May 12, 2025 • 15 mins
Ballet Hispanico, the nation’s largest Latine/x/Hispanic dance organization and recognized by the Ford Foundation as one of America’s Cultural Treasures, presents Gustavo Ramírez Sansano's masterwork CARMEN.maquia at New York City Center from May 29-June 1, 2025. Our guest is Artistic Director and CEO Eduardo Vilaro. For tickets and more, visit ballethispanico.org and nycitycenter.org.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Welcome to get connected, Thank you for listening, and Happy
Mother's Day. I am pleased to welcome Eduardo Valaro back
to the show. He is the artistic director and CEO
of Bala Hispanico, the nation's largest Latina Hispanic dance organization
and recognized by the Ford Foundation as one of America's
Cultural Treasures. Bala Hispanico presents Gustavo Ramire Sensano's master work
(00:35):
Carmen Machia at New York City Center May twenty ninth
to June First. Tickets are on sale now at Nycitycenter
dot org and Eduardo Volaro, Welcome to the show.
Speaker 3 (00:46):
Thank you. What a pleasure it is to be here,
especially on Mother's Day.
Speaker 4 (00:50):
Felis Madres, I'm so thrilled to be talking with you again,
and I'm.
Speaker 2 (00:54):
So excited for this show. Let's talk about Carmen the
original before we get into kind of I want to
set the stage of this great story, this great performance Carmen.
Even if you're not familiar with opera, go to the
Ballet Hispanica website for a brief preview of Carmen Machia.
You will recognize the music, you know, somewhere in the atmosphere,
(01:15):
the feeling of it. Who is this powerful woman, Carmen?
Speaker 4 (01:19):
What is the story this story? You know, I just
want to give your listeners a key points. This story
is not a Spanish story. This story was created by
two frenchmen and then taken on for the Opera Comique,
you know, right at the turn of the century, and
it was put into the opera, the Opera Comique. This
(01:40):
was a serious opera, so it was strange that it
was put in, but it did become very popular and
so interesting that it became a Spanish.
Speaker 3 (01:50):
Icon, right.
Speaker 4 (01:51):
The story is about a gypsy who worked in a
cigarette factory and she was her own woman.
Speaker 3 (02:01):
She went against it.
Speaker 4 (02:03):
She was perhaps.
Speaker 5 (02:07):
Unadulteratedly carefree and you know, like to get into trouble
and so she, you know, was hanging out with the
wrong crowd all the time.
Speaker 4 (02:20):
In fact, she was kind of the ringleader of going
up against societal norms. And so she meets Don Jose,
and Don Jose, who is the opposite of her she is.
He is someone who wants to be on the path.
He's a soldier in some stories he's a corporal. And
(02:42):
then he falls.
Speaker 3 (02:42):
Madly in love with her.
Speaker 4 (02:44):
She tempts him into and she kind of falls in
love with him, but ultimately marries Escamillo, the prize bullfighter
who everyone knows. And so this opera really is about
this triangle and.
Speaker 3 (02:59):
The of love.
Speaker 2 (03:01):
This story is fascinating to me that it was told.
It was written by a Frenchman and novella in the
eighteen forties, and then about forty years later George Busse
wrote the opera. Yes, so we're still talking about, you know,
the nineteenth century. Here this woman who's kind of setting
herself up in a very specific way. But it's also
the fascination with Spanish culture is so interesting to me.
(03:23):
Do you know if anyone from the Latin community had
ever told this story.
Speaker 4 (03:28):
In the dance world, the first Carmen was actually done
by a Cuban choreographer, Alberto Alonso for the National Ballet
of Cuba, who wanted to highlight his then wife.
Speaker 3 (03:40):
Alicia Alonso.
Speaker 4 (03:42):
And you know, that was the model of this Carmen,
and it was set in kind of like a bull ring.
And since then there have been many dance versions of Carmen,
but this is a Spaniard.
Speaker 3 (03:58):
There hasn't been a Spaniard to.
Speaker 4 (04:00):
Do that, so that's what it was very interesting to
me when he first did it, and I think he's
done an amazing job.
Speaker 2 (04:07):
So we're speaking of Gustavo Ramire Sensano. He is the
choreographer of this tell us kind of what makes it
really special, you know.
