cubanmiamiboy

2 hours ago, Drew said:

 As for Spessivstzeva and Markova: who knows? perhaps they are resting happily in the knowledge that the standard they set still remains elusive for some ballerinas ... and their legends are intact.

Drew...this was the BEST part of your post!??

But....what's going on eith Messmer's sautees on pointe...?!?! I REALLY hope that the "it is ok not to do them if you are beautiful to watch for the rest of the performance" mantra-(so masterly implemented by Skorik)- doesn't take roots in this ballet for the unforseen future. Sppesivtseva and Markova would be rolling on their graves, for God's sake!!-(rolling eyes)

On 11/6/2016 at 0:22 PM, Barbara said:

Adorable! And the clothes! Congratulations, Cristian!

Thanks Barbara. Baby Dior it is!??

On 11/6/2016 at 2:51 PM, diane said:

What a darling! Oh, you must be so proud and happy! 

 

Congratulations! 

 

-d-

Thanks a lot Diane!!??

9 hours ago, abatt said:

She's adorable.  Congratulations.

Thank you so much!!?

7 hours ago, vrsfanatic said:

Congratulations cubanmiamiboy on your beautiful daughter. So sorry to have missed this exciting event. May this journey be filled with much happiness and good health for all.

Thanks Vicky!!?

On 11/4/2016 at 6:55 AM, Mashinka said:

English National Ballet, unlike most companies, incorporates the fugue in the excellent Mary Skeaping version.  As it happens, the next revival is in January, just three months time.  With the pound at its lowest level against the US dollar for years, maybe you'd like to come over and take a look, you could even select a Cuban cast.

Mashinka...in 1954 Skeaping was hired by the Alonsos and she set for Havana, where she staged both Giselle and the completed four acts Swan Lake. This production also included the "Fugue des Willis". Sadly, the production was short lived...to be replaced by one staged by Dolin, which has more or less been kept intact ever since.

Below: Skeaping during the staging of Giselle. Havana 1954.

https://m.facebook.com/story.php?story_fbid=10154340582689191&id=647664190

I just came from a fourth viewing of this season's Giselle, and the differences from opening night are from night to day.  Leads were danced by Tricia Albertson and Renan Cerdeiro with Callie Manning as Myrtha.  

I was thinking that memories from my last Giselle before the Miami run-(from the Bolshoi..this summer)-are probably still too fresh and engraved in my memory.  Of course...when you are inside that MAGNIFICENT architectural explosion of reds and golds...facing a Corps that resemble pretty much the Rockettes in terms of an almost military-like uniformity and ravishing physical beauty...well, it is sort of hard not to compare.  But even though having seen the Russian Giselle just as recent, and also weighting in a loooong viewing story of the ballet with its main bulk coming from the exquisite mid century Dolin staging for the Cuban company, I can ABSOLUTELY declare that MCB owns a wonderful, honest and VERY HUMAN production.

This is what I perceive.  This is a company that definitely has almost ZERO exposure to the XIX Century warhorses. Who are the staging hands in this particular production...? Who are the repetiteurs...? We are not offered any clues in the programme notes. Back when Villella was still in I could picture him teaching the ballet-(he did dance it...and back when the work still had some now almost lost details, both choreographically and stylistically speaking). If you add to that that this dancers are VERY young...the majority of them with no previous knowledge of this masterpiece, then one needs to really appreciate the very fine product they have been able to craft for us.

First things first.  I absolutely LOVED company veteran Tricia Albertson in the role.  This is the second time I see her as Giselle this season, but today she truly excelled in her interpretation. Let's not forget that she is, by now, the troupe's oldest ballerina, having just celebrated her XX anniversary with the company and probably pushing 40.  A very nice tribute was done at the Arsht Center stage post performance, where large bouquets were delivered along with a sweet announcement.  The whole company then came out onstage to give a huge round of applause to a visibly overwhelmed Albertson.   I often talk about how I enjoy experienced ballerinas who are capable of bringing a deeper knowledge of the art form to certain roles.  She really transformed herself in the heroine, and by dancing with a very young Cerdeiro she really reminded me of the way I got to cherish this ballet in Cuba, with its ample array of older, wonderful ballerinas who were paired with younger, more inexperienced guys.  Albertson pulled out a very sensitive Giselle...trembling with fear and insanity during the Mad Scene.  All the required choreographic elements she did conquer...the sautees on pointe and series of pique turns on her Pas Seul...the tricky developpes a la seconde and arabesque devant into penchee in the beginning of her Act II's solo and so on, although the filet mignon of tonight's performance was without a doubt the dreamy pas de deux in act II.  The conductor slowed the tempo here and you could tell this two were luxuriating in their dancing.  It was fantastic.  Albertson also did a great exit during the segment in which she is being chased by Albrecht and got into the wings almost as if floating with a series of beautiful tiny burres advancing backwards.

