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Don Quixote


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Hi - I am listening to a new recording of Don Q's music (version by Sofia National Orchestra - director Nayden Todorov). In the "dream" sequence there is the music which corresponds to the Queen of Dryads, but which is not the customary variation (as for instance is danced by Margot Fonteyn in Corsaire pdd with Nureyev). This is a much more "majestic" piece of music, a sort of grande valse.

Would like to know what happened to the choreography of this solo. If it is was danced originally when the ballet was created and by whom (in the score it also appears the other much more known music, and it is called "souvenir du bal")

Anyone knows?

Silvy

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I just ordered this CD (2-disk set) and I have the other, older recording as well. I noticed that on Amazon, some of the music is attributed to Anton Simon and Wassili Solowjov-Sedoy. I think the part you are talking about is Track 15 on the list below.

There is no track list at Amazon for the newer CD, but maybe you can compare using the one you have.

Here is the track list from the older CD:

1. Don Quixote, ballet

2. Spanish dance of Mercedes (insertion music for Minkus's "Don Quijote") / Composed by Anton Simon

3. Karmencitta (insertion music for Minkus's "Don Quijote") /Composed by Wassili Solowjow-Sedoy

4. Don Quixote, ballet Act 2. La Taverna. Solo a gitana - Dance of Espada

5. Sailors' dance (insertion music for Minkus's "Don Quijote") /Composed by Wassili Solowjow-Sedoy

6. Don Quixote, ballet Act 2. La Taverna. Scene

7. Don Quixote, ballet Act 2. La Taverna. Coda

8. Don Quixote, ballet Act 2. Gypsy Camp (Windmills). Gypsy dance 1

9. Don Quixote, ballet Act 2. Gypsy Camp (Windmills). Gypsy dance 2

10. Don Quixote, ballet Act 2. Gypsy Camp (Windmills). theater of marionettes: 11. Don Quixote, ballet Act 3. Dream. Scene in the Forest

12. Don Quixote, ballet Act 3. Dream. Dream of Don Quixotte

13. Don Quixote, ballet Act 3. Dream. Allegretto

14. Don Quixote, ballet Act 3. Dream. Variation: Dryads' mistresses

15. Variation: Dryads' mistresses ("Souvenir du Ball") (insertion music for Minkus's "Don Quijote") / Composed by Anton Simon

16. Don Quixote, ballet Act 3. Dream. Amour

17. Don Quixote, ballet Act 3. Dream. Variation: Dulcinea (Kitri)

18. Don Quixote, ballet Act 3. Dream. Coda

19. Don Quixote, ballet Act 4. Duke's Temple. March

20. Don Quixote, ballet Act 4. Duke's Temple. Scene

21. Don Quixote, ballet Act 4. Duke's Temple. Amour

22. Don Quixote, ballet Act 4. Duke's Temple. Classical variation 1

23. Don Quixote, ballet Act 4. Duke's Temple. Classical variation 2

24. Don Quixote, ballet Act 4. Duke's Temple. Entrée

25. Don Quixote, ballet Act 4. Duke's Temple. Adagio

26. Don Quixote, ballet Act 4. Duke's Temple. Variation: Basilio

27. Don Quixote, ballet Act 4. Duke's Temple. Variation: Kitri

28. Don Quixote, ballet Act 4. Duke's Temple. Variation: Kitri (Version of No. 9)

29. Don Quixote, ballet Act 4. Duke's Temple. Coda

30. Don Quixote, ballet Act 4. Duke's Temple. Finale: Spanish dance

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Koshka:

Thanks so much for your reply to my post!! :wink:

I see the numbers in the older CD do not coincide with those in the new one.

