Hi Rebecca, So glad you Dad will see you dance this weekend! Can you send a picture of the inside of the Kravis Center? Never been there. Thanks, Denise A. (P.S. Where can we find your answers to tumblr questions?) Merde
I am sorry I didn’t get this earlier Denise! I will be sure to take one next time. When I answer your questions they show up as posts on my Tumblr. Thanks again for all your support!
“Mr B. set the parameters of the movement, sometimes with great detail and sometimes without any detail, and within those limits he allowed for enormous freedom not only of movement but of spirit.”—Suzanne Farrell, Holding On to the Air.
Good morning world! A 10:30 am alarm feels much more appropriate to me. Leaving the hotel in a bit to get breakfast with the girls before heading to the theater for 12:30 class. We will be rehearsing today for 2 hours. Any guess as to what we will be working on?
Second act just ended. Had an eventful first intermission, almost had to go into Baker’s Dozen as an emergency. After I finished doing my hair, I got the all clear sign that they wouldn’t need me. Phew.
Go On Tour With MCB, Vicariously Through "Digital Diverts".
This week is going to be a busy one for Miami City Ballet. Tomorrow morning we will all get up, pile into our cars, and truck across the state of Florida to Naples, for a quick stint of two performances. Then we come back to Miami, late on Wednesday night, for only one day, before we rush to West Palm Beach on Friday for another weekend of performances. Yes, we sure will be busy.
So follow along with us as we jet across South Florida to bring ballet to our different audiences. I will be posting here on Digital Diverts by the hour to keep you up to date on our schedule. So come along with me, and with Miami City Ballet as we take Program II on the road.
Dancer / writer Toni Bentley comments on Suzanne's dancing on p.30 of her own book, "Winter Season," under the "November 25th" diary entry in words so lovely it is hard to comprehend:
"Suzanne just finished another Diamonds, and frankly I cannot put any words on paper to describe her magnificence. . . . She is from God's world - a direct disciple, I think. He has sent her down to brighten our lives and teach us of higher things. To me she is beauty itself - the word came after her presence. . . . If she were totally aware of the beauty she was creating, she would stop in awe of herself. . . . I am absolutely at a loss. . . . Surely any of our mortal words put down to explain her or describe her are absurd. She is, that is all." Gorgeous dancing inspires gorgeous writing. I'd love to have you write about both books, Suzanne's and Toni's. ~~ Denise
I have “Winter Season”. It is next on my reading list. Wonderful quote. Thanks for sharing!
“Because I worked for Balanchine I was never asked to fit into the mold of the world’s idea of a classical dancer with her grand demeanor, polite arabesque, and rounded elbows. Instead of perfecting a precedent, I was encouraged - as were all of Balanchine’s dancers - to set one, if I dared. We started breaking the rules…”—Suzanne Farrell, Holding on to the Air.
Half an hour away from performance time here in Ft. Lauderdale. This is what it is all about. We work tirelessly in search of perfection; to better ourselves as dancers and as people. This is how it pays off, when we put something beautiful out onstage and bring joy to our audience. Here is to another successful weekend. Cheers to our MCB family.
MCB has been preparing to revive La Sonnambula. I was wondering about the challenges faced by the Sleep Walker, especially the extended time spent on point and the need, at the end, to carry the dead weight of the Poet in her arms. How do different dancers approach this challenge? What tips to they learn to do it well?
Each Sleepwalker takes this role very seriously. There are many challenges for her to face, including the gliding steps on pointe she takes across the stage. The ladies have told me that, indeed, this does hurt your toes. They find it essential to have shoes that are very hard in order to protect their feet.
This ballet ends in a dramatic fashion. The Poet’s body is placed into the Sleepwalker’s arms, as she walks backwards, disappearing into the scenery. Allegra Kent says in her book, “Once A Dancer” that this exit ”was really not difficult, because his whole weight was on my back and shoulders as he wrapped himself around me in a fireman’s lift.” However, in our casting here at MCB, there is a moment for one of the dancer’s that is a bit difficult. When Yann Trividic is the Poet, Jennifer Kronenberg is the Sleepwalker. Mr. Trividic is about 6’3” and Ms. Kronenberg cannot be taller than 5’7”. But Jennifer is extremely strong, and is able to pull this off as long as the four men place him into her arms in a comfortable embrace. After the pair are off stage, Trividic always picks Jennifer up and cracks her back to try and help release the strain.
In an article from Dance Magazine a few years ago, Allegra Kent talks about working with Miami City Ballet principals on this role. Though in the article she is discussing a previous visit to Miami, she also came this season to work with our dancers on La Sonnambula, as well as Bugaku, which we performed in Program I this season.