Rosario Suarez

     Regarded in Cuba as the greatest and most popular ballerina of her generation, Rosario Suarez was universally known for the profound artistry, versatility, and innovation with which she performed ballet repertoire. Among her many achievements, Rosario won the gold medal at the International Ballet Competition in Varna, Bulgaria in 1970. Over a remarkable twenty- seven year career with the National Ballet of Cuba, she performed principal roles in over 50 countries, to worldwide critical acclaim. In 1991, the Cuban Ministry of Culture recognized and celebrated her artistic achievements. 

 

     Born in Havana, Rosario began her ballet training at the Province Ballet School, then continuing her studies at the National School of the Arts, with teachers Joaquin Banegas, Fernando Alonso and Alicia Alonso. When Rosario was only fifteen years old, Fernando Alonso, the director of the National Ballet of Cuba, invited Rosario to join the Company, thus launching her nearly three-decade professional career, which included a fifteen-year tenure as Principal dancer. Rosario was also a principal dancer of Ballet Theater of Havana, under the direction of Caridad Martinez. 

 

     Rosario’s performances in Coppelia, Swan Lake and Giselle have brought her the highest acclaim. However, her roles in works by Cuban choreographers, such as Tarde en la Siesta and Rara Avis, were performances that have also been said to have set the standard for future generations of dancers. 

    

     Rosario’s interpretation of The Sylphide and The Scotsman at the International Cervantine Festival in Guanajuato and Giselle, at a historic performance at the Teatro Albeniz in Madrid, brought roaring audiences to their feet. At that time, Rosario established herself as an artist in Spain, participating in a number of festivals and teaching throughout the city. In 2000, at the debut of Anna Pavlova: Diálogos del Alma, within the setting of the Dance Festival of Madrid, she performed the famous Death of the Swan by Fokine. While in Spain, she worked at the Conservatory Real in Madrid alongside Virgina Valero, as well as with Victor Ullate, Goyo Montero, Juan Carlos Santa Maria, Raul Cardenes and Ramon Oller, and many others. 

 

     Rosario’s career brought her to Miami, where she was on faculty at New World School of the Arts, under the direction of Daniel Lewis. She then established her own company, Ballet Rosario Suarez, and an affiliated dance academy dedicated to the preservation of the Cuban Style of Ballet. In 2002, she created her first choreographic work, Cecilia Valdes with great success. Her final performance took place in Miami in 2010, as the star of the ballet theater production “La Ultima Funcion,” based on a poem by Abilio Estevez and directed by Lilian Vega. In 2012, Rosario was named one of the top 100 Latinos in Miami with the greatest cultural impact. 

     Rosario's career also took the form of film appearances, as she was featured in a documentary directed by Marisol Trujillo, Mujer Ante el Espejo, inspired by the experience of maternity of ballerinas; a short for the School of Cinematography, Two Gladys For You, directed by Aaron Yelin; a documentary about Pablo Neruda, and Stolen Verses, by Orlando Rojas. She appeared extensively, via modern interviews and archival performance footage, in a documentary of her own life, directed by Orlando Rojas, Queen of Thursdays, which won the award of Best Documentary at the Miami Film Festival. 

 

     Rosario is recognized as a versatile interpreter who builds her characters around expressive musicality. Her constant search for freedom throughout the course of her career has inspired her work, and she is an artist and performer who has reached critical acclaim, winning over the hearts of audiences all over the world. In 2008, Rosario joined the Miami Conservatory/Thomas Armour Youth Ballet, where she trained future generations in her role as Ballet Mistress. She continues to travel and tour as a teacher and coach for students internationally. Behind Rosario’s fame, experience, and technique is an unbridled passion to affect change in her students and help them unearth their full artistic potential.  

 

Select Reviews

“We are in the presence of an especially rare talent; she can only be compared to herself. When she dances a role, it is as though the role did not exist until that moment. She adds intensity, psychological insight and a majestic stage presence.” 

“New York Times”, New York, NY 1978, by B. Fitzgerald 

 

“…It was a “Swan Lake” that will never be forgotten. In her White Swan, Rosario Suarez filled the air with poetry and daintiness… Her Black Swan was a tremendous display of strength, beauty and technical wonders. The public did not applaud, they roared. The stage was covered with flowers.” 

“ABC”, Madrid, Spain 1990, by Santiago Castelo 

 

“Rosario Suarez with just a simple waltz stole a short instant from eternity. After she left the scene you could not help but to await her return” 

“Pour la Dance”, Paris, France 1984, Marie Hamon

 

“I must say that the Giselle’s second act by the Cuban National Ballet is splendid, simply the best I have ever seen, and Rosario Suarez materializes out of her grave and instantly she is possessed to delirium”

“The Week-end”, Melbourne, Australia 1992, by R. Gravet

 

“The star of the show undoubtedly was Rosario Suarez. She is perfect in temperament and style for the role of Kitri… Suarez seemed totally at ease in the role. With her strong presence and carefully thought out movements and fiery passion, she completely riveted the audience’s attention.” 

“Asahi Evening News”, Tokyo, Japan 1991, Nobuko Hara

 

“Rosario Suarez is not just a figure acclaimed by the Cuban public and permanently recognized by the critics in her country, but a ballerina / actress that the international world salutes as the greatest exponent of dance in our times.” 

“La Nación”, Buenos Aires, Argentina 1988, by Angel Fumagalli

 

“Rosario Suarez, a contemporary performer par excellence, represents rupture with the accepted standards in “Rara Avis”, and “A Escena”, rule development in “Giselle”, “Sleeping Beauty’ or “Coppelia” and as proof of her wide range and stylistic mastery, form and content in “Swan Lake”. 

“Granma”, Havana, Cuba 1986, by Orlando Taquechel 

 

“Rosario Suarez… her popularity exceeds any known precedent and new legend about the universal ballerina starts to elaborate” 

“El Pais”, Madrid, Spain 1986, by Roger Salas

 

“Rosario Suarez has the ultimate technique with a fascinating presence on the stage”

“L’Eco della Stampall”, Vignale, Italy 1981, by Vittorio Doglio

 

“Rosario Suarez danced Myrtha like it has not been seen since the times of Deanna Begsma… steely, cold, malevolent, virtuoso, from another world…”

“Los Angeles Times”, Los Angeles, California 1979, by Martin Berheimer