National Ballet of Cuba presents Giselle

Within the repertoire of the National Ballet of Cuba, Giselle has significant importance, not only with regard to its own history, but also because with this work and with Alicia Alonso, its exceptional performer, Cuba transcends for the first time in the international arena. of the dance.

The famous replacement of Alicia Márkova by Alicia Alonso in Giselle occurred during the New York Ballet Theater season, on November 2, 1943. With the Cuban dancer, a new order of values ​​began for the work that “represents the compendium and the apotheosis of the dance of an entire era. In this extensive stage, in which Alicia Alonso has singled out many characters, due to the coherence between the execution of the interpretative character and the technique, she has elevated Giselle over the long journey that the work has traveled, summarizing entire generations of dancers since the Grisi will premiere it, bringing new profiles to the choreography, style and dramatic action. The concept of its staging avoids certain signs of mystification in which romantic ballets have reveled, to the extent that the plot and style have allowed it. The concise narration, linked to the design of the dances and their situation within the work, traces a parable between the two acts and achieves a manifest stylistic homogeneity, dramatic and choreographic balance, a uniformity not achieved in all the performances of this ballet and that has contributed to the National Ballet of Cuba’s version being proclaimed as the most successful of those found in the international repertoire. The choreographic version and personal interpretation of the ballet Giselle, by Alicia Alonso, received the Grand Prix de la Ville de Paris in 1966; and in 1972, that same version was incorporated into the Paris Opera.
The world premiere of the ballet Giselle took place on June 28, 1841, at the Paris Opera, with Carlotta Grisi in the role of Giselle, Lucien Petipa in that of Albrecht, and Adèle Dumilâtre in that of Myrtha. The set was designed by Pierre Ciceri, the costumes by Paul Lormier.
The great German lyric poet Heinrich Heine, who collected the popular legend on which the ballet Giselle was inspired, was a figure of cultural and political relevance in his time, and reflected in his work many examples of imagination and creativity. popular. One of his books collects the legends of the so-called “elemental spirits”, which have preserved the oral tradition for centuries in the fields and villages of central Europe. These stories recreated by Heine inspired the French poet Théophile Gautier to create a theme for a ballet: Giselle or The Wilis, which has since become part of the heritage of universal dance culture. Heine wrote:

“Dance is characteristic of aerial spirits. Their nature is too ethereal for them to walk prosaically on this earth, with ordinary steps like us. However, despite their delicacy, their little feet leave some footprints on the grass, where they have celebrated their nightly dances. They are circles that the people call rings of the sylphs.
In one part of Austria there is a legend that bears a certain resemblance to the above, despite being originally Slavic. It is the legend of the spectral dancers, known there under the name of the Wilis. The Wilis are the brides who have died before the wedding. The poor creatures cannot rest peacefully in the tomb; In their dead hearts, in their dead feet, that desire to dance that they could not satisfy in life still breathes; and at midnight they come out of their graves, they gather in flocks on the roads, and woe to the young man who finds them! He has to dance with them, the Wilis surround him with wild impetus, and he dances with them all, without rest or calm, until he falls dead. Adorned in their wedding dresses, their flower crowns and with floating ribbons on their heads and shiny rings on their fingers, the Wilis dance in the glow of the moon, like sylphs. Their faces, although white as snow, are youthfully beautiful. They laugh with joy that thrills, they are of unbridled kindness, they make mysteriously voluptuous and promising signs. These dead bacchantes are irresistible.
The people, having seen brides die in bloom, could not believe that youth and beauty withered so quickly. And thus the belief easily arose that the bride seeks after death the joys of which she has been deprived.

Duration: 1st Part 53′ – Break 15′ – 2nd Part 50′

More information at box office@tafestepona.com

Start:

19/04/2024 8:00 pm

End:

19/04/2024 10:30 pm

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