Miami Festival
Ballet in Miami has extended beyond the realm of the Balanchine specialties introduced by Edward Villella, when he founded the Miami City Ballet more than 20 years ago. The Concert Association of Florida presents American Ballet Theatre, Julio Bocca’s Ballet Argentino and other companies, but that is not enough. Every year now, ballet lovers can also see the best duet and solo performances during the International Ballet Festival of Miami, founded 11 years ago by Artistic Director Pedro Pablo Peña.
During the spectacular gala performance at the Jackie Gleason Theater in September, the Life for Dance: Lifetime Achievement Award went to the Cuban choreographer Alberto Alonso. He spoke about his life and his creations and introduced his wife of many years, the legendary Sonia Calero, who danced to the music of Noche Azul (Blue Night) by Cuban composer Ernesto Lecuona.
But the stars of the night were Cuban ballerina Lorena Feijóo, principal dancer of San Francisco Ballet, and Rolando Sarabia, now with Houston Ballet, who performed the Don Quixote pas de deux exquisitely. Feijóo revealed the artistic flair that has made her famous as a zesty performer. Sarabia was technically impressive, and revealed a lot of love and admiration for his partner. Both characterized Hispanic bravado at its best: Feijóo, fiery and passionate; Sarabia, like a toreador, always striking the right pose.
Other great performances of the evening came from French ballerina Mathilde Froustey and her partner, Heimann Mathias, from the Paris Opera Ballet in the pas de deux from the second act of Giselle. She was the spirit of Giselle, a feather floating through the air. Never have we seen such power of levitation, such lightness and interpretation of a character, moving with infinite grace.
Also exciting was Renace, by the dancer Benvindo Fonseca, of the Lisboa Ballet Contemporâneo, who interpreted his own choreography to the music of the Harlem Gospel Choir, Gershwin and Verdi. Fonseca approached the stage as a primitive priest from Africa, the leader of his tribe, and depicted the pains of slavery and the joy of freedom with muscular movements that transformed his body before our eyes.
Silvina Perillo and Hernán Piquín, of the Teatro Colón, Argentina—regulars in the Festival—shone in the Le Corsaire pas de deux. Another Cuban ballerina, Adiarys Almeida, danced Flames of Paris with great flair, accompanied by her partner, Joseph Gatti (both of Cincinnati Ballet).
But the perfect dancer that evening was Priscilla Yokoi, who did the Black Swan with Guilherme Oliveira, both of Cía Brasileira de Danças Clássicas. She could not express the fury of Odile, but had the strength, endurance and balance that made the audience vibrate with admiration.
Olga Connor writes about dance for El Nuevo Herald.
