WHAT THE CRITIS SAID:
...not ignoring the rest of the performers, Anette Delgado’s interpretation in Muñecos left us speechless, the best in the whole program.
Carlos Guillermo Ambriz Magallanes
El Democrata Sinoalense - Mexico 1995
Bordering in genius, Anette Delgado executed an impeccable Don Qixote pas de deux.
Hector Gualdado
Noreste - Mexico 1995
The biggest applause in this evening of dance at the Mella Theatre was for Anette Delgado and Yosvany Ramos for their perfect interpretation in La Fille Mal Gardee.
Nancy Robinson
Trabajadores – Cuba 1995
Anette Delgado is an excellent product of the Cuban Ballet School, she is perfect in Don Quixote.
Danse Conservatoire
Italy – September 1996
From the younger dancers, we must single out the Giselle of Anette Delgado, a dancer of beautiful lines and ability to transmit emotions.
Julia Martin
El Mundo – Spain 2002
In the pas de deux of Sleeping Beauty a magnificent Anette Delgado impressed with her variation and beautiful line.
Julio Bravo
ABC – Spain 2002
Anette Delgado showed us a brilliant pas de deux with impeccable rhythm and amazing jumps.
Elisza Ingle
Post Courier reviewer – USA 2003
Anette reminded me of Alicia Alonso with her pas de chats in the first version of Balanchine’s Themes and Variations.
Drew
Explore Dance – Atlanta 2003
By Jennie Schulman
Publication: BackStage
Date: Friday, October 31 2003
"The Black Swan Pas de Deux" culled from Act II followed with Anette Delgado and Octavio Martín as the evil Odile and the deluded Prince, respectively. Delgado danced away with all honors; in addition to her alternating single and double fouettes, she concluded with sautés sur le pointe through the full length of the stage, and this while positioned in penché arabesque
Jennie Schulman
Publication: BackStage
Friday, October 31 2003
Sophia, at the Dansomanie.fr forum wrote on July 18, 2007:
Anette Delgado performed the title role for this premiere. I found her Giselle absolutely magnificent and very convincing from beginning to end, being credible both as a peasant as well as a supernatural creature, In the first act her Giselle is simple, humble and naïve but with a different soul, an idealism that sets her apart from the other peasants. Her mime, extremely precise, elaborate, theatrical is communicated directly and openly to her counterparts. One cannot but appreciate her powerful footwork, of great technique, perfect balances, never shaky, combined with the grace and expressive softness of her upper body and her port de bras, her hands just right. The famous diagonal variation of rond de jambs en l’air superbly executed, not only because of the virtousism of the footwork but also for the beauty of the port de bras and her torso. In the second act, she literally transforms herself and it pained us to recognize in this ethereal creature the peasant girl of the first act. Anette Delgado, superb in lightness and grace let us admire her extremely beautiful batterie, fast and precise, her soft jumps, an impressive ballon and her magnificent balances. Her execution is in no way a show of power, as you may suspect, but done with such lightness and levity innate in the Cuban dancers. This is a Giselle at the highest level.
The performances were absolutely fantastic. Anette Delgado was a fragile Giselle from the start. Her beautifully judged characterisation made it clear that she had health problems and that she was a very sweet-natured girl who fell totally in love with Albrecht. Her technique is just awesome, leaving me stunned that she could look so fragile while dancing so strongly.
Janet McNulty
PARIS 16-17/07/2007
Prensa Latina - 2004
The strength of the Cuban school was represented in the performance of the Principal Dancers of the National Ballet of Cuba Anette Delgado and Romel Frometa in the Black Swan pas de deux, Tchaikovsky-Petipa. What Ms Delgado can do with her beautiful legs is prodigious, secure and very precise in her turns and balances without overlooking the lines in her dancing and she adds expressive details to delineate her role.
Tito Barbon – Balletin Dance
February 2004 Punta del Este, Uruguay
Kitri by Anette Delgado is the most classic and enchanting, she adds her own fire to the effervescent Kitri, and she is formidable in Don Quixote
Isis Wirth – UK
…a riproaring extract from Don Quixote, given with a tremendous sense of fun and surest technique by Annette Delgado and her companions
Clement Crisp
Financial Times – UK August 22 2005
Anette Delgado was the eponymous heroine. Petite, young looking and endowed with a winning mixture of strong technique and aerial lightness, she is a fully credible Giselle.
Giannandrea Poesio
The Spectator
27th August 2005
Anette Delgado as the sweet Sugarplum Fairy, demonstrated pure classical lines…
Gavin Roebuck
The Stage – UK – 19th August 2005
Delgado is a charming dancer, with silent, playful pas de chats and a sparkling smile.
Sam Jones
Camden New Journal – UK – 19th August 2005
As the Queen of the Dryads, Anette Delgado burns with a steady flame. Her technique is formidable; she carries in her the spirit of the great classic ballerinas.
Luke Jennings
The Observer – UK September 2006
Ms Delgado is an energetic queen, executing her fuettes carelessly and with her finely tuned steps was the star of the evening.
Zoe Anderson
The Independent – UK September 2006
With Anette Delgado a splendidly lyrical Dryad Queen…
Sarah Crompton
The Telegraph – UK – 7th September 2006
Anette Delgado opened on Monday with a complete metamorphoses of her role for the second act ballet blanc,
Le Nouvel Obsevateur
July 17, 2007