Foreword | p. 8 |
Foreword | p. 14 |
Acknowledgments | p. 16 |
Introduction: Cuban Memories | p. 18 |
Alicia | p. 29 |
Interlude: Before the Alonsos | p. 56 |
Ballet Nacional de Cuba: A New Company for a New World | p. 59 |
Interlude: Theme and Variations | p. 110 |
Cuca's Story and the Paris Incident | p. 114 |
Interlude: Alicia Alonso, Dancemaker | p. 124 |
Lorena, Lorna, and the Feij Effect | p. 135 |
Interlude: Four Jewels, Three Graces, and a Rebel | p. 164 |
All Those Cuban Men | p. 177 |
Giselle | p. 200 |
Dancing with a Cuban Accent | p. 221 |
Notes | p. 238 |
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There are moments in the Theatre, and they are really very rare, that come as sudden and tender reminders of what art is all about: the best in all of us, the hopes and the dreams, the brutal limitations of time on human life and the majestic transcendence of the human spirit. Saturday afternoon brought such an unforgettable moment to the War Memorial Opera House. Lorena Feijóo danced her first Giselle, and it was clear that her whole life had been leading up to this role.