Scarlatti Pas de Deux: Maria Munoz, Alvaro Madrigal, Pictures by Karime Arabia.
The closing gala program of the XXI International Ballet Festival of Miami, held for the first time at the Miramar Cultural Center in Broward County, represented the diverse mix of offerings that the two week festival has become known for. Director Pedro Pablo Peña with assistant director, Eriberto Jimenez showcased five performances and numerous periphery activities in venues that spanned Miami, Miami Beach, Coral Gables and Miramar to give audiences a glimpse of dance and choreography from other countries.
A gala program is most often a mixture of solos and pas de deux and this performance was par for the course. From Chile, the Ballet de Santiago under the direction of legendary Marcia Haydee gave us a mature, sexy and elegant duet entitled Carmen danced by Natalia Berrios and Jose Manuel Ghiso. Uniqart Dance Company from Spain went in a different direction with a neo-classical and sleek look in Dans Le Même Souffle. The occasional awkward moment was quickly forgotten in the confident delivery of Iker Murillo and Marsha Rodriguez.
Swan Lake Act II: Marize Fumero, Arionel Vargas, Pictures by Karime Arabia.
Mexico presented the traditional Nutcracker Pas de Deux from Compania Nacional de Danza. In a pas that can be breathlessly beautiful at times, a lukewarm pas was delivered by Agustina Galizzi and her youthful cavalier, Argenis Montalvo. A company of the same name, Compania Nacional de Danza, this time from Spain, presented Scarlatti Pas de Deux. Starting in silhouetted slow motion that built to up tempo precision, this duet was a simple and lovely pas that was cleanly executed by Maria Munoz and Alvaro Madrigal.
Act I was concluded with a nice attempt at Le Corsaire pas de deux,. presented by the Bay Area Houston Ballet & Theater, and performed by Laura Massague and Maikel Hernandez. There were some fine moments mixed with whirlwind tricks that were not quite delivered. The Houston company, directed by Nelson Madrigal, also performed Don Quixote pas de deux in Act II. Estheysis Menendez was a befitting Kitri though her solo would have been complete with the inclusion of a fluttering fan. Her partner, Javier Morales, delivered a neatly executed solo. Menendez and Morales finished the pas with flare.
The Milwaukee Ballet, under Michael Pink’s direction, presented the classic white Swan Lake pas de deux to open Act II. This was a second occasion to see the refined Marize Fumero who danced the balcony pas de deux from Romeo and Juliet in the Cuban Classical Ballet’s spring performance. In the present performance, she was an austere Swan Queen deftly partnered by her Siegfried, Arionel Vargas. These two were artistically luscious and technically meticulous as they danced their tragic love story. While extensions are very trendy these days, maintaining the integrity of line would enhance the classical ability of Fumero, especially in the arabesque of her final pose.
After such a sparkly deliver in Scarlatti, Madrigal became The Swan performed to the well known Saint-Saëns score. A male swan is not a new idea, but one that either really works or falls flat. This solo, while lovely, could be out of this world with more exotic use of the head and commitment to the sensuous legato shapes.
The Swan: Alvaro Madrigal, Pictures by Karime Arabia.
Ballet Estable Teatro Colon from Argentina presented Luciana Barrirero and Bucharest National Opera from Romania presented Lucas Erni in a well delivered Pas d’Esclave from Le Corsaire.
Barrirero seemed to lack confidence against the assured maturity of Erni. Black Stone performed by Anna Chiara Amirante and Alessandro Staiano from the Italian Corpo dil Teatro di San Carlo was a dynamic build to the closing of the evening. Leggy and sharp, the couple was perfectly at home in their angular and avant guard duet.
The effervescent energy, technical prowess and charming exuberance of the Diana and Acteon pas de deux is a dynamic closing for a gala evening. Well coached, Sena Hidaka and the powerhouse, Shushei Yoshida from the Bucharest National Opera of Romania did the pas justice. Yoshida flew in his jumps while Hidaka charmed her way through the difficult turns and hops that were required.
It is an opportunity to see the diverse offerings and the range of abilities that are delivered from around the world during the International Ballet Festival; An opportunity to be taken advantage of each year.
