cubanmiamiboy

Hi bart!..The only thing that i'm just dying to see, and i guess it will have to wait until the II Program starts, is Sarabita paired with Catoya. Maybe for the upcoming "Jewels" performance at the Kravis ?. If he could make a full recovery of his knee problems and dance the way i remember he used to, i'll assure you a memorable night...Do you have any news on the casts?

...I have my hesitation on the supposed winning outcome of this strategy...

Ok, so this is my impression of the second night of "Jewels". First of all, i want to excuse myself to the Balanchine experts BT'rs for not being super knowledgable on the master's works. In Cuba my only contact with the Balanchine works was reduced to "Theme and Variations" and "Apollo" basically. "Jewels", for me, was the POB DVD which now, after seeing MCB doing the job, falls way behind. So, as soon as i got my program, i had a sense of frustration right away. This is the thing. I'd been anxiously looking forward to see the Mary Carmen Catoya/Rolando Sarabia duo casted in "Diamonds", as the big introduction of Sarabita with MCB, after a long time of struggles with knee problemss... and they were nowhere to be found in the whole performance, so i supposed that they had performed the night before at the opening, so i had missed them.. Big dissapointment. "Emeralds": The first thing that left me breathless when the courtains went up was the sets and costumes. They were over magnificent. There were also a bit distracting IMO. The thing is that I still can't help but be amazed and kind of overwhelmed at this side of the world's view of sets and costume design. I'm not used to the opulence of the western companies, and "Jewels" was absolutely an absolut full display of lavishness. My eyes were blinking with the shiny Karinska's tutus and huge tiaras, against the black and green sparkled backdrops. One thing...the loose jeweled waistline pieces of the tutus looked heavy, and were noisy during sautees and jetees. On the other side, i must confess that "Emeralds" has never been my favorite part of the ballet, and for some reason Faure's subtle Symbolist music really doesn't do it for me. (am i going to burn in hell for saying this...?) The dancers: Yang Zou and Patricia Delgado were choreographically precise, but for some reason didn't look to me quite confortable with one another. It's fair to note that ''Emeralds,'' with its focus on serenity and arm movements, is difficult to dance, but Zou and Delgado, despite this little missing chemistry, managed to caught its subtle nuances and the proper "walking" motor motive . Still, i would have prefer to see Jennifer Kronnemberg casted in the main ballerina role for what i've seen that she looks more "romantic" to me. Overall, I went through the whole piece just in a perpetual waiting for "Rubies", which i had seen before by MCB, and it's my all time favorite. "Rubies": Now, that was something. It was the highlight of the night. The dancers:The dancing reached the highest level of the evening and the Tricia Albertson/Jeremy Cox duo was everything i could expect. She was the perfect "little ballerina with the great personality" spinning off fast multiple pirouettes, stunningly incorporating them into images of flirt and seduction and Cox was exciting and energetic, keeping the dancing at high levels the whole time. Villela, as the original dancer casted for the role, must have been very proud of Cox's interpretation. and Albertson was probably as fierce in her speed and technical force as Patty Mc. Bride , enhancing with her sharp technique the ballerina's role playfulness and sparkle with dynamism. Cox and Albertson looked as they knew very well the inner esence of this middle piece, and they were really enjoying the dance and one another, teasing each other in a provocative and flirticious way. I also want to mention the beautiful Allynne Noelle as the "Pinup girl". She was all sensuality and joy on her poses and dancing, and held her acrobatic shapes and precise arabesques with steadiness and clarity . I must confess I started watching "Rubies" with some hesitation, because, again, i was expecting another cast (Jennifer Kronember/Renato Panteado, wich i love), but surprise, Albertson/Cox really made it up 150 % for me. Excelent job!!! Special congrats to Francisco Renno, for his excelent piano interpretation of the marvelous Stravinsky score. "Diamonds": Diamonds was the ultimate Grand Spectacle. The sets were astonishing. In between the lighting desing, the chandelier themed backdrops and the costumes, i wouldn't tell which was more sparkling, (a little too much, if i may...?) The "Pas de deux" was danced by Jennifer Kronenberg and Carlos Guerrra. The dancers:As i said earlier, i was kind of dissapointed of not seeing Mary Carmen Catoya and Rolando Sarabia casted here, so i must confess that i went through the whole piece in a permanent comparisson mood. Kronemberg made an elegant but cautious interpretation as the ballerina, partnered by a noble and careful Guerra. Perhaps they need more time to work in the role, but still didn't miss the ballet's essence. Overall, they met the technical standards and were nicely complemented. It's worth to note that they're married in real life, and i think their chemistry showed through their dancing. He was a tender partner, and she was delicate and secure. I liked it, and they received the biggest applause of the night. Special mention to the "Corps" . They were very well sincronized and i couldn't detect any major imperfections. Nice job. Somewhere along the BT forums, I've mentioned that i'm not very fond of abstract ballets, and "Jewels" is not the exception. I also admit that i have the tendency to be hyper critical , and usually get defensive if out of the XIX context. Still, i want to say that i really enjoyed the night. In general, all the standarts were met. "Emerals" was delicate, "Rubies" energetic and "Diamonds" imperial . The orchestra was particularly superb , and i highly recomend this miamian production to everyone.

