{"id":309763,"date":"2024-09-18T20:50:47","date_gmt":"2024-09-19T00:50:47","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=309763"},"modified":"2024-09-18T20:50:47","modified_gmt":"2024-09-19T00:50:47","slug":"viengsay-valdes-thirty-years-of-steel-and-cloud","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/dance\/viengsay-valdes-thirty-years-of-steel-and-cloud\/","title":{"rendered":"Viengsay Vald\u00e9s, thirty years of steel and cloud"},"content":{"rendered":"

On September 22, 1994, <\/span>Viengsay Vald\u00e9s<\/b><\/a> made her debut in <\/span>Maj\u00edsimo<\/span><\/i> at the Teatro Apolo, in G\u00fcira de Melena. That day marked the beginning of an intense stage career that reaches, around these days, 30 years.<\/span><\/p>\n

Today it is not possible to talk about Cuban ballet of this century without mentioning Viengsay. Therefore, three decades after the professional debut of the current general director of the National Ballet of Cuba (BNC), we pay tribute to her career in dance.<\/span><\/p>\n

The public that packed the Avellaneda Hall of the National Theater of Cuba on September 14 participated in that celebration. In a gala starring herself, the prima ballerina wanted to celebrate by dancing, just two years after she returned to the stage after a temporary maternity leave.<\/span><\/p>\n

The walls of the Avellaneda still throb from that thrilling night in November 2022 when Viengsay was reunited with the stage, among many other times. On that occasion, Vald\u00e9s starred in the last day of an eclectic season of the classic <\/span>Giselle<\/span><\/i>. The young peasant girl was embodied in other days of the 27th edition of the Alicia Alonso International Ballet Festival of Havana by several international figures: the Russian Maria Kochetkova, the Italian Susanna Silva and the Cubans Anette Delgado and <\/span>Yolanda Correa<\/span><\/a>.<\/span><\/p>\n

That night, as so many times, Viengsay came out to deliver her truth, technical skill and interpretative talent on pointe. \u201cIt is not the same to represent a character than the other way around, as she does: the character makes Viengsay,\u201d said on one occasion the maestro Fernando Alonso, one of the founders, together with Alicia and Alberto Alonso, of the teaching method that we know as the Cuban school of ballet.<\/span><\/p>\n

Viengsay being on stage is a guarantee of enthusiasm and delight for her audience. She knows how to be the naive and unhappy Giselle, a dual Odette\/Odile, an irreverent Carmen, a flirtatious and energetic Kitri in <\/span>Don Quixote<\/span><\/i>, a mischievous Swanilda in <\/span>Coppelia<\/span><\/i>, or the diva full of enigmas that she represents in <\/span>Lucille<\/span><\/i>, the most recent premiere of the BNC, signed by Johan Kobborg.<\/span><\/p>\n

All of them, to mention some of the most familiar to the general public, have been Viengsay Vald\u00e9s and for all of them, she has garnered praise and admiration on stages inside and outside of Cuba.\u00a0<\/span><\/p>\n

\"\"<\/a>
Viengsay Vald\u00e9s in \u201cCeleste\u201d by Annabelle L\u00f3pez Ochoa in the most recent season of performances by the National Ballet of Cuba, last July. Photo: Maykel Espinosa. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n

The spectators recognize in this artist a dual temperament: \u201cof steel and cloud,\u201d as <\/span>Carlos Tablada points out in the dancer\u2019s biography<\/b><\/a> published in 2014 by the Letras Cubanas publishing house. Strength wrapped in sweetness is an inherent feature of Viengsay\u2019s stage performance.<\/span><\/p>\n

After her debut in 1994, the student of Mirtha Hermida, <\/span>Ramona de Sa\u00e1<\/b><\/a>, Adria Vel\u00e1zquez, Magaly Su\u00e1rez, Valentina Fern\u00e1ndez, Amparo Brito, Ren\u00e9 C\u00e1rdenas, Marina Villanueva, Josefina M\u00e9ndez, Loipa Ara\u00fajo, Aurora Bosch, Mirta Pl\u00e1, Elena Madam, Svetlana Ballester, F\u00e9lix Rodr\u00edguez and Alicia Alonso \u2014 to name just a few of her mentors \u2014 grew and became great, performance after performance. And the audience was a witness.<\/span><\/p>\n

A night to tell a life<\/b><\/p>\n

At 8:30 p.m., in the middle of the darkness, a light illuminated the left side of the room. She came out of the audience, dressed in a white lace shawl, equipped with her tights, slippers, a bag: what she needed for her rehearsals, as so many times throughout 30 years of work.<\/span><\/p>\n