In this new one, numbers are as follows:

CD 2 (ACT II)

(I am not listing numbers 1 to 8 in CD 2)

9 - Don Q sleeps

10 - Allegro

11 - He dreams of Dulcinea

12 - Allegretto

13 - The Queen of Dryads (this is the music that puzzled me)

14 - Amour

15 - Quiteria's Variation as Dulcinea

16 - Souvenir du bal (this is the usual music for Queen of Dryads - the music that Margot Fonteyn dances as Medora in Corsaire pdd with Nureyev)

17 - coda

From what I see, my track 13 would be the 14 in the older CD you are talking about.

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I just watched probably my all-time favorite production of DQ...Mikhail's '83. Basil & Kitri's entrance in Act II is so much fun. I love when the audience gasps when Mikhail jumps with the goblets! But, I never did quite understand the fanfair over Patrick Bissell's Espada. To me, he was overrated and served only 1 purpose in the production; when Mikhail just leaped into the sky in Act II, he walks past Espada, who is clearly 1'+ taller than he, and gives him a so-there look. Beyond that, Espada flashing his cape around is no big deal.

I've read reviews that Harvey looked flat in this performance, but I do not see it. She was as solid as I've seen performing her fouettes and her jumps were so well done. I absolutely love this production. I think it's a ballet lovers must have in their collection.

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Another tough question,I know.My personal bests are: Baryshikov and Sylvie Guillem.He's Baryshnikov,I guess ther's nothing to add: the best masculine technique all over the world.He was made to dance masculine variations.And his interpretation can be compared to a real actor one.Brillant is the word for him.Sylvie Guillem is my favourite ballerina,so I can't be impartial but She has the most gifted body and the biggest talent ever!In this role She's very sensual,very hot-blooded and for some aspects very earthy and in some moments a little bit bragging,which adds more thickness and credibility to the character.Nothing to say about the technique.Perfect!

They tell me that Sarafanov is now a brillant Basilio and I'd like to see another "bragger",Denis Matvienko that I like very much,in this role as I think it will suit him well.

The worst I'd say Svetlana Zakharova,as she's too moony,too lyrical,too trascendental to dance an earthy role as Kitri is; and the worst Basilio I think I'd say Roberto Bolle.I adore him but He's out of the role....It seems He is performing Swan Lake while He is dancing instead Don Quixote.Too lyrical and too "Prince" to be the son of a spanish barber;-)

Now It's up to you :off topic:

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I agree with you dancerboy about Zakharova -- just nothing earthy or Spanish about her. She can kick herself in the back of hte head without arching her back, but what's Spanish about that?

My favorite is Lorena Feijoo of SFB --she's SO got the character. She's also got the style -- the spiralling line, with the arms crossing the torso hand on hte other hip; the turning of the profile against hte shoulders, the tilt of the head, the eyebrows, all those postuyres. And hte outrageous energy.

I'd love to see Osipova; reports make her sound born for the role.... Though I hate the Bolsho's choreography for hher grand pas variation -- passe passe passe passe paasse passe passe passe what a waste.

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Thank you.

I have got to get that documentary.

Take care.

Yes, you should. As I remember there is also a passage where Dulcinea is meant to be supporting the Don, when in dance terms he is really supporting her, and it's magical.

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Watching the late Plisetskaya in Don Quixote, I was mystified by the man with the monkey puppet behind her. It seemed a surprising amount of business to be going ehile the balletina was dancing. I have not read Cervantes novel, but the internet tells me there is a puppeteer character... Is that Ginés de Pasamonte ( at 2:11 in this clip? http://www.youtube.com/watch?v=9wbgEHxGVOw&feature=youtube_gdata_player

Or at 3:20 in the clip on this page (same exact clip but clearer)

http://balletoman.com/552-don-quixote-plisetskaya-liepa.html

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There doesn't seem to be a Don Quixote forum, so I'm guessing this thread is it?

I'm wondering about this production. Does anyone recognize it? Is it Tetsuya Kumakawa's own K-Ballet Company? I thought I could find some photos via google, but I am not having any luck.

This is indeed the K Ballet production. I haven't watched my DVD for a while but I seem to recall 'extra' bridesmaid variations in this edition.

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