Haglund's Heel

Ballet Cop on the Beat – Stop the jihad

According to the Itar-Tass news agency, Grigorovich’s Spartacus has just won the “Champion” title of Ballet of the 21st Century.  And it was such an underdog.  Apparently, the Russians didn’t get the memo from Jennifer Homans that Spartacus was “quite clearly a degraded form of art” – oh, my goodness.  Oh, wait, was that Spartacus on the front of the Summer 2010 Ballet Review?  How can there be a degraded form of art on the cover of this ballet scholar quarterly?  Oh, my goodness, again. 

 

Haglund wishes that the Balanchinistas would stop their jihadish effort to portray all choreographers as inferior to Balanchine.  It’s starting to look like the Elvis fans attacking the Beatles, and Balanchine didn’t even come close to what Elvis was.  It’s truly tiresome and a turn-off. 

 

Any Balanchinista’s quality-comparison of choreography she knows intimately as the result of performing it to choreography she knows only casually as a spectator doesn’t square.  The bias can’t be controlled for.   It doesn’t add up to anything but a gassy pile of digested beans.

 

Haglund remembers walking out on a Pacific Northwest Ballet performance in the early '80s, when the company was a marginal Balanchine franchise, because he was so offended by the women’s substitution of Balanchine cliches and faults for fundamental ballet technique.  Flapping wrists, practiced overbites, splayed fingers, crotch-displaying arabesques, flailing arms – that was the aesthetic presented at that time.  Thank goodness it’s dying – if all too slowly.  Thank goodness NYCB women don’t dance like they used to dance.  Thank goodness.

 

Now, for a Spartacus thrill, go here.  This clip is a splicing together of performances by Vasiliev/Maximova and Mukhamedov/Bessmertnova – sixteen years apart.  Thrilling.  Dramatic.  Passionate.

NYCB – Nutcracker Opening Night 11/26

As you can see, when Haglund got home from NYCB’s Opening Night of The Nutcracker, somebody was waiting for a complete report on the mice.  And he was not happy to hear that the mice, led viciously and ruthlessly by Justin Peck, nearly made off with the Nutcracker Prince on the very first night.  They were only seconds away from kidnapping Marie, too, when all of a sudden, someone from the front of the 1st Tier yelped, “There’s steam coming out of the Bunny’s ears!”  Indeed there was.  And then miraculously, the Bunny powered toward the Mouse King, grabbed the royal rodent’s tail, and pulled it downstage, completely distracting the critter just long enough for the Nutcracker Prince to wrestle away.  But it was close, way too close for comfort.  No doubt this will all be reported later tonight on Fox News.

The opening performance had the feel of new gears coming together for the first time that might need to run once or twice before they mesh smoothly.  But for the most part, it was a wonderfully enjoyable evening.  The kids dominated the first act and were fabulous.   Young Fritz was cinnamon-haired Gregor MacKenzie Gillen who was charming in his efforts to get one of the little party girls to dance with him.   Fiona Brennan and Jonathan Alexander as Marie and the Nutcracker Prince drove the dream forward with aplomb and polish.

 

In Act II, Teresa Reichlen was a sensual Coffee while Daniel Ulbricht’s elevation in his split leaps in Tea caught the audience by surprise.  Ashley Bouder was a sparkling Dewdrop surrounded by waltzing flowers led beautifully by Lauren King and Ashley Laracey.   The Sugar Plum and Cavalier were Jenifer Ringer and Jared Angle.  Can’t say that they were a good match.  Jenifer was lovely in her variations, but Jared’s feet were disinclined to point – a lot; and his legs were disinclined to stretch – a lot.  The Cavalier’s white tights and white shoes made it impossible not to notice.

The choreography of Act II is over-loaded, way over-loaded with first arabesque sautes and saute de chat.  The choreography for the Sugar Plum Fairy's and Cavalier's solos and PdD doesn't, in Haglund's view, compare favorably with the Baryshnikov version which is far more musical, inventive, and magical.  It may have been a mistake to have watched the YouTube video of Gelsey Kirkland and Baryshnikov in the PdD several times this week before embarking on the season's first live performance.  If you want to make the same mistake, go here.

