The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..

Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..

"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..

Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..

Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..

Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..

“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..

Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

Dimensions Dance Theatre of Miami has been on a trajectory best described as meteoric. In its first 18 months DDTM has been a 2017 Knight Challenge Grant recipient and now will debut at New Y..

Amirah Sackett came up as a dancer in Chicago’s hip hop scene at a time when women were rare in the mostly male community. But she also visibly stood out as a Muslim. She keeps her hair cover..

Inside the Little Haiti Cultural Complex, where Dance Now! Miami is in residence, there is a hub of activity as the company prepares for its performance on Saturday night of Contemporanea 201..

One of the signatures of the National Water Dance project since its inception seven years ago was that dance troupes, large or small, professional or school groups, were free to perform whate..

Miami City Ballet is in league with Russians – in a good way -- and this promises to make a selection of dances look great again. The company’s final program this season brings back Apollo an..

Hidden behind a busy street in North Miami Beach is the Ancient Spanish Monastery, where Dance Now! Miami will bring the past into the present – and back into the past. Ekphrasis describes th..

Sometimes dance seems as easy as walking down the street. John Heginbotham, founder and artistic director of Dance Heginbotham, describes his dancers as moving in an unaffected, natural manne..

On the heels of a year-plus parade of #MeToo confessions, celebrity shamings and women’s marches, comes Marisa Alma Nick’s female-power-packed “A Rebel in Venus.” “It wasn’t planned that ..

Choreographers are usually curious people. Augusto Soledade’s curiosity leads him in many directions, including ideas on Madonna, voguing, and selfies. It all began with “thoughts on identity..

Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..

The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..

The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..

Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..

Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..

The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..

It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..

In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..

Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..

El esperado regreso de Katia Carranza al Miami City Ballet

Photo: Katia Carranza en Cenicienta, coreografía de Jorge Amarante; fotografía de Carlos Quezada/ cortesía del Ballet de Monterrey.
Written by: Orlando Taquechel
Article Rating

Esta es una gran noticia para el público amante del ballet en Miami. Tras un paréntesis de diez años en los que solo nos visitó de manera esporádica, la Primera Bailarina mexicana Katia Carranza regresa esta temporada al Miami City Ballet (MCB), la compañía de sus grandes triunfos.

Miami descubrió a una jovencísima Katia a inicios de la década del 2000 en obras de Balanchine como Valse Fantasie, Scotch Symphony y Apollo; la hizo una de sus bailarinas favoritas gracias a una Coppelia exquisita en 2003 y se rindió a sus pies en 2004 cuando bailó That’s Life! en el Nine Sinatra Songs de Twyla Tharp.

En espera de su retorno a escena con el MCB, Katia accedió a compartir con nosotros algo de su historia, los motivos por los que se fue y las razones por las que ahora regresa.

“Yo vine a Miami City Ballet en 1998 después de competir enJackson, Mississippi. Estaba en ese momento Edward Villella como director de la compañía y me trajo a Miami para ser cuerpo de baile.”

Ya en Miami, Katia tuvo un ascenso meteórico: Solista en 2001, Solista Principal en 2003 y Bailarina Principal en 2004. Se afirmó como intérprete versátil en obras como Push Come to Shove (también de Tharp), Dance at the Gathering (de Jerome Robbins) y Piazzola Caldera (de Paul Taylor), logró alcanzar perfección en Symphony in Three Movements de Balanchiney se despidió de Miami con una Giselle magistralen 2007.

Ese mismo año regresaría durante el XII Festival Internacional de Ballet representando al Ballet de Monterrey, provocando arrebato con una Diana y Acteón para la historia.

“Estuve bailando con el MCB casi por 9 años. En el 2007 le ofrecen la dirección artística del Ballet de Monterrey a Luis Serrano, que en ese momento era mi esposo. Yo soy de Monterrey y ahí está toda mi familia, así que era algo positivo para mí regresar a bailar en mi ciudad natal. Villella nos propuso que yo estuviera un poquito en las dos compañías y comencé a participar en tres programas del MCB y el resto de la temporada con el Ballet de Monterrey. Algo que pude hacer durante 7 años que resultaron ser los más enriquecedores hasta hoy en mi vida profesional.”

En esos años, dos actuaciones memorables suyas con el MCB fueron Liturgy (de Christopher Wheeldon) junto a Isanusi García-Rodríguez en 2011 y Concerto Barroco de Balanchine en 2014.

“Ya en 2014, se produce un cambio en el Ballet de Monterrey y el nuevo director me pide que me quede todo el tiempo allá, porque tenía muchos planes para viajar con la compañía. Todavía pude bailar algo con el MCB bajo la nueva dirección de Lourdes López pero no por mucho tiempo y estuve los tres años siguientes dedicada por completo al Ballet de Monterrey.”

Katia toma aliento, sonríe y hace un aparte para hablar de una breve visita que hizo el año pasado a Miami: “En noviembre del 2016 tuve la oportunidad de bailar con Carlos Guerra y Jennifer Kronenberg en la primera función de su compañía y el recibimiento que me dio el público fue algo que no me esperaba, que me sorprendió, me conmovió, me dio mucha alegría y me hizo desear aún más estar aquí.”

Katia concluye su historia explicando que “ya hacía un poco más de un año que yo le había manifestado a la maestra Lourdes que me interesaba volver cuando en diciembre pasado ella se comunica conmigo, me comenta que había una plaza para Bailarina Principal para este año y me pregunta si todavía estaba interesada.¡Por supuesto que seguía estando interesada! Justo en ese momento se había hecho otro cambio en la dirección artística del Ballet de Monterrey con la llegada del maestro José Manuel Carreño, que entendió enseguida que regresar al Miami City Ballet era mi sueño.”

Katia Carranza ya está de regreso haciendo su sueño realidad y sus numerosos seguidores tendrán la oportunidad de disfrutar también de su tan esperado retorno a Miami a partir de este 20 de octubre cuando MCB de inicio a su temporada 2017-2018.

El MCB se presentará “Jewels” en el Adrienne Arsht Center for the Performing Arts el viernes 20 de octubre y el sábado 21 a las 8 PM y el domingo 22 a las 2 PM.Boletos a la venta en miamicityballet.com y arshtcenter.org

 


Deja un comentario ...
Debe estar registrado
No one logged in. Log in
Deja un comentario ...
Was this helpful?
No Very

Captcha Image