Rudolf Nureyev’s Don Quixote
In the year that marks the 80th anniversary of the birth of Rudolf Nureyev and the 25th anniversary of his death, Teatro alla Scala Ballet Company will pay tribute to his memory in this production, which has been in repertoire at Teatro alla Scala since 1980 when Nureyev himself starred alongside Carla Fracci. Teatro alla Scala has applauded him on numerous occasions, as a memorable interpreter of ballet masterpieces, and in an unforgettable artistic partnership his choreographic works have remained in the Theatre’s repertoire.
Don Quixote is one of the true signature pieces of Teatro alla Scala Ballet Company. Showcasing sparkling choreography and virtuoso performances from an international cast of Teatro alla Scala’s principal and guest dancers, Don Quixote transports audiences to a bright and enchanting Spain, replete with gypsy dances, fandangos, matadors and windmills.
Don Quixote is an eccentric country gentleman who is enthralled by stories of medieval chivalry. With his neighbour, Sancho Panza, he takes off on knightly adventures of love and war and encounters young lovers Kitri and Basilio. Don Quixote is determined to rescue them, as they are being kept apart by Kitri’s father who wants her to marry a nobleman.
Based on episodes of Miguel de Cervantes’ classic novel Don Quixote de la Mancha, Rudolf Nureyev’s version of Don Quixote premiered at Vienna Opera Ballet in 1966 and has lost none of the charm and passion for which it is adored worldwide.
As heir to the Russian tradition, Nureyev’s Don Quixote pays homage to the early prototype by Marius Petipa – the great French ballet master who strongly influenced late-romantic dance in Russia and created his first version of the ballet in four acts, eight scenes and a prologue at Bolshoi Theatre of Moscow in 1869, followed by a second version in five acts and 11 scenes for Mariinsky Theatre of Saint Petersburg in 1871.
In the grandiose Mariinsky Theatre production, an amazing variety of dance steps were introduced, including the rigorous symmetry of the white ballet and the now infamous final grand pas de deux, all handed down in Russia from faithful reconstructions and the subsequent paring down to three acts by Alexander Gorsky in 1900 and Rostislav Zakarov in 1940.
The most distinctive feature of Nureyev’s Don Quixote is the second act, divided in two parts. Kitri and Basilio’s escape and the encounter with the gypsies, followed by a ballet blanc (white ballet) taken from Petipa’s original, comprising pure and highly technical steps and as far removed as possible from any narrative intent.
Nureyev confronts the subject matter as if it were either a comedy or a piece of Commedia dell’Arte in which the role of Don Quixote is similar to that of the character Pantalone and those of Kitri and Basilio are similar to Colombine and Pierrot. His Kitri is in fact arrogantly bold and flirty, right from the moment in the first act where she continuously flutters and handles her fan, an item which is also used by the other inhabitants of the village. In her first variation though the fan also becomes an integral part of a marvellous enchaînement (a combination of steps and movements) which entails, amongst other things, a particular jump - grand jeté en tournant entralacé – ending on one knee: the ballerina beats the fan on the floor and then bends backwards with a very flexible movement (cambré en arrière), still flaunting the now opened fan.
No less brilliant, sure in his fascination and always a happy soul is the character of Basilio: in who’s variations the double cabrioles en arrière and manèges certainly stand out, to which can be added other steps of technical brilliance.
Nureyev tailored this masculine role to both his own vast technical range and his spell-binding abilities to completely dominate a stage. In 1980 it was with him, alongside Carla Fracci and the whole Scala ballet company, that the ballet originally created in Vienna was first presented on the Piermarini stage.
Set to Ludwig Minkus’ colourful score played by Queensland Symphony Orchestra, and with lively and fiery scenery by Raffaele Del Savio and costumes by Anna Anni, Don Quixote promises an unforgettable ballet experience.
Performance details: Lyric Theatre, QPAC Wednesday 7 November 2018, 7.30pm Thursday 8 November 2018, 7.30pm Friday 9 November 2018, 7.30pm Saturday 10 November 2018, 1.00pm and 7.30pm Sunday 11 November 2018, 1.00pm Saturday 17 November, 1.00pm and 7.30pm
More information: qpac.com.au/lascala