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June 24,2007-July 1,2007 |
Quixote Rides Again
Historic ballet returns to life
By Sarah B. Hood
Originally Published: 2007-06-10
George Balanchine (1904-1983) is considered one of the greatest American choreographers; his career spanned the legendary Ballets Russes under Sergei Diaghilev and the founding of the New York City Ballet. Many of his works were inspired by dancer Suzanne Farrell, for whom he created the 1965 ballet Don Quixote. (Farrell danced the role of Dulcinea with Balanchine in the title role.) In 2005, Farrell recreated the work, and it was performed at the Kennedy Center in Washington, D.C. in a co-production with Canada’s National Ballet. Now it’s being presented here in Toronto.
This time, National Ballet principal dancer Xiao Nan Yu portrays Dulcinea; she shares the role with Heather Ogden (who danced in the Washington premiere) and Tanya Howard. “For someone who has never seen a Balanchine ballet, you’re not going to get so much of a lyrical, classical feeling throughout the piece,” says Xiao. “It’s powerful; that’s the word I would use.”
Xiao also says that Balanchine’s work is characterized by the way it makes full use of the entire onstage company. “In some classical ballet, you see the principal stands out more, or the soloist stands out more, but with Balanchine, everybody stands out. And musically, it’s a little different from the classical; Balanchine tends to be a little more upbeat rather than on the floor.”
As principal dancer, Xiao has danced many fairy princesses, but for Don Quixote she takes on an earthier role: the tavern prostitute Aldonza, whom Don Quixote sees as a virtuous lady. The switch in tone isn’t a difficult one, she says. “It’s never difficult, because we’re trained to do different kinds of movement with different characters,” she says. “When it comes to Dulcinea, it’s very similar to all Balanchine’s work, so it’s not strange to us as at all. It’s everything we train all our lives to do.”
However, each new characterization does require special effort.“When you start to perform a different ballet or a different character, you have to involve yourself into that character, turn yourself into that character, think that character and project that character. You can’t fake it,” says Xiao.
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