Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Recommended Posts

I suspect the answer is in this forum somewhere, but I couldn't dig one out with the "search" option.

Why are there two different versions of the Kitri variation? And is the one with the echappes & pas de chevals losing popularity?

The Kitri's variation, danced by Terekhova in the Kirov Ballet version of Don Quixote, is the original variation, composed by Minkus.

The "fan" variation with the solo harp, danced by Ananiashvili in the State Perm Ballet version of Don Quixote, is composed by Riccardo Drigo in 1903 for Kschessinska, and is added into her performances of Alexander Gorsky's revival of Don Quixote.

Link to comment

dmollov, I might be wrong (and I will go home and look at those two videos to make sure) but don't both the videos you cite use the same music for that variation? I'm pretty sure it's just the choreography that's different.

Link to comment

If we are speaking of Kitri's variation from the Grand Pas de deux (the last act), the music of the two DVD's is different. The Boris Spassov's CD studio recording of Don Quixote includes both variations:

Track 21: the original variation composed by Minkus

Track 20: the "Fan" variation composed by Drigo

The first Kitri variation from act I (by Minkus) and the Dulcinea variation from the Dream Scene (by Drigo) are the same in both DVD's

Link to comment

Do you mean Kitri's variation from the famous Pas de deux in the last act? In the Kirov Ballet's Don Quixote the music for Tatyana Terekhova's variation is in 6/8 and there isn't any fan. In the VHS called "Kirov Ballet in London" Terekhova performs the other variation composed by Drigo (in 2/4) and known as the "fan variation". Both Cynthia Harvey (in the Met's production of Don Quixote) and Nina Ananiashvili (in the State Perm Ballet's production) perform the fan variation by Drigo, but the tempo of the middle part is faster in the Met's version.

Link to comment

Pavlova used to tour with her version of Don Quixote, and her score contained both the earlier and the later variations. I've seen versions of this pas de deux, where it's treated as sort of a mini-grand pas, with the two leading soloists from the entree performing variations before both the man's and the woman's variations. It always seemed like such a good idea, giving the guy some more breathing time before having to go into his variation right after the adage.

Link to comment
  • Recently Browsing   0 members

    • No registered users viewing this page.
  • Create New...