Another Cuban beauty, Susana Pous, teaches us that dance can be a poignant dialogue and an occasion for reflection. Author: Mikel Espinosa Rodriguez
A sense of wonder overwhelms the senses whenever the audience encounters the premiere on stage. Ballet, as a performing art, does not escape this reality, and any reason to discover an unknown repertoire opens the door to new experiences.
The National Ballet of Cuba is back and back on March 23rd, 24th, 25th and 26th with an exciting season at the National Theater of Cuba and is once again betting on going beyond the written to paint new stories, outline unexplored emotions and spell out growth in it groups and stage proposal.
Under the general direction of Viengsay Valdes, the company, which is celebrating its 75th anniversary this year, presents to the public a program of five works, three of which are premieres. This is an emotional and conceptual journey, where the boundaries between styles are blurred at times, but an institution founded absolute prima ballerina Alicia Alonso always returns to the center of its axis.
In this bet there is a program made up of the diverse worldviews of creators from different latitudes. The stage experience begins with the rhythm of the piano Love Fear Loss (Love, fear, loss) performed by Yidalgel Marchetti, the common thread of the play, in which three pairs of dancers represent three emotional states, and we see prima ballerina Wiengsey Valdez on stage with prima ballerina Dario Hernandez.
Brazilian creator Ricardo Amarante takes over the choreography, costume and lighting work, which is a passionate journey that prepares the taste for an authentic emotional roller coaster that, in another segment of the program, returns with cook, a fragment of a larger creation by Ricardo Amarante, representing the premiere in the Greater Antilles. This is a vibrant ballet with tango and percussion as pretexts for impulsive yet methodical movements.
The curtain opens again and Another handsome Cuban warns us that we are facing something different, the result of the inspiration of choreographer Susana Pous, a creator who undoubtedly contributes to the work she already successfully does in her modern dance group My Company. Pose’s work reminds us that dance, in addition to being fun and charming, can also be poignant dialogue and thought provoking.
To the music of Aime Alfonso and under the pretense of classics handsome Cubanwritten by José White, the work seems to speak directly to the violence suffered by many women in a structurally macho society. The piece shows us the level of development of its dancers and demonstrates the versatility they are capable of, moving from classic to modern on a world tour.
Ballet 101, a composition that the National Ballet of Cuba introduces to its repertoire for the first time, lends a touch of humor to the program, playing five ballet positions with ironic speech, and no doubt attracts the audience. The dancers Dario Hernandez, Yasiel Hodelin and Yankiel Vazquez took over the solo choreographed by Eric Gauthier.
After going through different creative paths, the Cuban company returns to its axis with DShG concertAlexi Ratmansky, a fairy tale piece to music by Dmitri Shostakovich, performed live by the Alicia Alonso Bolshoi Theater Orchestra in Havana under the direction of Yosvani Duarte, concluding a concert program that reminds us that spring can also come to the feet.
Another Cuban beauty, Susana Pous, teaches us that dance can be a poignant dialogue and an occasion for reflection.
Love Fear Loss (Love, fear, loss) performed by Yidalgel Marchetti, the common thread of the play, in which three pairs of dancers represent three emotional states, and we see prima ballerina Wiengsey Valdez on stage with prima ballerina Dario Hernandez.
Slowly fired, it’s a vibrant ballet with tango and percussion as pretexts for impulsive swing.
Ballet 101 interpreted by Yankiel Vasquez.
Concert DSC. Photo: Maykel Espinosa Rodriguez
Source: Juventud Rebelde