cubanmiamiboy

I know this number did not survive into the standard versions of SB in the west. Every time I listen to it in B's Nut, I wonder if it has ever been used where it was supposed to. Has anybody here see it in its original balletic context..?

Tonight is the biggest celebration of the Cuban family's Christmas. It is "La Nochebuena", a wonderful family gathering in anticipation of tomorrow's celebration. My grandmother used to tell me all about this huge party, where everyone would get together for big meals made of pork, rice and beans and yuca, and champagne flowing freely...even for the little ones. At midnight the whole town would gather in the church, where "la misa de gallo"-(the roster's mass)-used to take place. A time gone by... FELIZ NOCHEBUENA! and that all the wonderful feeling of Christmas permeates your homes and families. "Unos Pastores", Cantata de Navidad by Esteban Salas .Cuban baroque Christmas, 1793

Feliz Navidad, Jayne! With the permission of the mods, I will try to give a quick answer to this un balletic issue. Cuba is a disaster, socially, politically and economically speaking. Sex tourism is what this place, which once was the little French Riviera of the Americas, has to offer now. The fact of getting a brand new American embassy there and a Cuban one in Washington won't change anything. The only difference will be that Americans will be free to travel there and enjoy such disparities. I hadn't returned in 13 years, and was saddened by such display of surrealism. I will get the names of the Sugar Plum and Cavalier to post them. They made for a great performance.

Ah...what a wonderful performance. I still get amused by the evolutions of the children in Act I. Like the way little Clara plays a very proper hostess role by taking great care at gathering her friends' capes just to quickly pass them to the maids. It occurs to me that this is probably what Balanchine was used to as a kid while growing up in czarist Russia. Every time I see Act I and feel its wonderful vintage Christmas feeling, I feel nostalgic for a time that has gone by...when things were simpler, less electronic but probably more family oriented. I wonder if this type of celebrations are still somehow in vogue here in America. I just came back from a 5 days returning trip to Cuba, and I saw there's still no Christmas celebration there. Such a shame. From Act II I paid more attention tonight to the Salome-like Arabian dance. Oh...Balanchine's version certainly gives one a brake from the controrsionists of the world usual display in this divertissement. Flowers were amazing, with a great leading Dewdrop danced by Leigh Ann Esty. Zoe Zien was scheduled to dance it, and I was really looking forward to it, but Esty made up for it big time. Another highlight of the night was the Grand Pas. I don't have the names of the dancers-(some new debutantes)-but as soon as I retrieve my programme from my car I will add them here. House was packed, and people were cheering.

Repeating tonight...

"To anyone who enjoys a GOOD SMOKE..!" Season Greetings!!

I came to this production some 13 years ago full of animosity at having to give up my old "after Fedorova" Nut from Cuba. Yes, I still miss the Ivanov Fee Dragee PDD, the Snow Queen and King, the three Ivans, and, believe it or not, the mice on pointe. But Balanchine's is superb. This year I concentrated more in Act I, usually so neglected in the Cuban version in favor of all the pointe work of the snow scene and all of Act II. I looked and much enjoyed the little accents of the party goers, the maids, and the highly choreographed children's evolutions. If anything, I would suggest to give them a little more of a free will to do. Even the sequence of Frau Stahlbaum looking for and reaching a sleeping Clara, along that wonderful violin solo borrowed from SB was an eye opener this time. Anyhow...then came the glorious Snow Scene, and I was in my realm. I really like the fact that, compared to NYCB, the speed of the Snow and Flowers is faster...so the accents are sharper. Sugar Plum was Tricia Albertson, who looked somewhat tired. Her cavalier was Reyneris Reyes. Both are veterans, and it is starting to show, but they still danced beautifully. Candy Cane lead was a wonderful Kleber Rebello...all fire and speed. Arabian was the sensual Callie Manning on first night and leggy, very stylized Jordan Elizabeth Long on the second-(kuddos Miss Long!). The show was stolen by a fierce J. Delgado as Dewdrop, very much in the LeClerq vs. Tallchief original fashion-("now let's see who the real star is here...!") A wonderful night.