 

Haglund thought the orchestra, conducted by Clotilde Otranto, sounded a little thin.  The violin soloist, Kurt Nikkanen, didn’t produce the passionate phrasing that Nicolas Danielson did last year.

 

[Excuse me, somebody wants to interrupt with a question]  “With all those mice racing around, why are there no cats in The Nutcracker?”  Answer:  In some Nutcracker production somewhere, there are cats – surely there are cats.

 

Haglund is happy that Nutcracker season is finally here and bestows this lovey pink flowered Pump Bump Award to the Walz of the Flowers and Dewdrop:

Nutcracker en vogue

Found this link on the Ballet Bag today for Vogue's December article on ABT's new Nutcracker.  The picture of Marcelo Gomes and Gillian Murphy taken in the Alvin Ailey studios is dreamy and reveals thoughtful detail in both dancers' costumes.

The picture is accompanied by text written by Gia Kourlas.  It's mostly okay but for a few remarks like "ABT has never really been a contender in the Nutcracker game until now."  Uh, for close to two decades, it was Baryshnikov's ABT Nutcracker production that played yearly on PBS with Gelsey Kirkland as a peerless Clara.  Can't remember that?  Go here.  Gelsey's lightness, the exquisite delicacy of her tapered pointes, the articulate shape of her heels, the expressiveness of her upper body, the fantasy in her face - did Gia really miss all of that all those years?  The Baryshnikov production should be required viewing for every aspiring Clara/Marie/Sugar Plum whether she has access to other live performances or not.

This picture in Vogue and the cover photo of the first Spring 2011 brochure show Gillian Murphy in understated makeup which allows us to really see her face.  It is a wonderful revelation to actually be able to see Gillian through her makeup.  The intense lipcolor and over-shadowed, over-lashed eyes that we're accustomed to seeing when she's on stage have always prevented us from really seeing her or the delicacy and  fragileness of her characters.  It's one of those less is more situations.  Now, if we could just get her to put on a pair of flat, tapered, 3/4 shank Freeds...

This must be Vogue's ballet issue.  Thumbing through the pages while standing in the Duane Reade after the Macy's Thanksgiving Day Parade, Haglund saw a J.Crew ad that featured NYCB's lovely Janie Taylor in her glistening lime Sugar Plum costume.  Turn the page, a ballet dancer in a Bulova ad. 'Tis the season.

Tomorrow NYCB opens its Nutcracker run (of course, Haglund will be there with bells on) and the Wall Street Journal, fast becoming THE place to go for newspaper dance critcism, has a charming article by Pia Catton about Jacques d'Amboise's family's total immersion in the holiday tradition:

Former NYCB principal Jacques d'Amboise and his wife, Carolyn George, both danced it. Their children—George, Christopher, Charlotte and Cate—all had roles. And now a third generation is set to take the stage: Mr. d'Amboise's granddaughters, Shelby, age 7, and Josephine, age 8, will make their "Nutcracker" debuts this season as a party guest and a toy solider, respectively.

The girls are the daughters of Charlotte d'Amboise, who's currently headlining "Chicago," and her husband Terrance Mann, starring in "The Addams Family."

Cute, right? But before you start imagining this showbiz family in a Norman Rockwell painting, considering the little issue of scheduling.

"It's a disaster—they are all onstage!" Mr. d'Amboise, now 76, said frantically. "I get these calls, 'Can you pick up the girls at rehearsal?'"

Cute, indeed.

RO2YAL BALLET – Bringing the art to the masses!

Oh, this is big – literally.  The Royal Ballet is going to present three performances of MacMillan’s Romeo and Juliet in the mammoth, multi-purpose, state-of-the-art
O₂ Arena in London on June 17, 18 and 19.  Since it’s opening in 2007, the O₂, which has 20,000 seats, has presented Paul McCartney, Beyonce, the Royal Philharmonic, The Boss, The Stones, Streisand, Disney on Ice, church services, film screenings, the Boston Celtics, opera stars and much more. 

 

From the BBC report:

Carlos Acosta, Tamara Rojo, Alina Cojocaru and Johan Kobborg will dance the principal roles in the production of Romeo and Juliet.

