Don Quixote – a brief history

Spanish novelist Miguel de Cervantes wrote “El ingenioso hidalgo Don Quixote de la Mancha” four centuries ago, in two parts, in 1605 and 1615.  On the surface it’s a burlesque of the chivalric romances popular at the time, but in its story-telling and digressions, it deepens to a more philosophical study of the human condition: class distinctions, public vs. private property and the contributions of virtue to society. It is considered by many to have been a ground-breaking piece of literature, the first modern novel.

Ballet productions based on the book appeared as early as 1740, with numerous versions being created in Vienna (1740, 1768), at the Paris Opera Ballet (1743, 1801), La Scala in Milan (1783, 1792, 1844), St. Petersburg (1808), Copenhagen (1837), and Turin (1843).  The version that became the standard through the next century was Marius Petipa’s  4-act production created in 1869 for Moscow’s Bolshoi Theater, to music by Ludwig Minkus.  This version featured the popular virtuoso pas de deux that has been performed countless times as a concert piece. By the time Petipa staged Don Quixote in St. Petersburg in 1871, the production had undergone numerous changes, and grown to five acts.  Over the years the ballet became a staple at the Bolshoi and the Kirov Ballets, with continued modifications in subsequent productions.  This production, derived from the original Petipa foundation, has been personalized in its staging for Festival Ballet Providence, and shortened to three acts.

Petipa, a Frenchman born to a ballet family in Marseille, began his training at age 7, and was an accomplished performer.  After an inspirational visit to Spain, he moved to St. Petersburg in 1847 to choreograph for the Russian Imperial Ballet, rising to the position of chief choreographer in 1862.  During his 55-year career in Russia, he created numerous ballets including Swan Lake, The Sleeping Beauty, and La Bayadère.  His synthesis of Spanish style with the classical ballet form has been an enduring strength of Don Quixote. While the steps are not necessarily “Spanish”, the flair and fire is clearly Spanish in its passion and bravado. All of that is most evident in the famous pas de deux, where the dancers are required, in one of the few cases in the classical ballet repertoire, to perform the virtuoso choreography with intensely playful sexuality.  The ballet itself is a treat for audiences due to its solid, physical dancing, fast pace, numerous choreographic highlights and a story that speaks to us all.

Minkus, born in Vienna, spent most of his career in Russia, composing over twenty ballets, including Roxanna, Camargo and La Bayadère.  Due to the immense success of Don Quixote, Minkus was awarded the title of Official Composer to the Imperial Russian Ballet, a position previously held by the Italian, Ceasare Pugni.