George Balanchine's Don Quixote

[GeorgeB fan]

I was just thinking this. With NYCB currently celebrating the centennial birth of George Balanchine, why haven't Peter Martins revive Balanchine's version of Don Quixote? I understand this was one of his most important creations. And also from what I've read about it his version is very different then the standard version we see at ABT, Kirvo, etc. Does anyone know, or have an opinion, why this ballet have not been revive and what made it so different from the other versions of Don Quixote? Thanks.

[Juliet]

Peter Martins has not revived it for NYCB because Suzanne Farrell owns the rights.

There may be plans for her company to do it in the future.

[Alexandra]

The Suzanne Farrell Ballet, with the National Ballet of Canada, is going to revive Don Quixote -- at the Kennedy Center next season. (The Center's season was announced about a month ago.)

[Marga]

Well, for one big difference, Balanchine didn't use Minkus' music! Nicolas Nabokov, Balanchine's friend from Russia, composed the music for this Don Q.

This tilter of windmills did not have a Kitri, but only the Dulcinea of his dreams (Suzanne Farrell), and it really was a ballet Balanchine designed for himself and Farrell to perform. In Holding On To The Air, she writes:

..... the basic dynamic of our relationship changed; he was no longer leading me -- he saw me leading him. I was called his muse, a category not listed in the program, and when Don Quixote premièred the whole world had an image of his muse in action. .....Mr. B told me sometime in the early part of 1965 that he was going to make a big three-act ballet about a man who is searching for his ideal and that she was going to be me....."

She quotes Nabokov as saying to her "You know, George has always wanted to do this ballet, for 25 years he has wanted to do this ballet, but he always said, 'I never found my Dulcinea' ". She adds that a few days later Balanchine told her the same story.

This was an intensely personal ballet for Balanchine and for Suzanne Farrell. She writes elsewhere in the book how they were in their own little world when they danced it -- as if no one was there watching it or dancing it except them (for there were many other dancers in it!). I was fortunate enough to see them dance it together and I can truly say that it was like watching a private relationship that maybe one shouldn't be witness to. It pulled you in at the same time as it kept you out, if you can understand that feeling.

Since the ballet was made on such an intimate foundation for only two people, really, despite having been danced by others later, I personally think it should stay where it is, in the memory of those of us who had the privilege to see the genius of Balanchine manifest itself through his personal fantasy -- the unattainable made visual for a brief moment in time.

[GeorgeB fan]

I think its great the Suzanne Farrell will be staging the ballet in Washington. After reading Marga explanation of what made the ballet unique from the others, thanks

Marga, I really would love to see the ballet. But I don't live in the Washington area. Which makes me curiosity - is there a reason why Peter Martins could not have asked Farrell to stage the ballet for NYCB.

[Marga]

Suzanne Farrell works out of Washington now and has used several National Ballet of Canada dancers in her own ballet company and knows their strengths and styles. She would not be able to use them if the work was being done on NYCB dancers. I also doubt she is very familiar with the abilities of the current NYCB dancers. She and Martins have been estranged for quite a long time as well, so it would not be an easy request for him to make.

[GeorgeB fan]

Y'know Marga, I do remember reading there was a falling out between Martins and Farrell. That would certainly explain why the ballet have not been revived at NYBC. Thanks for reminding of that. And I hope when the ballet is revived by Ms. Farrell she will bring the production to the New York area. Do you know the reason for the fallout between these two. I think its sad that after all those years of performing brilliantly together, they would have major differences between one another today.

[liebs]

Mr. Martins asked Ms Farrell to stage the ballet for NYCB for the Centennial but she declined. I assume because she had already decided to produce it with KC and the National Ballet of Canada.

[Farrell Fan]

is there a reason why Peter Martins could not have asked Farrell to stage the ballet for NYCB.

I think perhaps he did and was turned down.

I saw the ballet too, a few times, although Balanchine did not dance with Farrell any of those times. His performances were never announced in advance. I loved the ballet, but many members of the audience did not and it underwent many changes from one season to the next, and even from one performance to the next. It makes me wonder what version Farrell will settle on. Whatever happens, I look forward to the Kennedy Center performances next year as the culmination of nearly 45 years of following Farrell.

I posted at the same time as liebs.

[Mel Johnson]

I can truly say that it was like watching a private relationship that maybe one shouldn't be witness to. It pulled you in at the same time as it kept you out, if you can understand that feeling.

I can certainly say that that is a true statement. It was like watching adultery played out onstage. The effect was ghastly; rather like a stuffed owl. So awful, you couldn't take your eyes away.

[Dale]

I saw the work in its revival in 1978 and thought the ballet, while uneven, had some extraordinary choreography. I remember being blown away by the dream section, not only Farrell's parts, but the two side women too, and the dances for the Duchess' party. After seeing a snip in Farrell's pas de deux program last December, I'm looking forward to see the whole ballet on the stage again.

Here are two earlier threads on the ballet:

http://balletalert.com/forum/index.php?showtopic=4139

http://balletalert.com/forum/index.php?showtopic=13102

[carbro]

I saw the ballet twice -- first with Sara Leland, and second with Farrell. The qualities that stick in my mind that are not mentioned above are the darkness of its overall tone and the slowness of some of the passages.

The dream sequence is exquisite, though, and Dulcinea has some amazing dancing, a bit of which can be seen in "Elusve Muse."

[Hal]

I recall seeing it with Farrell and Mr. B. As I recall it got mixed or poor reviews. I think that Marga and Mel got it right. I think it was much too personal a performance to imagine anyone else in those roles. The backstage drama that everyone knew about infussed it with something special. Done by others - I don't think it will be very effective. But then again, it might be interesting to see someone elses take on it - and imagining them imagining Farrell and Mr. B.

[Mel Johnson]

As time wore on during the original run of Don Quixote, Balanchine kept performing the role more and more, so much so that I recall having "bragging rights" in 1969 actually to remember Richard Rapp in the role he created.