Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Miami City Ballet's Program 1 at Kravis


Recommended Posts

Opening night for Program One is at the Arsht Center in Miami. (Weekend of Oct. 21-23.) Subsequent performances are at the Broward Center in Fort Lauderdale (Weekend of Oct. 28-30) and, after a long delay, the Kravis Center in West Palm Beach (Weekend of Dec. 9-11)

Program consists of:

-- Square Dance (Balancine/Vivaldi and Corelli)

-- Afternoon of a Faun (Robbins/Debussy)

-- Liturgy (Wheeldon/Part)

-- In the Upper Room (Tharp/Glass)

Short clips from earlier seasons are posted on MCB's Facebook site and on YouTube.

Square Dance lead dancers are Jeanette Delgado and Renato Penteado. 2008 performance.

Afternoon of a Faun dancers: Jeremy Cox and Katia Carranza. 2007 performance.

Liturgy dancers: Haiyan Wu and Daymel Sanchez. 2007 performance.

I couldn't find a clip from In the Upper Room, last performed in 2007 AND 2008.

Link to comment

I'm not that excited with Program One. I must confess I was expecting for Eddie to do a more interesting selection for the opening, but he just went with reruns of ballets that have been presented repeatedly in the last years. I will be there, but I'm feeling cranky already. :dry:

Edited to add: Miss Jeanette...do a MIRACLE! :beg:

Link to comment

Reporting back, but sadly...not from a ballet performance, but from a traffic congestion that made me stay in my car motionless for 40 minutes before giving up and making my way back-(which took me another 25 minutes, BTW). Total time, 1:05 H. to cover 7 blocks round trip, never able to get anywhere near the highway. Yep...that's s what happens when you live n a city where traffic literally owns your life.

Link to comment

Because the only thing I would have been able to see if I would had decided to look for another way to downtown was the very end of the performance, "In the Upper room", and frankly, I wasn't gong to get into that much aggravation in Miami's crazy traffic-(which I suspect is not as civilized as NYC's)-for Miss Tharp.

Good news is, I made it to the matinee today!-(just came home, but going out right away for the Miami Symphony Orchestra opening season concert...Mr. T's Piano Concerto # 1! :clapping: )

Will report back from both events when I get back home at night. :thumbsup:

Link to comment

(from New York, NY) Cristian, your story takes me back. Years ago I had allowed for one of Miami's fabled traffic jams, but encountered two, thus arriving late and missing the opening ensemble of Emeralds. Told to stand at the back, I witnessed someone dancing the Verdy variation ("the Spinner") much like Verdy herself. (The distance helped the illusion a little.) Someone named Mary Carmen Catoya, as it turned out. Thought I had her pegged as a speed demon. The company whizz kid? Wow! Over the weekend, she did it some more, when I could see it from a good seat. Never expected to see it like that again. (Verdy had coached her, I learned from my program.) Traffic jams can break the evening for you, but they can make more of a surprise for you, too.

Looking forward to your reports of this program; I also feel a little under-motivated be the repertory to attend - Jeannette D. notwithstanding - and I still have some reason to be cautious about traveling, i.e. to Ft. Lauderdale, so I won't see it.

Link to comment

Because the only thing I would have been able to see if I would had decided to look for another way to downtown was the very end of the performance, "In the Upper room", and frankly, I wasn't gong to get into that much aggravation in Miami's crazy traffic-(which I suspect is not as civilized as NYC's)-for Miss Tharp.

I saw five minutes of this on Guggenheim's Works and Process, and really did not get it. No one has written about the ABT program. Did anyone see it? It only convinced me not to see the Fall series.

Link to comment

Yesterday matinee’s leads of "Square Dance" were given to Principal Tricia Albertson and Soloist Kleber Rebello. Mr. Rebello is getting to be more and more one of my favorite dancers in this company- (at least for the Balanchne repertoire). His dancing is super light, airy, precise and very graceful. His legato work during his solo was fantastic, and his partnering greatly achieved. Rebello is a dancer with the obvious limitation of lack of height- (he’s just barely taller than Mary Carmen Catoya)-but again, this is maybe not that problematic in a company made of petite dancers, both men and women, and with the bulk of the repertoire made of Balanchne and other contemporary choreographers works. Still, I am very curious to see if he will be given the lead opportunity during the upcoming Giselles and Coppelias, being a fact that he’s one of the men among ALL bailarines who’s doing the best of the dancing. As his ballerina, Miss Albertson didn’t bring him down yesterday. Square Dance is her natural comfort zone, the choreography and general atmosphere of the piece being as academic, restricted and somewhat impassionate as her usual projection onstage, which worked beautifully here. I really enjoyed the piece yesterday…much more than in some other renditions of the past.

Robbins “Afternoon of a Faun” was the real revelation yesterday. Mr. Yann Trividic and Miss Patricia Delgado were a dream couple onstage. Trividic was the epitome of abandon during his introductory sequence of floor stretching, and his postures and gestures in front of the imaginary mirror were done with a high dose of self-indulgence and sensuality. At times he reminded me of some mages of dancers of the past while standing, notably some of the late Mr. Zortch in his “Spectre” poses…body weight slightly shifted to one side, one leg inwardly bended at the knee, the opposite hip rounded out. Mr. Trividic is the one exception in Vllella’s troupe of being a tall dancer. He’s also very slim but beautifully built and very elegant. Hence, all this stretching and exposure onstage became even more revealing. Mss Delgado was his perfect companion. Her ballerina character was nicely created with touches of shyness and contrived desire at the same time. She looked as every minute as infatuated as she was eager to explore those infatuations, both with her danseur and with her own mage in the mirror. I was really touched with both Trivdic and Delgado’s dancing. It is well known that I am a rabid supporter and fan of little sis Jeanette, but here Patricia definitely told me something that makes her dance different and equally beautiful and worthy as her sister’s.

When she left the onstage studio quikly walking the small steps on ponte she looked as if she was telling herself…”let me get out of here NOW before it’s too late…” ;-)

Trividic/danseur, on the other side, didn’t look too worried after her female companion left. He still had his reflection in the mirror, and that looked to have been enough for him right there and then.


"Liturgy" bored me to death.

"In the Upper Room" was the usual crowd pleaser. That people love all this aerobics displays at any time is well known.

Link to comment

[MOD beanie on] I've moved this post from "New Performances" and merged it with the ongoing Program I thread. bart[MOD beanie off]

Jeanette Delgado's performance in Square Dance last night (Dec. 9, 2011) was my favorite part of the evening. She seems to truly enjoy and love every second she's on stage. I am much more excited about story ballets, but when a dancer has this kind of exuberance you don't need a story! Renan Cerdeiro seems like a very lyrical dancer, very impressive in a totally different way. At first I was disappointed that Carlos Miguel Guerra wasn't dancing the faun in Afternoon of a Faun, but Yann Trividic and Patricia Delgado were so wonderful portraying young attraction. Not sure Liturgy will ever be one of my favorite pieces, but Guerra and Kronenberg made it a piece I'm willing to see again. In the Upper Room was fun too, but I find it frustrating b/c you don't know where to focus since the minute you focus on one dancer, you've missed something else that another dancer is doing so it is good. Still a great finale for a series of ballets. I think these 4 works provide a varied, yet smooth repertory program. I wish I weren't meeting a good friend today and leaving tomorrow or I would catch the other cast!

Link to comment
  • Recently Browsing   0 members

    • No registered users viewing this page.
  • Create New...