Origins and History
Don Quixote as a ballet premiered at the Bolshoi Theatre in Moscow in 1869, choreographed by Marius Petipa with music by Ludwig Minkus. The ballet was inspired by episodes from Miguel de Cervantes' masterpiece "Don Quixote de la Mancha," though it focuses primarily on one particular story from the novel - the romance between Kitri (Quiteria in the novel) and Basilio, two young lovers from Barcelona.
Petipa, who had spent several years in Spain, brought authentic Spanish character dance and culture into the classical ballet framework. This fusion created something unique in the ballet repertoire - a work that combined classical technique with the passionate flair of Spanish dance. The original production was later revised in 1871 for the Imperial Ballet of St. Petersburg, and this version became the foundation for most modern productions.
Music
Ludwig Minkus composed a score that brilliantly captures the Spanish spirit while maintaining the classical ballet structure. The music is notable for its strong rhythmic character, incorporating Spanish dance forms like the seguidilla and fandango. Minkus created memorable melodies that support both the classical variations and character dances, with particularly famous pieces including Kitri's variation in the tavern scene and the grand pas de deux in the wedding celebration.
The Story
Act I - The Square in Barcelona
The story opens in a bustling marketplace in Barcelona. Kitri, the innkeeper Lorenzo's beautiful daughter, is flirting with Basilio, a poor but charming barber. Their romance is disapproved of by Lorenzo, who desires Kitri to marry Gamache, a wealthy but foolish nobleman. The scene establishes the vibrant atmosphere with street dancers, toreadors, and townspeople filling the square.
Don Quixote arrives with his loyal squire Sancho Panza. Upon seeing Kitri, Don Quixote becomes convinced she is Dulcinea, the idealized lady of his dreams. Meanwhile, Lorenzo continues to push Kitri toward Gamache, leading to her and Basilio's decision to flee. The act ends in a chase, with the young lovers escaping, pursued by Lorenzo, Gamache, and Don Quixote, who believes he is protecting his Dulcinea.
Act II - The Gypsy Camp
Scene 1 - The Tavern: The fleeing lovers find refuge among a group of gypsies. Don Quixote and Sancho Panza arrive at the camp, where they are welcomed with dancing and entertainment. During this scene, Don Quixote fights a puppet theater, believing it to be a monster threatening his lady. In the confusion, Kitri and Basilio escape again.
Scene 2 - The Windmill Scene: Don Quixote famously tilts at windmills, believing them to be giants. This leads to his injury when he is caught in the windmill's sails and thrown to the ground.
Scene 3 - The Dream Scene: While unconscious, Don Quixote enters a dream world. This famous "white act" takes place in an enchanted garden where he sees visions of Dulcinea (danced by Kitri) among the Dryads. Cupid appears, along with nymphs and other ethereal beings. This scene, though completely separate from the main plot, contains some of the ballet's most beautiful classical choreography.
Act III - The Tavern
Lorenzo and Gamache finally catch up with the lovers at a tavern. In desperation, Basilio stages an elaborate fake suicide. Kitri begs her father to bless their union before Basilio "dies." Don Quixote convinces Lorenzo to give his blessing, after which Basilio miraculously "recovers." Lorenzo, realizing he's been tricked but moved by the couple's devotion, finally consents to their marriage.
Act IV - The Wedding
The final act is a celebration of Kitri and Basilio's wedding. This includes the famous grand pas de deux, one of the most technically challenging and celebrated pieces in classical ballet. The pas de deux includes:
- The entrance (often with dramatic jumps for Basilio)
- The adagio (featuring complex partnering and balance work)
- Variations for both Kitri and Basilio
- The coda (featuring the famous "Don Quixote lift")
The entire town joins in the celebration with character dances, including:
- The Seguidilla
- The Fandango
- Gypsy dances
- Toreador dances
Character Development Throughout
Don Quixote's character serves as both a catalyst for events and comic relief. While he never realizes Kitri isn't his Dulcinea, his noble, if misguided, interventions help the young lovers achieve their happy ending. His character maintains the connection to Cervantes' novel while allowing the love story to take center stage.
Kitri's character develops from a flirtatious young woman to someone willing to risk everything for love. Her choreography reflects this journey, beginning with playful character dancing and culminating in the technically demanding and mature grand pas de deux.
Basilio shows his cleverness and devotion throughout, particularly in engineering the fake suicide scene. His character combines technical virtuosity with comedic acting.
Supporting Characters and Their Roles
- Lorenzo represents the traditional father figure, initially opposing the match but ultimately accepting true love
- Gamache provides comic relief as the foolish nobleman
- Sancho Panza serves as Don Quixote's faithful companion and often provides humorous moments
- Mercedes (a street dancer) and Espada (a toreador) often perform a passionate pas de deux that adds to the Spanish flavor
- The Gypsy King and Queen lead the celebrations in Act II
- Various street vendors, flower girls, and townspeople create the vibrant atmosphere of Barcelona
Impact on Dance
Don Quixote has had a profound influence on classical ballet:
Technical Innovation: The ballet pushed the boundaries of classical technique, particularly in its grand pas de deux, which remains one of the most challenging in the repertoire. The famous "Don Quixote lift," where the ballerina is held aloft in a high arabesque, became a standard of virtuosity.
Character Dance Integration: It set a new standard for incorporating character dance into classical ballet, influencing how future choreographers would approach cultural elements in their works.
Comedic Ballet: Don Quixote helped establish comedy as a legitimate form in classical ballet, moving away from the purely romantic or tragic stories that dominated the 19th century.
Cultural Impact and Modern Relevance
Beyond dance, Don Quixote has contributed significantly to cultural exchange between Russia and Spain, and more broadly, between classical ballet and folk dance traditions. The ballet has become a showcase piece for many companies, particularly known for its exciting technical displays and vibrant character.
Today, Don Quixote remains one of the most performed classical ballets globally. Its combination of technical brilliance, engaging storytelling, and comedic elements makes it particularly accessible to new ballet audiences. Many contemporary productions have updated certain elements while maintaining the core choreography and story, demonstrating the ballet's adaptability to changing times.
The ballet continues to be a crucial part of any classical company's repertoire, serving as both a crowd-pleaser and a technical challenge for dancers. Its grand pas de deux is frequently performed at galas and competitions, standing as a benchmark for classical excellence.
The ballet's influence extends beyond classical dance, inspiring contemporary choreographers to explore themes of idealism versus reality, and the integration of different dance traditions into classical forms.