Giselle 2: Lorna Feijoo

Lorna Feijoo-BNC.
Since the late 50's Alicia Alonso has kept his version of Giselle is starting to rise in the tip. Alonso who for many years was a leading exponent of this role maintained this technical difficulty, even if their vision problems made him much more difficult to maintain the shaft during rotation, but if the technique is said to rotate to keep the staring at a point and head back to that same point after it, how is it possible that Alonso having no vision in his last 20-year career keep those turns? I read an interview years ago and Erik Bruhm, who said he was surprised to see Alonso try to pirouette from fourth with eyes closed, maintaining control and that when asked how he could do that, she had responded that the distance was recently, it was a form of exercise to keep the speed of the head, that the point had to find within it and not outside. It is true that with the passing of the years, those twists of initiation of the grave have been refined in the BNC and there are dancers who have gone to great virtuoso of the same. I remember especially Mirta Pla, she was able to come up with a weightlessness and a speed so slow that it seemed not to complete the double over. Marta Garcia, always was, with Rosario Suarez, another Cuban dancers who performed these turns safely, but Barbara Garcia is perhaps the most perfect start I've seen in my life, not the money itself, but by the whole and the meaning of the steps and the character. I think the most difficult of Alonso's version, not the rise itself, may be the next diagonal, we must control the spin rate to enter the Chain and hold the cou de pied before initial jumps.

Desde finales de los años 50 Alicia Alonso ha mantenido es su versión de Giselle la iniciación con subida en punta. Alonso quién durante muchos años fue una de las principales exponente de este rol mantuvo esta dificultad técnica, aun cuando sus problemas de la vista le hacía mucho más difícil mantener el eje durante el giro, pero si la técnica dice que para girar hay que mantener la vista fija en un punto y regresa la cabeza a ese mismo punto después del mismo, ¿Cómo es posible que la Alonso que no teniendo visión en sus últimos 20 años de carrera mantuviera esos giros? He leído hace años una entrevista e Erik Bruhm, quien decía que se había sorprendido de ver ensayar a la Alonso pirouette de cuarta con los ojos cerrados, manteniendo el control y que al preguntarle cómo podía hacer eso, ella le había respondido que de lejos veía poco, que era una forma de ejercitar para mantener la velocidad de la cabeza, que el punto tenía que encontrarlo dentro de ella y no fuera. Bien es cierto que con el pasar de los años, esos giros de iniciación de la tumba se han ido perfeccionando en el BNC y hay bailarinas que han llegado hacer grandes virtuosas del mismo. Recuerdo especialmente a Mirta Pla, ella era capaz de subir con una ingravidez y una velocidad tan lenta que parecía que no fuera a completar la doble vuelta. Marta García, siempre fue, junto a Rosario Suarez, otra de las bailarinas cubanas que ejecutaban esos giros con total seguridad, pero quizás sea Bárbara García la iniciación más perfecta que he visto en mi vida, no por el giro en sí, sino por la totalidad y el sentido de los pasos y el personaje. Creo que lo más difícil de la versión de Alonso, no es la subida en sí, quizás sea la diagonal siguiente, hay que controlar la velocidad del giro para entrar en los Chaînés y sostener el cou de pied antes de inicial los saltos.

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• Ballet

[Leonnidik]

Mr.K, Through the many years of ballet going, I have noticed that in this var. the Cubans always dare to go on pointe and do multi attitudes. We have never seen this from Russians or others. Is this an Alonso thing?

[kabaiivansko]

@Leonnidik Can you read what is on a two-round edge. Thanks and best regards

[Leonnidik]

Mr.K, I can read just fine. When I saw this originally I don't recall any entry by you. Since they are as rare as the Hope Diamond I never or usually look to the right on your channel. The reason you posted all abouth Cuba's National Theater was because I requested it. You don't need to be curt and sarcastic with me. Goodbye. You will not be bothered with any further comments from me, I can assure you.

[kabaiivansko]

Now I am who apologized, had not written anything, I just put that note on the release of grave, I'm sorry that I have been noticing dry and sarcastic with you, that's far from their reality

mi ingles es bien malo, pesimo para ser realista. Veo en sus comentarios conocimiento y sobre todo valoración objetiva.

[kabaiivansko]

I would feel very sad to know that I have bothered. Everything I put in the right column just wrote this morning. Thanks and hope that you will forgive my mistakes.

A greeting

[iczerman]

She sure could use a much bigger stage!!!

[cubanmiamiboy]

Divine Lorna...how do I miss your magic...!

[BLynn93]

muchas gracias kabaiivansko por esa explicación detallada!

[jsl1952]

Ever since I remember from the early 60's cuban ballerinas have always gone on pointe and do a double, Alonso included. I would venture it is to accentuate the transformation into a spectre, it gives the impression of lightness and flight. Suarez had great urns, I will not be surprised she did a quad.

[BLynn93]

amazing! i love when dancers perform the attitude turns after the chugs. a teacher of mine once said she saw Rosario Suarez in Giselle doing 4 attitude turns in a performance!