The Nutcracker always does its magic. Last night's Nutcracker at MCB, and while absorbed in the wonders of Tchaikovsky's beautiful music and Balanchine's vintage staging, I went into ruminations, particularly during Act I. This is an act full of social behavior lessons, and a painful reminder of how times have changed in this aspect. Right from the start one can see the children interacting actively with the adult world, and at times, imitating their codes-(as with the square dance)-right from such early age. My mother once told me that this reminded her of her pre communist childhood, where Christmas were celebrated in full regalia in Cuba, families got together, and just as with the ballet, children would look forward to it as an unique treat. I didn't get to live those days, as way before I was born Christmas had been banned by Castro, including Christmas trees. There are other signs of a time gone by...as the male adults introducing little girls into the dancing realm...(There are some short clips of the last Grand Duchesses dancing with adult officers on board of the Czar's yacht Standard...and little Anastasia just looks as one of those girls from the Nutcracker). Nowadays I don't think a male adult would dare to do such a thing in a party. From Act I one can tell that little children were expected to behave in certain way, and they knew it. Curtsies were implemented, and reprimanding a bad behavior wasn't rare. There is also the age hierarchy, and the way it used to be highly regarded-(way before nursing homes with forgotten aging relatives in them were invented). The grandparents get into the ballroom and they become the center of attention, everybody trying to provide for their comfort. How beautiful. Oh well...

I'm lucky enough to have a wonderful staging of Balanchine's here. I'm very familiar with both City Ballet's and MCB's, and I prefer the fastest pace of the Miamian staging. I think Eddie's input has to do very much with this. It is a fact that tempi were faster back in his days, particularly during the snow scene and Valse of the Flowers.. And then, of course, the Cuban after Fedorova rendition of CCBM, if only for the Snow Pas de deux and the Ivanov Sugar Plum Pas de deux.

I wish doug would do a W&P session with a reconstructed example of this Pas...(hint hint.. ;-)

Markova looks to me very young in that amateurish film, Leonid...somewhat far from the more austere image from her bulk of online photos and even clips-(Giselle...). Still...her dancing already has that airy, sharp quality I admire so much of her. There's an attack, a CENTERED attack I see in her dancing..a quality that seems to be lacking in modern ballerinas..even in the contorsionists of the world. Collier's coaching is also so revealing. I never get tired of this Ivanov choreo...it is probably my all time favorite PDD adagio..even more than SB. And... all this coaching...it is all "Made in England"... ;-)

I hadn't seen this image before -- what a beautiful arch over the top, and the costumes echo the color choices. They used the original Vsevolozhky design...

Having seen both City Ballet and Miami for Balanchine's, I prefer Miami-(costume design, faster pace of the snow scene and waltz of the flowers..). On the traditional side, I have the past experience of Alonso's version, which follows the design of the Fedorova's 40's staging-(Snow PDD , Sugar Plum's original adagio and solo and the Three Ivans) plus Clara on pointe. One choreo I would like to see is the staging of the historical production-(original sets and costumes)- done for Berlin.

Not impressed with the production-(never been with ANY that I've seen of this ballet due to the score anyway...). It felt dragging and lethargic, and the fact that the leads were given on opening night to, again, the tired Kronenmberg/Guerra couple, made it even less likable on my eyes. On the bright side, Kleber Rebello was funny as Mercutio. Kronenberg had a nice moment onstage at curtain calls when it was announced her 20th anniversary with the company, and Carlos Guerra brought their little one, which she picked up along with a huge bouquet. That was cute.

Got cancelled tonight at work, so I'm doing this.. Will report back.

I'm puzzled by your report, volcanohunter. DQ is a busy ballet itself...no need for that many changes and extras. There was another thread a while ago about the impact-(or lack of)-resulting from the suppressing of "iconic moments" in given ballets. You give the best answer here. Shame, shame... (and a shame Gutierrez didn't get to to the sautees on pointe...she's an EXPERT on that field..!)

Oh really...? That doesn't sound too good to me. How about Kitri's solo with the toreadores with that iconic final diagonal..? THAT they have to have it included, I suppose...

Ulanova and hubby...they look tense...

Well, of course. Merde for Mrs. Reyes!

Thanks for the update..

Did you get to see her Giselle a while ago...?

Oooh..you don't mess up with Petipa's Mazurka des Enfants..!