Don Quixote, choreographed by Rudolf Nureyev and danced by Boston Ballet at Citizen Bank Opera House, Boston, through March 26. 617-695-6955 or www.bostonballet.org
Rudolf Nureyev once said, "As long as my ballets are danced, I will live." This is very much the case in the glorious Boston Ballet staging of the great dancer-choreographer's exuberant "Don Quixote"(1966; with Nureyev as Basilio in its BB premiere in 1982) now in a brilliant revival at the Citizen Bank Opera House. Clairemarie Osto has staged the modern classic—based on several scenes from the early 17th century Spanish masterwork—with stunning technique and inspired flair. Superbly danced and richly designed, the current edition demonstrates the world class talents of not only gifted principals (in alternating casts) but also the high level corps. Notwithstanding a near three-hour performance length (including two intermissions), the Boston Ballet's definitive "Don Quixote" fully honors both Nureyev and Cervantes.
While the performer portraying the title idealist—My'kal Stromile, fittingly fearless yet wistful in the performance seen by this critic—takes the final bow at the close of the ballet, the focal roles are young lovers Basilio and Kitri. Crafty barber Basilio and free-spirited innkeeper's daughter Kitri may toy with each other in a kind of dance equivalent to the sharp vocal repartee of Benedict and Beatrice in Shakespeare's witty comedy "Much Ado about Nothing." Even so, their love is strong and full-hearted—in its own way as lyrical and pure as Don Quixote's idealization of Dulcinea. Their love, of course, withstands innkeeper Lorenzo's continuing efforts to pair Kitri with wealthy but buffoonish nobleman Gamache.
Along the way, escaping Basilio and Kitri spend a lively time hiding out at a traveler's camp in the second act. For his part, Don Quixote—bearing a knight's helmet made from a barber's bowl—tilts with a handsome upstage right windmill and later gives himself up to a poetic vision of Dulcinea. The high energy third act finds Basilio feigning self-stabbing in a successful strategy that brings his marriage to Kitri and an ensemble celebration. Set and costume designer Nicholas Georgiadis painstakingly dresses the Opera House stage with such contrasting sets as the austere chambers of Don Quixote in the Prologue and the busy third act tavern. He also complements Nureyev's striking evocation of Spanish dance and culture with vivid costumes—particularly for matadors, travelers and revelers.
Most magnificent of all are the electrifying work of principals Lasha Khozashvili as Basilio and Viktorina Kapitonova as Kitri and the matching efforts of supporting dancers and the company's corp. Khozashvili catches Basilio's dash and mischief as well as his clear devotion to Kitri. His turns are impressively quick and full, and his lifts of Kapitonova—especially an extended one-hand one—are both high and tight. Kapitonova captures Kitri's feistiness and tenacity and finds all of Kitri's loving playfulness with Basilio. She is equally convincing as the enigmatic Dulcinea. Her fouettes and extensions throughout the ballet are rivetingly magical.
Angel Garcia Molinero moves with notable agility as monk—playing Quixote's squire Sancho Panza. Lawrence Rines Munro has the right foppish demeanor and moves as overdressed Gamache. Paul Craig displays fine authority as stylish matador Espada. In Don Quixote's epiphany-like vision, Addie Tapp as Queen of the Dryads and Kaitlyn Casey as Amour dance with both spirit and strong technique.
Company artistic director Miko Nissinen, calling Nureyev's career and mentorship a major influence in his playbill letter, speaks of "my honor to keep his legacy alive through his choreography." Boston Ballet's towering "Don Quixote" brings that legacy to luminous life.