Speaker 4 (04:15):
The interesting thing to me is that this is a
very minimal list approach to Carmen, and what the choreographer
wanted to do was remove all the icons or the
iconic representations of culture. So this is a black and
white ballet. Everything is in black and white except for
some drops and I'll get to that, so that you're
(04:37):
really looking at the people and the human emotion and
his choreography, his movement language is so thick with athleticism
and emotional drive that you can actually see. To me,
his movement is the recessitive right that you find an
(04:57):
opera that tells you the story helps you with the story.
This is pure movement, pure passion, and that's what I
love about it, because it removes the Spanish fans and
the Castanets and everything else, and it could be anyone
who falls in love.
Speaker 3 (05:14):
And it's true.
Speaker 4 (05:15):
We as human people, we fall in love and we
have these passionate reactions to it. And then he goes
on and works with Luis Crespo the designer, and plays
with Picasso, who was also very much intrigued by Carmen
and sketched her often and used the power of that
(05:39):
Spanish woman throughout his Cubism. And so there are drops
on the stage that have are reminiscent to Picasso.
Speaker 3 (05:49):
They're black, white, gray, and so you.
Speaker 4 (05:51):
Get into this world that makes you want to imagine
where you are. The set design is actually all in paper,
so there are the accordion like walls that the dancers
move and sometimes it's a cantina, sometimes it's a jail,
another time it's a mountain. Really interesting, it really brings you,
(06:15):
makes you lean into the story a lot more.
Speaker 2 (06:18):
Again from the clip on your website, which is at
Ballyhispanico dot org. The look is fantastic. It's very spare,
it's very modern, it's the It really does seem like
a vision unto itself. It seems completely unique. You can
find out more on the website Balahispanico dot org. For
the show, Carmen Machia Ballet Hispanico is at New York
(06:38):
City Center May twenty ninth to June first. Tickets are
on sale now at Nycitycenter dot org. You're listening to
get connected on one O six point seven light FM.
I'm inn del Rio And about the title Carmen Machia,
what does that mean?
Speaker 3 (06:52):
So he took He's it's a play.
Speaker 4 (06:55):
Bullfighting is act in Spain and old way is is
taur Machia, so taubull Machia, the play, the study the
work of so bullfighting.
Speaker 2 (07:08):
How would you describe for someone who hasn't seen it?
And I'm curious too, just Gustavo Ramirez and Sano's work overall.
What is your favorite thing about working with this particular choreographer. Oh?
Speaker 4 (07:19):
His You know, he has such a singular movement language
that you know, like Graham, and yet unlike Graham who
really took the body and started showing deep emotions with
her contraction and release, he uses every single I mean,
(07:41):
the way each body part moves unlike it is not lyrical,
it is it's very It reminds me of if he
was he to me, he's a Picasso of dance because
he really can break up the body in ways.
Speaker 3 (08:00):
But still you see the image.
Speaker 4 (08:02):
But the athleticism of the work is really remarkable, and
also just the passion that comes along with it.
Speaker 2 (08:12):
Just the angular and articulated and very specific.
Speaker 3 (08:14):
Is what it sounds, Very specific?
Speaker 2 (08:16):
Yeah, yeah, Why is it important to tell Carmen's story now?
Speaker 4 (08:21):
Well, besides being this is one hundred and fiftieth anniversary
and we as you stated, ballet Hispanico the largest Latino.
We have to celebrate those big.
Speaker 3 (08:32):
Moments in history.
Speaker 4 (08:34):
That connect to who we are and also show that
we are part of this conversation and upholding some of
these traditional things and iconic representations. But at the same time,
you know, I think Carmen is perfect for the TikTok world.
Speaker 2 (08:51):
Kind of yeah, it is actually now that I've just
seen that little bitty clip, like it's a vision. It
really is a vision, yes.
Speaker 4 (08:58):
And it's like you can really extrapolate certain moments and
then it's the drama of the TikTok world, of canceling
of this, of saying your things it's the same, which
is awful, but okay, we'll let it go. But you know,
it is still human passion, and here is a story
of the ultimate human passion.
Speaker 2 (09:20):
You mentioned anniversaries, which I want to get to this too.
I've done the math. You join this organization as a
dancer in nineteen eighty five, so as of this year,
it's been forty years of connection to this company in
different roles. You went somewhere else for a while, you
came back. How are you thinking about it? Forty years?
Speaker 4 (09:44):
You just shot me in the heart, not because of
the age, but because I don't stop to think about this.
Speaker 3 (09:53):
That's very thank you for that. I really appreciate that.