Up to 2,000 tickets for each performance will be available for £10 on a first-come-first-served basis.

The rest of the tickets will sell for £60 and £95 and will be available from 5 December.

A filmed introduction will be shown on giant screens in the venue at the beginning of each act.

Director of the ballet company, Dame Monica Mason, said she was "thrilled" about the production being shown in such a huge venue as it would "introduce our work to so many new people".

Tony Hall, chief executive of the Royal Opera House added: "This opportunity fits perfectly with our commitment to ensuring that as wide an audience as possible is able to enjoy live performances by The Royal Ballet at affordable prices."

The June 17-19 performances are being staged in association with impresario Raymond Gubbay, who staged the first opera at the London arena earlier this year.

We'll be following the Ballet Bag in London as they report on this story throughout the year.  Tickets go on sale December 5th.

CPU freeze

Haglund continues to try to "process" the picture of David Hallberg in a sylph costume sitting on a bicycle in the ABT brochure.  Even rebooting with a bottle of pinot noir last night did not unfreeze the processor in his old noggin.

 

Ballet Films Around Town

And before you could say Schoko Pfeffer-Nüsse five times fast, the holiday season has become gingerbread-packed with delicious ballet events that will keep everyone happy until NYCB’s winter season begins in January. 

 

Last night Haglund attended the inaugural screening of Film Nights @ Steps on Broadway.  Fabrice Herrault, esteemed faculty member at Steps and The Juilliard School, is sharing his private collection of ballet films on the Loft level at Steps over the course of the next several months.  Tickets are just $5.

 

The first presentation was the documentary “REFLETS DE LA DANSE” Reflections of Dance: Dance School of the Paris Opera – 1979.  What a treat to see the fresh-faced 15-year-old Sylvie Guillem working within the realm of classical perfection in the upper levels of the school – and never once did her foot come anywhere close to her ear.  The film showed the students in technique, character, and PdD classes and a final lengthy excerpt from the annual student performance. 

 

The remaining presentations in the series are:

December 4       Great Ballerinas of the 20th Century

January 22         An Exploration of 20th Century Choreographers

February 12       Famous Ballet Couples

March 19           Great Male Dancers of the 20th Century

April 16              Behind the Scenes:  Don Quixote

 

No small by-the-way, Fabrice has a film in this year’s Dance on Camera Festival at the Walter Reade Theatre in January.  CLAUDE BESSY, LIGNES D’UNE VIE (Traces of a Life) will be screened on January 28th @ 6PM and January 29th @ 4PM.  From the DFA website:

CLAUDE BESSY, LIGNES D’UNE VIE (Traces of a Life)
Fabrice Herrault, 2010; USA, 54m
Described as the “Golden Silhouette” by Serge Lifar, French ballerina Claude Bessy was an admired etoile of the Paris Opera Ballet and ran its prestigious school for decades. Americans know her as Gene Kelly’s partner in his “Invitation to the Dance.”  Herrault’s intimate documentary, narrated by his subject, features rare vintage classroom and performance footage of the dancer in her prime, including works by Kelly, Serge Lifar, and Maurice Bejart.  Intro/Q and A’s with director and star.

Followed by:
LES REFLETS DE LA DANSE (Reflections of the dance)
Nicolas Ribowski, 1979; France, 33m excerpt
Paris Opera Ballet School classes featuring former students of  Claude Bessy, including Sylvie Guillem and Elisabeth Maurin. Intro by Claude Bessy

Public Reception -  8pm-11pm

Miss this, People, and you may as well turn in your Balletomane Badges and resign.

Just a reminder about the December 19th showing of the Bolshoi's The Nutcracker, courtesy of Emerging Pictures Ballet in Cinema program.  Then on January 19th, be still your hearts, a LIVE screening of The Royal Ballet's Giselle.  EP's website is a slow work-in-progress.  So if you have difficulty finding the information you are looking for, just call them up.  Yep, if the website isn't functioning with the expected ease, call them up at 212-245-6767 and ask for Christiana, Devonna, or Barry.

