Cuban National Ballet on film? Hey, it would be nice if he just would go and dance more often in Havana...or here in Miami. He doesn't...(alas for Toto Carreno...you know...too much trouble, too risky... )

Love that! ( M.J, may I borrow the phrase ...?) BTW, at first I nominated a ballet for the Worst categorie, while it was still fresh in my memory for a few days. By now...well, it is basically GONE. (And then, considering how VERY colorful was the costume design...far from beige, well, is even more sad.) and the winner is... Miss Twyla Tharp's one and only NIGHTSPOT!!! (What was all that about...? "Dunno" remember )

Oh, definitely! Look at the current thread of Somova. I doubt that by now there's any BT'r left without recognizing that the girl is getting a lot of publicity, and yes, she's famous, even if not for how good she is. At this very moment there are many others way better than her who will never be as well known outside their home companies or home countries...

Well, there are whole threads dedicated to the length of a dancer's hair, ,some body art displays-(tattoos), and so on...Hair color is not that far from the topic, considering how restricted the female members get to be about their choices-(usually long, dark...you know, in case maybe a Giselle part suddenly pops ...)

Well, for good or for bad, this is the deal. You are in the right track, volcanohunter. This is good for Acosta, not necessarily for RB, since-(and here Giannina is right)-he is still a formal member of Cuban National Ballet. I've personally seen and heard his messages to his fans in his MySpace site where he always praises my country, Cuba, and "my home Company, CNB". On the other side, when i read your original post I thought for a moment that his case could be following that of Nureyev, in which the independent star/dancer goes all over the place in constant self promotion, but one have to remember that Nureyev didn't have any more ties with the Kirov after his defection, and although he was always praised as the "former Kirov dancer"-(getting the soviet Company some recognition for the mere mentioning)-he was always seen as a separated entity, which is not the case of Acosta. Now, if you ask me, I'm happy for the whole situation, in which one of MY dancers gets promotion...of any kind.

...a point was established already that it is yellow.

I know. Will be there to see both performances. Wait a minute...Dew Drop or Snow Queen...? Edited to add: It was indeed Dew Drop

Ok, hands down everyone. The time has come to write about probably the most controversial and beloved ballerina in the history of the Cuban Ballet: Miss Rosario Suarez, Charin. Charin belonged to a fine triangle of ballerinas who were known by the Cuban public as “The Three Graces”-(Charin, Amparo Brito and Ofelia Gonzalez). Miss Suarez gave to the Cuban company 26 years of talent and work and in 1970 won the Gold Medal in Varna. Charin is in my opinion, the greatest of all the dancers that came from the Cuban ballet. She was exquisite, dedicated, charismatic, with a very strong technique and always with a complete control of her body, while still being beautiful and feminine at the same time. Her performances were followed by the loyal crowd of her adoring fans, who usually would create riots in defense of her idol when others would dare to criticize her. She became famous for being extravagant and pyrotechnic, but her pyrotechnic tricks became her best and most exciting form of expression, especially because they were done with pure ART. Rosario Suarez always adhered to that premise. Her Black Swan was electrifying, and her Giselle a rare combination of masterful technique and superb interpretation. Miss Suarez used to attack the most demanding roles with such energy and force that the technical demands seemed like second nature to her. It is horrible that she didn’t get the appropriate treatment that she deserved at CNB, and her talent was unfairly unrecognized, which made her defect in 1994 to US, where she danced for a while in her own Company/Ballet School, which she still directs. In the Grand Pas from Paquita As Odile, in SL, Miami As Lissette, in La Fille Mal Gardee, Havana (1980)

I know. Will be there to see both performances.