The 2023/24 season at National Ballet of Japan opened with Alexei Fadeyechev’s Don Quixote which has been in the company’s repertoire since 1999. Although this ballet has been revived many times (this was the 10th revival), it was the first time in 18 years that Fadeyechev had coached the dancers (his last visit was in 2005). Fadeyechev had also created a Don Quixote for the Bolshoi Ballet (which is quite similar) and his version is true to the spirit of Marius Petipa: a feast of classical ballet in the Moscow style, with the dynamic liveliness, playfulness and spontaneous freedom that makes this ballet such a sunny and entertaining one. His coaching contributed immensely to the overall quality of the performance, the eloquence of upper bodies; épaulement was improved and a bright, energetic atmosphere was present on stage, bringing the audience a cheerful, happy escape from everyday life.
The second performance of the season, was with Saho Shibayama (who was promoted to principal at the end of last season) as Kitri and Shun Izawa as Basilio. Shibayama is one of the most refined, elegant ballerinas of the company and although she has strong classical technique, the sassy character of Kitri has not come to her easily. In her former performances her natural reticence was evident in her acting. However, being promoted and experiencing new roles such as Titania in Ashton’s The Dream, has meant her versatility and confidence has developed, and she looked altogether transformed. Her brilliant, comic acting came through, engaging her boyfriend Basilio and showing her fiery personality. Shibayama was particularly magnificent in the Act 2 dream scene where she displayed her usual strength as the ideal, elegant ballerina, with long refined lines, soft landings in the diagonal grand jetés, and hops on pointe with excellent musicality.
In the Act 3 wedding pas de deux, both Shibayama and Izawa were clearly having fun on stage, displaying fireworks including her fabulously executed 32 fouettés, with multiple double turns. Izawa is usually a princely dancer, but here he succeeded in disguising himself as a flirty barber in Barcelona, acting amusingly in his fake suicide scene and being an attractive virtuoso in his solos. They also seemed to be much at ease in their partnership.
The soloists were also exuding joy on stage. The matador Espada was stylishly performed by Yoshito Kinoshita, with gorgeous feet and sensual appeal in his fluid movements. Kosuke Okumura, a principal dancer, almost stole the show with his funny, caricatured Gamache, the rich aristocrat who Kitri’s father wants her to marry. Many role debuts in this performance included Ayano Akai and Haruka Sotome as Kitri’s friends; their charm and their synchronised duets were a delight to watch. The wedding variations were danced by young dancers and Suzu Yamamoto, in particular, in the jumpy, first variation showed much promise. The dream scene soloists were not quite as strong, but at the very least, their landings and bourrées were soundless and soft.
There were some weaker moments in the performance that still need improvement due to a number of reliable soloists retiring in recent years. A generation gap has happened within the company and much needed new talents are now being nurtured. However, with Shibayama as the newest promoted principal showing her maturity (along with Shogo Hayami, another new principal and a dazzling prodigy), the company is in high spirits from the start of the season, there is much to look forward to. The audience were exceedingly enthusiastic during the curtain calls, giving a standing ovation and bravos, which had been banned during Covid.
