Arte por Excelencias - - ESTADOS UNIDOS -

“Arts of Cu­ba” ma­de its own re­vo­lu­ti­on in the ca­pi­tal of the Uni­ted Sta­tes whe­re they sett­led for al­most a month, from May 8 to Ju­ne 3 at the Kennedy Center in Washington D.C.: a fes­ti­val that showed the Is­land from the soul, le­a­ving asi­de po­li­ti­cal mi­sun­ders­tan­dings and disa­gre­e­ments. “Arts of Cu­ba: from the Is­land to the World” be­ca­me a suc­cess­ful ini­ti­a­ti­ve that ope­ned do­ors and, per­haps, cre­a­ted bonds toward new aest­he­tic, exu­be­rant, in­ten­se and pas­si­o­na­te of­fers.

For the clo­sing of this cy­cle, and from May 29 to Ju­ne 3, the icon par ex­ce­llen­ce of Cu­ban cul­tu­re ar­ri­ved at the Kennedy Center Ope­ra Hou­se: the Ballet Nacional de Cu­ba (BNC: Na­ti­o­nal Ballet of Cu­ba), the com­pany cre­a­ted by Al­ber­to, Fer­nan­do and Ali­cia Alon­so, an in­ter­na­ti­o­nal em­blem and an un­dis­pu­ted jewel. This ti­me, the com­pany di­rec­ted by Ali­cia Alon­so ma­de its de­but with one of its hits: Don Qui­jo­te, Ma­rius Pe­ti­pa's mas­ter­pi­e­ce, ba­sed on the chap­ter of the se­cond bo­ok by Mi­guel de Cer­van­tes Sa­a­ve­dra, an adap­ta­ti­on of A. Alon­so, in co­lla­bo­ra­ti­on with Ma­ría Ele­na Llo­ren­te and Marta Gar­cía, on the ver­si­on by Ale­xan­der Gorsky. Du­ring the per­for­man­ces from May 31 to Ju­ne 3, Gi­se­lle was sta­ged, anot­her of the com­pany's gre­at works, which ma­de Ali­cia Alon­so ri­se to fa­me.

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