Renan Cerdeiro was a lovely, attentive Loys/Albrecht...deprived of many mannerisms we see so often in this role, particularly among Russian dancers.  His dancing has been refined throughout the years, and during the Willis section in act II he went for the series of entrechat sixes-(Renato Panteado opted, the night before, for Misha's diagonal of brisés volé devant).  Cerdeiro is a very vivacious, elongated dancer who really shines through every single performance he dances in. He is not a super technician, but definitely a pleasure to watch in partnering sections.

Callie Manning-(one of the VERY few tall dancers of the company)-danced Myrtha.  She was also beautiful to watch.  Manning is a very voluptuous dancer, and with her great make up and voluminous romantic skirt she truly looked as if out of a Ballet Russes de Montecarlo vintage postcard. 

Summarizing...the company looked GREAT onstage dancing in a very-(for them)- alien element, and heir joy onstage was palpable,  I must say I was really moved by this performance.

Just because I have always been very interested in how the XIX century version of Giselle might had looked like, both in its characters development and original musical form. And because I find fugues fascinating...? (The fugue starts @ 4:06)

Well...hello to all.  Back to this thread to report that my beautiful baby girl Elizabeth Cristina just did her grand entrance to this world!!  YAAAY!!! I am at the hospital, and she is just PRECIOUS. 

4 minutes ago, Jane Simpson said:

I don't think that's Beryl Grey in the last clip - probably Liane Dayde from the Paris Opera, with Michel Renault.

Thanks for the note.  I took the veracity of the clip as noted for which it comes from the Pathe archives, which seem to be well curated. I will try to find more info..  

Trying to go as back as I could to get the essence of the sequence of sautees on pointe.  Ballerinas are Alicia Markova, Ludmilla Tcherina, Alicia Alonso and Beryl Grey. (Tcherina's, Alonso's and Grey's performances are live). What I find AMAZING is how much space they cover during the diagonal, and how LONG the sequence feels-particularly in that of Alonso-, which means that the ballerina is putting a greater strain on her pointe and ankle.  (Nowadays sometimes if you blink the whole thing is over...sigh).  Interesting to also note that only Markova and Alonso opt to end the variation in the Spessivtseva's way-(with the diagonal of pirouettes)-instead of Pavlova's-(the now common round of pique turns).

20 hours ago, Juliet said:

 

 The audience  (connoisseurs or not!) certainly agreed.  

 

I must agree to that.  The big pockets were there, and they pay...and they applaude.  That they know or not about sautees on pointe done or not might be irrelevant-(ONLY in Miami...let's be clear about this). At the end the only thing that might matter-(at least here)-is to fill out the house.

Thanks for the info Sohalia. The sisters are indeed greatly missed.

Ok. First act is over, and I am sad to report that it was less than good for Messmer's role debut. She had a "Skorik moment" during the diagonal of sautees on pointe, and couldn't even advance more than a couple of music bars. She opted instead for inventing something to substitute-(she changed her mind twice at it)-i guess in a nervous attempt to mask the sequence for the less than connoisseur Miamian audience, but her nervousness at it was palpable. After that a very tepid mad scene followed. Not good...not good. :-(

Having Chardonnay and watching Markova, Alonso and Fracci pre performance!!???

The very first ballet I ever saw...and the one that made me fell in love with the art form. Opening night is tomorrow, and I'm in of course. There are three different casts-(at least in Miami).  I assume there will be the same at Broward and WPB. Again...the Delgado sisters are absent.  I wonder why...

Here is tomorrow cast:

Giselle Simone Messmer

Albrecht Rainer Krenstetter

Hilarion Reyneris Reyes

Wilfried, Albrecht’s Squire Jovani Furlan

Berthe, Giselle’s Mother Callie Manning

The Duke of Courland Neil Marshall

Bathilde, His Daughter Adrienne Carter

Peasant Pas de Deux Jennifer Lauren, Kleber Rebello

Myrtha, Queen of the Wilis Jordan-Elizabeth Long

Moyna, Myrtha’s Attendant Nathalia Arja

Zulme, Myrtha’s Attendant Ashley Knox

I really don't know this dancer...Krenstetter.  I looked him up and it says he comes from Vienna.  Will report back! 