Speaker 4 (09:55):
In it it is really an important thing.
Speaker 3 (09:59):
It's been so amazing to see.
Speaker 4 (10:01):
The development of this organization and be part of it,
and be part of Tina's vision, and then bring my
vision into it. And I you know, I am just
like a kid in a candy store all the time.
We are not as Latinos a monolith. We are traditions, cultures.
The intersectionality of who we are is so rich that
(10:25):
I get to play in that sandbox and I get
to show the world not only our community, our Latino communities,
but the world, the importance of understanding that we're all
connected in one way or another.
Speaker 2 (10:38):
It is so important, I think too, even for yourself
to be reminded when you're in a particular community like
I am, and you are, that there is you are
not a monolith right within it there everybody is represented,
everybody's there. I also want to get back the older
I get too. I also think about, you know, like
(10:58):
the young me just sticking with coming in nineteen eighty five,
do you remember those beginnings and what you thought would
become of this, you know, getting your foot in the
door at this company.
Speaker 4 (11:12):
You know, it was funny when I was still in school.
I was three months before my BFA granted a Latino
you know, new to this country. I grew up here,
and I just I was looking for I was just auditioning.
You had to do that before you graduated. I took
a class.
Speaker 3 (11:32):
It wasn't an audition.
Speaker 4 (11:33):
I took a class and Tina Ramirez came and watched,
and at the end of the class she said, I
need a dancer for this tour, and you're hired if
you want it. And I was like, but I still
have to go back to school, and you know Tina Ramirez,
what an amazing person. She just grabbed the phone, she
went into her office, called my dean, figured it out
(11:57):
with my dean, and I was, you know, two months
later on a plane to Spain.
Speaker 2 (12:01):
It's like a surprise, its surprise.
Speaker 3 (12:03):
So I didn't know it was a surprise.
Speaker 4 (12:05):
And so there was us just like this one, this
urge first as a dancer to be a dancer, and
then then it really hit. It starts hitting you everything
that you have to do and everything that you have
to be. But I was caught into the whole world,
this space that she built because I walked in, I
heard Spanish being spoken, I heard I saw the the
(12:27):
Abuelas Lathias, the mother's sewing costumes, and I was like,
this is home.
Speaker 3 (12:32):
I'm ready.
Speaker 2 (12:33):
That's fantastic. Let's get back to Carmen in our last
couple of minutes. So, Carmen Machia. Your performances at City
Center include Thursday the twenty ninth, which is the gala
performance beginning at six thirty. May the thirtieth, seven thirty.
The Family matinee is Saturday at two. I'm going to
ask about that in a moment. Saturday evening seven thirty
and June first at two pm the family matinee. How
(12:54):
does that fold into everything that you do? That is
Saturday May thirty first at.
Speaker 4 (12:59):
Two You know it's in our DNA family and general
intergenerational support and love. And we created a matine that
you don't.
Speaker 3 (13:11):
See the whole work. You see big chunks of the works.
Speaker 4 (13:15):
But I lead the audience into understanding dance, understanding where
this comes in the culture, how it plays, and ultimately
we all end up standing and dancing.
Speaker 3 (13:26):
And so it could.
Speaker 4 (13:27):
It is geared so that young families and young young
children can turn to their parents and say did you
see that? And have this interaction and be off of
our phones and have a conversation and experience art as
a group and as a family.
Speaker 3 (13:49):
And so it's a lot of fun. I love it.
I hope everyone comes.
Speaker 2 (13:52):
What are you most looking forward to for this season
and in this coming year with Mella Hispanico?
Speaker 4 (13:57):
Oh my goodness, I am most looking being forward to
how the organization gets to celebrate each and every moment,
because when you have a birthday and anniversary, it is
about not that one day.
Speaker 3 (14:12):
How do you take it throughout the year. So we've
got a lot.
Speaker 4 (14:15):
Of things planned, and the whole organization is excited about it.
Speaker 2 (14:20):
Ballet Hispanico presents Gustavo Ramirez and Sano's master work Carmen
Machia at New York City Center May twenty ninth through
June First. Tickets are on sale now at Nycitycenter dot org.
EDWARDO Valaro, thank you for being on Get Connected. Lovely
to see you.
Speaker 3 (14:35):
Always a pleasure to be here with you. Thank you.
