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CCBM premieres "Spanish Classical Night" 06-16/17

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Cuban Classical Ballet of Miami premieres "Spanish Classical Night"

Artistic Director, Pedro Pablo Peña and the Cuban Classical Ballet of Miami, along with American Airlines, present the premier of "Spanish Classical Night" at 8:00 p.m. on Saturday, June 16th and at 5:00 p.m. on Sunday, June 17th, 2012 at the Fillmore Miami Beach at the Jackie Gleason Theater.

CCBM successfully debuted "Spanish Classical Night" during their Summer of 2011 Spain tour. The Miami premier features principal Cuban dancers Lorna Feijoo, Hayna Gutierrez, Rolando Sarabia and Nelson Madrigal and Spanish principal dancers Sergio Bernal and Elena Cerro Garcia.

Following the Cuban roots of CCBM, the performance opens with "Carmen Suite". "Spanish Classical Night" contains various fragments of repertoires - Don Quixote Suite, Paquita Pas de Deux, Spanish Dance from Swan Lake, Puerta de Tierra, Viva Navarra, Zambra De Turina - where both the subject and the styles are clearly Spanish, emphasizing the relationship between classical ballet and traditional Spanish dance, especially the school of the Bolera, which has influenced the repertoire of both the nineteenth and twentieth centuries.

"Spanish Classical Night with a Cuban Flair." "The grand dance of the Cuban Classical Ballet of Miami debuts with success at the Festival de El Escorial." - Roger Salas, El País

For more information please call 305.549.7711.

About Cuban Classical Ballet of Miami

Cuban Classical Ballet of Miami's mission is to promote and preserve the spectacular tradition of the world renowned school of Cuban classical ballet; to develop future career classical dancers; and to ensure that the organization achieves an international reputation as one of the preeminent classical ballet companies in South Florida. Cuban Classical Ballet of Miami represents the true essence of the classical ballet, and wishes to be recognized nationally and internationally for its high technical standards, artistic integrity and unwavering commitment to present the very best in classical ballet. CCBM was founded in January 2006 as a non-profit 501©3 organization.

Cuban Classical Ballet of Miami

Ph: 305.549.7711



Cuban Classical Ballet of Miami

© 2012 Danza Ballet

La danza y el ballet en España

Hecho en Barcelona

Este artículo proviene de Danza Ballet


La dirección de esta noticia es:


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I think this will be a good show! I can't wait to see Sarabia and Feijoo!

It will. Lorna's sister, Lorena, has been a permanent feature in the company's productions ever since they started their journey. She's been Medora, Carmen, Giselle and Lissette, to Sarabita's Basilio and Colin. Gutierrez was also Carmen and O/O. It will definnitely be a pleasure to watch one of my all time favorite ballerinas, her sister Lorna, in a different , more mature light, now that she's approaching 40.

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Florida Classical Ballet is also presenting a gala of works this summer, with Adiarys Alemeida and Joan Boada along with dancers associated with San Francisco ballet. Both groups derive from the Cuban National Ballet and I'm wondering if they represent different approaches to Cuban ballet - schools within that school.

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Those were the performances in which "Spectre.." was presented. They took place last Saturday and Sunday. On Saturday I was still in NYC, but on Sunday I just made it to the "Spectre.." performance at the matinee, after which I rushed to work. The Florida Classical Ballet is directed by Magaly Suarez, ex AD, co founder and heart and soul of CCBM. After she departed from Pedro Pablo Pena, also co founder of CCBM and now its sole director, she created her own troupe. Fact is, she is the one with the dancers connections. For many years she was a professor of male students at the Havana ballet school-(she was professor of 90 % of the current exiled male ballet dancers all around US and Europe). That's why they all come and graciously dance in her performances. Pedro Pablo was the one with the sponsors connections-(American Airlines has been sponsor # 1 since the very start). Now the dancers dance in both troupes.

The other day I ran into Miss Suarez, and she told me she wants to get four Cuban ballerinas and stage Grand Pas de Quatre. "I only need four days of rehearsals and I'll do it...", she said...flowers.gif I'm thinking of Lorena, Lorna, Xiomara and Hayna. That could be wonderful!

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Thanks, Cristian for the report - would love to see some of this live - from the video it looks as though the dancers really love working with her, Diego Cruz and Joseph Gatti especially.

My pleasure, Quiggin. Yes, they do indeed love Miss Suarez very much-("Mamicha" as we all know her). She even accommodates dancers at her own place when they come from Cuba and don't have a place to stay at first. We all have lots to be thankful to her for, for which she's been the one person responsible for making possible that ballets like Spectre, Flower Festival at Genzano, full lengths Swan Lake, Corsaire, Don Quijote, Alberto Alonso's Carmen, Dolin's Grand Pas de Quatre / Giselle, Nijinska's Fille, Paquita's Grand Pas and many others are being seen in Miami. I really hope she continues her labor of love with the same enthusiasm that has always characterized her and that many other unseen balletic gems find a little space to call home next to the big Balanchine house .

