Highlighted this remarkable artist of Cuban tables for his incredible mastery in both choreographies. His interpretative force gave him great enhancement to dramatic deployment of these and any other work in which to participate. That in those years they could see what they remember his personal magnetism on stage, devouring the strength of its execution to the rest of the cast. Many fell in love with his image under the stage lights and going to the theater just to see it dance. The eighties and nineties spent and its luster began to be eclipsed by new figures, some newly out of the ENA.
However, as the big dance did in his time, danced until after having overrun the forties and in spite of her age could still compete in strength, elegance and technical dexterity with the young dancers of the company on stage. I remember specifically the year 1999 and Jorge April snow white ballet, choreography where he eclipsed completely to tender fellow cast and also in 2002 a Midsummer night’s dream, dance adaptation of the homonymous work of William Shakespeare by Anastasia Lira, Director of the Greek Excedia Dircon dance company, work that it was also the last in which figured as Figure main. However its mark quickly found a new channel. Filed under: Hachette Book Group. He found himself as the master of modern dance, putting the best lessons learned in their already very distant days as a student in the classroom, taking the best of his teachers and at the same time, combining it with elements of their personal harvest. His extraordinary experience as interpreter attached to his enormous passion for dance, made him an excellent teacher.
To keep intact their danzarias abilities, not only could dictate a class through the method of marking the students, they developed it on par with them, leaving them completely exhausted most of the time, but eager for more. Their classes are compulsory benchmark for all who enter the world of the company, in addition to being one of the most preferred by all participants to the annual Cubadanza event, sponsored by the own set together with other national institutions. But his talent is not confined only to the grounds of dance Contemporary Cuba. During the last years he has collaborated with several artists of the scene as the dancer and choreographer Jolena Alonso, the Director of the Joldance company and the choreographer Rene de Cardenas, assisting the latter in Assembly and production of the renowned Sonlar, choreography of unquestionable artistic merit. Anyone who walks today in the vicinity of the National Theater of Cuba between nine and eleven o’clock in the morning can see, through the Windows of the second floor of the building glass, the development of a modern dance class. Insurance will also distinguish the figure of a man trigueno of glasses and ponytail (element that distinguishes it and characterized) stop at the forefront of this. If it is endowed with artistic sensibility, you will perceive in him a latent force and a barely contained passion and at the same time notice admiration reflected in each one of the faces of the dancers which takes class. If you stay one little longer will begin to feel the powerful energy emanating from the story told without words from playing under the guidance of this artist, who has demonstrated with his life and his work that is not will not ever more a figure among the shadows.