Speaker 1 (14:38):
This has been Get Connected with Nina del Rio on
one O six point seven light Fm. The views and
opinions of our guests do not necessarily reflect the views
of the station. If you missed any part of our
show or want to share it, visit our website for
downloads and podcasts at one O six to seven lightfm
dot com. Thanks for listening.
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Welcome to get connected, Thank you for listening, and Happy
Mother's Day. I am pleased to welcome Eduardo Valaro back
to the show. He is the artistic director and CEO
of Bala Hispanico, the nation's largest Latina Hispanic dance organization
and recognized by the Ford Foundation as one of America's
Cultural Treasures. Bala Hispanico presents Gustavo Ramire Sensano's master work
(00:35):
Carmen Machia at New York City Center May twenty ninth
to June First. Tickets are on sale now at Nycitycenter
dot org and Eduardo Volaro, Welcome to the show.
Speaker 3 (00:46):
Thank you. What a pleasure it is to be here,
especially on Mother's Day.
Speaker 4 (00:50):
Felis Madres, I'm so thrilled to be talking with you again,
and I'm.
Speaker 2 (00:54):
So excited for this show. Let's talk about Carmen the
original before we get into kind of I want to
set the stage of this great story, this great performance Carmen.
Even if you're not familiar with opera, go to the
Ballet Hispanica website for a brief preview of Carmen Machia.
You will recognize the music, you know, somewhere in the atmosphere,
(01:15):
the feeling of it. Who is this powerful woman, Carmen?
Speaker 4 (01:19):
What is the story this story? You know, I just
want to give your listeners a key points. This story
is not a Spanish story. This story was created by
two frenchmen and then taken on for the Opera Comique,
you know, right at the turn of the century, and
it was put into the opera, the Opera Comique. This
(01:40):
was a serious opera, so it was strange that it
was put in, but it did become very popular and
so interesting that it became a Spanish.
Speaker 3 (01:50):
Icon, right.
Speaker 4 (01:51):
The story is about a gypsy who worked in a
cigarette factory and she was her own woman.
Speaker 3 (02:01):
She went against it.
Speaker 4 (02:03):
She was perhaps.
Speaker 5 (02:07):
Unadulteratedly carefree and you know, like to get into trouble
and so she, you know, was hanging out with the
wrong crowd all the time.
Speaker 4 (02:20):
In fact, she was kind of the ringleader of going
up against societal norms. And so she meets Don Jose,
and Don Jose, who is the opposite of her she is.
He is someone who wants to be on the path.
He's a soldier in some stories he's a corporal. And
(02:42):
then he falls.
Speaker 3 (02:42):
Madly in love with her.
Speaker 4 (02:44):
She tempts him into and she kind of falls in
love with him, but ultimately marries Escamillo, the prize bullfighter
who everyone knows. And so this opera really is about
this triangle and.
Speaker 3 (02:59):
The of love.
Speaker 2 (03:01):
This story is fascinating to me that it was told.
It was written by a Frenchman and novella in the
eighteen forties, and then about forty years later George Busse
wrote the opera. Yes, so we're still talking about, you know,
the nineteenth century. Here this woman who's kind of setting
herself up in a very specific way. But it's also
the fascination with Spanish culture is so interesting to me.
(03:23):
Do you know if anyone from the Latin community had
ever told this story.
Speaker 4 (03:28):
In the dance world, the first Carmen was actually done
by a Cuban choreographer, Alberto Alonso for the National Ballet
of Cuba, who wanted to highlight his then wife.
Speaker 3 (03:40):
Alicia Alonso.
Speaker 4 (03:42):
And you know, that was the model of this Carmen,
and it was set in kind of like a bull ring.
And since then there have been many dance versions of Carmen,
but this is a Spaniard.
Speaker 3 (03:58):
There hasn't been a Spaniard to.
Speaker 4 (04:00):
Do that, so that's what it was very interesting to
me when he first did it, and I think he's
done an amazing job.
Speaker 2 (04:07):
So we're speaking of Gustavo Ramire Sensano. He is the
choreographer of this tell us kind of what makes it
really special, you know.
Speaker 4 (04:15):
The interesting thing to me is that this is a
very minimal list approach to Carmen, and what the choreographer
wanted to do was remove all the icons or the
iconic representations of culture. So this is a black and
white ballet. Everything is in black and white except for
some drops and I'll get to that, so that you're
(04:37):
really looking at the people and the human emotion and
his choreography, his movement language is so thick with athleticism
and emotional drive that you can actually see. To me,
his movement is the recessitive right that you find an
(04:57):
opera that tells you the story helps you with the story.