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Just back from a short weekend trip to Miami to visit CubanMiamiBoy and to see the Cuban Classical Ballet of Miami's "Spanish Night" which included dancers from Spain. I had so much fun! Seeing Rolando Sarabia and Hayna Gutierrez and Lorna Feijoo were the highlights for me.

Sarabia and Gutierrez danced the Don Quixote PDD at the end, and it brought the house down. Sarabia was better in this than a few weeks ago in Orlando. He pirouettes and ends in coup de pied or a la seconde. It is just thrilling and amazing. It is a shame he doesn't have a permanent company, although maybe he prefers to be independent.

Lorna Feijoo and Nelson Madrigal danced "Nuestros Valses (choreography by Vicente Nebrada), and they showed off old world style that was divine even in a modern piece.

The whole night started off with a Paquita Grand Pas with Ana Sophia Scheller (just promoted to principal at NYCBallet), and Joaquin de Luz (also principal of NYCBallet).

More later. I am super late for my current job.

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By the way, I did not mean to say the dancers I mentioned above were from Spain. De Luz is, but Scheller is from Argentina and you all probably know that Sarabia, Gutierrez and Feijoo are from Cuba!

All wonderful dancers. There were dancers from other places, but I was trying to say that this "Spanish Night" was a collaboration between the Cuban Classical Ballet of Miami and Spain where they apparently premiered the show. They Lola Greco (dancer from Spain), Sergio Bernal, and Elena Cerro (a little person with a big personality).

All the pieces on the program were Spanish-themed or by Spanish composers. Great night, although I have to say I liked Paquita and Don Quixote PDD the best!

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Definitely, Birdsall. The creme of the night was with no doubt DQ PDD. Gutierrez and Sarabita were fabulous, and even with the fact that she's a VERY muscular, compact lady-(with ankles and pointes of steel)-and Sarabita looks thinner than ever, they were able to pull the best of them out and present a lovely vision of the old times. They were flashy, in a positive shameless way, but they certainly have the technique and charisma to do so. Still, even more emotional for me was to see our Queen of Accents back onstage, Miss Feijoo, dancing a contemporary-(although classy and on pointe)- waltz to the live music of the piano onstage, which she danced along with husband Nelson Madrigal. Lorna was so lovely and detailed, as usual, although watching Hayna I was able to "see" again the little hints that makes this ladies so unique in style. Absent are those "spaghetti arms" with the over exaggerated boneless undulation and broken wrists, so in fashion now as if all the ballerinas are doing Dying Swan at all times...(I also remember someone referring to them as "twiggy arms"). Absent also is the over worked epaulement...the nowadays ever present frantic desire to always look as elongated and straight and stretched and upward as if they're trying to reach the sky at all times, loosing in the way elegance and softness. Also, there's a difference in the way this ladies treat their bailarines. Contemporary performers usually choose an individualistic approach as if forgetting the male presence onstage, a man to which they're supposed to be dancing to, which would bring then the third quality I appreciate while watching the two Cuban couples. They REALLY are dancing to each other...the audience being relegated to a second position. I always remember Alonso emphasizing this. Then, and please allow me to say this...one can tell that there's not that much of an obsession on the Cuban ladies to look as thin as they can be, loosing in the process sometimes very much needed muscle strenght and ankle power, and THAT, IMO, has always been a trademark of the Cuban female dancers. I'm sure they can be considered "heavy" by today's standards.

Anyway...very glad to have been there and reminisce a bit. Looking forward to many more performances of my fellow citizens...!!

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One thing I love about the Cuban dancers you have introduced me to is that they are all unique, and they are not ashamed or afraid to show it. They dance the choreography, but if they can do something special, they do it. One very obvious example is when you see Viengsay Valdes show off her long held balances to the amazement of audiences. This weekend Sarabia showed off his turns and how he ends them so special.

As much as people don't want to admit it, there is a certain circus aspect to ballet. Yes, it is supposed to be more elegant than circus acts, but the circus aspect and the star power that certain dancers exude will never go out of fashion.

I am coming to ballet via opera, and in opera it is the stars who are not afraid to show off that become singers that we practically worship. Montserrat Caballe showed off her pianissimi all the time in her prime and maybe a little too much at the end of her career. She held them forever and used them even when the score called for a forte high note. But it was okay overal, b/c she was so amazing at what she did do. She was unique and showed the things she did best. If your high notes are not the best feature at the end of your career, you should not show them off and crack and screech. Instead, sing it piano in a ravishing way. Sutherland was unique with her incredible coloratura abilities and ability to embellish bel canto so thrillingly. These "special" things that made each singer special is frowned upon by conductors and voice teachers, I suspect, but it is what made these singers amazing and special.

Opera companies are trying to stick young artists on the stages in regional companies, and, in my opinion, it does not work. The arts have always and will always thrive on a star system. Singers or dancers with experience who know their stuff but also dazzle and show off a little. I think dancers and singers should be encouraged to show off their unique qualities that make them special. I don't like Stepford Wives singers or dancers. I like each one to be unique and special like jewels.


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