Jump to content

Viengsay Valdés

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Isaacnewton7 (talk | contribs) at 02:02, 11 March 2008 (Addition). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Viengsay Valdés
Viengsay Valdés in Madrid 2007
Born
Havana, Cuba
OccupationBallet dancer
Parent(s)Clara Herrera Rivero and Roberto Valdés Muñóz

Viengsay Valdés is a world-renowned Cuban ballerina.

Early life

Born in Havana, Viengsay Valdés moved at three months to Laos, where her father was the Cuban Ambassador. At age three, her family moved to the Seychelles. At six, she moved back to Havana, Cuba, where her grandmother continued her education.

Viengsay began artistic gymnastics at age six. She put her first ballet shoes on at the age of nine, [1]which is when she began her ballet studies at the Alejo Carpentier Provincial Ballet School in Havana. At age 15, she continued her studies at the Escuela Nacional de Arte (ENA). Ramona de Sáa and Mirtha Hermida were her main ballet professors, the latter being her main inspiration. While she was still a student she won numerous prizes and distinctions.[2]

An acute asthma sufferer, Valdes was warned by teachers and doctors not to pursue professional ballet, because of its physical challenges. Valdes was determined to transcend her ailment and continued to fight for her chosen career. Her work was made even harder by the economic crisis into which Cuba descended after the loss of Soviet aid in 1989. Acute food shortages made her intense physical training extremely tough.

In July of 1994, Ms. Valdes graduated from the National School of Art (ENA) with a degree in Dance and Choreography, and gold honors.

Professional ballet career

Legendary director Alicia Alonso spotted Valdés' talent, and invited her to join the Ballet Nacional de Cuba. She was 17. A year later, she was promoted to the position of 'principal dancer'.

In July 2001, Alonso promoted Ms Valdés to the category of first dancer (primera bailarina), becoming one of the four top female dancers in the company. She toured to important theatres in Spain and the United States.

Ms. Valdés developed a reputation for her interpretations of the female lead roles in the ballets Carmen, Giselle, Swan Lake, Blood Wedding, Don Quixote, Romeo and Juliet, Sleeping Beauty, Cinderella, Coppelia, La Fille Mal Gardee, and The Nutcracker. She also danced in notable pas de deux from the Corsair, Diana and Acteon, Silvia, and Black Swan.


Every year since 1994, Ms. Valdés has been a participant in the prestigious International Ballet Festival in Havana. She was named the most outstanding dancer in the XVIII International Festival of Ballet of Havana (October 20-28, 2002). This was thanks to her starring performances in Giselle, and her performance as Kitri in Don Quixote. Her partner in Don Quixote was premier dancer Carlos Acosta.

Valdés performed at the World Stars Ballet Gala in Budapest, September 14, 2002. In February of 2003, Ms Valdés was a guest for the Closing Gala of the Dessau Ballet-Festival in Germany. She was invited to dance in the Real Place of San Lorenzo of The Escorial for second time in 2003 and 2005 during her tour of Spain. In September of 2003, Ms Valdes participated as a guest in the World Gala, “Les Étoiles du XXIe Siècle,” which took place on the Champs-Elysées in Paris. Valdés first partner for the Gala was the Italian ballet star Giusseppe Picone and also her next partner was the Russian star Alexei Tyukov.

In October of 2002, Valdes was invited to guest star as Kitri for a performance of Don Quixote with La Scala in Milán, but she could not participate because she had a prior commitment to tour in the USA, with the Ballet Nacional de Cuba. In January of 2004, she participated in the 1st Festival of Ballet of Beijing with Swan Lake.

In 2003, Alicia Alonso made Valdés the company's prima ballerina, the highest position for a dancer in Cuba. From then on, she took the leading roles in all the company's major galas.

In September 2004, she was invited for a second time to participate in the World Stars of Ballet Gala in Budapest. The dancers, managers, personalities and other distinguished personages, voted to choose Ms Valdés as their favorite dancer of this World Gala, and she was subsequently awarded the Prize for Popularity.

In the summer of 2005, Valdes danced throughout Spain. She was invited on July 23, 2005 to appear in Cannes at the Etoiles du Ballet 2000 Festival, an association of the world’s most important dance critics. In August 2005 she starred in a four-day run of Giselle at the Sadler’s Wells Theatre in London and she received outstanding reviews from several dance critics.

In the summer of 2006, Valdes participated in the World Ballet Festival in Tokyo, and also starred as Kitri at Sadler's Wells Theatre in London, receiving outstanding reviews from several critics.