I'm going tonight...!

I wish i could go, but i have a test tomorrow morning... I'll go tomorrow night. anybody else...?

If I want to see just a good actor,mostly not dancing,or too old to do it,I go to the cinema,not to the theatre;it's less expensive.... You got it then, boy...good luck

Well, yes, this is totally right. But, let's face it...how many times have we balletomanes felt under the spell of the "Personality Cult" phenomenom...a lot, i would say. Yes, Rudy's () followers among them. Also Fonteyn's. See, i think this is a more complex phenomenom that what it looks like. As we start to learn about ballet, and its intrincate paths, we start learning not only about technique, but also about everything that surround this world. The Ego, the fame, the decandence, the physical decay...and also, we start to learn to venerate our favorite dancers beyond hyperextensions. Maybe i do come from a country where personality cult is a common practice, (maybe i'm brainwashed, who knows), but there's something i know for sure. When i was a teen, starting to watch ballet, and my older friends would tell me "Tonight Alicia is dancing", and i would notice of how respectfully admired was this "old lady trying to get on pointes", i knew there was something to look at...and i did. Years passed by, and she continued dancing, and i continued learning, and at the end, when she could barely stand still, me and my friends, (along with the hundreds of cubans at the theatre), would just stare at...let's say,her hand's movements, or that amazing "Port de Bras", or the subltle magnificent accent on that perfect romantic pose that lasted less than a second...and THAT was a master class, an incredible opportunity to learn from a Prima, and yes, i was learning...I still learn, everytime i watch my beloved Mme. Alonso.s videos, not comercially released, some of them showing her veeeeeeeeery old and shaky, . Yes, there were jokes. My friends and i would joke during the intermission about her and her age, but those were OUR jokes, made within her hardcore fans domains, never malicious, in a very low tone, so nobody would listen...and then, back inside, we would just SCREAM until we lost our voices at the infinate courtain calls while she, again, would offer one of her best classes ever...hot to take a proper old fashioned Ballet Russe-style bow, BRAVO ALICIA!!!!!! over and over and over.and over ...IMO, I was not only applauding her for that night performance. It was also for all the happiness that she and her Company and had given me for years. I will never have enough ways to comunicate my infinate appreciation for somebody who was responsible for some of my best precious memories of my adolescence, and THAT, is something that doesn't come with every hyperextended dancer. Oh, well, call me crazy... Dancerboy, watch Fracci, while she still exists...

i know...Happy B'Day!!!

Wow, that's blamboyancy right there!!...Well, she always was. To tell the truth, i always found her to be a beautiful dancer, with a fine body, not overweight at all. She is tall, and sometimes she reminded me, when being pertenered by a shorter male dancer, the Gregory/Bujones phenomenom...

