The Norwegian National Ballet has a broad repertoire that includes bold new contemporary works but as Norway’s only classically based company, it was a pleasure to see it rise to the challenge of presenting a major classical work. Don Quixote does not have much in the way of coherent drama, but it does have plenty of dance. Rudolph Nureyev’s production based on Marius Petipa’s choreography, premiered in Oslo in 2009 and is packed with high energy classical and character roles. It’s a colourful, extravagant production, designed by Sandra Woodall, with an evocative front cloth, sets of high realism and costumes rather too fine for a village and a gorgeously apparelled Roma clan.
Whitney Jensen as Kitri and Alex Cuadros Joglar as Basilio made a handsome couple, madly in love and the village favourites. Their light-hearted banter is effectively woven into the dance in the first act with Nureyev making sure that Basilio gets a goodly share of the dance. Joglar rose to the challenges of the choreography with alacrity while Jensen proved her principal status in a performance that maintained technical and dramatic quality through three demanding acts. Particularly good was her Act 1 solo from a fiery entrance, a diagonal of stiletto sharp pointes, and a final sustained balance before exiting.
Escaping from the village, the couple found a gentler romantic quality alone in the moonlight but were soon interrupted by their pursuers and the Roma clan. The excitement builds with Joakim Visnes delivering an exuberant solo of indeterminate folk origin. Don Quixote’s battle with the windmill is dealt with somewhat perfunctorily but his vision conjured up a well-rehearsed corps of Dryads, Jensen, an austere but technically superb Dulcinea, and Anaïs Touret, a sparkling and speedy Amour. Julie Petanova as Queen of the Dryads, started with grace and elegance but sadly didn’t maintain her confidence to the end.
As Don Quixote, Ole Willy Falkhaugen, one of the company’s finest character dancers, cut an impressive figure. Nureyev’s production emphasises the comedy of a delusional old man giving little opportunity to explore the character in more depth, however, comedy was well suited to Niklas Gundersen as Sancho Panza and Leonardo Basilio as Gamache, the latter enjoying a riotous time in a ridiculous costume.
The Toreadors were well featured in gaudy silks and swirling capes. Led by Erik Murzagaliyev as Espada and a rather too well behaved Nae Nishimura Skaar as the Street dancer, they were a treat. The corps de ballet shone, dancing with passion in lively Jota inspired folk dance in Act 1 as well as more formal Spanish dance in Act 3 bringing sunshine to the chilly Nordic night.
The silliness of Basilio’s fake death in the beginning of the final act was enjoyed by the audience with laugh-out-loud moments leading into the final celebrations and the famous pas de deux, a grand show-off number for Jensen and Joglar. Natasha Dale and Leyna Magbutay as Kitri’s Friends also played their part in the drama with high spirits and excellent technique.
Directly after the performance, former principal dancer, Ellen Kjellberg was awarded the prestigious Royal Norwegian Order of St. Olav, Knight of the 1st Class. She is a distinguished figure in Norway’s ballet history and was the Company’s first Odette/ Odile. Ballet director Ingrid Lorentzen mentioned her effortless technique and shining presence as well as the kindness and expertise she showed to students in her later career as a teacher and professor of dance. The Order is the highest civilian honour and conferred by Norway’s King and it was a great pleasure to see it awarded to a ballet dancer.
Maggie's press trip was funded by Norwegian National Opera and Ballet
