Viengsay Valdes has a lot of passion, but only two defining: loves to dance, no matter whether as a sun, a bird, a statue, some fairy, princess or peasant dance. And if anyone recognizes in her dance a breath of Cuba, then she is completely happy. International criticism places this prima ballerina among the best in the world, while she being accused of ” incendiary ” in the scene , ” sweet ” , ” intense ” , ” tireless ” and possessing a ” staggering virtuosity ” – lives with pride the passions she chose for her life.
According to Viengsay, any public demand can be answered. Those who do not know her might believe that typical Cuban boast urges her to throw phrases like that in the streets of her native Havana. Valdes boasts elegantly, but delivers. Someone who always believed in her gave her a card: “success is constancy of purpose.” One message written by her teacher Mirta Hermida, on the school graduation day, accompanies her home, along with her most valuable possessions, hundreds of shoes and tiaras from a universe of creatures: swans, princesses, fairies, spirits and girls from other times.
In recognition of the dedication, creativity and Cuban identity, the Hermanos Saiz Association awarded the first figure of the National Ballet of Cuba (BNC) the category of Honorary Member since July 2013. The president of the National Union of Writers and Artists of Cuba (UNEAC), Miguel Barnet, said that day that there were not questions to ask because she was a great response.
However, in the street, several interested onlookers wanted to know what she can dance besides ballet and were surprised when Viengsay joyful proposed salsa. In terms of dance, her searches go beyond of what the Cuban audience can see, Valdes has been Carmen in Havana and St. Petersburg, as a guest of the renowned Mariinsky Ballet. She has also performed Kitri in Don Quixote on five continents, in over 50 international galas.
” There are actors whose brilliant performances remain in the memory long after the stage lights are off,” wrote an experienced Canadian critic before mentioning the Snow Queen in Nutcracker by Viengsay in the top 10 performances in theaters views of his country in 2010. The artist says her achievements were obtained thanks to the great teachers she had.
Viengsay Valdes (VV): I was lucky to work with Alicia Alonso, Fernando Alonso, the four jewels of Cuban ballet (Aurora Bosch, Josefina Mendez, Mirta Pla and Loipa Araújo), and other great artists who helped me a lot, I shared their experiences, how to interpret the roles, concepts and ideas which helped me to understand the movement, gesture, intention, the message, the essence of each of the ballets they taught me. Of course, I take with me in my dance forever, those teachings are very valuable to retain and eventually intend to convey with ease to other generations.
– How important is in art in dialogue between artists of different generations?
I saw Ofelita González dance with Julio Bocca live and that inspired me a lot. Soon, she gave me the final details for my premiere of Kitry, handed me the spirit of the character that burst on the scene, freedom in the jumps, the ease, the touch of humor. Our dear Josefina Mendez meanwhile released me in the roles of Giselle, Swan Lake and Coppelia, three classics of greater demand and in which I enjoy every time when I play. In the current tour of Spain, when I danced in Madrid Coppelia , two people approached me to tell me excited : “I thought I was seeing Josefina ” , and not that we are physically similar , it is how to interpret the this ballet style demi – character, how to do the pantomimes very clear that you understand how to be mischievous in the second act and then , in the final pas de deux , elegance in the wedding celebration . I managed to absorb her corrections, artistic detail, her comedic, and do all that part of the dance.
Josephine was a delicacy as a teacher and asked me to detail every phrase of choreography which helped me fix in my memory further corrections. Our Loipa Araujo is one that I carry with me always, her requirements, accurate way to search for her musicality in the movements; the dancer will not be late to attack the pass, the insistence that the interpretation is credible, otherwise the scene is not understood. Also I remember Cristina Álvarez ( Meruchi ) making me rehearse my first black swan and many other experiences that I would reach this interview to name each of the prestigious Cuban school teachers .
What do you learn in so many international galas?
Incomparable is the pride I feel to represent my country , it is always a time of excitement and, above all , the perfect opportunity for the world to remember , even for a moment , our Cuban school of ballet, to show how we dance , our technical strength, mastery, and virtuosity in the stage projection . At the same time , it gives me the opportunity to see with my own eyes how they are dancing now , compare schools, appreciate the wide repertoire that includes universal ballet , see internationally recognized dancers , legends , other young emerging and so nourish , and especially demand more of myself. It is undoubtedly a golden opportunity.
How should a young recent graduate of the Cuban school work?
VV: When entering the BNC, the dancer must be aware that she goes from being a student to becoming a professional dancer. The demand and rigor will be reflected in a different way , the teacher will no longer constantly correcting them , but face an individual work with discipline , respect for former members and the need to learn all the classical and contemporary repertoire .
What could discourage young dancers?
Young people are discouraged if not given opportunities to show. But in their eagerness, sometimes these new generations do not realize that technical mastery is needed first and then to cast artistic flying and that takes time, and sometimes that is not achieved in a year or two. Also, if you want to show the quality required in this branch of art must learn to wait and take advantage of that time to perfect. In my case it was different, I had many roles at an early age but still had to wait to be promoted to principal dancer, and I have not wasted it and worked so tirelessly to become one, because not all reach this category. But lately they have on the bench some could be that could train if given small roles at least. And suddenly, those who have been waiting for years see the new graduates passing them by. You have to keep a balance and be fair to take advantage of individual talent of each of the dancers.
Many admire your talent but also wonder if you feel you have sacrificed your personal life for dance.
This career inevitably absorbs you, and if you really believe in what you do you must spend time and especially delivery. However, I do not stop my own life, despite being so busy. I try to relax the mind and body in other environments and, the next day, I return to the rooms renovated. It is difficult, but not impossible.
Photo: Gabriel Davalos
Author
Martha Sánchez
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