Boy, it is...!!!

ageism...? Keep it on, boy!! Amen

Mme. Alonso needs one: Loved by millions in Cuba and abroad, and equally hated for her communist political afiliation. One of the few living Prima Ballerina Assolutas on earth, Balanchine's muse and Fidel Castro's close friend. Praised, venerated and equally bitterly criticized by the same dancers at the same time for her tiranic ballet managment. Responsible for elevating careers to the point of having cuban principals in all major world ballet companies, and accountable also for stoppping others from the rise. Internal scandals, major triumphs, and all this while being legally blind since her early twenties...Well, i think there is some material to work with right there...

Is fortunate that she existed. No, of course there's no comparisson. Mme. Fracci is a "Prima Ballerina Assoluta", a Ballet Grand Dame, a living legend. ..Miss.Z, a "hyper gifted body", as you properly stated. "When i'm on the stage, even standing, i feel being at home. This is the only place where a dancer belongs: the stage". Mme. Alonso ... I always thank God that i could see Mme. Alonso's magistral late performances, being totally blind. Every one of them left a deep impact on my mind and soul, with its artistry, elegance, royalty, magnificence and old time glamour...These Dames are rare entities from another time, when Ballet was about gracefulness and distintion...and is tragic that we're in the path to loose all this in the sake of gymnastics...Don't only focus on the "old lady trying to stay on her points"...instead, look beyond the physical aspect and try to surround yourself in the magical spell of these rare performers and their experience...(and they have aquired some, don't you think...?) if you were lucky enough to had seen her live in her prime, maybe...did you? I know...can't wait for the inclusion of the new category "Ballet" in the upcoming Olimpic Games.

The words were: " Sooner or later, the stage is flooded with women, " Arlene Croce on George Balanchine’s "Ballo della Regina".

the one with the diagonal of spring points and the little pas de cheval in between...?

Oh, i love Ricky's too...(They're big here in South Beach)

Candite, Coulante, Fleur de Farine, Miettes qui Tombent, Canari qui Chante, Violente and our favorite Fee des Lilas

Mme. Nathalie Krassovska (RIP) Natalia Bessmertnova

I love to watch left turners...

Wow canbelto...how sad. I adore Nureyev, but i must observe i'm not particulary enamoured with his Albretch in the Bavarian production, unless i just focus on his wonderful technique and leave the characterization work behind. Thank you for your advisement. I hate to see fading performances, particulary when one loves the performers. I guess i can only tolerate this sour taste coming from my beloved Mme.Alonso , in which i, despite her late shaky performances, always find an unbelievable glimpse of artistry and now forgotten old school glamour that still enchantes me ...

I read that in 1893, Marius Petipa, Enrico Cecchetti and Lev Ivanov pooled their extraordinary choreographic talents along with the music of Baron Fittingov-Schell for a "Cinderella" production in St. Petersburg. The production was noted for its demonstration of dancers' technical virtuosity, and made Pierina Legnani famous for being the first time that 32 fouetees were being performed in Russia by a ballerina. I've seen beautiful pictures of Legnani in the title role, Maria Anderson as the Fairy Godmother, and the beautiful designs of Matvey Shishkov. I also read that Ivanov did a restaging of the ballet for the Bolshoi in 1898. What happened to this ballet? Was it as famous as "Beauty"? Was it ever performed afterwards somewhere? Was it notated? Is the music recorded? Mr. Fullington, Mr. R.G, Mr. Johnson..?

I'm really interested to hear some comments on this version...BTW, the more i rewatch the tasteful Besmertnova (oh, so lovely and feathery... )/Lavrowsky production and compare it to some modern hyperextended "Giselles" ( ), the more convinced i am to leave it as #1 on my list)

Yep, big time addiction...Welcome Tuscany to the addicts circle!!!

Wow...after reading Helene's post, what can i say...It makes me want to get the first plane and move out of here...Yes, it's wonderful to have people like Doug doing this type of things. Again, i want to thank him for all that i've learned from his excelent posts and comments in BT. THANK YOU DOUG !!!