Last but not least, Ovation TV is once again presenting its Battle of the Nutcrackers.  Here's your chance to see a variety of productions.  The Royal Ballet, Bolshoi Ballet, Berlin State Opera Ballet, Bejart Ballet Lausanne, and Casse Noisette Circus versions will be aired on various dates.  Viewers then vote on their favorites and the winner will be announced on Christmas Eve.  RB's film features Alina Cojocaru and the Bolshoi Ballet's version features – breathe deeply, breathe, breathe, breathe – Irek Mukhamedov.  Please Santa, bring us our very own Mayerling soon.

Casting about town

NYCB:    There will be a rare opportunity to see Jennie Somogyi as Sugarplum on Thurs. Dec. 2nd @ 6pm.

ABT:       Some of the Washington DC casting has been posted.  Lucky DCers – Sarah Lane and Herman Cornejo will dance Theme and Variations on Thur. Jan. 20th.  Since it's been a while since we've seen ABT's graceful and luminous version of T&V in New York, as opposed to its knock 'em dead with your spinning and not much else version, it might be worth a few bucks to Bolt your way down to DC for this event.  It's easy to forget just how beautiful and spiritual this ballet can be.

Update Thur. 11/17

There's been a little shuffle in the ABT Nutcracker casting.  Yuriko Kajiya (replacing Hee Seo) will now dance with Alexandre Hammoudi and Maria Riccetto will dance with Daniil Simkin.  Not sure how the first pair will look, but Haglund knows that the second pair will look like a partnership.  Maria and Daniil square up nicely together - it's something to do with their backs and their personalities.  This is definitely one more thing to look forward to next month.

On Haglund's Calendar – NYCB The Nutcracker Opening Night 11/26

Opening night of The Nutcracker is fewer than two weeks away.  Come on, People, get yourselves in the spirit.  Look at that awesome cast!  Awesome, indeed, but the ballet's highlights for Haglund are always the little Nutcracker Prince's mimed summation of the battle with the mice and, of course, the fearless bunny's variation.  Can't wait!

SUGARPLUM: Ringer;
CAVALIER: J. Angle;
DEWDROP: Bouder;
HERR DROSSELMEIER: La Fosse;
MARZIPAN: Pereira;
HOT CHOCOLATE: Muller, la Cour;
COFFEE: Reichlen;
TEA: Ulbricht;
CANDY CANE: Suozzi;
MOTHER GINGER: Scordato;
FLOWERS: King, Laracey;
DOLLS: Brown, Manzi;
SOLDIER: Schumacher;
MOUSE KING: J. Peck;
DR & FRAU STAHLBAUM: Lowery, Seth.

Heard on the street . . .

Episode one here.  Episode two here.  Episode three here.

[Very late at night.  Somewhere on Lafayette Avenue.  In Brooklyn.]

Reilly:    Did you hear?  One of the brothers was holed up back stage at the Guggenheim this week when ABT gave a preview lecture/demo on our new Nutcracker.  He saw our costumes.  We’re gonna be white!  Can you believe it!  Bed-Stuy rats in whiteface.  Ha!

 

Reggie:    Well, the neighborhood up by BAM is a little tonier now – Fort Somethingorother.  We just have to accept the gentrification process without letting it push us out.  People up there are comfortable with the idea of white lab mice, but not rats like us.

 

Reilly:    It seems the Rat King is gonna have seven heads.  Seven white heads.

 

Reggie:    You know what that means, don’t you?  Seven heads means seven brains.  We’re gonna be brainy white rats – that’s why RATmansky gave us all that difficult choreography.  The rats are finally gonna win the battle in The Nutcracker – it’s about time.

 

Reilly:    Don’t bet on it. Come January, we'll still be shopping in the garbage cans.

Lupe Serrano and James Wolcott star on The Tony Mendez Show starring Tony Mendez

 Well, sort of.  You have to use your imagination a little bit.  But at least now we are assured that the ballerina's shoes which were stolen during a mugging last summer are back in an ABT staffer's security and will be returned to the victim ballerina – unless, of course, they are stolen again – perhaps by the blue shark.

[sorry about the unavoidable commercial]

 Go here for another explanation.

