January

7th , 8th , 12th ,15th , 21th

CASCANUECES

Choreography: Alicia Alonso, on the original of Lev Ivánov
Music: Piotr Ilich Chaikovski
Script: To the original by Marius Petipa, based on Alexandre Dumas free version of the story The Nutcracker and the Mouse King, of E.T.A. Hoffmann
Set design: Guido Fiorato. Coproduction between the Teatro La Fenice, Venice, the Teatro Carlo Felice, Genoa, and the National Ballet of Cuba

havana-live-cascanueces_357 Anniversary Gala for the Triumph of the Revolution

The Nutcracker premiere took place on December 18, 1892, at the Mariinsky Theatre, with designs from MI Botcharov, K. M. Ivanov and I. Vsevolovski, under the orchestral direction of Riccardo Drigo .

The main roles were played by Antonietta Dell’Era, Pavel Gerdt, Nikolai Legat and Olga Preobrajenska. This choreographic version by Alicia Alonso was released during the 16th. International Ballet Festival of Havana, on November 5, 1998.
To develop its staging, Alonso started from the choreographic elements that remain from the original, and above all, the unique style designed for this ballet by Russian dancer and choreographer Lev Ivanov.

Alicia Alonso was interpreter in Nutcracker at the American Ballet Theater and the Ballets Russes of Monte Carlo, where he was originally led by great masters of old Russian school, such as Nikolai and Alexandra Fedorova Sergueiev.

February

17. 8:30 pm, 18. 8:30 pm, 19. 5:00 pm, 24. 8:30 pm,25. 8:30 pm, 26. 5:00pm

GISELLE

Music: Adolphe Adam
Script: Théophile Gautier, Vernoy de Saint-Georges y Jean Coralli, inspirado en una leyenda popular germánica recogida por Heinrich Heine
Set design: Salvador Fernández

giselle_2In the repertoire of the National Ballet of Cuba, Giselle has a special place as the title among the works of the traditional repertoire, most requested and internationally acclaimed.

The history of the Cuban ballet Giselle begins even before the founding of the company in 1948. On November 2, 1943, Alicia Alonso made his debut in the title role at the Metropolitan Opera House in New York. More than a memorable night, that function was the beginning of an artist-character relationship that transcend the purely theatrical field to make way for the birth of the myth, the upward spiral.

The omens supported by critics of the time, would come true in that first incarnation of peasant dancing turned into a noble spirit in which the germ of the future perfection appreciated.

Alicia Alonso, the artist, Giselle has transcended beyond the orbit covered by the work. The concept of staging eludes aspects outside the sensitivity and culture of the contemporary viewer, as far as the argument and style of the work have allowed the choreographer.

The concise narrative, linked to the design of the dances and their situation within Giselle, trace a parabola between the two acts and achieves an obvious stylistic homogeneity, dramatic and choreographic balance developed organically from first to second act; uniformity unreached put in all of this ballet and has contributed to the version of the National Ballet of Cuba is proclaimed as the most successful of how many are in the international repertory.

The choreographic version of Giselle, performed by Alicia Alonso has been incorporated into the repertoire of famous international dance groups. Including the Teatro Colon, Buenos Aires, Argentina, 1958; the Greek Theatre, Los Angeles, California, USA, 1958; the Paris Opera Ballet, France, 1972; Ballet Theatre of Fine Arts, Mexico, 1976; the Ballet Vienna State Opera, 1980; Ballet of Teatro San Carlo, Naples, Italy, 1981; and the Slovak National Theatre Ballet in 1989.

In 1966 Alicia Alonso received the Grand Prix de la Ville de Paris in the IV International Festival of Dance held at the Théâtre des Champs-Élysées, for its choreographic version and personal interpretation of ballet Giselle.

March

April

2. - 9.

27. Festival “La Huella de España”


 

 

 

 

May

Ballet Nacional de Cuba to Tour Spain, Italy, France till September

June

July

September

Design: Salvador Fernández

October

6. 20:30 + 7. 17:00

UMBRAL

Choreography: Alicia Alonso
Music: Johann Sebastian Bach
Costumes: Salvador Fernández
Set design: Zaida del Río

This ballet evokes in some respects the creative style of George Balanchine (1904-1983), as a homage of the choreographer to one of his great masters. The music is Symphony op.18, n.2, in B flat major (Allegro, Rondo grazioso, Allegro), composed by the smaller of the children of Johann Sebastian Bach.

Friday 6, Saturday 7, 8:30 pm. Sunday 8, 5:00 pm

IN THE LIGHT OF YOUR SONGS "TRIBUTE TO ESTHER BORJA BRANDED IN HIS CENTENARY"

Choreography: Alicia Alonso
Music: Ernesto Lecuona (1895-1963), Orlando de la Rosa (1919-1957) y Adolfo Guzmán (1920-1976)
Design: Ricardo Reymena
Light: Pedro Benítez

CARMEN

Choreography: Alberto Alonso, on the novel of Prosper Mérimée and the libretto of Henry Meilhac and Ludovic Halevy for the homonymous opera of Georges Bizet
Music: Rodion Schedrin, on the original Georges Bizet
Script: Alberto Alonso, on the novel of Prosper Mérimée and the libretto of Henry Meilhac and Ludovic Halevy for the homonymous opera of Georges Bizet
Set design: Salvador Fernández


The leading roles will be played by the leading figures Viengsay Valdés, Anette Delgado, Sadaise Arencibia and Grettel Morejón, who debuts in the star Carmen, as well as Patricio Revé, Rafael Quenedit, Ariel Martínez and Claudia García, among several who interpret for the first time other main characters.

