The seductive and rebellious character of Carmen, invented by Merimée in his novel of the same name, which would go on to inspire Georges Bizet’s world renowned opera, is one of the most re-worked tales of global film, theatre, opera and dance.
This timeless story of passion and death holds a special enchantment for Cuban dance, which has seen three works created in Havana - all identically titled - based on this sensual damsel.
The first, from 1967, by maestro and choreographer Alberto Alonso, has become a classic of 20th century Cuban ballet.
Its premier in Moscow’s Bolshoi Theatre and months later, prima ballerina assoluta Alicia Alonso’s performance would see this Carmen become one the most emblematic roles of her illustrious career.
This year, the global ballet star that is Carlos Acosta, organized the debut of his new company, Acosta Danza, to coincide with the premier in Havana of his version of Carmen, encapsulated in a love triangle of jealousy and revenge, and combining elements of contemporary dance, flamenco and classical ballet. Meanwhile in 1998, today’s Spanish Ballet of Cuba, directed by Eduardo Veitía, assumed the challenge of creating another Carmen.
This version had to be carefully crafted, not only given the strength of the island’s Spanish heritage, which explains the popularity of flamenco among the Cuban public, but also given the power of Alicia Alonso’s Carmen.
Now, maestro Veitía has returned to the piece, with changes to the structure and choreography, a simple and functional routine, modern lighting design and a magnificent bonus - live music, which includes pieces from Bizet’s original opera and flamenco palos (different traditional styles including bulerías, tango flamenco, alegrías) created for the occasion by guitarist Yosvany Brito, one of the company’s musicians.
Veitia, director, scriptwriter and choreographer, explores one of the most celebrated Spanish tales in his two-act version, the first of which takes place in a cigar factory, with the famous fight between Carmen and Doña Frasquita, while the second depicts her romances with soldier Don José and bullfighter Escamillo.
All roles, from the leads to the supporting ensemble, were performed by a group of young dancers, some performing for the first time, from the company’s very own dance school.
The character of Carmen was performed on different occasions by Leslie Ung, Ailién Puerto and Rachel Escalona; Don José by Ricardo Quintana, Samuel Mayans and Daniel Martínez, and Escamillo by Roilán Peña, Luis Aleaga and Ricardo Martínez.
Thus, the Spanish Ballet of Cuba retuned this year to the Alicia Alonso Grand Theater of Havana’s García Lorca Hall, where the public enjoyed the magic of a new and improved Carmen.
Speaking to Granma International, maestro Eduardo Veitía noted that the new version remains true to the company’s aesthetic of cultivating the purest form of flamenco. “We come from a very creative company from the beginning, but we are committed to maintaining our style and connecting with other contemporary trends without loosing our core.”
The company is enthusiastically preparing for April 2017, when it will be celebrating its 30th anniversary, selecting works from its considerable repertory which ranges from the classic to most contemporary styles of flamenco, in addition to fusion pieces, currently a popular trend; as well as preparing choreographic surprises for its many supporters.