But this was not a rehearsal. Amidst emotionful applause, Viengsay Vald\u00e9s took center stage and began to warm up with the support of the bar.<\/span><\/p>\n

Thus began the evening that she would give us, under the artistic direction of the maestra Svetlana Ballester. From her was born the concept and choreography of Viengsay\u2019s entrance, <\/span>My Life\u2026Ballet<\/span><\/i>, a way of illustrating the artist\u2019s daily life: the rehearsals, the conception, the costumes \u2014 <\/span>Giselle, Coppelia, Carmen, Luc\u00eda Jerez<\/span><\/i>\u2026. The spatial location was established by the music: \u201cMi ayer,\u201d by \u00d1ico Rojas, and Tchaikovsky were heard, performed in arrangements by the maestro Idalgel Marquetti.<\/span><\/p>\n

That was a true-to-life way of entering the situation and of warming up the body of the performer. Also the looks of the spectators for what was to come next.<\/span><\/p>\n

A curtain falls and the rehearsal becomes a performance. Viengsay makes a full-blown declaration of intent while <\/span>Non, je ne regrette rien<\/span><\/i> is heard, and with a solo by Ben van Cauwenbergh, the dancer translates Edith Piaf\u2019s voice into movement. \u201cNo, I don\u2019t regret anything,\u201d the song goes, while Viengsay reaffirms it with the force of her gestures.<\/span><\/p>\n

\"\"<\/a>
\u201cNon, je ne regrette rien\u201d marked the beginning of the evening celebrating the 30th anniversary of the professional debut of the prima ballerina Viengsay Vald\u00e9s. Photo: Luis Joa.<\/figcaption><\/figure>\n

\u201cThe body language of this dancer runs the gamut of a more than refined technique because it is filtered through the nuances of our sensitivity, bulletproof, which confirms its transparency between the two shores of the ocean,\u201d Nancy Morej\u00f3n pointed out in her words of greeting to the guest of honor. Next, a scene from the first act of <\/span>Sleeping Beauty<\/span><\/i> came to confirm these ideas, at that point almost prophetic.\u00a0<\/span><\/p>\n

\"\"<\/a>
Moment of the first act of \u201cSleeping Beauty,\u201d in the choreographic version by Alicia Alonso. Photo: Maykel Espinosa. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n

With Aurora, she experienced the technical display in <\/span>Adagio of the rose<\/span><\/i>, supported by the first dancer <\/span>Dani Hern\u00e1ndez<\/b><\/a>, as well as the young Alejandro Alderete, Ix\u00e1n Ferrer, Bertho Rivero and part of the corps de ballet.<\/span><\/p>\n

What followed, <\/span>Despu\u00e9s del diluvio<\/span><\/i>, by Alberto M\u00e9ndez, was a moment for the youngest members of the group. It was an abstract piece, an exclusive jewel of the repertoire of the National Ballet of Cuba, rescued after 13 years of its last performance.<\/span><\/p>\n

\"\"<\/a>
\u201cDespu\u00e9s del diluvio,\u201d by Alberto M\u00e9ndez, was a moment for the youngest members of the National Ballet of Cuba to shine, with a piece that 13 years after its last performance, returned to the stage. Photo: Maykel Espinosa. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n

After that, Viengsay and \u00c1nyelo Montero appeared on stage with a phenomenal pas de deux. <\/span>Loss<\/span><\/i>, from the piece <\/span>Love Fear Loss<\/span><\/i>, by Ricardo Amarante, was a display of harmony and genius between both performers, with a shocking dramatic charge.<\/span><\/p>\n

\"\"<\/a>
Alejandro Alderete, Ix\u00e1n Ferrer and Bertho Rivero shared the stage with Viengsay Vald\u00e9s in her appearance as Princess Aurora, from the classic \u201cSleeping Beauty.\u201d Photo: Frank D. Dom\u00ednguez. Taken from the official Facebook page of the National Ballet of Cuba.<\/figcaption><\/figure>\n

This is one of the pieces that the company has commissioned in recent years from various creators to enrich its repertoire. Among them are <\/span>Concerto DSCH<\/span><\/i> by Alexei Ratmansky, <\/span>Seventh Symphony<\/span><\/i> by Uwe Scholz, various creations by the British Ben Stevenson, <\/span>The Ninth Hour<\/span><\/i> by Gemma Bond, <\/span>Apparatus<\/span><\/i> by Ra\u00fal Reinoso and, more recently, <\/span>Lucille<\/span><\/i> by Johan Kobborg, among many others.<\/span><\/p>\n