This is pure movement, pure passion, and that's what I
love about it, because it removes the Spanish fans and
the Castanets and everything else, and it could be anyone
who falls in love.
Speaker 3 (05:14):
And it's true.
Speaker 4 (05:15):
We as human people, we fall in love and we
have these passionate reactions to it. And then he goes
on and works with Luis Crespo the designer, and plays
with Picasso, who was also very much intrigued by Carmen
and sketched her often and used the power of that
(05:39):
Spanish woman throughout his Cubism. And so there are drops
on the stage that have are reminiscent to Picasso.
Speaker 3 (05:49):
They're black, white, gray, and so you.
Speaker 4 (05:51):
Get into this world that makes you want to imagine
where you are. The set design is actually all in paper,
so there are the accordion like walls that the dancers
move and sometimes it's a cantina, sometimes it's a jail,
another time it's a mountain. Really interesting, it really brings you,
(06:15):
makes you lean into the story a lot more.
Speaker 2 (06:18):
Again from the clip on your website, which is at
Ballyhispanico dot org. The look is fantastic. It's very spare,
it's very modern, it's the It really does seem like
a vision unto itself. It seems completely unique. You can
find out more on the website Balahispanico dot org. For
the show, Carmen Machia Ballet Hispanico is at New York
(06:38):
City Center May twenty ninth to June first. Tickets are
on sale now at Nycitycenter dot org. You're listening to
get connected on one O six point seven light FM.
I'm inn del Rio And about the title Carmen Machia,
what does that mean?
Speaker 3 (06:52):
So he took He's it's a play.
Speaker 4 (06:55):
Bullfighting is act in Spain and old way is is
taur Machia, so taubull Machia, the play, the study the
work of so bullfighting.
Speaker 2 (07:08):
How would you describe for someone who hasn't seen it?
And I'm curious too, just Gustavo Ramirez and Sano's work overall.
What is your favorite thing about working with this particular choreographer. Oh?
Speaker 4 (07:19):
His You know, he has such a singular movement language
that you know, like Graham, and yet unlike Graham who
really took the body and started showing deep emotions with
her contraction and release, he uses every single I mean,
(07:41):
the way each body part moves unlike it is not lyrical,
it is it's very It reminds me of if he
was he to me, he's a Picasso of dance because
he really can break up the body in ways.
Speaker 3 (08:00):
But still you see the image.
Speaker 4 (08:02):
But the athleticism of the work is really remarkable, and
also just the passion that comes along with it.
Speaker 2 (08:12):
Just the angular and articulated and very specific.
Speaker 3 (08:14):
Is what it sounds, Very specific?
Speaker 2 (08:16):
Yeah, yeah, Why is it important to tell Carmen's story now?
Speaker 4 (08:21):
Well, besides being this is one hundred and fiftieth anniversary
and we as you stated, ballet Hispanico the largest Latino.
We have to celebrate those big.
Speaker 3 (08:32):
Moments in history.
Speaker 4 (08:34):
That connect to who we are and also show that
we are part of this conversation and upholding some of
these traditional things and iconic representations. But at the same time,
you know, I think Carmen is perfect for the TikTok world.
Speaker 2 (08:51):
Kind of yeah, it is actually now that I've just
seen that little bitty clip, like it's a vision. It
really is a vision, yes.
Speaker 4 (08:58):
And it's like you can really extrapolate certain moments and
then it's the drama of the TikTok world, of canceling
of this, of saying your things it's the same, which
is awful, but okay, we'll let it go. But you know,
it is still human passion, and here is a story
of the ultimate human passion.
Speaker 2 (09:20):
You mentioned anniversaries, which I want to get to this too.
I've done the math. You join this organization as a
dancer in nineteen eighty five, so as of this year,
it's been forty years of connection to this company in
different roles. You went somewhere else for a while, you
came back. How are you thinking about it? Forty years?
Speaker 4 (09:44):
You just shot me in the heart, not because of
the age, but because I don't stop to think about this.
Speaker 3 (09:53):
That's very thank you for that. I really appreciate that.
Speaker 4 (09:55):
In it it is really an important thing.
Speaker 3 (09:59):
It's been so amazing to see.