In 2007, she participated in the Prague Ballet Gala and in the International Danze Gala in Lisbon. She performed at a gala with the Danish Royal Ballet (the first time since Alicia Alonso in 1969 that a Cuban ballerina had performed in Denmark); partnered with Carlos Acosta at the Manchester International Festival, and played the lead roles in both Giselle and Don Quichotte at the Grand Palais in Paris.

She has performed leading roles in the major theatres of Europe, Asia, Latin America and North America; she has toured in Spain, France, Portugal, Italy, Cyprus, Czech Republic Hungary, Portugal, United Kingdom, Germany, Holland, China, Laos, Venezuela, Mexico, the Dominican Republic, Colombia, Panama, Brazil, Argentina, Chile, Tunisia, Egypt , Japan and other countries.

In February 2008, in his first newspaper article after announcing his formal retirement as President of Cuba, Fidel Castro wrote: "A few days ago, someone gave me a filmed version of 'Swan Lake', a subject about which I am far from being an expert, but which in the current circumstances constitutes a very agreeable way of forgetting almost all the time. I observed for almost two hours the incredible performance of the greatest interpreter of this ballet in the world: Viengsay Valdes, daughter of a Cuban diplomatic couple, who gave her the name in honor of a region of Laos where they were representing Cuba. One European critic described it as an unrepeatable performance. I think the same. I never conceived of such amazing elegance and flexibility, with perfect precision." [1]

Critical reviews

Valdes' performances have received outstanding reviews from the world’s leading dance critics, including Anna Kisselgoff and Jennifer Dunning of the New York Times, and Lewis Segal of the Los Angeles Times and others.[3]

Judith Mackrell, writing about her performance in September 2006 at Sadler's Wells in the Guardian: "Valdes, apparently in league with the devil—or with ball bearings fitted in the pointes of her shoes—whirled through countless fouettées before pulling off a series of phenomenal balances. Smiling wickedly as she disdained Carreno's supporting hand, she made time stand still as she perched on one unwavering toe, even sustaining her balance as she lifted and folded her leg through a teasing adage of arabesque and attitude. The audience, barely able to believe what they were seeing, bayed like a football crowd."[4]


Sarah Crompton wrote in the Daily Telegraph of the same performance: "In Viengsay Valdés and Joel Carreño, the company has two principals of world class, and they sparkle with animation and skill as Kitri and her love. Her balances are endless and triumphantly held; her turns so quicksilver fast you lose track of when they started. The moment when she slowly unfolds an unsupported arabesque in the grand pas de deux at the close is magical; a triumph both of rock-solid technique and a personality that fills the theatre."[5]

Clement Crisp, the distinguished Dance Critic of The Financial Times wrote a 2007 article entitled: "Pariah Island where the classical virtues thrive". In this article he wrote, "The artists of the ballet believe utterly in what they are doing. I thought Viengsay Valdes a lovely and touching Giselle, moving from beguiling innocence to heart-torn tragedy and then to vaporous compassion with sweetest grace and displaying radiant technique throughout".[6]

Ismene Brown, in The Daily Telegraph reviewed her 2005 performance as Giselle at Sadler's Wells: "Valdes is glorious, one of the great ballerinas of our time, and a very fine Giselle. Very fine-limbed, with eloquent eyes and a dimpled smile, she packs the kind of technique that not only redefines the spectacular but can hide its strength inside sincerest emotion or misty illusions. And her Giselle was so naturally assumed, so light in touch, and yet so deep in impact, an eager, happy girl, driven by the torrent of emotions, loving life, and unfamiliar with deception, her disintegration into death piteous to watch..." In a separate article about the same tour, Brown wrote: "Having lost two major talents - Rolando Sarabia, who reportedly defected to the US last week, and ballerina Alihaydée Carreño - the Ballet Nacional de Cuba relies heavily on its two remaining first-class talents, the stupendously entertaining party-girl Viengsay Valdés and her gentlemanly partner Joel Carreño (yes, another Carreño). Their Don Quixote excerpt in the second half defied belief. The beautiful Valdés takes the celebrated Cuban balancing and turning ability to the highest degree. When she spins, Carreño whips her like a top into a smiling blur. When she strikes an arabesque, arms flamboyantly high, leg at a perfect 90 degrees, head thrown laughingly back, she simply hangs there while time studies its fingernails. In Havana, watchers applaud ecstatically; in London, there was the dead silence of mass incredulity."[7]

