cubanmiamiboy

The Joffrey is currently touring in Florida

...which includes West Palm Beach, Sarasota and Naples and not-(of course as expected)- our "lost city" -(aka Miami)

Some time ago I did a google search on MEM and found that she started a new career designing and selling paperdolls in the image of herself as a ballerina

with paper costumes to dress the dolls with.

The site is still there

http://www.paperdollreview.com/catalog/ind...ex&cPath=13

Thank you for the link, richard53dog!...i opened it, and found some lovely images of these paper dolls. I was wondering if any of the doll's costumes were inspired by real designs...

http://www.paperdollreview.com/catalog/ind...age&pID=284

http://www.paperdollreview.com/catalog/ind...age&pID=127

I wonder if "Yedda" were an attempted transliteration of "Yedo", the ancient name for Tokyo.

Wow...! Now i really know that i know nothing...

If you did puzzles you'd know

Oops...(never been able to finish one...nor how to play chess...oops)

I wonder if "Yedda" were an attempted transliteration of "Yedo", the ancient name for Tokyo.

Wow...! Now i really know that i know nothing...

That sounds like a treasure, Cristian!

I can't speak to her importance at ABT, but to give a little background of Mary Ellen Moylan, she and Maria Tallchief were two young American dancers with whom Balanchine worked during a stint with Ballet Russe. Moylan was the original Sanguinic in Balanchine's "The Four Temperaments," a role quickly assumed by Tallchief; the ballet was on the opening program of Ballet Society, which two years later, in 1948, became New York City Ballet. She was also in a Pas de Trois in "Danse Concertantes," with Tallchief and, if I remember correctly, Nicholas Magellanes.

She was one of six Balanchine dancers interviewed in the documentary "Dancing for Mr. B: Six Balanchine Ballerinas." If you can find it in the library, it's worth watching. One of the highlights for me was listening to Moylan, and there were several short clips of her dancing as well.

Helene for your helpful information!

In the picture, Mme. Moylan looks astonishing beautiful, like a movie star. It also states that she was chosen at sexteen by Mr. B for the leading role in "Ballet Imperial". I'll certainly look for the documentary, as the works of Balanchivadze-(almost totally unknown to me before)-intrigues and impress me more and more now that i'm being so exposed to it via Mr. Villela and MCB. It also surprises me that, as i noted before, being Mme. Moylan that young, was the only female listed among the other three principals besides Mme. Alonso, (which was 31 already at the time and described as "today's one of the world's greatest classical ballerinas").

A couple of days ago, i was digging through old books in a second hand book store, and i found and bought, for the price of $ 3 a booklet that read "Ballet Theatre" on the cover and was sealed. It looked old, and by the title, i assumed that it was from the Company pre- ABT years, and basically to see if my beloved. Mme Alonso was listed. I was right. When i opened, i found it to be a whole panflet, with lots of pictures and information, of Ballet Theatre up to 1951. I went right away to the names, and surprise!, there's no mention of ranks, but only four names are listed in capital and horizontally at the top of the dancers list, the rest all together and in a separate group. The four names are Alicia Alonso , Mary Ellen Moylan, Igor Youskevitch and John Kriza. They are also the only ones with a biography and a full picture on the next pages. There's also a list of the choreographies the company had staged up to that year. From Balanchine, there's only three: Apollo, Waltz Academy and Theme and Variations. I know some of the BT's were able to see the company during those years, so i would like to know a couple of things:

1-Was there any formal ranking at that moment ? (There's no mention of Solists, or First Dancers, or nothing...just those names in capital and separated from the rest)

2-Why only those four dancers ? (i knew that Mme. Alonso had her peak of her career at Ballet Theatre, but i NEVER expected to be one of the only two women listed as "principals" (to call it somehow).

3-Who was Mary Ellen Moylan and how important is she considered now in the history of ABT? (Her biography calls her "the youngest of America's leading ballerinas")

4-In another page, it announces: "Ballet Theatre will open a new School of Dance in September 1951 offering a complete education in Classic Ballet. The faculty will include Agnes De Mille, William Dollar, Yurek Lazovsky, Edward Caton, Dimitri Romanoff and the stars of Ballet Theatre Alicia Alonso and Igor Youskevitch" What was the outcome of this school?

