DON QUIXOTE by Dutch National Ballet

Don Quixote ballet is one of the most iconic ballets, known for the joy and energy it provokes. Like other ‘grand ballets’; it demands both technical versatility and the ability to convey the character through vibrant dancing. This piece of art is about love, heroism and courage, combined with vividness and humour.

Based on the novel Don Quixote de la Mancha by Miguel de Cervantes, it was first adapted to ballet in 1740 by Austrian choreographer Franz Hilverding.  The original production was for Bolshoi Ballet by Petipa (December 1869) and it is said to be one of the early collaborations between Petipa and the composer Leon Minkus. While the characters and dancing are powerful in this ballet, the score—vivid and unique—stands out as one of Don Quixote‘s greatest strengths.

Het Nationale Ballet’s Don Quixote, choreographed by Alexei Ratmansky in 2010, is built upon Gorsky’s version from 1902 which is regarded as the basis for all modern productions of Don Quixote. Last night Anna Tsygankova and Giorgi Potskhishvili performed as Kitri & Basilio. Their partnership was magnificent, embodying the harmony so essential to Don Quixote. The chemistry they had was nearly flawless, carrying a passion and energy that kept the audience enchanted while also bringing a delightful humour to their characters. Every movement they conveyed as a couple, filled with confidence and a deep connection to the role.

Kitri is often considered a dream role for female dancers, and Anna Tsygankova embraced it with elegance and technicality. Her soft arms, light jumps, and delicate balance revealed an artist completely in command of her craft. She danced with a grace that seemed effortless, yet she was full of her energy. Tsygankova’s expressions captured Kitri’s spirit beautifully, bringing the character’s vivacious personality and charm to life. Opposite her as Basilio, Giorgi Potskhishvili was stunning in this role. His jumps and turns were a combination of athleticism and grace, conveying an electrifying energy that filled the stage. With his jumps, he seemed to be flying in the air, but landed with a feather-light softness, while his turns were razor-sharp and controlled. In terms of both technical aspects and emotional depth, he delivered one of the finest portrayals of Basilio I have ever witnessed.

Like other productions, Ratmansky’s version, highlights the romance of Kitri and Basilio. In the wedding pas de deux; Tsygankova and Potskhishvili’s performance was enchanting, and we were all on fire together with them. In Ratmansky’s version, I liked the way he added unique touches like Don Quixote’s comedic battles with bookshelves in the Prologue, Dulcinea’s appearance on the window as if we are watching La Sylphide or Le Spectre de la rose, or the cactuses & creatures in the dream scene. However, I missed the more dramatic Kitri entrance seen in other versions where she enters the stage with the music for the 1st time and immediately becomes the centre of attention.

Jerome Kaplan’s set and costumes also made the production stand out, especially in the Dream Scene, which felt otherworldly. The vividness of colours, the reality of Spanish landscape in Kaplan’s set was phenomenal. Kitri’s Act III costume, inspired by Velasquez’s Infanta Margarita Teresa, added a lovely historical reference. The pink-and-yellow matador capotes were also a nod to tradition.

Overall, Het Nationale’s production was satisfying, with harmonious corps de ballet and strong side performances, including Jan Spunda’s promising portrayal of Espada and Edo Wijnen’s Gamache.  Cicek ISIKSEL SONMEZ   17th October 2024

 

Photo by Hugo Thomassen

Het Nationale’s Don Quixote continues until 2nd November.