Acosta en Apollo / Carlos Acosta junto a Marianela Núñez, quien se encuentra en la cumbre de su arte.

We had already had his farewell, which was transmitted to the world, from the scene of the Covent Garden; later, last December, Carlos Acosta said goodbye from the Coliseum Theater. A year later it was commented that, definitively, the Cuban would put an end to his career as a classical dancer in order to dedicate himself to the company and dance academy he had just created in Cuba. However, in the programs of the shows they were always quick to clarify: “it's just a see you soon”, as Carlos promises us to return to the stage as an interpreter of contemporary choreographers or to present this own creations.
Now, on a Friday afternoon, thanks to The classical farewell, a true human tide comes to the doors of the imposing Elizabethan building that is the Royal Albert Hall. There is a kind of euphoria here, a party atmosphere, which we have all lived at one time and at the same time, total impatience to enjoy the promised marvel. It is that joy of living the present moment and knowing that we can repeat to the satiety: “I was there!”.
If it is true that celebrating the event at the Royal Albert Hall was not the most judicious choice (the circularity of a room that has not been well exploited, the stage remains almost devoid of decoration throughout the show and is far from the seats) the Cuban star spared no expense in mobilizing an orchestra, forty chorus players, six friends of the Royal Ballet, all soloists or principals of the prestigious English company, and two young dancers from Havana. On the menu: repertoire pieces, of course, among which are five signed MacMillan, and two of Balanchine and Ashton. And, loyal to himself and to his native island, Acosta extended the program with contemporary pieces by two young Cuban choreographers: Raul Reinoso (Anadromous) and Miguel Altunaga (Memoria).
It is not necessary to hide the face to say it: the laws of gravity have, of course, influenced Acosta. Now, at age 43, the ballon and speed of execution in complex steps, which built his reputation, belong to the past. But his aura, his way of filling the stage, of attracting the public's gaze on his person, of giving life to the character he plays, remains intact, as well as his role as exemplary partenaire.