I'll appreciate any information. Thanks.

Just came back from the performance tonight, and:

LA VALSE

This was certainly the highlight of the night, which, otherwise, would have been a total failure. Le Valse was perfect. I don't know if is Villela's knowledge of Balanchine's style or what, but he certainly put MCB's dancers at their best tonight with this ballet. Maybe it's just the fact that I'd never seen it before, and the more Mr. B i get, the more i can't describe all the emotions that i feel after watching his ballets Wow, what a powerful piece. The leads were Haiyan Wu, which was magnificent, and a last minute change got another dancer to substitute Renato Panteado partnering Wu. I hate to say that i can't remember his name, and i know it wasn't either Cox or Guerra. I'll find out later, and will post his name, because he did a terrific job. Wu looked so vulnerable on her dancing, and at the same time, she had a total control over technique and choreography. I really loved her. The corps were also great. They all delivered a high dose of elegance in their dancing while certainly creating a disturbing atmosphere , particularly toward the end, when the Death (Jeremy Cox) shows up to seduce the girl. It was really effective and somehow strangely beautiful. The neo-romantic costumes and the elegant set gave the performance the right support. Bravo!

NINE SINATRA SONGS

Sorry to Tharp's fans, but...by song # 2, i was wondering what kind of ballroom competition was she watching that inspired her . By song # 5 i was almost asleep...by song # 8 i was counting the light bulbs on the theater balconies...(didn't realize before, but there are a lot!). By song # 9...better not tell. Note: No pointe shoes.

AURORA'S WEDDING:

What happened here....? I couldn't tell. The whole thing was the most disconnected and non convincing performance that I've seen in a long time. There were substitutions at the last minute . Rolando Sarabia, again, didn't perform as announced as Desire, and instead we had Renato Panteado , which i like but seemed to be under rehearsed for the role. Also, he and Mary Carmen Catoya (Aurora) seemed to be totally strangers to one another. They looked uncomfortable , and i could NEVER believe that these two were happily dancing to one another, let along getting married. Catoya was a total non-smile act during the whole performance, and looked as she was forced to be there. Technically, there were OK. His variation was fine (nice 5 th landings ), her variation too (great balances) and the fish dives were beautiful , but overall, their partnership was a disaster. I won't even talk about the rest of the production. I just want to mention Jeanette Delgado as Princess Florine. She was the only one that looked interested in bringing some life to this embarrassing death corpse. Alex Wong as Bluebird is also worth to mention. He delivered clean high jumps and lightness as the role requires...but...i don't know, i still don't get his characterization. Also the music seemed to be played in a veeeeeery slooooow tempo. Oh well, i guess that watching the Sizova/Soloviev DVD just before going to the theater didn't help a lot either...

One that stuck in my mind was, "eight temps levés in second position with demi-plié, then eight more temps levés in second position without demi-plié."

:blush:

Cristian? Others? Will you have a chance to see it at the Carnival Center?

My original plan was to attend to all of the performances, but...last minute changes due to -(what else :blush: )- classes made me cancel tonight, but i'm going for sure tomorrow night. I'll report back.

I'm still hoping some neurologist will come up with a way of blotting the memory of that piece from of my mind.

i was during the two intermezzos walking all over the place asking everybody about BT to see if i could find and meet any of the site's newyorkers ...No luck...

Silly Boy.

Next time, PM us BEFORE.

Oops..!

SATURDAY JAN. 5 PERFORMANCE.

I saw the same performance as Cristian on Saturday evening

Carbro, i was during the two intermezzos walking all over the place asking everybody about BT to see if i could find and meet any of the site's new yorkers ...No luck...

Well, about the Saturday evening performance, i just have mixed feelings.

