cubanmiamiboy

He did indeed, now that I remember. But I hadn't seen such Pavlova's footage before, if mem. serves.

A no so wild guess that they probably did not... Good for their new companies. Our loss is their gain.

Wonderful that they all found jobs. Interesting that they call came to Miami and none stayed at MCB.

Yeah...the animations and computerized projections were cool. I guess I could enjoy it if it was one of those contemporary art installations that use all that media and stuff that one bumps into at art shows to look at it with amazed looks for some minutes to then keep moving trying to find the real art. But for two hours I found it exhausting. I wonder who the dancer on pointe was in the vintage footage...

Leaving the whole special effects and the much talked about conversation subject on the look of this production aside, and focusing on the opera itself...I could not enjoy it. I guess it'll stay in my mind as an operatic curiosity that speaks of a particular composer's form and vision which I guess deserves to be seen at least once for the record...but just that. Now let me get back to Violetta and Alfredo...

I think next time I see Ballo-(probably during the Fort Lauderdale run)-I'll try to see it from orchestra center very near the stage. I think all this fast allegro work of the ballerina can get lost from too much distance-(and more if 1-one doesn't know the choreo very well and 2-if one's vision is sort of poor like mine. For instance...I could not luxuriate very well in that fast series of hops on pointe...so I feel like I lost much of the variation's charm. Serenade, on the other side, is a WINNER from upstairs.

BTW...I was hesitating abut bringing this issue, but I can't resist...Carlos Guerra in Serenade looked square...VERY out of shape.

I had a pleasant night. Ballo is sort of new to me since I had only seen it once, many years ago in Cuba. As I had said before, it was staged by Ashley too, and only one performance was given, with only one ballerina chosen for the role: Lorna Feijoo. As I had also said, I remember Ashley famously declaring after watching the performance that if she ought to choose one dancer to be the bearer of the role after her, that would be Miss Feijoo. I don't remember too much of it, to be honest...everything being a fuzzy memory of a very fast, quick, brilliant allegro for the ballerina. Funny enough, aside from that my biggest memory of it was the rampant fall that Feijoo took onstage during a little running segment, after which she quickly got up and danced even better. I also think that this was the only time a Balanchine role originator-(aside from Alonso with T&V)-has staged a work in Havana. So then...I was seated in the third tier center-(I usually prefer orchestra, due to my poor vision, but I really wanted to see the evolutions of Serenade from up there). Nathalia Arja is still a very young dancer, and she's still in the Corps. I really don't understand why isn't Jeanette Delgado or Mary Carmen Catoya dancing this. Evidently, just as Natasha says, this role needs one very technical ballerina. I don't have too much to add to this, for which I don't have that much of a point of comparison. I don't know the choreography to the point of detecting mishaps, but one thing I know. The performance didn't thrill me as much as that one I saw those many years ago. Cerdeiro is still a work in progress in my book. He's l not yet in the page I like my male dancers to be...a la Carlos Acosta, Marcelo Gomes, Jose Manue Carreno, Roberto Bolle etc. He's technically attractive, given, but I still don't see rapport with his ballerinas. His onstage love stories-(even imaginary ones as in Ballo)-are still not very credible. He needs to GROW...to look less of a boy onstage. He performed nicely though. While looking at the choreo, I kept thinking-(and don't kill me for this, please...)- "This ballet would had looked opulent in tutus..." Serenade was just mesmerizing. What a wonderful piece. Balanchine couldn't go wrong with it. The magnificent music, the dreamy atmosphere, the beautiful costumes..everything is just perfect. I always think of it as the sophisticated younger sister of "Chopiniana"... My mom looked at me at one point and whispered..."But that's not the order of the music!"

Such a pleasure to see our Natasha at the Arsht Center..!!

DJ, cocktails, dancers in costume...wow...sound like fun! I wish I would had checked this before to make arrangements to be there on time, but my companions tonight are already set up to go with me at a later time... I would had gladly posed for red carpet flash flash for sure!!

Well...both characters have evolved at times to the point of being given classical dancing, as with the Carabosse on pointe of the Soviet Kirov version with Dudinskaya and the Bolshoi and ABT Rothbarts using music omitted by Petipa in the '95 staging. I dont think there has ever been a dancing Don, or at least dancing a variation by himself, although Alonso's version has him partnering Kitri/dulcinea in the dream sequence to an adagio... @ 0401.

Aha...so Albertson and Arja are the choices for "Ballo..", just as I had noticed during the rehearsal I witnessed. Such a waste not to had the Delgado sisters do this...

I think it is safe to guess they wanted the better known, most beautiful ballet as a safe closer so people-(like me)-doesn't make a quick exit trying to avoid the modern experiment of choice-(Polyphonia in this case). Anyhow...I know I will be excited just thinking of "what's coming up next" during Wheeldon's...

