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MCB: Un gran programa para celebrar a un gran coreógrafo

Photo: 1. Las bailarinas del MCB con Nathalia Arja al centro en “The Cage.” Foto de Alexander Iziliaev.
Written by: Orlando Taquechel
Article Rating


El segundo programa de la temporada 2017-2018 del Miami City Ballet (MCB) dedicado a los 100 años del nacimiento de Jerome Robbins (1918-1998), el gran coreógrafo norteamericano que triunfó por igual en el ballet y el teatro musical, se presentó por primera vez el fin de semana pasado en el Arsht Center de Miami.

El programa incluye dos obras de amplia aceptación popular (“In The Night”, estrenada en 1970 y “West Side Story Suite” que data de 1995) ya incorporadas al repertorio del MCB, junto a tres estrenos para la compañía: un trabajo de ocasión (“Circus Polka”), una obra perversa (“The Cage”) y un exquisito vehículo estelar concebido originalmente para Mikhail Baryshnikov y Natalia Makarova (“Other Dances”, 1976).

Para garantizar el respeto a las intenciones originales, MCB (bajo la dirección artística de Lourdes López desde 2012) encargó los montajes de “In the Night”, “The Cage” y “West Side Story Suite” a Jean-Pierre Frohlich que fue asistente de Robbins y el de “Other Dances” a Isabelle Guerin, ex primera bailarina de la Opera de Paris e intérprete de la obra con el New York City Ballet. Para dirigir a la Opus One Orchestra el MCB trajo a la experimentada Beatrice Jona Affron.

El resultado fue una gran función con un gran programa y la reafirmación de MCB como una gran compañía.

La noche abrió con Circus Polka, que Robbins creó para el Festival Stravinski de 1972 y contó con la participación adorable de 48 pequeñas bailarinas en rosa, verde y azul que acaban formando las iniciales J. R. en honor al coreógrafo. Lourdes López, látigo en mano, asumió el papel de directora de pista. En esencia, son cuatro minutos para celebrar el futuro porque la escuela de la compañía cumple por estos días 25 años de existencia.

Después de una primera pausa durante la cual López pronunció su acostumbrado discurso introductorio al programa se presentó “In the Night”, una de las mejores obras de Robbins.

“In the Night” fue concebida para tres parejas diferentes, una joven(Emily Bromberg y Jovani Furlan… entrañablemente expresivos), otra aristrocrática (Tricia Albertson y Rainer Krenstetter… soberbiamente elegantes) y una última beligerante (Katia Carranza y Reyneris Reyes… absolutamente convincentes tanto expresando conflicto como intentando la reconciliación). Ciro Fodere los acompañó al piano interpretando a Chopin con lucidez fascinante en la exposición melódica.

Un primer intermedio abrió paso el plato fuerte del programa: el estreno de “The Cage”

La historia de este ballet de solo 14 minutos de duración nos presenta a La Novicia (Natalia Arja) una criatura nacida en una tribu de depredadoras violentas, que rápidamente aprende como matar a su primera presa (Didier Bramaz) y gana así la aprobación de La Reina (Jordan-Elizabeth Long). Luego se enamora y se entrega a otro intruso (Ariel Rose) pero termina matándolo, obedeciendo a la presión de la tribu y respondiendo a sus propios instintos asesinos. Al final, todas las criaturas celebran la victoria devorando el cuerpo del intruso.

Esta exigente obra de grupo era un desafío estilístico que el MCB rápidamente transformó en argumento a favor de reconocer la versatilidad actual de la compañía. “The Cage” facilitó además actuaciones rocambolescas e inolvidables de las virtuosas Arja y Long mientras Bramaz y Rose lograron destacarse con intervenciones menos estridentes. El dueto de Arja y Rose, que ambos dibujan con voluptuosa vehemencia, es un manifiesto erótico sorprendente para una obra estrenada en 1951.

Las dos últimas obras del programa (“Other Dances” y “West Side Story Suite’) comparten una misma circunstancia: son portadoras de roles impresos de manera indeleble en nuestra memoria colectiva y asociados por siempre con artistas legendarios.

Chita Rivera y Rita Moreno definieron la Anita de “West Side Story” en Broadway y Hollywood. Cualquier pareja encargada de bailar “Other Dances” tiene que aceptar la injusticia de ser comparada con los originales. Rivera, Moreno, Baryshnikov y Makarova son figuras irrepetibles así que lo mejor es buscar una nueva lectura para el trazo de Robbins y encontrar una historia propia al ejecutar los movimientos.

Hay que reseñar que Simone Messmer y Renan Cerdeiro salen victoriosos de la experiencia, apoyados por Francisco Rennó, pianista-intérprete extraordinario.

En lugar de intentar proyectar la pureza y el lirismo del estilo de una escuela de ballet a la que no pertenecen, Messmer y Cerdeiro asumen la ejecución de la coreografía como una entrega elegante y desenvuelta donde la gestualidad antes asociada con la escuela rusa es ahora un comentario sobre la música. El rubato de Messmer y Cerdeiro es el de Chopin, no el de Vaganova.

Por su parte, los intérpretes del MCB procuran dejar también su impronta en “West Side Story Suite” pero las exigencias del teatro musical son mucho más específicas y el resultado no alcanza la eficacia comunicativa del original de Broadway. De todas formas, las secuencias de grupo están bien logradas, la Anita de Nathalia Arja desborda temperamento, Reyneris Reyes es excelente como Bernardo y una radiante Christina Spigner en el papel de Rosalía es la revelación triple threat que todos esperamos en una obra como esta, interpretando “América” con desenfado prodigioso.

Definitivamente, cerrar con un crowd pleaser como “West Side Story Suite” aseguró un buen final para esta merecida celebración.


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