EMERALDS:

It was very shocking to me that, not being a fan of "Emeralds" or Faure's music, i was so moved by this particular performance. I think it had to do more with Bouder, Hanna, Mearns and Stafford spectacular performances-( Bouder being truly the highlight of this part sharing the whole ballet's glory with Kowroski's "Diamonds"). I mean, i was just so moved , and i felt so much poetry and lyricism during the whole part, that it really took me a while to digest the contrast once "Rubies" had started...But back to "Emeralds", there's something i really saw beautifully done this time which i didn't appreciate that much in Miami: the "walking" PDD. Wow...how delicate and tasteful was it performed...It moved me deeply. Also, from the 4 ring, i really had the unexpected good surprise of watching all the soloists and corps variations in full view. It's been years since I'd been up there (i always get orchestra seats), and now I'm grateful to had seen the ballet from such a different visual perspective. The pas de trois was also very well danced. Alina Dronova and particularly Ana Sophia Scheller were excellent, while Carmena didn't impress me that much. Bravos also to the corps. They did a beautiful job. Epaulements and port de bras were at their bests, and yes, i think the score, played slower with an extra dose of melancholic echoes , along with the performers romantic-like mood, made "Emeralds" look that night, to me, like a green "Chopiniana/-Giselle" vision/homage/inspiration.

RUBIES:

Contrary to the miamian production, in which this was their main dish, i felt it as the weakest part of the new yorker production. It lacked the raw, extra force and energy that are its main attractions , and while Fairchild and Millepied did a decent job, i still haven't recovered from the magnetic-super powerful miamian Albertson/Cox turbo performance. Teresa Reichlen also didn't gave me a convincing "pin-up posing " attitude and sexiness that i like from this role.

DIAMONDS:

I hate to say that I'm glad of the change of Whelan/Neal for Kowroski/Askegard but OMG, Kowroski was outstanding! ...From this part of the ballet, which for me looks more like a tribute to the white acts and full of reminiscences of swans and snowflakes, the object of interest is its PDD, (which i always think it can blend and be perfectly part of, let's say, "Aurora's Wedding"). Kowroski and Askegard were just as regal as Aurora and Desire. Their technique was impeccable, and Kowroski's body placement was at its full glory. Askegard's 5 stars partnership was a great deal of help to achieve this.

THE COSTUMES:

to Mme. Karinska.

THE SCENERY:

Umm...didn't like them. I wrote about how overwhelmed did i feel on the lavishness of the miamian production, with the infinite chandeliers shaped-forming lights emerging on the backdrop and morphing into a "milky way of lights", (just as Mr. B wanted) at the end of "Diamonds". Well, i guess i was still blinking from that maharajah's treasure-like setting when i saw the NY production. It fall way below my expectations, particularly the long red sticks of "Rubies" and the Christmas-like hanging things of "Diamonds".

This is-as usual- my humble, non-professional point of view.

... as the entire company danced for joy around a tractor.

For classical / story ballet there remains the notion that the dancers must represent the race of the characters... such a white girl for Juliette etc. It's a silly notion to cling to in ballet because ballet is more "illusion" and metaphor than anything coming close to resembling an historical presentation. Look at the ones which are pure fantasy such as Nut and Swan and Beauty, just to mention a few. So why can't we see black dancers in ANY of these roles? I think it comes down to a bit of prejudice and pandering to subconscious (quasi racist) expectations of the audience.

Amazing that the color of one's skin has so much "baggage" in the 21st century. That's a crying shame.

Well said SanderO; I have always thought that only the appropriate talent should apply when casting roles but in the past I have heard audience members commenting on the fact that Juliet was being danced by a Japanese dancer (for example). The irony being that Northern Ballet Theatre's most celebrated Juliet is the recently retired Chiaki Nagao, who became synonymous in the role.

Maybe i'm wrong, but it always occured to me that for a lot of people, particulary for those for which ballet is resumed to the Nutcracker once a year, -IF- or just a couple of ballet experiences in a lifetime, they expect the spectacle to fallow the films/theater plays/(even Brodway?) role casting pattern, which,sometimes-(and wrongly)- relays more on the racial context of the characters.

ballet is more "illusion" and metaphor than anything coming close to resembling an historical presentation.

