The Monte Carlo Ballet returned to the Avellaneda Hall of the National Theater of Cuba with Core Meu, a work by the prestigious choreographer Jean-Christophe Maillot that marks a turning point from the work that captivated Havana audiences ten years ago: Cinderella. That work was a much more choreographically complex piece, rich in narrative and structural nuances. Those who remember it may have felt a less dramatic intensity in Core Meu, but probably also a different energy: pyrotechnic, cathartic, capable of summoning other emotions from the joy and visceral nature of movement.

In Core Meu, Maillot does not seek to recreate an Aristotelian story (although he suggests it here and there) or to present a closed narrative. Rather, it’s a celebration that combines the academic technique of ballet, including pointe, with the energy of popular dances from southern Italy, particularly tarantella. The stylization it proposes does not deny its roots, but rather transforms them with respect and audacity, bringing them into dialogue with the codes of contemporary dance. It’s an exercise in cultural appropriation and renewal, a happy symbiosis between the ancestral and the modern.

The resulting performance is a dynamic interweaving of formations and alternations: the dance corps sets the general pulse, while the soloists join in or detach themselves, marking accents, opening spaces, and creating textures. Although there’s no traditional narrative, moments of tension, expansion, or emotional withdrawal are suggested, in a flow edging on the ritual. The dance unfolds as a celebration and a dynamic impulse, without needing to be fixed to an explicit plot.

The climax of the work is a praise to collective joy, to the primal spirit of dance as a ritual of belonging and exorcism. In these final passages, circular formations dominate, a universal symbol of communion and continuity. It’s a choreographic gesture reminiscent of tribal dance, pilgrimages, and popular festivals that cross cultures and times. And yet, under Maillot's guidance, everything acquires a stage-like measure, a stage language that remains sophisticated, even if it does not resort to the narrative complexity of traditional ballet.

The live music of Antonio Castrignanò's group provides an essential component to the show. Its rhythmic and melodic richness, deeply rooted in Mediterranean tradition, amplifies the celebratory meaning of the work. It’s not just an accompaniment, but a permanent dialogue between sound and body, between what vibrates in the air and what’s expressed on stage. This musical presence elevates the piece to a total experience.

"Core Meu" is a contagious performance. From the very first moment, a vibrant energy is felt that transcends the fourth wall and invites the viewer to join the celebration, the ritual, the shared joy. This is not a work for introspective reflection, but rather for letting go, allowing the body to feel the impulse to move. That is, undoubtedly, one of its greatest virtues.

The presence of the Monte Carlo Ballet in Havana confirms, once again, the importance of this city as an essential hub for international dance performance. The opportunity to attend a performance of this magnitude, with first-class performers and an artistic offering that combines virtuosity, tradition, and contemporaneity, is a luxury for art lovers.

Translated by Amilkal Labañino / Cubasi Translation Staff