Anna Kisselgoff wrote in the New York Times of her 2003 performance of Don Quixote at City Center: "Two exceptional young dancers, Joel Carreño and Viengsay Valdés, led the exuberant version of "Don Quixote" that opened a run by the Ballet Nacional de Cuba on Wednesday, continuing through Sunday at City Center. New York has seen enough of this company over 30 years to do away with facile stereotypes. Alicia Alonso, now 82, was on hand for a standing ovation at the end of the evening, and it is worth remembering that the company is an outgrowth of the troupe she founded in 1948 in Havana with members of American Ballet Theater, where she was a star. As Kitri, Ms. Valdés can bring the house down with her phenomenal balances on one leg, and she is very much a turner. Yet these are technical feats that are only part of the complete picture she gives. She relates to her partner and everyone onstage, fusing characterization with style and technique. Her Kitri is not a pouting poppet but a strong-minded heroine with a brain whose love for Basil radiates throughout the performance."

Mary Ellen Hunt wrote in Dance Magazine: "Cuban ballerina Viengsay Valdes could be justly famous for her rock-solid eternal balances, thrilling multiple turns, and bravura technique. But in an age of superlative technicians, it's the passion and heart that Valdes brings to her dancing that has captivated audiences from Havana to Paris. Whether playing an effervescent Swanhilda in Coppelia or a biting Black Swan, Valdes' every move emerges as a natural expression of her zest for dancing. One of the youngest of the Ballet Nacional de Cuba's primeras ballerinas, Valdes made an auspicious debut as Kitri in Don Quixote at the age of 19, under the demanding tutelage of Alicia Alonso. Since then, she's polished all international reputation, partnering with such danseurs as Carlos Acosta, Jose Manuel Carreno, and Giuseppe Picone, and winning enthusiastic critical praise." [8]

The Stage wrote: "In Don Quixote the ballerina role of Kitri was outstandingly danced by Viengsay Valdés with thrilling balances." [9]


Ballet Magazine wrote about her performance at the first Manchester Festival in July 2007: "It was the Corsaire Pas de Deux that very nearly had me clapping, because with Acosta and the Cuban miracle that is Viengsay Valdes, it was circus time. Valdes dances on the very largest scale, contrasting her huge movement with brilliant speed and detailed technique. Her pointes are of steel and those effortless balances, held just that second longer, are amazing." [10]

Choreography

In June 2007, Valdes branched out into contemporary dance choreography, working with the British director Sebastian Doggart. They created a performance called Balance of Ice, which combined three elements: a piece of music by Canadian composer Andrew Staniland that was inspired by the sounds of ice sheets calving; a dance performance by Valdes that fragmented her usual balletic virtuosity; and moving images of the polar ice caps and the threats facing them.

Balance of Ice

Awards

  • 1993 - First Prize in the National Competition of Dance for the Union of Artists and Writers of Cuba (UNEAC).
  • 1993 – Gold Medal in the Vignale Festival of Dance, Italy.
  • 1994 – Grand Prize in Ballet for the National Competition of Dance, Union of Artists and Writers of Cuba (UNEAC).
  • 1999 – National Medal of Culture from Cuba
  • 2003 – Ms. Valdes was awarded the Medal "Alejo Carpentier" by the Ministry of Culture of Cuba.
  • 2005 - Awarded the Les Ètoiles de Ballet 2000 prize at the Palais des Festivals, Cannes.


Trivia

'Viengsay' is the Laotian word for Victory.

References

  1. ^ http://www.cubanet.org/CNews/y03/feb03/26e2.htm
  2. ^ http://www.ballerinagallery.com/valdes.htm
  3. ^ http://www.danceviewtimes.com/dvny/reviews/2003/cuba1.htm
  4. ^ http://arts.guardian.co.uk/critic/review/0,,1866530,00.html
  5. ^ http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2006/09/07/bacuban07.xml
  6. ^ http://search.ft.com/ftArticle?queryText=Viengsay&y=9&aje=true&x=12&id=050822000686
  7. ^ http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/08/18/btcuba18.xml
  8. ^ http://www.encyclopedia.com/doc/1G1-112212763.html
  9. ^ http://www.thestage.co.uk/reviews/review.php/9282
  10. ^ http://www.ballet.co.uk/magazines/yr_07/aug07/ip_rev_carlos_acosta_0707.htm
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Viengsay_Valdés&oldid=197387168"