Perfect! i think this is the key for a lot of generalized confussion and a great concept for we can justify a lot of , otherwise, unjustifiable facts of ballet. So then, we know than Zefirelli's R&J can't be analized from the same perspective, regarding racial issues on the leading roles than, let's say, Martins' version for ballet. Also, this concept closes lots of controversies regarding not also race, but age and dancing, without even thinking of terms like "ageism" . Now , accepting the "Illusional" perspective, we can have a Giselle double the age than her Albretch (Alonso/Vasiliev), a young maid character played by an aged ballerina being the object of affection of her young partners, (the recent Fracci's role), or my favorite Alonso-after-Fedorova all-adults production of the "Nutcracker" without thinking about how wrong can be having grown dancers playing children-(or "trying to act like children"). At the end...it's all a fantasy...an "ilussion"!!! (Thank you SanderO for putting it so clear!)

Paris Opera Nutcracker 12/29/07

This is the production Nureyev created for the Paris Opera in 1985.

The choreography is his own, listed in the program as 'after' M Petipa and L Ivanov,

Wow...the more stories i read on the "Nutcracker" the more amazed i get. Honestly, i would have never guessed that this ballet has been so liberally changed by almost everybody. (With my profound respect for the BT's for which certain choregraphy/choreographer/company production could be their prefered choice)

Honestly, for me it looks more like an early painting copied from a pic of the Athletic Model Guild, the 1945-stablished male physique-based photography studio run by Bob Mizer in LA.

http://www.posingstrap.com/

Is this a painting of Vaslav Nijinsky?

NO NO, according to myself.

John Neumeier's Nussknacker opens with a birthday party for twelve year old Marie (Clara to us). Her brother Fritz is a military cadet and her older sister Louise is a ballerina and Drosselmeier is the ballet master. Gunther (the prince is the lead cadet who gives Marie a nutcracker on behalf of the regiment and Drosselmeier gives her a pair of pointe shoes. She is fascinated with the shoes and the person who gave them to her but falls in love with Gunther. After the party she puts on the pointe shoes when she is alone, falls asleep and dreams of Gunthar and in her dreams dances with him en pointe and participates in a "magnificent rehearsal" (Scene Two). Scene Two actually opens with a line of dancers at the barre. Scene Three is the performance where Louise dances the grand pas de deux with Gunthar, Fritz also dances and all of the dancers that are common to the Nutcracker we are familiar with in North America. Drosselmeier has much more of a dancing role than I am accustomed to throughout and I really appreciated that. The cadets' choreogrpahy at the birthday party replaced any mouse- soldier dancing and I also think I prefer that as well. To me it makes more sense.

The one thing that ran through my mind a couple of times during the performance was just how many little girls would go home and think they could perhaps don pointe shoes and progress as rapidly as Marie (Ballet mom hat on).

Interesting to me was that Canada's Royal Winnipeg Ballet Company premiered the Neumeier Nutcracker in 1972 and performed it annually until they switched to a Canadian version that I have not seen.

The Berlin Nussknacker also has a strong military component to it. Marie is separated from the Grand Duchess's (her mother) family by revolutionaries and her favourite nutcracker who is dressed in her father's regimental colours (Prologue). Act One is Christmas at the Staulbaum's who have adopted Marie an is fourteen years later. In this Nussknacker she has a sister Luise and a brother Fritz but she does not feel part of the family. Drosselmeier is an astronomer who shows up at Christmas Eve. He was witness to Marie's abduction through a magical monacle. Drosselmeier presents her with her lost nutcracker which connects her to her old world although she does not remember it. She falls asleep to have nightmares about soldiers abducted her as a child fighting with her father's battalion. She throws her nutcracker at them and it becomes a prince. Drosselmeier, the Prince and Marie have a pas de tois after which Drosselmeier decides to take her back to the Grand Duchess in a balloon which involves a trip through the snow and the Snow Queen's territory. Act II Is the reunion of the Grand Duchess and her daughter Marie. She hosts a grand ball with ambassadors from different nations who, of course, do characteristic dances. The guest of honour is a member of Marie's father's regiment (the prince) who the Grand Duchess wants her newly found daughter to marry. Of course Marie is thrilled to oblige.

Wow...I was just thinking of Hoffmann, Ivanov and Petipa...

How about "Who Cares?"