Closing Circles

There has been so much talk and so much written this past week about "closing circles" in connection with ABT traveling to Cuba at the invitation of Alicia Alonso who holds such importance to the company's history and the art form's integrity.  There's another circle that needs to be closed.  We need this one to come home:

Erica Cornejo in Rodeo - Rosalie O'Conner

from the NYTimes

Works & Process – ABT's New Nutcracker

Haglund enjoyed the Guggenheim's Works & Process presentation last evening that gave us a peek at the new ABT Nutcracker which opens at the Brooklyn Academy of Music on December 22nd.  Wes Chapman, Alexei Ratmansky, Richard Hudson, and Ormsby Wilkins were the panelists.  Performers included kids, corps de ballet, soloist Daniil Simkin, and Daniel Waite was the pianst.

 

Right up front, let's get it out there for everyone to grumble about:  the sandwiches are now quite literally the size of postage stamps.  If Haglund makes another little donation to Works & Process, it will be with the stipulation that it go toward upsizing the sandwiches.

 

So far, there is nothing to grumble about with regard to this new Nutcracker.  Whether it will be strong enough to become a classic production, only time will tell.  But so far, there's been nothing weird and nothing grossly over-colored.  In fact, Haglund was fairly impressed with the sets and costumes which are rich in details and imaginative. 

Ratmansky and Wilkins discussed their devotion to the Tchaikovsky score in its original form, and promised that they are committed to staying true to the composer's original tempi - nothing will be slowed down in order to stuff in technique nor will anything be sped up to accommodate individual tastes.  It will be heard as Tchaikovsky intended us to hear it.  Looking forward to that.

 

The small bits of choreography that were on display included the Spanish Dance, Clara and the Nutcracker Prince during the Snow Scene, the principal male solo from the Grand PdD, and the Russian Dance.  Simkin's solo was full of challenging beats that Ratmansky wanted a bit more quickly and clearly from Simkin:  the second leg needed to close more quickly on the travelling assemble; the entry into that assemble had to begin with a stretching up of the body and a leaning/falling movement into the step; the beats had to work on the way up instead of waiting until the top of the jump. 

Yep, Haglund will look for all of this come December - from all of the Princes.  The high degree of difficulty in Simkin's solo raised the speculation that there may be more than one version of the choreography for the Princes.  Hope that's not the case.  If there is a commitment to stay true to the score, then there should be a commitment that everyone has to do the choreography. 

 

In the second installment of Works & Process tonight, Veronika Part will participate in the section of the program dedicated to principal coaching by Ratmansky.  Veronika in a white tutu, even a practice tutu = Magic.

 

The most interesting aspect of last night's program was listening to Wilkins discuss Tchaikovsky's emotional state at the time he composed the Nutcracker score and the undertones of sadness or depression that accompany the beauty in the music.  He also made a passing reference to the company's trip to Cuba.  It was obvious from his enthusiasm that he was itching to speak more about it, but had to stay on message for this program.  Wouldn't it be a nice evening if someone put together a debriefing presentation of the week in Havana?

 

Anyway, we all have a lot of Nutcracker tickets to buy this year, so let's get those wallets open.  Not only do we all have to see both the ABT and NYCB productions, but the 15th anniversary production of  The Yorkville Nutcracker by Francis Patrelle is a must-see, and on December 19th, the Bolshoi Ballet's Nutcracker will be broadcast LIVE by Emerging Pictures' fantastic new Ballet in Cinema effort in cinemas across the country (Cinema 59 in Manhattan).  More on this later.

 

 

Sopera-ize, sopera-ize, sopera-ize!

Haglund's building super is kind of a Peruvian Gomer Pyle who doesn't speak a lot of English.  On a day like today when the building is without heat and hot water, it's smart to pretend to understand whatever he says, agree with it, and thank him profusely - if possible with a drink and cookies. 

 

Haglund sat around the apartment for most of Sunday listening to the clanking of hammer to metal pipes in the basement along with a mix of high-pitched Spanish and English profanity.  To pass the time, he loaded his newly autographed Vittorio Grigolo CD into his laptop and began listening to the smooth, impassioned voice of his new favorite tenor.

