Scala: ‘Don Quixote’ continues to shine

On 24 September 1980, the curtain rose for the first time at the Piermarini Theatre on Ludwig Minkus’s *Don Quixote*. What made that evening truly memorable, however, was above all the staging of the ballet in the famous version conceived by Rudolf Nureyev, who starred alongside Carla Fracci.

The six performances of that production marked the beginning of an extraordinary run of success. Since then, in fact, the *Don Quixote* created by the unforgettable star of the dance world has been revived by the Milanese company nineteen times, firmly establishing itself as a true signature production and one of the most iconic cornerstones of La Scala’s choreographic identity. Frequently featured on numerous international tours as well, the brilliant tale of the barber Basilio and the young Kitri now returns to La Scala’s prestigious programme for eight performances before the summer break.

Taking on the speed, intricate choreography, radiance and liveliness characteristic of this production are the acclaimed artists of the theatre company, which has continued to garner unanimous acclaim in recent years. At the premiere, the étoile Nicoletta Manni revives the dual role of Kitri and Dulcinea, demonstrating agility and technical precision right from the first act: qualities that the troupe’s star performer maintains throughout to the final grand pas de deux. At her side, Timofej Andrijashenko is in splendid form: his Basilio enjoys himself, captivates, plays, charms, courts, seduces and displays technical feats underpinned by a decisive demeanour and vigorous presence; only the treacherously difficult virtuosic passages of the final act seem to put his brilliance slightly to the test. Maria Celeste Losa brings precision and elegant lines to the Queen of the Dryads’ variation, Agnese Di Clemente displays lively verve in the role of Love, and Martina Arduino and Marco Agostino deliver solid characterisations as the street dancer and Espada respectively.

On the podium, making his debut with the La Scala Ballet, Gavriel Heine conducts the Teatro alla Scala Orchestra with confidence, although the interplay between the orchestra pit and the stage still needs a little fine-tuning.

Despite its age, this definitive version of the Milanese company’s history continues to impress. Raffaele Del Savio’s set design and Anna Anni’s costumes – first introduced in the 1987 performances – bring to fruition a choreography that combines a tightly woven narrative with that explosive virtuosity which is one of the key legacies of the aesthetic of Rudolf Nureyev, the famous ‘Flying Tartar’.