Sweet.

For classical / story ballet there remains the notion that the dancers must represent the race of the characters... such a white girl for Juliette etc. It's a silly notion to cling to in ballet because ballet is more "illusion" and metaphor than anything coming close to resembling an historical presentation.

Great statement, SanderO. I totally agree. Still, i feel that traditionally- (and wrongly)-ballet gives black dancers less access to certain roles than , let's say, opera to black singers ,despite of the fact that physical and dramatic skills should be the main points to take in consideration when picking lead performers-(or performers in general)-in both art forms...

Those Munecos videos are wonderful! There's also a delightful one with Alihaydee Carreno and Rolando Sarabia. The effect is like something from Petroushka without any dark or dangerous elements at all.

I know...Still, there is some hidden darkness in here bart. See, the interesting element of this PDD is that it tells a multi-cultural/multiracial truncated love story. She impersonates a classic mulata cuban doll, which are tipically made of soft cloth and cotton as stuffing. This dolls , as it's been the tradition since the XVIII Century in Cuba, are made by female members of the family as presents to their daughters or grand daughters..(later on they started being produced comercially), but that's why her movements, when she starts dancing her solo back to the audience, are so flexible, particulary her arms and legs..those dolls have no wires or any stiff material inside, just cloth and cotton. The male character represents an spaniard XIX Century tin soldier, which were also very popular toys back on the days in Cuba. So underneath its cuteness, this is really a sad complex story that talks about social status, race and even politics...(assuming that if he represents an spaniard militar of the cuban XIX Century, she must have been a slave, being black). This tale of "forbidden love" is visually easier to understand when watching the original dancers that vere casted on the roles, also on Youtube: the black cuban ballerina Caridad Martinez and the recently deceased blond Fernando Jhones (RIP).

What other ballets is there that is sweet, cute and romantic - but not pointed entirely towards kids?

Mmm...besides all the above suggestions, i'll give you a lovely and non-pretentious PDD that you and your wife might enjoy. Go on Youtube and just type Munecos Ballet...then click on the one with Xiomara Reyes (ABT) and Yat-Sen Chang , choreography of the cuban Alberto Mendez...Then tell me...(BTW, you can also see it danced by Lorna Feijoo, SFB principal and Rolando Sarabia , MCB principal on Youtube too...)

and Welcome!!

I just came back to my hotel from tonight's performance!..I will be giving more details once i'm back in Miami (i'm flying in a few hours!), but hey, i really have to say something before leaving... to "Emeralds"...

See ya!...

P.S. Also coming, a review of the 2:00 P.M Romeo&Juliet performance, which i also went to...

Choreographer Alberto Alonso died this past Monday.

From The Gainsville Sun:

Internationally, Alonso was best known for his 1967 work "Carmen Suite," the only Bolshoi Ballet ever commissioned by a non-Russian. Although his signature contemporary style was controversial at the time, "Carmen Suite" has endured as one of Russia's greatest loved ballets

http://www.gainesville.com/article/2008010...30309/1002/NEWS

This is devastating news...I had the pleasure to be last year at the Jackie Gleason Theater, Miami Beach, in a Gala offered to his extensive career. I even approached him, and he signed my program. A little , EXTREMELY HUMBLE, aged guy with exquisite manners. He even apologized to me for not having a good eye sighting in order to stamp his signature in the program. I had to guide his hand. I'm very sorry for this loss, and i want to offer my condolences to his widow, Ms. Sonia Calero, a former BNC character ballerina who danced signature roles in many of his creations. Yes, Cuba has lost one of the three Alonso responsible for creating the cuban style and ballet school: Alicia, Fernando and Alberto:

RIP Mr. Alberto Alonso

Cristian--thank you for that report. Is the Snowflakes you saw at NYCB very much like the one you saw at MCB? That was the highlight of the performance

You're totally right papeetepatrick!..the snow scene was beautiful...the costumes of the snowflakes vary a little bit from the miamian ones...Over here they have a string of little snow balls-like alonside the dancers arms attached to the bodice, which create, from the distance, a very effective ilusion...

See ya!..

( God, it's cold in here...!)