Cuban students set a high bar

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The easing of relations between the U.S. and Cuba is sure to have a ripple effect on the ballet world. Since it was initiated by Fidel Castro in the 1960s, the Cuban National Ballet School has produced some of the finest dancers in the world, though many were forced to defect to seek artistic freedom. Soon, that once rocky road to some of the top international companies may turn into an expressway. Even better, aspiring young Americans will be able to take advantage of the exceptional training system initiated by Castro more than a half century ago, further spreading the wealth.

On a small scale, this is happening already. Last year Sarasota Cuban Ballet School founders Ariel Serrano and Wilmian Hernandez, Cuban natives who defected in the early ‘90s, began an exchange with Ramona de Saa, their former teacher at the Cuban National Ballet School, and her students. From the looks of the “On Stage” performance they presented at the Sarasota Opera House last weekend, the Cuban standard of excellence and artistry is already filtering into Sarasota.

As a rule, I don’t review amateur dancers, both because encouragement is more important than critique early in a career and because (to be frank) there are some fiercely protective parents out there. But given the level of ability of these Cuban students – which in some cases, surpasses practicing professionals in the U.S. – it would be negligent to let this exceptional performance go unacknowledged.

Katherine Ochoa and Narciso Medina of the Cuban National Ballet School in the pas de deux from "Don Quixote." /Photo courtesy SOHO Images

Katherine Ochoa and Narciso Medina of the Cuban National Ballet School in the pas de deux from "Don Quixote." /Photo courtesy SOHO Images

On a program that, without explanation, started more than a half hour late – the one unprofessional thing about it -- students from Sarasota, Cuba and several other countries presented mostly the traditional classical works that the Cubans are known for. And just as they did in last year’s inaugural “On Stage” performance, the Cubans blew everyone else out of the water. Their technical control was matched only by a maturity of artistic expression uncanny in these under 18-year-olds. Arabesque balances on pointe were held for what seemed like minutes, mind-boggling numbers of pirouettes were finished with a moment of perfect stillness on releve, soaring leaps made gravity look like a rejected choice.

Though they were not given a particular prominence on the bill, the couple that took my breath away were Katherine Ochoa and Narciso Medina, both from the Cuban National School. She is all of 15, he is 16. Their pas de deux from “Don Quixote” was as exquisite as anything I’ve seen from artists twice their age and in “Cero,” an ethnically influenced modern duet choreographed by Miguel Altunaga -- among a handful of more contemporary works presented – they showed their precision and passion extend beyond the ballet realm.

Amanda Perez, 16, and Carlos Patricio Reve, 17, also from Havana, showed a similar polish and poise in the pas de deux from “Sleeping Beauty,” though a wretchedly scratchy and tinny-sounding recording nearly ruined the effect.

Perhaps most encouraging were performances by a number of students from Sarasota and elsewhere in the U.S., who have clearly benefitted from studying under the Cuban system. Emma Town, who began working with the Serranos when they founded their school here three years ago, showed a vastly-improved confidence and control in the pas de deux from “Coppelia” (partnered by Cuba’s Javier Rojas), and Sydney Dolan, a 14-year-old from North Carolina (partnered by Cuba’s Adrian Sanchez), tackled the extreme degree of difficulty of the “Pas de Deux Classique” with fearless aplomb.

The "On Stage" grand finale, with Francisco Serrano and Cuba's Laura Tosar, center. / Photo courtesy SOHO Images

The "On Stage" grand finale, with Francisco Serrano and Cuba's Laura Tosar, center. / Photo courtesy SOHO Images

The Serrano’s son, Francisco, who won a gold medal in an international competition on their initial trip to Cuba last year, then headed off on a full scholarship to the Royal Ballet School in London, returned home for this performance. He was endearingly charming in “Le Bourgois” a loose-limbed and whimsical solo to music by Jacque Brel (choreographed by Ben Von Cauwenberg), but lacked his characteristic charisma and verve in partnering Cuba’s Laura Tosar in the program finale, the grand pas from “Bayadere.”

If it’s true that a rising tide lifts all boats, the Cubans are setting a new high water mark that should be a boon to ballet lovers the world over.

DANCE REVIEW

ON STAGE, with the Sarasota Cuban Ballet School and International Young Artists. Reviewed at the Sarasota Opera House on August 1. No additional performances. www.sarasotacubanballetschool.com

DANCE REVIEW

ON STAGE, with the Sarasota Cuban Ballet School and International Young Artists. Reviewed at the Sarasota Opera House on August 1. No additional performances. www.sarasotacubanballetschool.com
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Carrie Seidman

Carrie Seidman has been a newspaper features writer, columnist and reviewer for 30 years...and a dancer for longer than that. She has a master's degree from Columbia University Journalism School and is a former competitive ballroom dancer. Contact her via email, or at (941) 361-4834. Make sure to "Like" Arts Sarasota on Facebook for news and reviews of the arts.
Last modified: August 3, 2015
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