The season of the classic Giselle that concluded this weekend at the National Theater of Cuba has confirmed what’s well known: ballet is a popular art in Cuba. Thousands of people filled the large Avellaneda hall, there was practically sold out at every presentation.

The seed Alicia, Alberto, and Fernando Alonso sowed decades ago continues to bear fruit, despite the obstacles of successive crises. People love ballet, particularly the great classical repertoire. The National Ballet of Cuba (BNC) mobilizes crowds in each performance.

In addition to the debut of the principal dancer Chavela Riera in the leading role (which we mentioned last week), the debuts in the role of Albrecht as the first dancer Yankiel Vázquez and the principal dancer Ányelo Montero have been added. They have been convincing, in all aspects. Without great displays of virtuosity, they largely mastered the technique and respected the style. And each one managed to distinguish his interpretation.

Yankiel Vázquez, who danced with Grettel Morejón, came to the role with his task done: he has stood out for his elegance and looks when interpreting the princes of the great repertoire. His confidence, his commitment to the story line, his ease of incorporating nuances... don’t seem like those of a debutant dancer.

Perhaps Montero was less princely, but that "earthiness" did not diminish shine, thanks to the coherence of the histrionic approach. The connection was remarkable, the fluid "dialogue" with his co-star, a Giselle with a lot of experience: the prima ballerina Viengsay Valdés.

The corps de ballet, despite constant losses and renewals, achieved a functional articulation in the first act; more emphasis should be placed on some of the style features. The white act was better, in which the women achieved the homogeneity expected (and that the public demands) of one of the CNB's letters of presentation. The willis scenes are famous in Cuba.

An intelligent decision has been to entrust the role of Giselle's mother to two historical dancers: the current teachers Clotilde Peón and Aymara Vasallo; the first, maītre of the company, the second, director of the Acosta Danza Academy. Experience and rigor have turned them into references.

With this season of Giselle, the National Ballet of Cuba has honored an unbroken tradition: turning a historical title into a timeless show. That was always Alicia's calling, and this choreographic version is one of her great contributions to the company she founded more than 75 years ago.

Translated by Amilkal Labañino / CubaSí Translation Staff