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Great Cuban Ballerinas of the 60's, 70's and 80's-(VI)


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Ok, hands down everyone. The time has come to write about probably the most controversial and beloved ballerina in the history of the Cuban Ballet:

Miss Rosario Suarez, Charin.

Charin belonged to a fine triangle of ballerinas who were known by the Cuban public as “The Three Graces”-(Charin, Amparo Brito and Ofelia Gonzalez). Miss Suarez gave to the Cuban company 26 years of talent and work and in 1970 won the Gold Medal in Varna. Charin is in my opinion, the greatest of all the dancers that came from the Cuban ballet. She was exquisite, dedicated, charismatic, with a very strong technique and always with a complete control of her body, while still being beautiful and feminine at the same time. Her performances were followed by the loyal crowd of her adoring fans, who usually would create riots in defense of her idol when others would dare to criticize her. She became famous for being extravagant and pyrotechnic, but her pyrotechnic tricks became her best and most exciting form of expression, especially because they were done with pure ART. Rosario Suarez always adhered to that premise. Her Black Swan was electrifying, and her Giselle a rare combination of masterful technique and superb interpretation. Miss Suarez used to attack the most demanding roles with such energy and force that the technical demands seemed like second nature to her.

It is horrible that she didn’t get the appropriate treatment that she deserved at CNB, and her talent was unfairly unrecognized, which made her defect in 1994 to US, where she danced for a while in her own Company/Ballet School, which she still directs.

In the Grand Pas from Paquita

As Odile, in SL, Miami

As Lissette, in La Fille Mal Gardee, Havana (1980)

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Fair enough, more clips of Charin are popping out on Youtube, to reassure what we all knew back then...that she was...IS... our own Prima Ballerina Assoluta-(in our hearts, that is...)

Lissette's variation, in Nijinska/Hertel "La Fille Mal Gardee"

In a magistral interpretation of "La mort du cigne" :wink:

Don Quijote Pas de Deux Adagio with Lienz Chang

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I remember Suarez as one of my favorites when the Cubans first came to Washington D.C. --but I do vaguely recall her appearing primarily in soloist roles when I saw her. I believe too I was especially struck with her dramatic quality -- the way her eyes projected -- in a ballet based on a Lorca play. (Eyes don't tend to fare too well on youtube.)

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A generous soul has just posted some excerpts from Miss Suarez in one of the roles that made her probably the most loved and sought after ballerina in the entire history of the Cuban National Ballet. The role is Giselle. As I will be watching her soon in a theater play, I wanted to post this precious fragments, as a homage to our beloved dancer.

We'll be there to applaud you one more time, Charin. :bow:

Spessivtseva's solo. :clapping:


Madness scene. :excl:


Giselle and Albrecht's encounter. Act II. :wub:


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