Experiencing the loss in that great love, <\/span>Love Fear Loss<\/span><\/i>, on stage, we were left with the promise of a second moment in the evening, in which we would see one of the roles in which the interpreter has most consecrated herself in her three decades of work: Kitri.<\/span><\/p>\n

\"\"<\/a>
Viengsay Vald\u00e9s (Princess Aurora) in the \u201cAdagio of the rose\u201d from \u201cSleeping Beauty.\u201d Photo: Maykel Espinosa. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n
\"\"<\/a>
\u201cSleeping Beauty.\u201d Photo: Maikel Espinoza. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n

With <\/span>Don Quixote<\/span><\/i> \u2014 scenes from the first and third acts of this classic, recreated by the Maestra Svetlana Ballester, based on the version by Alicia Alonso, Marta Garc\u00eda and Mar\u00eda Elena Llorente \u2014 the night of tribute and shared joy came to an end. Viengsay\u2019s Kitri \u2014 accompanied on this occasion by the first dancer Dani Hern\u00e1ndez \u2014, once again brought the audience to its feet.<\/span><\/p>\n

Without the applause ceasing, Viengsay appeared alone on stage. The rest of the members of the National Ballet of Cuba joined her, because Viengsay\u2019s history is inseparable from the company founded 75 years ago by Alicia, Fernando and Alberto Alonso.<\/span><\/p>\n

\"\"<\/a>
The technical display of the interpreter in \u201cSleeping Beauty\u201d was one of the most moving moments of the night in the Avellaneda Hall. Photo: Maykel Espinosa. Taken from the Facebook page Danza P\u00fablica.<\/figcaption><\/figure>\n

The prima ballerina assoluta commissioned her to continue the work and pursue the endeavor to convene, assemble and build the boundless path of what we know as <\/span>\u201cthe miracle of the Cuban ballet.\u201d<\/b><\/a> Since she assumed the direction of the BNC in 2020, Viengsay Vald\u00e9s has added to her imprint as a dancer the arduous work of management, guidance and defense of a legacy.<\/span><\/p>\n

She has fulfilled her role with the courage of someone who knows how to transform in order to seek artistic evolution, despite a complex national daily life that also affects the development of the arts.<\/span><\/p>\n

\"\"<\/a>
It was another exciting evening in the career of Viengsay Vald\u00e9s, revered by her colleagues and the public that packed the Avellaneda Hall of the National Theater of Cuba on September 14. Photo: Frank D. Dom\u00ednguez. Taken from the Facebook page of the National Ballet of Cuba.<\/figcaption><\/figure>\n

The journey is long. It takes a lot of courage to hold the oars with both hands and move forward, despite the storm. Viengsay Vald\u00e9s has it; she faces the challenge. It is pleasant to know that she has not been alone, that dozens of paladins, dancers, administrators, technicians work alongside her, and that Cuban creators and artists respond to her call and today shine in other companies and other lands.<\/span><\/p>\n

As an audience, it is comforting to know that Viengsay, with her steely and cloudy temperament, continues to row with the freshness of her third decade in the arts, so that Cuban ballet continues to be a reality to enjoy and celebrate together.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

She made her debut at the Teatro Apolo in G\u00fcira de Melena in 1994; today she is a prima ballerina, director of the National Ballet of Cuba, and she commemorated her career as she knows best: dancing.<\/p>\n","protected":false},"author":12346240,"featured_media":309766,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[33,13920],"tags":[19256,4446,4635],"ppma_author":[34896],"class_list":["post-309763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-dance","tag-featured","tag-national-ballet-of-cuba","tag-viengsay-valdes-en"],"acf":[],"yoast_head":"\nViengsay Vald\u00e9s, thirty years of steel and cloud | OnCubaNews English<\/title>\n<meta name=\"description\" content=\"She made her debut at the Teatro Apolo in G\u00fcira de Melena in 1994; today she is a prima ballerina, director of the National Ballet of Cuba, and she commemorated her career as she knows best: dancing.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/oncubanews.com\/en\/culture\/dance\/viengsay-valdes-thirty-years-of-steel-and-cloud\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Viengsay Vald\u00e9s, thirty years of steel and cloud | OnCubaNews English\" \/>\n<meta property=\"og:description\" content=\"She made her debut at the Teatro Apolo in G\u00fcira de Melena in 1994; 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