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Let's discuss MCB and the coming 2009-10 season

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EDITED TO ADD: I split these posts from the current Ballet Gamonet thread. There's a lot going on at Miami City Ballet, so it's probably a good idea to make a new space to talk about it. If you want to talk about the 2009-2010 season, your thoughts about your favorite MCB dancers, etc., please join Cristian and me on THIS thread.

Cristian, the 2002 Giselle I only saw once. It was clear that the dancers weren't familiar with the style except in a kind of endearing step-by-numbers sort of way. Lopez and Gamero seemed almost like "guest" artists in their own company. (I believe they were trained in Colombia?)

In 2004, things were definitely better. I saw Kronenberg and Wu, preferring Kronenberg.

In 2007 I saw Wu, Seay, and Kronenberg. All were better than 2004. I don't think you can expect a company which dances the 19th century classics so infrequently to have the style, comfort, and perfume of companies for whom such works are a central part of the repertoire. For me, however, it's fun to watch. There's always something brilliant or touching to go home remembering.

Regarding Jeanette Delgado. I have a strong visual memory of her in the peasant pd3. I seem to remember Cox in that, too. Do I get the sense that you are thinking of her as a Giselle in the grand Cuban tradition? Wouldn't that be wonderful. Macaulay calls her one of the best Balanchine dancers in America -- and now ... there may be possibilities of s superb Giselle too. Here's hoping. (She will need an Albrecht, though, and that's a role no one at MCB can come close to, unless Rolando Sarabia starts dancing more.

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Yes, I think of Jeanette Delgado as the potential "Grand" Giselle. One of the ballerinas that impacted me while growing up in Havana was Rosario Suarez-(AKA Charin). She had this extravagant projection onstage that made her a separate entity from the rest of the Company, whenever she danced. Delgado reminds me Suarez in this sense. She is not shy in showing off, and her aggressive attack plus that radiant smile of her always makes me believe in the heart and soul that should be behind the technical points of certain choreographies. Giselle is not Balanchine, and that performance I saw back in 2002 proved it.

Your point about Villella's boys is very valid. I can only think of Sarabita and Guerra as suited for the Prince roles. Cox nor Wong , although being technically superior, are even candidates in my own casting. If anything, I prefer to see a believable prince in character, even if technically weak rather than a great jumper that can't convince me in the role.

That's why I URGE Eddie to start thinking of Baker. He promises in EVERY aspect.

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I can only think of Sarabita and Guerra as suited for the Prince roles.
Guerra is okay enough. But -- next to JD? She burns with energy, even in repose. He sometimes shows discomfort with emotion and seems to be trying out the appropriate facial expression rather than expressing it through his body. Placed next to Delgado, I'm afraid that Guerra would disappear or even suck the energy from their onsttage time together. Guerra is better matched with a more emotionally placid dancer like Kronenberg, someone who -- regardless of the technical difficulties the speed requirements, etc. -- seems to flow through the movement smoothly.
That's why I URGE Eddie to start thinking of Baker. He promises in EVERY aspect.
I like him very much too. It's interesting to read your impression. Currently, he's one of those dancers who tends to loaf on stage when not the center of attention. When he IS in the spotlight, it's another story.

If Baker can keep that energy -- that attentiveness -- that sense that he is ready to leap or pounce as soon as his music begins -- EVEN when in repose, he'll have taken a tremendous step. (It's something Jeanette Delgado does intuitively, I think.)

Baker can also partner very well for such a young performer, when he wants to.

What about Daniel Sarabia, Rolando's younger brother? Last season he impressed me a lot. He's grown since 2007-2008.

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Oh, and BTW bart,let's not forget that Cox is definitely GONE for good...just as Isanusi Garcia...both vanished, all of a sudden, just when BOTH had been promoted to Principals. This, plus Wong just basically telling us that he's very ready to experiment in other aspects of dancing after his SYTYCD appearance, let us down here with very...VERY few options...1-always reliable Guerra and 2-Sarabita, who is currently just the shadow of the wonder boy he promised us he was going to be...long ago.

Sarabita's brother doesn't do it for me...don't know why. Give me some time to think about him to try to elaborate a more decent explanation...

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Several excellent dancers have left in the past few years, and not to retire: Mikhail Ilyin, Joseph Philips, plus Isanusi-Rodriquez (who left twice) and now Cox.

Program One has a couple of works which call for excellent men. Symphony in Three Movements has roles for 3 principals. Villella was in the original production. Allegro Brillante needs one good, but not necessarily great, man to partner the ballerina. Flower Festival at Genzano will be, I assume, just the pas de deux. But it's Bournonville; I can't think of any men in the upper ranks who has that kind of style. Company B is an ensemble piece, mostly, but I think you need dancers who ae experienced and mature enough to avoid making it an Andrew Sisters World War II nostalgia piece.

What about Carlos Quenedit, now a soloist (as is Baker)?

Yann Trividic "rejoined MCB as a guest artist in 2009," according to the website. The publicity photo shoes him in Villella's own Neighborhood Ballroom (on Program III). He left a couple of years afaer we arrived down here, so I dom't have much of an impression of his range.

Maybe there will be lots of new opportunities for members of the corps.

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