7th , 8th , 12th ,15th , 21th
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
57 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.
17. 8:30 pm, 18. 8:30 pm, 19. 5:00 pm, 24. 8:30 pm,25. 8:30 pm, 26. 5:00pm
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
In 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.
Design: Salvador Fernández