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A fresh infusion to the CCBM is about to happen. The Miami Herald has announced that the last wave of Cuban defector dancers from Alonso's company will perform here, in a gala that will include PDD's rarely seen in Miami, like Diane& Acteon, Les Millions d'Arlequin, La Bayadere and Sleeping Beauty. For the ocassion, Cuban Arionel Vargas, Principal dancer of the English National Ballet along with his wive, Roberta Marquez from the RB will perform. Also, veteran Alyhaidee Carreno will also travel from Dominican Republic to dance with Raydel Caceres, Principal dancer at Festival Ballet Theater, in Orange County.

Will report back.


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The CCBM gala couldn't be held in a more innapropriate date. Saturday was the biggest day within the week long extravaganza called Urban Beach Week, the largest Urban/Hip Hop event in the world, a festivity that is increasingly being tarnished by gun violence. Residents usually don't get out of their houses out of fear, and very few from outside Miami Beach attempt to get into the hours long nightmare of traffic. So right there and then, the Cubans danced, and danced BEAUTIFULLY.

The program was ambitious, as I said before, thankfully going for what their alma mater is known for: the XIX century repertoire, and I was very happy to revisit choreos that otherwise would be unknown to the Miamian audience.

The night started with a comprised suite from the betrothal scene from Bayadere, performed by Arianne Martin and Edward Gonzalez Morgado, followed by the PDD from "Les Millions d'Arlequin" as staged by Alonso, "Le Spectre de la Rose", performed by Analay Saiz and Randy Crespo and ending with Bournonville's "Flower Festival in Genzano" PDD. I loved the way they designed this first part, so the differences in style could be appreciated. Being so fresh out of Alonso's company, it was amazing to see-(particularly in the women)- the ever present old fashion style that obviously mimicks the Assoluta's own...(the long balances...low arabesques and developpes, the slightly forward torso and head tilt and particularly interesting, the ultra high passes during pirouettes and the slower pace of their fouettes along with a 90 degrees placement of the working leg, something so largely neglected nowadays in favor of speed.

They were all lovely to watch, but...Josue Justis Brito-(Harlequinade)- takes here the big prize with his lovely, candid rendering of Harlequin. Actually he reminded me a lot of MCB Principal Rebello, due to his short high and beautifully done pirouettes, along with a great sense of relaxation and correctness. People cheered him a lot,,,actually both of them, for which his partner here, Annie Ruiz, was also wonderful.

"Spectre..." is such a tricky ballet. It is easy to see how many dancers don't "get" the art nuveau perfume in it, and usually strip it down to the mere exhibition of jetes and pirouettes-(for the males). Analay Saiz and Randy Crespo danced it, and even if there's always something I feel is missing in modern interpretations of the work, including this one, I'm also always grateful that it is still being performed. Crespo's costume sort of followed the original design, as well as the female's with its cute little white bonette. No, I was definitely not watching Misha on it-(although I confess I always compare every try I see with the Russian...oh, almighty Youtube!)- but nevertheless it was at the end Fokine being tried once more as to not to get into oblivion, so thank you Analay and Randy for that.

More to come...

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Thanks, cubanmiamiboy. I'm sorry to have missed this. I'll have to content myself with seeing one of the recent Cuban defectors, Edward Gonzalez, when Sarasota Ballet comes to DC next week...if he is cast in Les Patineurs.

One Hip-hop Memorial Weekend in South Beach, a couple of years ago, was quite enough for me! smile.png

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