 

Knock knock knock.  It was the super with the bad news that even though he was working hard on the problem, the heat and hot water might not be fixed until very late tonight or even tomorrow.  He stopped in mid-sentence –

 

Super:        Is that opera I hear?  Are you listening to opera on your computer? 

Haglund:    Yes, it's my new CD of Vittor —

Super:       Turn on Juan Diego Florez!

Haglund:    I don't have any of his CDs, but —

Super:       Type in Juan Diego Florez into your computer!  Zchjwa u a ena . . .

  

By now, the super had clinched his fists in excitement and was poised in front of the laptop on the floor like he was ready to stomp on it.

 

Super:       Type in Juan Diego Florez and Granada – right there on your computer!  Type!

  

Typing, typing, typing.  Thank the Lord Jesus there was a YouTube clip of Juan Diego Florez singing Granada.  Click.  The music started.  Then suddenly the super began loudly singing Granada along with Juan Diego Florez – the worst singing Haglund had ever heard from a sober person.

 

Super:      Juan Diego Florez is the number one tenor - better than Domingo, better than Carreras - only Pavorotti was better.  He's from my country Peru.  He is the number one singer in the world.  No one is better.  No one is better.

  

We were definitely connecting over opera, but would this get Haglund any heat and hot water?  The super sat his butt down on Haglund's coffee table and continued to sing while conducting with his hands.  He was completely overcome by his operamania – a wild operaman having an obviously much-needed fix of Juan Diego Florez.  When the YouTube clip ended Haglund continued to stare at the screen because he was afraid to look at the super.  Finally Haglund found the courage to say, "Yes, he is the best in the world."

 

Super:     Thank you.  Thank you.  I love opera so much.  I go now. 

  

He walked out the door still singing Granada.  It's now after 11 p.m. and Haglund has neither heat nor hot water.   The banging on the pipes has stopped and the super's singing has stopped.  Nothing but cold peace throughout his land.  But then, cold peace is better than no peace.

Salvador Dali @ Time Warner Center

Isn't she pretty?!

This lovely Dancer is part of the fantastic Salvador Dali bronze sculpture exhibit just installed at the Time Warner Center at Columbus Circle.  More than a dozen of his huge bronze sculptures plus many of Dali's paintings and drawings are on the main and second floors of the shopping complex.  Talk about bringing great art to the people and making it accessible!

Dali: The Vision of a Genius is something NOT TO MISS:

ABC NEWS TONIGHT - ABT in HAVANA

ABT in Havana was one of the lead-ins for Diane Sawyer tonight on ABC News.  If you miss it, check back here for the recap later.

Recap:

What a tribute!  What a great job by the dancers!

For the final story of the broadcast, Diane Sawyer called it "a night to remember" and "a performance 50 years in the making" and of Alicia Alonso, "a small woman who danced across history."

The piece included clips of Michele Wiles and Cory Stearns in the moving PdD from Theme and Variations (both looked fantastic!), the exquisitely beautiful dancing of Stella Abrera, Xiomara Reyes, and Julie Kent in Ratmansky's Seven Sonatas, and the incomparable Jose Manuel Carreno in Fancy Free who then held on to Alicia Alonso with Kevin McKenzie at the foot of the stage. 

As soon as the full clip goes up on the ABC News site (more elaborate than the one earlier posted), Haglund will try to post it here. [And here it is -  from tonight's broadcast.]

Really, when was the last time a ballet performance was a feature story on the national television news?!

ABC News - film coverage of the International Ballet Festival in Havana

Oh gosh, ABC News has just posted a report by Jim Scuitto on the International Ballet Festival in Havana.  Scuitto eloquently explains the extreme importance of ABT's appearance in Cuba and includes some wonderful footage of the dancers in Seven Sonatas, Theme and Variations, and Fancy Free!

 

World's press coverage of the International Ballet Festival in Havana continues

The world's press is on fire covering the International Ballet Festival in Havana – except for The New York Times, that is.  Ah yes, let's take a peek at what's on the NYT front page today: "Spider-man" Opening Delayed Again.  Well, you can't say Arthur doesn't have his priorities.

But there is a veritable feast of coverage in today's world's media about the festival and in particular last night's performance by ABT, its first in Cuba in fifty years. 