Although the founding choreographer of the BNC created Carmen especially for the Russian diva Maya Plisétskaya, there is no doubt of the contribution to the work of another great artist, the Cuban Alonso, to turn the gypsy into a legend within the dancer.

Shortly after the world premiere in Moscow, on August 1, 1967, Alonso danced the piece in this capital and surpassed expectations, as for many the essence of Carmen’s choreography lies in the syncretism of Spanish, Latin and African, present in the Cuban roots.

Dancers from all over the world consider the character a challenge, in addition to Prosper Mérimée’s original literary (1845) which inspires dissimilar musical, plastic and dance creations, poses a challenge to social and gender constructs yet to be overcome.

November

Friday 17 y Saturday 18, 8:30 pm. Sunday 19, 5:00 pm

LA BAYADERA [GRAND PAS]

Choreography: María Elena Llorente, on the original of Marius Petipa
Music: Ludwig Minkus
Set design: Salvador Fernández

The full version of La bayadera consists of four acts, and was premiered in 1877 at the Marinski Theater in St. Petersburg, with Lev Ivanov as the lead soloist, who later achieved celebrity as a choreographer for Nutcracker and acts second and fourth of Swan Lake.

The libretto by La bayadera, created by Serguei Kuschelok and Marius Petipa, was inspired by two dramas by the Hindu poet Kalidasa. The present grand pas corresponds to the scene of the festivities by the betrothal of Gamzatti, the daughter of Raja, and Solor, a warrior prince.

In Eastern culture, the bayaderas were dancers and singers that intervened as much in the religious ceremonies as in the profane parties.

In the nineteenth-century theatrical dance, populated by extraordinary female creatures – sylphs, ondinas, wilis, swan women, shadows, specters … – the bayades, by their exoticism, enjoyed special popularity.

In the repertoire of the National Ballet of Cuba is another fragment of the ballet La bayadera: the scene known as “The kingdom of the shadows”.

Friday 17 y 18, 23 y 24 y 25 8:30 pm. Sunday 19 y 26 5:00 pm.

THE MAGIC FLUTE COMEDY-BALLET IN AN ACT

Choreography: Alicia Alonso, inspired by the homonymous work of Lev Ivánov
Design: Ricardo Reymena
Light: Ruddy Artiles

In January of 1893, in the Imperial School of Ballet of Saint Petersburg, the premiere of a ballet with the title of the magic flute, choreographed by Lev Ivánov, with music of the Italian composer Riccardo Drigo. To Anna Pávlova we owe her the premiere of the work in Cuba, in the National Theater (today Great Theater of Havana), the 13 of February of 1917.

This work was premiered by the National Ballet of Cuba during the 19th International Festival of Ballet of Havana.

The action takes place in a French village, at the end of the XVIII century. The peasants celebrate the harvest of the apple. Lucas, a young villager, and Elisa, the farmer’s daughter, love each other. But the girl’s parents oppose that union.

PAQUITA

Choreography: Marius Petipa
Music: Ludwig Minkus
Design: Salvador Fernández

The complete version of Paquita had its premiere in the Opera of Paris in 1846, with choreography of Mazilier and music of Deldevez.

The ballet, which featured in its debut with Carlotta Grisi in the title role, developed a simple love story in two acts and three scenes, which took place in Napoleon occupied Spain.

In 1881, in St. Petersburg, Marius Petipá commissioned Minkus to compose new music for the pas de trois and grand pas. These fragments choreographed by Petipa continue to appear, with different versions, in the repertoire of numerous companies of the world.

December

Friday 8 y Saturday 9, 8:30 pm. Sunday 10, 5:00 pm

CASCANUECES

Choreography: Alicia Alonso, on the original of Lev Ivanov
Music: Piotr Ilich Chaikovski
Script: On the original of Marius Petipa, based on the free version of Alexandre Dumas of the story The nutcracker and the king of the mice, of E.T.A. Hoffmann
Design: Co-production between the La Fenice Theater in Venice, the Teatro Carlo Felice in Genoa and the National Ballet of Cuba
Set design: Guido Fiorato

The premiere of Nutcracker took place on December 18, 1892, at the Teatro Marinski, with designs by M.I. Botcharov, K. M. Ivanov and I. Vsevolovski, and under the orchestral direction of Riccardo Drigo.

The lead roles were played by Antonietta Dell’Era, Pavel Gerdt, Olga Preobrajenska and Nikolai Legat. The present choreographic version realized by Alicia Alonso was premiered during the 16. International Festival of Ballet of Havana, 5 of November of 1998.

To elaborate its staging, the Alonso started from the choreographic elements that are conserved of the original, and above all, of the peculiar style conceived for this ballet by the choreographer and Russian dancer Lev Ivánov.

Alicia Alonso was an interpreter of Nutcracker at the American Ballet Theater and the Ballet Russes of Monte Carlo, where he was originally taken by great masters of the old Russian school, such as Nikolai Sergueiev and Alexandra Fedórova.

Friday 22 , Saturday 23, 8:30 pm. Sunday 24, 5:00 pm

CONCERT PROGRAM