Starting tomorrow at the Arsht Center...Why didn't they scheduled "Polyphonia" the last...? Anyhow...I'll be there and back to report. PROGRAM I: FIRST VENTURES Program I: First Ventures October 18 - November 17 Miami, Fort Lauderdale & West Palm Beach, FL Miami City Ballet's season opener features the company premiere of Christopher Wheeldon's breakthrough contemporary work, Polyphonia, along with two entrancing Balanchine ballets - Serenade, his first masterpiece created in America, and Ballo della Regina, hailed by The New York Times as a "bounding test of technique and endurance." Ballo Della Regina (Balanchine/Verdi) Polyphonia (Wheeldon/Ligeti) - Company Premiere Serenade (Balanchine/Tchaikovsky)

Oh, and a little quick note..how about the music of Nikiya/Solor Act I PDD added here for Basilio/Quiteria in the beginning of the gypsy scene...? That needs to go too... Edited to add: volcanohunter...I just read that you noticed that too. I jumped in my seat when I heard that and said out loud-(maybe TOO loud)-.."But that's from Bayadere!!" Yes...the orchestration was sort of silly at times...there were even some subtle changes of minor to major keys at times in little passages...

How did we like it...? I found the production to be very enjoyable, but my assessment also included some minuses. Here I go. Plus: Marianela and Carlos. Gorgeous dancing and even stronger acting. Marianela's Spanish heritage is so palpable. Radiance at its best all along the entire ballet. Her rapport with Acosta was amazing. Here and there she gave so many little things-(a quick tilt of the head, the HONEST smile, her mischievous look at times..). Her technique is strong as ever, and always in control. Her diagonal of sautés on pointe during the dream scene and her fouettes in the PDD....WOW! She never looked strained, and her variation in the PDD was just delicious. She REALLY look as she was enjoying herself big time. Carlos' jumps an turns might not be what they were 15 years ago, but hey...he's been performing this role for 20 years now, and he still gave one of the best Basilios I've seen in many years. He even adorned his variations with little tricks here and there, and they were wonderful to watch. More important...he's a CREDIBLE guy performing a macho role. I've seen so many Basilios in the mannered side lacking so much the macho element so required for this role that it was very refreshing to see this. Kuddos for this two amazing dancers. The sets and costumes. Very beautiful too. I really liked the moving props for the town. I was not too crazy about the tutus for the Queen of Dryads, Dulcinea/Kitri and Amour though-(too much meringue-like), and particularly the choice of dressing Amour in a tutu rather than the little tunic that makes this character sort of different from everybody else. For some not too familiar with the story both the Queen and Amour could had looked confusing. The scene of the acoustic guitars within the gypsy camp was risky, but I think it worked. Minus: Ryoichi Hirano's Espada. Too affected...not enough convincing-(no complaints on technical matters). The contemporary choreo for the gypsy. No need to mix things. I don't want to see women being handled on the air as is in a Tharp's work. Let's try to keep the traditional language here. The screaming. Ballet should keep being preserved as a mute dancing art form. Mime has been nurtured and passed along for this purpose. All those voices and even words-("Viva Espada!")- annoyed me. Acosta staged the PDD pretty much after the Cuban version. The couple of fish dives during the adagio, Basilio giving his back to the audience while supporting Quiteria in attitude at the end of the entrance and beginning of the Adagio in the PDD, the little shoulder movement for the ballerina after the supported arabesque penchee instead of the traditional mirrored renversees for both dancers among other details.

Is this scene included in the '77 Komleva production...?

BTW...I just realized I used a very generic chillout music clip to test the new procedure...why on earth didn't I choose to do some balletic proselytism instead...?

Romel Frometa is now a Soloist at Cincinnati Ballet. I wonder when will he become Principal... https://www.cballet.org/thecompany/castellon In "Munecos"-("Toys")-as the Tin Soldier with Viengsay Valdes as the Cuban doll. http://www.youtube.com/watch?v=KIj30t51tig

Let's see... http://www.youtube.com/watch?v=cZ-hM0ewxCk No...I'm trying all that with the above link, and it's not working...(I might be doing it wrong though...)

I know this topic was discussed a little while ago, and a solution given, but I can't find it. I want to know how to make the Youtube link appear in the little screen format instead of just a link. Thanks!

She was unique in her Giselle. I still place her as one of the most moving performances of this role I ever witnessed.... http://www.youtube.com/watch?v=H2N0kcut6po

Re: Balanchine's absence = ballet absence, I notice a powerful following on this absurd idea...

I think the times are very right for a ballet like "Red D..." I would say there could be a mix of nostalgia on the air for many watchers who might long for pre 1989 times, I also perceive a more benevolent approach to such times within society-(generally speaking, not only that of those countries affected by the changes). Also, it is interesting to note that, due to young age, many of the dancers dancing that ballet didn't get to know the world when it was "white and red". Even the China of the times when the work was produced is not the same as that of today.