Arte por Excelencias - - ESTADOS UNIDOS -

The Ope­ra Hou­se, the main sta­ge of the Kennedy Center for the Per­for­ming Arts, was the sta­ge for Cu­ban Na­ti­o­nal Ballet´s (BNC) per­for­man­ces. The­re, on the banks of the Po­to­mac Ri­ver, in the ca­pi­tal of the Uni­ted Sta­tes, I was the only dan­ce cri­tic re­por­ting for the is­land and an eyewit­ness to this his­to­ric ar­tis­tic event for the two na­ti­ons in­vol­ved. Ne­ed­less to say, it is a cha­llen­ge for me to des­cri­be, with just words de­void of all chau­vi­nism, tho­se ma­gi­cal nights.

The­se pre­sen­ta­ti­ons coin­ci­ded with a sig­ni­fi­cant event not only for Cu­bans, but for the world of dan­ce in ge­ne­ral: on May 30, it was forty ye­ars sin­ce the BNC (Cu­ban Na­ti­o­nal Ballet) had last dan­ced at the Kennedy Center with Ali­cia Alon­so in her pa­ra­dig­ma­tic ro­le of Gi­se­lle. In ad­di­ti­on, among ot­her im­por­tant re­a­sons, this li­ving le­gend and glory of dan­ce was pre­sent that night with all the au­gust vi­ta­lity of her 97 ye­ars of li­fe. She re­ac­hed the pe­ak of her ca­re­er in the Uni­ted Sta­tes du­ring the for­ti­es and fif­ti­es of the last cen­tury and is cur­rently the com­pany's ge­ne­ral di­rec­tor and pri­ma ba­lle­ri­na as­so­lu­ta.

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