A CLASSICAL BALLET IN THREE ACTS
Music: Ludwig Minkus
Choreography: José Carlos Martínez (inspired on the versions of Marius Petipa and Alexander Gorski)
Set design: Raúl García Guerrero
Costumes: Carmen Granell
Lighting Design: Nicolás Fischtel (A.A.I.)
Caracterization, Make up and Wigs: Lou Valérie Dubuis
*Aditional Coreography of Bolero and Fandango: Mayte Chico
World premiere by Compañía Nacional de Danza on December 16th, 2015 at Teatro de la Zarzuela, Madrid (Spain), by ORCAM (Orquesta de la Comunidad de Madrid) under the direction of José María Moreno
More than twenty five years have gone by since a classical full-length ballet was danced by CND. On December 16, 2015 Compañía Nacional de Danza staged for the first time Don Quixote ballet, choreographed by José Carlos Martínez, with music by Ludwig Minkus, sets by Raúl García Guerrero and costumes by Carmen Granell. A historical premiere that brought back academic ballet to the repertoire of the Compañía Nacional de Danza in order to celebrate the 400th anniversary of the publication of the second part of the text of Cervantes.
“The Don Quixote ballet by Marius Petipa was, together with Swan Lake, one of the most popular ballets in Russia, where it was created in 1896 upon a musical score by Ludwig Minkus. This colourful work broke with the world of supernatural and ethereal creatures that pervaded XIX Century classical ballet, replacing them with normal village people.
The libretto is based on an episode in the second volume of Cervantes’ Don Quixote (Chapter XXI, “In which Camacho’s wedding is continued, with other delightful incidents”). The action here revolves around Quiteria and Basilio’s stormy love affair than the adventures of Don Quijote and Sancho themselves.
I used as a base Marius Petipa’s original choreography, together with the various versions I have had the chance to dance (Nureyev, Baryshnikov, Gorski). It seemed to me important to maintain the ballet’s choreographic structure. But I also wanted to paint a more poetically nuanced Don Quijote in his quest for the perfect love, embodied by Dulcinea. Whereas I needed draw it all into the essence of our own dance. I think it is very important for a Spanish company production of Don Quixote, even if it is a version of a Franco-Russian classic, to be respectful with our culture and tradition.”
JOSE CARLOS MARTÍNEZ