Speaker 4 (10:01):
The development of this organization and be part of it,
and be part of Tina's vision, and then bring my
vision into it. And I you know, I am just
like a kid in a candy store all the time.
We are not as Latinos a monolith. We are traditions, cultures.
The intersectionality of who we are is so rich that
(10:25):
I get to play in that sandbox and I get
to show the world not only our community, our Latino communities,
but the world, the importance of understanding that we're all
connected in one way or another.
Speaker 2 (10:38):
It is so important, I think too, even for yourself
to be reminded when you're in a particular community like
I am, and you are, that there is you are
not a monolith right within it there everybody is represented,
everybody's there. I also want to get back the older
I get too. I also think about, you know, like
(10:58):
the young me just sticking with coming in nineteen eighty five,
do you remember those beginnings and what you thought would
become of this, you know, getting your foot in the
door at this company.
Speaker 4 (11:12):
You know, it was funny when I was still in school.
I was three months before my BFA granted a Latino
you know, new to this country. I grew up here,
and I just I was looking for I was just auditioning.
You had to do that before you graduated. I took
a class.
Speaker 3 (11:32):
It wasn't an audition.
Speaker 4 (11:33):
I took a class and Tina Ramirez came and watched,
and at the end of the class she said, I
need a dancer for this tour, and you're hired if
you want it. And I was like, but I still
have to go back to school, and you know Tina Ramirez,
what an amazing person. She just grabbed the phone, she
went into her office, called my dean, figured it out
(11:57):
with my dean, and I was, you know, two months
later on a plane to Spain.
Speaker 2 (12:01):
It's like a surprise, its surprise.
Speaker 3 (12:03):
So I didn't know it was a surprise.
Speaker 4 (12:05):
And so there was us just like this one, this
urge first as a dancer to be a dancer, and
then then it really hit. It starts hitting you everything
that you have to do and everything that you have
to be. But I was caught into the whole world,
this space that she built because I walked in, I
heard Spanish being spoken, I heard I saw the the
(12:27):
Abuelas Lathias, the mother's sewing costumes, and I was like,
this is home.
Speaker 3 (12:32):
I'm ready.
Speaker 2 (12:33):
That's fantastic. Let's get back to Carmen in our last
couple of minutes. So, Carmen Machia. Your performances at City
Center include Thursday the twenty ninth, which is the gala
performance beginning at six thirty. May the thirtieth, seven thirty.
The Family matinee is Saturday at two. I'm going to
ask about that in a moment. Saturday evening seven thirty
and June first at two pm the family matinee. How
(12:54):
does that fold into everything that you do? That is
Saturday May thirty first at.
Speaker 4 (12:59):
Two You know it's in our DNA family and general
intergenerational support and love. And we created a matine that
you don't.
Speaker 3 (13:11):
See the whole work. You see big chunks of the works.
Speaker 4 (13:15):
But I lead the audience into understanding dance, understanding where
this comes in the culture, how it plays, and ultimately
we all end up standing and dancing.
Speaker 3 (13:26):
And so it could.
Speaker 4 (13:27):
It is geared so that young families and young young
children can turn to their parents and say did you
see that? And have this interaction and be off of
our phones and have a conversation and experience art as
a group and as a family.
Speaker 3 (13:49):
And so it's a lot of fun. I love it.
I hope everyone comes.
Speaker 2 (13:52):
What are you most looking forward to for this season
and in this coming year with Mella Hispanico?
Speaker 4 (13:57):
Oh my goodness, I am most looking being forward to
how the organization gets to celebrate each and every moment,
because when you have a birthday and anniversary, it is
about not that one day.
Speaker 3 (14:12):
How do you take it throughout the year. So we've
got a lot.
Speaker 4 (14:15):
Of things planned, and the whole organization is excited about it.
Speaker 2 (14:20):
Ballet Hispanico presents Gustavo Ramirez and Sano's master work Carmen
Machia at New York City Center May twenty ninth through
June First. Tickets are on sale now at Nycitycenter dot org.
EDWARDO Valaro, thank you for being on Get Connected. Lovely
to see you.
Speaker 3 (14:35):
Always a pleasure to be here with you. Thank you.
Speaker 1 (14:38):
This has been Get Connected with Nina del Rio on
one O six point seven light Fm. The views and
opinions of our guests do not necessarily reflect the views
of the station. If you missed any part of our
show or want to share it, visit our website for
downloads and podcasts at one O six to seven lightfm
dot com. Thanks for listening.
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