Review: DON QUIXOTE at Deutsche Oper

A little over a year ago, I attended a performance of Giselle from the Staatsballett Berlin whilst in the knowledge that the next day Corona restrictions would mean a premature end to the run. Fast forward to this year and performances are going ahead under strict "2G" regulations (you must be recovered or vaccinated and wear a mask at all times). Favouring Victor Ullate's (after Petipa) crowd pleasing Don Quixote over the Christmas tradition of Nutcracker this year, the company tackle the challenge gamely although this particular performance lacked the magical feel that going to the ballet at Christmas should give.

Of course the story is still familiar to balletomanes, all Spanish gypsy camps, high jinx and unrequited love. It follows the central couple of Kitri (Yolanda Correa) and Basilio (Dinu Tamazlacaru) who we meet early in their romance. The couple must navigate a selection of zany characters who stand in their way before the ballet cumulates in their wedding. There's plenty of divertissements along the way, the common highlight coming with Don Quixote's vision scene in Act Two and subsequent fight with a windmill (of course ...).

The familiar choreography is danced with a general sense of caution, or possible fatigue, by the company. For the men, the jumps and leaps lack the gasp-inducing height I want to see. Even when Correa delivers the 32+ fouettes in the wedding scene coda, it doesn't feel thrilling, rather a successful completion of an exercise. Despite the disappointments, the character roles raise the mood and often a smile. Eoin Robinson's portrayal of the title role is great fun. Often seen in a glittering explorer's outfit he reacts admirably to every detail put before him. He marvels at Kitri and admires the skill of Basilio with pleasing exuberance and exaggeration.

There's also plenty of charisma and fleet of foot from Murilo de Oliveira's Cupid, dressed in a memorable glittering gold bodysuit creation that repeatedly steals attention. His dancing is neat and compact too and he takes delight in his mischievous and playful antics.

Elisa Carrillo Cabrera similarly shines as Mercedes, bringing some necessary glamour to the stage. Her dancing is eloquent and precise, naturally demanding the eye of the audience. Together with Espada (Alexei Orlenco) they exude the stage presence the lead cast sadly was missing.

Other than the aforementioned Cupid, Roberta Guidi di Bagno's costumes (and designs) are sadly muted too. The murky green of the tutus in the Act Two vision scene are particularly disappointing for a segment that should feel enchanting and magical. This sure is no Kingdom of Sweets. The staging remains simple and unfussy throughout, leaving it visually sparse and a little uninspired.

The final act at least delivers some hints of excitement. Tamazlacaru's tumbling leaps are well controlled in his solo and the remaining choreography is danced with impressive technicality. He also pulls off the faux-suicide in Act Three with an unexpected flair for comic timing that helps gather momentum for the main event of the wedding pas de deux which brings the action to a conclusion.

Many of the audience are vocal in their appreciation for this latest revival of Petipa's classic at curtain call so it evidently hits the spot for many on a snowy Berlin night. Accompanying this run are also limited performances of George Balanchine's Jewels, which one hopes may shine brighter for those craving some festive escapism.

Don Quixote runs at Deutsche Oper Berlin until February 24

Image: Yan Revazov

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