The Dancer in Pictures
“When I dance, I am mostly influenced by the strength of the music, and this sensitivity helps me understand my character. One must understand the music, along with the role one is portraying.”
As Basilio in Don Quixote
Lisa Macuja-Elizalde: “A quick study, Osias had to learn and perform the full-length Don Quixote with only four days’ notice. He debuted in the title role of Basilio, opposite this writer’s Kitri, as a last-minute replacement at the Music and Arts Festival in Krasnoyarsk, Russia. He pulled it off with his usual reliable partnering, Spanish temperament underlining his very Hispanic family name Barroso, and his quick-step assured technique. The performance ended in a standing ovation.”
As Siegfried in Swan Lake
“Swan Lake is a classic especially for the men. You can see that in the four acts, Siegfried is always there. There’s a lot of depth in character. You have to show how he matures. His range is wide but you need to be subtle because he is a prince. And you have to be a good partner.”
As Romeo in Romeo and Juliet
“This is a part that any male dancer with classical background can do. All you have to do is be romantic, and of course, you must be able to act. You must be secure about your technique and equally secure about your partner. But what really counts is the acting and the emotions. They all have to be there. The thing is to fall in love with your partner as soon as you hear the music.”
As Conrad in Le Corsaire
“What I like about Le Corsaire is that a lot of dancers are given the opportunity to shine. It is action-filled, particularly because there are four male leads – Conrad, Ali, Lankadem and Birbanto. There are many fierce duels, dramatic leaps and turns and demanding solo variations.”
Petrushka by David Campos
“Maybe the similarity to Petrushka with me would be the devotion to somebody or to something. Whatever happens, if I love something – like ballet – whatever the consequences, I will keep on fighting for it even if it’s difficult.”
Arnis by Ric Culalic
“It’s ingenious, it’s original, it’s very technical. Arnis is not for the weak of heart! It is quite challenging to learn the choreography. What Arnis teaches the dancer is not only technique and endurance, but dancing well together, as a team.”
As Albrecht in Giselle
“For me, Albrecht is the best in the male repertoire because it’s a combination of technique and emotions. It’s very dramatic, so you have to give more onstage, in acting and dancing. It takes a certain kind of dancer to learn and perform it.”
