Ballet - News from Havana

GRAND TEATRO DE LA HABANA
PASEO DE MARTI
PHONE: (+53) 7 61 3078

January

1th 17:00

GALA FOR THE 59 ANNIVERSARY OF THE TRIUMPH OF THE REVOLUTION DON QUIJOTE

Choreography: Alicia Alonso, Marta García and María Elena Llorente on the original by Marius Petipa and the version by Alexander Gorski
Music: Ludwig Minkus
Script: Salvador Fernández
Set design: Salvador Fernández

The Cuban version of Don Quixote has been acclaimed by the public and international critics, since the figure of the central character has been staged in a dignified and serious way: the Hidalgo Mr. Don Quixote de la Mancha, who in other versions has been treated in a minimized way, without showing its true relevance as a protagonist.

The National Ballet of Cuba conducted a study of the staging of other companies to place in its rightful place this character, inspired by the masterpiece of Spanish literature, hence it remains on stage throughout the work showing its stamp passionate and dreamer that distinguishes him and transcends him in time.
On July 6, 1988, under the artistic and choreographic direction of Alicia Alonso, the Cuban company premiered its version of Don Quixote, with choreography by Martha García and María Elena Llorente on the originals of Marius Petipa and Alexander Gorski. The set, with libretto, scenery and costumes of Salvador Fernández, has a prologue and three acts.

6. 8:30, 7. 17:00, 12. + 13. 20:30, 14. 17:00. 19 + 20. 20:30, 21. 17:00, 25. + 26. 20:30, 28. 17:00

SEASON FOR THE 30TH ANNIVERSARY OF THE PREMIERE OF THE CUBAN VERSION AND THE 200TH ANNIVERSARY OF THE BIRTH OF MARIUS PETIPÁ DON QUIJOTE

Choreography: Alicia Alonso, Marta García and María Elena Llorente on the original by Marius Petipa and the version by Alexander Gorski
Script: Salvador Fernández
Design: Salvador Fernández

The Cuban version of Don Quixote has been acclaimed by the public and international critics, since the figure of the central character has been staged in a dignified and serious way: the Hidalgo Mr. Don Quixote de la Mancha, who in other versions has been treated in a minimized way, without showing its true relevance as a protagonist.

The National Ballet of Cuba conducted a study of the staging of other companies to place in its rightful place this character, inspired by the masterpiece of Spanish literature, hence it remains on stage throughout the work showing its stamp passionate and dreamer that distinguishes him and transcends him in time.
On July 6, 1988, under the artistic and choreographic direction of Alicia Alonso, the Cuban company premiered its version of Don Quixote, with choreography by Martha García and María Elena Llorente on the originals of Marius Petipa and Alexander Gorski. The set, with libretto, scenery and costumes of Salvador Fernández, has a prologue and three acts.

February

23. 8:30 pm, 24. 8:30 pm, 25. 5:00 pm

GISELLE

Choreography: Alicia Alonso, on the original by Jean Coralli and Jules Perrot
Music: Adolphe Adam
Script: Théophile Gautier, Vernoy de Saint-Georges and Jean Coralli, inspired by a Germanic folk legend collected by 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.

March

2. + 3. 20:30, 4. 17:00, 9. + 10. 20:30, 11. 17:00

GISELLE

Choreography: Alicia Alonso, on the original by Jean Coralli and Jules Perrot
Script: Théophile Gautier, Vernoy de Saint-Georges and Jean Coralli, inspired by a Germanic folk legend collected by 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.

April

1. 17:00, 6. + 7. 20:30, 8. 17:00, 13. + 14. 20:30, 15. 17:00

«CONCERT PROGRAM»

May

May 15 to June 9

TOUR TO THE UNITED STATES

June

May 15 to June 9

TOUR TO THE UNITED STATES

July

20. + 21. 20:30, 22. 17:00

«CONCERT PROGRAM»

September

12th to 19th

TOUR TO LOS ANGELES (HOLLYWOOD BOWL), UNITED STATES

31th 20:30

«CONCERT PROGRAM»

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 22 , Saturday 23, 8:30 pm.

ANYALI

Choreography: Ely Regina Hernández
Music: Ezio Bosso
Light: Ruddy Artiles

Anyali (own name and at the same time polysemic word) is a dream vision. Abstract images, where light and shadows confront each other, and characters without defined faces in a constant pursuit.

Friday 22 , Saturday 23, 8:30 pm.

CARMEN

Choreography: Alberto Alonso, sobre la novela de Prosper Mérimée y el libreto de Henry Meilhac y Ludovic Halevy para la ópera homónima de Georges Bizet
Music: Rodion Schedrin, sobre la original de Georges Bizet
Script: Alberto Alonso, sobre la novela de Prosper Mérimée y el libreto de Henry Meilhac y Ludovic Halevy para la ópera homónima de Georges Bizet
Set design: Salvador Fernández

The ballet Carmen had its world premiere at the Teatro Bolchoi in Moscow, in 1967, and on August 1 of that same year it was premiered at the Gran Teatro de La Habana, with Alicia Alonso as its exceptional performer.

The staging of the National Ballet of Cuba, concentrates its intention to reveal the essential contradictions between the rebel personality of Carmen and the forces of his time, represented by the characters that surround it. Carmen faces a society that, according to its canons, denies and prosecutes it. The dilemma that presents itself is to adapt or perish; and she, free, willful, individual, prefers to die.

The argument is summarized as follows: the gypsy Carmen, beautiful and sensual woman, is terrible in her passions. She works as a cigar maker at the factory where she has quarreled with one of her colleagues, and she is arrested by Captain Zúñiga.

Carmen seduces Sergeant José so that he forgets his duty and helps her escape, turning him into a smuggler and thief. Later, the gypsy falls in love with the young bullfighter Escamillo. José, being betrayed by Carmen, kills her with a stab.

Carmen plays with the feelings of three men: Don José, the bullfighter Escamillo and Zúñiga. The famous protagonists of Merimée’s novel are located in a bullring, which symbolizes life. The bull of fight and the destiny of Carmen are united in a sinister character.

GRAND TEATRO DE LA HABANA PASEO DE MARTI PHONE: (+53) 7 61 3078

January

GALA FOR THE 59 ANNIVERSARY OF THE TRIUMPH OF THE REVOLUTION DON QUIJOTE

SEASON FOR THE 30TH ANNIVERSARY OF THE PREMIERE OF THE CUBAN VERSION AND THE 200TH ANNIVERSARY OF THE BIRTH OF MARIUS PETIPÁ DON QUIJOTE

February

GISELLE

March

GISELLE

April

«CONCERT PROGRAM»

May

TOUR TO THE UNITED STATES

June

TOUR TO THE UNITED STATES

July

«CONCERT PROGRAM»

September

TOUR TO LOS ANGELES (HOLLYWOOD BOWL), UNITED STATES

«CONCERT PROGRAM»

October

UMBRAL

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

CARMEN

November

LA BAYADERA [GRAND PAS]

THE MAGIC FLUTE COMEDY-BALLET IN AN ACT

PAQUITA

December

IN THE SHADOWS OF A VALS

ANYALI

CARMEN

GRAND TEATRO DE LA HABANA
PASEO DE MARTI
PHONE: (+53) 7 61 3078