Don Quixote (ballet)
It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by Moscow's Bolshoi Ballet on 26 December [O.S.
In 1768, Jean Georges Noverre mounted a new version of Don Quixote in Vienna to the music of Josef Starzer, a production that appears to have been a revival of the original by Hilverding.
It is widely believed that Gorsky interpolated the Grand Pas des toréadors from the 1881 Petipa/Minkus ballet Zoraiya, a piece that is still included in modern productions of Don Quixote.
In fact, it became part of the permanent repertoire both of the Moscow Bolshoi Theatre (the most famous productions being those of Rostislav Zakharov and Kasyan Goleizovsky in 1940, which included new music by Vassily Soloviev-Sedoy) and Leningrad's Kirov Theatre (which saw productions by Fyodor Lopukhov in 1923, with new choreography for the fandango, and by Pyotr Gusev in 1946, with the scenario modified by Yuri Slonomsky and with new dances introduced by Nina Anisimova).
Don Quixote was brought from Russia to other countries first by Anna Pavlova's company in 1924 in an abridged version of Gorsky's 1902 production, though the full-length work was not staged abroad for many years.
The first full-length production mounted outside of Russia was a completely new staging, produced and choreographed by Ninette de Valois for The Royal Ballet in 1950.
In 1966 Rudolf Nureyev staged his version for the Vienna State Opera Ballet, with Minkus' score adapted by John Lanchbery.
First presented by San Francisco Ballet in 2003 under the staging of Helgi Tómasson and then-principal dancer Yuri Possokhov, Don Quixote has recently been revived by SFB.
Possokhov spent his youth dancing with the Bolshoi Ballet, experience that provided unique insights and details that have been incorporated into the production.
In 1987, the Northern Ballet (UK) commissioned choreographer Michael Pink to create a three-act version with Artistic Director Christopher Gable in the role of the Don.
Characters Prologue Don Quixote's Study Bachelor Sanson Carrasco is seen covering a bookcase with wallpaper, while Antonina is putting some rusty old armour and a helmet made of pasteboard into a cupboard.
He delights in stories of brave knights, fabulous giants and other fantastical creatures, but most of all Don Quixote dreams of his beloved Dulcinea, a woman that he believes to be so lovely and noble that she must be divinity.
Don Quixote tells Sancho that he is determined to seek adventures as a knight-errant, all the while searching for his beloved Dulcinea.
Don Quixote enthusiastically agrees and, placing it on his head, orders Sancho to bring him his armour, sword and spear, and to make ready his horse, Rocinante.
Act I A market-place in Barcelona Kitri, an inn-keeper's daughter, steals out of her house to meet her beloved, the barber Basilio.
Lorenzo runs out of his inn, and Don Quixote, taking him for the lord of a famous castle, dismounts Rocinante and, falling to his knees, begs to be allowed to serve him.
Sancho remains in the square where he is surrounded by girls who induce him to take part in a game of blind man's bluff.
Kitri returns and, noticing her, Don Quixote acclaims her as his Dulcinea, whom evil magicians have reduced to human form.
Act II Scene 1 – A camp of gypsies among the windmills outside the village Kitri, disguised as a boy is seen walking with Harlequin from a troupe of travelling actors.
Don Quixote is delighted with the entertainment but, mistaking the heroine for his Dulcinea and the marionettes for soldiers attacking her, he rises to assault them.
As he approaches the windmills he can see the Moon no longer and thinks that evil magicians have hidden his beloved mistress.
Scene 5 – The enchanted Garden of Dulcinea Fairies appear surrounded by gnomes and Don Quixote finds himself dressed in shining armor.
The victorious knight proves to be none other than Bachelor Sanson Carrasco, who forces Don Quixote to vow that he will not unsheathe his sword for a whole year.
The sorrowful knight, true to his vow, takes up his warlike gear and, followed by Sancho, sets out for home.
When Petipa revived Don Quixote in 1871 for the Imperial Ballet of St Petersburg, many changes were made to the libretto and he requested a new fifth act in three scenes from Minkus.
