Alberto alonso choreographer biography channel
Home / Celebrity Biographies / Alberto alonso choreographer biography channel
His most well-known ballet is Carmen Suite (1967), to music by Rodion Shchedrin; it was created for Maya Plisetskaya in the Bolshoi Ballet, and simultaneously for Alicia Alonso in the Ballet Nacional de Cuba, and later it has been re-created by several other companies.
He was married from 1939 to 1944 to the Ballets Russes Canadian dancer Alexandra Denisova.
He subsequently danced with the Ballet Theatre from 1943 to 1945, in works created by Fokine, George Balanchine and Leonid Massine.
In 1964 he married the Cuban Rumba dancer and actress Sonia Calero. They were married until his death and had a son, Alberto Jr.
He left Cuba in 1993 with his third wife, and settled in Gainesville, Florida, where he became master artist in residence at the Santa Fe Community College and resident choreographer for the Dance Theater of Santa Fe.
He continued choreographing for several companies including New York's Ballet Hispanico in 1994, and re-creating Carmen for Svetlana Zakharova in the Bolshoi Ballet in 2005.
Alonso died from heart failure in his adopted hometown of Gainesville, Florida, at age 90.
The minor planet 58373 Albertoalonso was named after Alonso in 1995.
Alberto Alonso
choreographerballet dancerballet master
Alberto Julio Rayneri Alonso was a Cuban dancer and choreographer, the brother of Fernando Alonso and brother-in-law of Alicia Alonso.
He subsequently danced with the Ballet Theatre from 1943 to 1945, in works created by Fokine, George Balanchine and Leonid Massine.
Back in Cuba in 1948, he co-founded with Alicia and Fernando Alonso the Ballet Alicia Alonso, which would eventually become the Ballet Nacional de Cuba, being its artistic director and choreographer.
From 1942 he also worked as ballet master and choreographer, creating several works including Antes del Alba (1948, music by Hilario Gonzalez, libretto by Francisco Martínez Allende), Rapsodia Negra (1953, music by Ernesto Lecuona), El Solar(1965, music by Tony Taño, filmed as Un día en el solar by Eduardo Manet), Espacio y movimiento (1966, music by Stravinsky, prize for best choreography at Varna in 1968), Un retablo para Romeo y Julieta (1969, to the music of Roméo et Juliette by Berlioz), et cetera His most well-known ballet is Carmen Suite (1967), to music by Rodion Shchedrin.
lieutenant was created for Maya Plisetskaya in the Bolshoi Ballet, and simultaneously for Alicia Alonso in the Ballet Nacional de Cuba, and later it has been re-created by several other companies.
Alberto Alonso
Alberto Julio Rayneri Alonso (22 May 1917 – 31 December 2007) was a Cuban dancer and choreographer, the brother of Fernando Alonso and brother-in-law of Alicia Alonso (née Martinez). Later he married Elena del Cueto, a Cuban dancer, until 1962, when she left for the United States with their two daughters.
At his return to Cuba he began ballet training in 1932 at the Sociedad Pro-Arte Musical arts school in Havana with Nikolai Yavorsky. At his return to Cuba he began ballet training in 1932 at the Sociedad Pro-Arte Musical arts school in Havana with Nikolai Yavorsky. Alonso was influential in the development of what is known as the Cuban style of ballet, a combination of Russian and Western techniques with a Latin style.
Alonso was born in Havana, and attended Springhill College in Mobile, Alabama.
Education
He studied in Paris with several teachers including Preobrazhenska and Idzikowski and danced with the Ballets Russes de Colonel West. He continued choreographing for several companies including New York"s Ballet Hispanico in 1994, and re-creating Carmen for Svetlana Zakharova in the Bolshoi Ballet in 2005.
Alonso died from heart failure in his adopted hometown of Gainesville, Florida, at age 90.
Sweeping gestures: Alberto Alonso and the revolutionary musical in Cuba
Title: Sweeping gestures: Alberto Alonso and the revolutionary musical in Cuba
Description:
This article examines Cuban choreographer Alberto Alonso and his dance contributions to Cuban musical theatre from the 1940s through the early 1960s.
The analysis integrates the histories of Alonso’s training, performance career and choreographic output with developments in Cuban musical theatre before and after the 1959 Cuban Revolution.
In particular, it focuses on Alonso’s 1964 ballet El Solar (The Slum), which became a 1965 musical film Un día en el solar (A Day in the Slum) and live musical Mi Solar (My Slum).
I argue that Alonso subtly questioned officialdom with his musical choreography that showed revolutionary movements springing not from the state but from Cuban citizens of different racial backgrounds as they enacted the chores and delights of life.
Moreover, Alonso’s work challenged cultural hierarchies, which held so-called high art forms like ballet above popular dance, by emphasizing the endless creativity of Cubans moving through their everyday.
Back
.
Back in Cuba in 1948, he co-founded with Alicia and Fernando Alonso the Ballet Alicia Alonso, which would eventually become the Ballet Nacional de Cuba, being its artistic director and choreographer.From 1942 he also worked as ballet master and choreographer, creating several works including Antes del Alba (1948, music by Hilario Gonzalez, libretto by Francisco Martínez Allende), Rapsodia Negra (1953, music by Ernesto Lecuona), El Solar (1965, music by Tony Taño, filmed as Un día en el solar by Eduardo Manet), Espacio y movimiento (1966, music by Stravinsky, prize for best choreography at Varna in 1968), Un retablo para Romeo y Julieta (1969, to the music of Roméo et Juliette by Berlioz), etc.
Background
Alonso was born in Havana, and attended Springhill College in Mobile, Alabama. de Basil from 1936 to 1940, performing principal roles in several ballets created by Michel Fokine.
Career
Alonso was influential in the development of what is known as the Cuban style of ballet, a combination of Russian and Western techniques with a Latin style.
He studied in Paris with several teachers including Preobrazhenska and Idzikowski and danced with the Ballets Russes de Colonel W. de Basil from 1936 to 1940, performing principal roles in several ballets created by Michel Fokine.