Matanzas: The legacy of Alicia Alonso becomes more intense today in Cuba after her death when the new generations of dancers decided to honor her with something worthy of her and, as she was never seen crying, they danced, Prensa Latina publishes.
The Sauto Theater has the privilege of hosting the first homage to our Alice.
After the news of her death there was no time to cry, but to do what she taught us ... and that is simply dancing. Dance with our heart, the first dancer Viengsay Valdés said before the show.
The coliseum of the western province of Matanzas received the dance tribute yesterday and it was carried out precisely by the National Ballet of Cuba (BNC), the company that the legendary artist founded in 1948 with Fernando and Alberto Alonso.
The constancy, the requirement, the interpretive and technical quality, a passion for dance - contagious - and Alicia's determination, are qualities that few people gather, said Valdés, who this year assumed the position of artistic assistant director of the BNC in order to support the work of who was her teacher and the most universal Cuban artist.
The own characteristics of the Cuban ballet school were sculpted having her as a model. Her aesthetic taste and temperament identifies us anywhere in the world, she reflected before thousands of spectators who filled the Sauto Theater, because more than 700 sits were not enough, it was necessary to put chairs in the hallways.
The company opened the function with The Sylphs, a piece that integrates its repertoire since the founding season and which is close to poetry, to the incorporeal nature of the romantic spirit, totally oblivious to the demonstrations of physical strength of many creations of the XX and XXI centuries, but complex because of its lightness, only apparent.
Claudia GarcÃa, Rafael Quenedit, Cynthia Villalonga and Ginett Moncho recreated the dreamlike atmosphere of that masterpiece of MijaÃl Fokin, from which Alonso proposed an elegant and consistent version with the original.
The magic of the dolls that come to life in the moonlight and stage a duet of encounters and disagreements loaded with symbolism, moved several spectators to tears, due to the charismatic interpretation of Chanell Cabrera and Lázaro Francisco.
Undoubtedly, Muñecos, by Alberto Méndez is consolidated as a classic of the Cuban choreography that effectively links the universal culture with that of this Caribbean island.
Viengsay Valdés and Dani Hernández had fun on stage with the natural excellence that both usually give to everything they perform, this time they conspired to bewitch the auditorium with Valsette, the final pas de deux of Our Waltzes, one of the works of the more universal Venezuelan choreographer, Vicente Nebrada.
To close, Ely Regina Hernández, Chavela Riera, Maureen Gil, Luis Fernández, Marlon Frómeta and Omar Hernández shined in Celeste, creation of the Belgian-Colombian choreographer Annabelle López Ochoa exclusively for the BNC, on an intense score by PiotrIlich Chaikovski.
After the performance, the BNC undertook the way back to Havana, to continue paying tribute to Alonso this Saturday, in the Great Theater of Havana that shows her name and where she received prolonged cheers when she appeared.
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