The U.K.'s Guardian wrote:

The Americans gave a technically brilliant performance, including an athletic rendition of the Corsaire pas de deux, which saw Herrera, in a delicate purple tutu, dancing with the Cuban-born José Manuel Carreño, who drew loud cheers from the audience every time he took the stage.

The paper published a picture of Hallberg, Cornejo, and Saveliev in mid-air in Ratmansky's Seven Sonatas.

The BBC wrote that "The US and Cuba are searching for common ground through culture" and reports that dancers from ABT and the Cuban National Ballet will share the stage in tonight's performance.

Two of the ballet theatre's lead dancers, Jose Manuel Carreno and Xiomara Reyes, are originally from Cuba and performed in Wednesday night's gala at Havana's Karl Marx Theatre.

Alonso was in the audience and took to the stage to receive a standing ovation at the end of the show, which included a 1947 piece choreographed especially for her.

She returned to Cuba after Fidel Castro took power and formed the Cuban National Ballet, which has sent star dancers to many leading troupes around the world.

Carreno and Reyes were among her proteges.

A second show is due to take place on Thursday night and will feature performances from dancers of the Cuban National Ballet.

The Express Tribune has a SLIDE SHOW of the performance with pictures courtesy of Reuters (we can always depend on Reuters to get the picture) including this beauty from the end of the performance.

Vittorio, Vittorio

It's about being in the right place at the right time, the stars aligned in your favor, your lucky pennies in your loafers, etc., etc.

And so it was when Haglund was cutting through Lincoln Center during the lunch hour, he observed Italian tenor Vittorio Grigolo sitting in the gift shop at the Met autographing his new CD.  What?  The CD is only $14?  What?  There are only 50 people in line waiting to have him sign their jackets? 

Haglund slapped his cold, hard earned cash down in front of the tall, cool blond with her nose up in the air who was manning the cashier's station and skipped to the end of the line - to wait and wait and wait.

Finally Haglund was two places from the front of the line when he saw the gorgeous Vittorio run prestissimo by the line toward the back of the shop.  "Wait a minute!" the linees yelped.  Vittorio turned around and yelped back, "I have to use the bathroom."  "Okay," said the linees.  It seems even opera singers have to, too.

Five minutes passed.  Ten minutes passed.  Several more minutes passed.  All of a sudden Vittorio came running back, looking relieved and relaxed, and took his seat at the table to sign and smile, sign and smile, sign and smile.  He even drew a smiley face on Haglund's CD.

And yes, he does look like this:

WSJ @ the International Ballet Festival in Havana

Say what you will about Rupert, but one of his papers is gettin' it right – as in correct – this week.  Gettin' it right indeed.

It's been hard keeping up with The Wall Street Journal's fantastic coverage of the International Ballet Festival in Havana.  Here is yet another superb article by Pia Catton, this time focusing on Cuban native and ABT principal Xiomara Reyes who grew up in a Havana neighborhood and attended Laura Alonso's school Pro Danza.  Reyes brought along shoes and clothing for the students at her old school which she returned to today for a visit.  Pia Catton got the story and the pictures, including some great slides of the ABT dancers frolicking at the beach.

Ms. Alonso gave Ms. Reyes a tour of Pro Danza, which has been housed in this marble and wrought-iron hodge-podge building since 1984. A men's class was in session in a room heavy with humidity and sweat. Down the open corridor, a seamstress in the costume shop was working on a dress for "Dracula." A scrawny dog wandered into the second-floor hallway just as the women's class let out and dancers milled around.

The setting—a beat-the-odds ballet studio in this rough, polluted neighborhood—made even clearer why, when Ms. Reyes was asked about her greatest lesson during her time with Ms. Alonso, she replied: "Not to be afraid."

ahora.cu covering the International Ballet Festival in Havana

Digital newspaper www.ahora.cu* reports today that this evening's performance by ABT in the huge 5000 seat Karl Marx Theater will be broadcast live on television for the enjoyment of the entire country (Cuba, that is).  Hallelujah!  That means, hopefully, that we may see YouTube footage almost instantly. 

 

* FYI, there is also a supplement section in the current edition on The Cuban Five for those interested in the Cuban viewpoint.