https://www.danzahoy.com/home/2014/07/del-nuevo-al-viejo-continente/ Danza en español Thu, 02 Aug 2018 11:44:55 +0000 hourly 1 https://www.danzahoy.com/home/2014/07/del-nuevo-al-viejo-continente/comment-page-1/#comment-59492 party Entertainment Thu, 08 Jan 2015 16:57:30 +0000 http://www.danzahoy.com/home/?p=7975#comment-59492 Fabulous, what a weblog iit is! This weblog peovides valuable data to us, kewep iit up.

]]> https://www.danzahoy.com/home/2014/07/del-nuevo-al-viejo-continente/comment-page-1/#comment-34323 Maykel Fills Mon, 18 Aug 2014 23:10:44 +0000 http://www.danzahoy.com/home/?p=7975#comment-34323 It’s not just these stylistic niceties that gave such wonder to Anette Delgado’s Giselle, but how they were combined to give new, or, rather, rediscovered, meaning to parts of the role that had long seemed familiar, and to have given up all their secrets. Take Giselle’s soubresauts. You’re probably used to seeing them as most ballerinas do them today, with the upper body bobbing up and down, arms echoing the legs’ push to give some added kinetic and visual oomph to the jumps. With a good jumper, it’s often quite stunning, but ever-so-slightly incongruous, as if Giselle were saying to us, “look, I’m a ghost. See how high I can jump!” (cough-Osipova). Delgado’s arms and shoulders, floating unconcerned above her pretty and powerful footwork, seemed almost entirely unaffected by her soubresauts, which became a brief miracle of propulsion. It’s not the height of her jump that convinces you she’s a ghost, but how spookily oblivious she seems to be to the very fact that she’s leaping so high. Suddenly, these few steps made sense to me in a way that I’d never seen (or, more likely, noticed) before. It’s like seeing a Balanchine ballet staged with detail and nuance by someone who remembers, and throughout the evening, the Cubans presented the familiar packaged with such little epiphanies from the past. Had I the note-taking ability, I could easily go on for pages about the beautiful surprises of Delgado’s portrayal (and the elegant if slightly overmatched Hernandez). There’s so much richness crammed into such brief, ephemeral moments, I teared up at the beauty of it all, and that it was disappearing so quickly before me. Suddenly, the mime-heavy Giselles I’d so recently praised – Peter Wright’s staging, Alina Cojocaru’s dancing – seemed ever so slightly heavy handed: literal when they should be of magic.

]]>