cubanmiamiboy

The dancer playing Sugar Plum Fairy is Amaya Rodriguez, ex Cuban National Ballet Principal.

I'm on my way to see this. I am finding Teuscher very interesting, so I feel like starting following her. Will report back. https://www.parkerplayhouse.com/events/detail/owdf-cinderella

Like someone said...I'm willing to bet that he's enchanting the angels. RIP noble servant of beauty.

I saw two performances in Broward. Mind me...I did so right after watching the regal, svelte, quasi military -formed ladies of the Mariinsky in "Bayadere", so yes...my appreciation of the Miamian "Diamonds" this time has been certainly molded after subjectivity with the Russian troupe as a backdrop of memories. Out of the two performances what I remember the most is how much more appreciation I have now for "Rubies", after seeing it wonderfully danced by veteran Tricia Albertson, who seems to be reinvigorating herself as she gets older instead of slowing down, partnered by a fantastic Kleber Rebello, one of my ever favorite dancers of all times-(as seen live, I mean). My last "Jewels" I had seen was at the Mariinsky in SP, and although their "Diamonds" was, of course, impressive, their "Rubies" was not particularly brilliant. Well...it was quite the opposite here with MCB. I really had never cared too much for "Emeralds". No matter where do I see it-(I've seen it live by NYCB, MCB and MB)-I always find it soporiferous. It never fails to puts me to sleep, and this time wasn't the exception. As I say...I found "Diamonds" this time less regal or "Petipaesque" than my last one seen in SP. MCB is a company of VERY short dancers-(Jordan Elizabeth Long and Callie Manning are the two very exceptions, and that's mainly the reason for which they always land parts sans partners). That said...I appreciate their efforts at this Balanchinean's tribute to his memories of the Imperial Ballet's classical white acts, but this is a part that I definitely prefer seeing the Russians do. One little detail I observed during "Diamonds" is that, given that the company uses the original Karinska's designs, the white tutus for the corps are those droppy numbers that sort of shorten even more the small frame of the Miamian girls. From the two couples I saw in "Diamonds", I liked Katia Karranza partnered by Renan Cerdeiro much more than Lauren Fadeley/Chase Swatosh. On a side note...Fadeley, as the "Tall Girl" the first night, looked heavy.

Doing my best to channel the role...,😋 https://m.facebook.com/story.php?story_fbid=10155359939989191&id=647664190

Traveling arrangements are more difficult this season with so many performances to try to avoid. I guess I will try to design everything around the Osipova/ Hallberg performance-( if it happens at all)- and Harlequinade.

My summer trip then needs to be ultra carefully calculated. I certainly DON'T want to spent all that money and and effort to be stuck with bland Seo or weak Copeland. In descending order my interests go to Murphy, Shevchenko and Lane. Geez...the female lineup is quite thin this days...😶

Well. I grew up with blackface characters. They are an important pilar within the vernacular Cuban theater, and , far for trying to make it disappear, its study and legacy is encouraged within theater careers alumni. http://www.habanaradio.cu/articulos/teatro-bufo-costumbrista-vernaculo/ I went back last night to compare the current versions. Ponomarev vs. Vikharev vs. Makarova. All I can say is that..boy...Petipa really knew his stuff. He was a genius.

The "drum dance" dancers are also heavily darkened.

AND...let's keep in mind that, as per the video of the recon I just provided, Gamzatti had, originally, her share of 32 fouettes during the pas de trois coda, now eliminated in favor of the re invented italian fouettes/20 regular fouettes. Sometimes I wonder what if Petipa could be brought back to be a witness, for one night, of his Soviet "re-imagined" ballets. And poor Vikharev. All his efforts...and all that labor of love put into such magnificent production, which would had been a unique item in the ballet world...all for...nothing.

Not sure about this. If they are still keeping the black gloves it is to indicate the kids are black. If they wanted to erase any indications of blackness the would had removed gloves and leggings...AND black necks. They removed the paint probably because they were required to do so. Still...black hands paired with white faces is silly.

More thoughts: THE BLACKFACES. Now all those in need of politically correctness during the Golden Idol section should be happy with the removal of the blackfaces. But...are they really COMPLETELY "politically correct"...? They still have black hands, black legs and black necks....all that paired with white faces..! I think the Mariinsky is being sarcastic here. They are still letting you know that the kids are black. And we were demanding the out of the blackfaces to indicate blackness...and they are still indicating blackness EVEN without the blackfaces. Interesting. ;-)

Edited: Double post

I have taken public transportation all around the world but down here. Not recommended AT ALL.

Agh...what an uninteresting, unbalanced season. Good thing I chose instead to go see the Russian DC Bayaderes-(although I will be missing MCB's "Jewels" in the process...😞)

I saw AK last year in SP's White Nights festival...and just found it to be a bore. But again...I have never been a fan of the XIX century literature "dark gowns" ballet adaptations.

Well..that would be in the Soviet, truncated Bayadere.

The first time I saw B's SL I was surprised. I had read countless writings-( mostly in this forum)- about said famous "distillation", "essence", and so on. When I saw it, my one impression-(which still stand)- was that of the choreographer rrather showing a compression of the two white acts, but certainly NOT in a plotless, pure dance form. Actually...it shows more story- telling, narrative factors than the Soviet white acts, and it-( perhaps)-even shows to be permeated to what Balanchine remembered from Imperial productions, visually speaking-( the mechanical swans...the hunters interacting with the corps, Siegfried's entourage accompanying him during the beginning of the act etc...). So for me it was just Balanchine showing a bit of a story of Swan Lake without getting to stage the whole thing. This compression is definitely not in the same league of the other famous B' s full length distillation...those from Raymonda-( Pas de dix, Cortege Hongrois and RV)-, where there is absolutely no narrative to follow.

Oh..definitely. Just the grand spectacle of the Russian shades and their unique sense of beauty and elaborated plasticity makes up for an entire worthy trip. Tumbs up for the GRAND, tsarist era inspired shades, Natasha! 🇷🇺💙

I bought tickets for every performance from Wednesday to Sunday...but skipped a double with Skorik. Oh..how I wish they would get us Novikova at some point...😞

Batoeva!!!!

There is absolutely nothing wrong with your post. The Bolshoi DOES look and IS very white. Not only the company...but the whole of Moscow and SP cities. I don't think I have ever in my whole life witnessed the sight of thousands of people walking toward me-(as in the Moscow subway)- where almost everyone had porcelain skin and overwhelmingly blue eyes. I notice a problem in US as to intertwine "race" with "ethnicity". People from different ethnic groups can all be or look pretty caucasian. Classic example...myself, and the confusion I see when I am asked in forms my race and I write "caucasian", and "Latin" as ethnic group-(Cuban born, Swedish descendant here). And then the ever present.."Oh..you don't look Cuban!", intended as a compliment...when in reality is quite offensive. Bottom line. There are many ethnicities out there-(as with those mentioned in the Bolshoi)-, but light skin is light skin...here and in China. That the Bolshoi IS white and LOOKS white is no rocket science to discover.

Oh...no doubt about personal preferences. I was just sharing my own. ;-)

After years of theater going I rarely use websites to purchase tickets. I usually go to the venue, 99% of the cases within the very same day of the performance. They all usually offer a variety of deals-(rush tickets...student tickets...standing up tickets...discounts etc).. On winter I scored a $15 rush ticket to see Placido Domingo in Nabucco the very day of the performance...right in orchestra. If I have to relay on online tickets, I then go to the venue website-(as with the upcoming Mariinsky Bayaderes).

Petipa laid out the molds...and they came to stay forever.✊