The most notable thing, musically speaking,  of act IV of the Mariinsky is its use of the Valse Bluette, Drigo's 1895's orchestration of a piece that wasn't even written for the ballet.  I must say I find it anti climatic and too sugary for all the drama that goes before and after its insertion, so no very unhappy too see it cut from ABT's.  Both Mariinsky and ABT use ACt IV's "storm music"-(sometimes also cut off from some productions). Mariinsky basically puts Von Rothbart grand jeteeing acros the stage while ABT's have swans also grand jeteeing in front of the curtain along with a distressed Siegfried. As per ABT's silly prologue, YES...IT NEEDS TO GO at some point.  It is VERY anti climatic to show the ballerina dancing Odette before her iconic entrance in Act II.  Still...SW is all about drama, and the ORIGINAL finale, as originally conceived and followed by ABT, can't get any better.  ABT has also GREAT mime scenes in its finale, something that can't be found at Mariinsky either. 

Edited to add: Gravitysalad...there are two productions that are very interesting to see, from a historical point of view.  One is Miami's impeccable recon of Balanchine's mid century one and the other one the also uber detailed recon of Messerer's 30's staging at the Mikhailovsky. I have truly enjoyed watching both of them.  They really take you to another era.

On 9/19/2016 at 10:13 AM, Barbara said:

That's wonderful new, Cristian! I can just picture the fun you'll have taking her to the ballet!

Oh yes Barbara!!! And it's GOT to be Giselle!!!????

Live I have seen Bolshoi-(Grigorovich)-, Mariinsky-(K. Sergueev)-, Mikhailovsky-(Messerer)-, Alexandrinsky, POB-(Nureyev)-, Miami-(Balanchine)-, NYCB-(Martins)-,and Cuba-(based on Mary Skeaping 1958). Overall I recommend ABT's.

7 hours ago, sandik said:

 

I agree -- I'm always interested in seeing dancers when they've gotten to the place where they're making informed decisions about what they're doing.  It's where the coaching (and the elements of history that come along with it) merges with the individual and their place in the development of the art form. 

 

(and always glad to hear what you're thinking, even if it's after the fact)

?

Well, it has been quite a while since the last time I posted, but I still feel I need to write a little note regarding one of the most beautiful performances I have EVER witnessed.  It took place during the Festival.  The ballet was La Sylphide, danced by a marvelous Alina Cojocaru as The Sylph and superbly partnered by Philipp Stepin as James.

First of all, big applause to the producers of this luxurious production.  The sets are designed by Vycheslav Okunev, and the costume designs are by Irina Press.  

And now...first things first.  The divine Alina.  I just couldn't get enough of her performance.  She was PERFECTION, from the way she embodied the Bournonville technique with its graceful épaulement, small clean beats, and bouncy jumps all ending in perfect fifth position to the perfect portray she does of the Romantic era ballerina.  She REALLY is a Sylph to die for....the quintessential Sylphide...tiny, fragile-looking, playful and cheeky-faced. So light..so ethereal, with her beautiful limbs-(and despite her VERY visible bunions)- she seemed to float on air.  This is the point on a ballerina's career that I REALLY enjoy watching.  The late 30's, early 40's, and that's why I really mourn the recent departure of the ABT older leading ladies.  I really feel there's a big room for this women to really sparkle with artistry and knowledge of the art form at this stage.  

As I said, we had Philipp Stepin as James, Stepin was also really nice to watch dancing Bournonville. He showed a strong and exciting technique, and his feet were beautifully showed in all the speedy footwork and batterie of the Danish school, while his kilt swirled as he made high double turns to land perfectly. He was convincing too in his acting, in his complete fascination of the supernatural Cojocaru and his desire to catch her.

Madge was a character acting class masterly given by Igor Kolb.  He supremely EMBODIED the old witch, and his performance received a big applause.

My mother LOVED the ballet.  It was her first time seeing it and she couldn't get enough of it.  When the Sylph sisters took her dead body to the air she was crying!  The Mariinsky production is DEFINITELY a luxurious one.

Gurn was danced by Dmitry Pykhachov and Effie by Tatiana Tkachenko, both rather plain.

But again...there was Miss Cojocaru on the stage...one of the VERY FEW brilliant artists of this generation...BRAVA!!!!.

On 9/19/2016 at 3:06 PM, Amy said:

That's wonderful!! Huge congratulations!!

Thanks Amy!!! 

On 9/19/2016 at 5:43 PM, maps said:

Congratulations!  I'm so happy for you and your entire family. Such a beautiful name for your daughter.

Thank you!! The name choosing has been quite a challenge!!