Don Quixote
ballet in three acts and a prologue
music by Ludwig Minkus
Colourful, vibrant, direct, spontaneous: all these epithets can be applied to Don Quixote, but none of them can fully convey the sense of joy that the ballet invariably arouses in the audience. The red capes of the toreadors, the strumming of guitars, the clicking of castanets, coquettish glances from behind open fans... The enchanting levity of the ‘ballet of Spain’ surges onto the Mikhailovsky Theatre stage. Each performer interprets this ballet in their own way. While it demands virtuosity and stamina, the dancers are given complete freedom of choice in the way they act the parts. It is possible to depict the sincerity and straightforwardness of the characters or present them as cunning deceivers; place an emphasis on simple domestic details, or portray fiery passions. The permutations are endless, and therein lies one of the secrets of the ballet’s phenomenal popularity.
Prologue
Don Quixote, an avid reader of chivalric romances, sets off on a quest to perform grand deeds and earn eternal glory. He appoints the practical and unromantic Sancho Panzo as his squire.
Act one
Barcelona. Kitri, the inn-keeper’s daughter flirts with the barber Basilio who is in love with her. Her father, Lorenzo, catches them together and drives Basilio away, as he wants his daughter to marry the wealthy nobleman Gamache.
In the midst of the festivities in the town square, Don Quixote and Sancho Panza arrive. Seeing Kitri, Don Quixote mistakes her for the beautiful Dulcinea, the lady of his dreams and his chosen “lady of the heart.” However, Kitri quickly disappears, running off with Basilio. Lorenzo, Gamache, and Don Quixote set off in search of her.
Act two
Lorenzo, Gamache and Don Quixote find the lovers in a tavern. The innkeeper wants to announce Kitri engagement to Gamache immediately, but Basilio, conspiring with Kitri, fakes his own suicide. Kitri “weeps” over the body of her beloved. Don Quixote, in righteous indignation, rebukes the innkeeper for his cruelty and forces him to agree to his daughter’s marriage to the “dying” barber. Basilio immediately “comes back to life”. Don Quixote resumes his travels.
Near a windmill, a gypsy camp is set up along with a traveling puppet theatre. The theatre owner invites Don Quixote to watch a performance. Forgetting that it is just a play, the knight charges onto the stage to defend the oppressed, destroying the set in the process. He then mistakes the windmill for an evil wizard he must vanquish.
Wounded, Don Quixote and Sancho Panza find themselves in a forest. Don Quixote imagines the woods are full of monsters and giants. Sancho Panza puts him to bed, and the knight dreams of seeing Dulcinea accompanied by Cupid and dryads.
Sancho Panza seeks help from a duke and duchess hunting in the forest. They invite the wandering knight to their castle.
Act three
The Duke’s castle. Upon hearing from Sancho Panza the happy tale of Kitri and Basilio, the Duke and Duchess graciously allow their wedding to take place in the castle. Don Quixote and Sancho Panza are given seats of honour. Don Quixote blesses Kitri, and everyone thanks the noble knight and his loyal squire.
Premiere of the revised version: 11 April 2012
Libretto by Marius Petipa
Choreography by Marius Petipa and Alexander Gorsky
The production also features choreography by Nina Anisimova, Igor Belsky, Robert Gerbek, Kasyan Goleizovsky, and Fyodor Lopukhov
- Overall choreographic revision and stagingMikhail Messerer
- AssistantsEvgeny Popov, Anna Razenko
- Stage DesignerVyacheslav Okunev
- Costume TechnologyAlla Marusina
- Lighting DesignerAlexander Kibitkin
- Musical Director of the productionPavel Bubelnikov
The Mikhailovsky Theatre would like to express its gratitude to Mr Toshihiko Takahashi for his support in creating the production
Sets and costumes produced at the Vozrozhdenie Theatrical Design Studios
