Ballet Stars
Sadaise Arencibía as Giselle. Photo by Quinn Wharton.

Grettel Morejón and Sadaise Arencibía, principal ballerinas with the National Ballet of Cuba, danced the title role of Giselle in the company's performances on June 6 and 8 at the Saratoga Performing Arts Center in upstate New York. SPAC was the final stop on a U.S. tour that took the company to Tampa, Chicago and Washington, D.C. Morejón's was an intimate, caring, and protective Giselle, placing complete confidence in Albrecht before he becomes her deepest disappointment; Arencibía's was a spectral capture, as present as the Lilac Fairy in Sleeping Beauty, but also the vigilantly mad witness to her own downfall. To say that both interpretations are as distinctive as they are mesmerizing might sound like a false equivalency. Yet, Morejón and Arencibía demonstrate that two vastly different articulations can wax both genuine and stunning, with the same steps to the very same music.

I knocked on their shared dressing room door at SPAC last week, and the welcome from each was as warm as their enthusiastic and forthcoming responses to my questions.

Has the role of Giselle changed over the years since Alicia Alonso created it for the Cuban National Ballet? If so, how?

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Ballet Stars
Dores André and Solomon Golding in Annabelle Lopez Ochoa's "Guernica," via YouTube.

In honor of its 85th anniversary, San Francisco Ballet has commissioned works from 12 internationally-recognized choreographers to contribute to the company's Unbound: A Festival of New Works, now in progress. Pointe spoke with Belgian-Colombian choreographer Annabelle Lopez Ochoa and corps member Solomon Golding about the process of making Guernica, Ochoa's work inspired by the painting of the same name by Pablo Picasso.

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