La Scala Theatre Ballet Don Quixote Review Review
July 13, 2026 | Teatro alla Scala – Milan, Italy
Rudolf Nureyev’s Don Quixote returned to Teatro alla Scala with the comedy and formidable technique that have defined the production since it entered the company’s repertory in 1980, when Nureyev danced Basilio opposite Carla Fracci’s Kitri.
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La Scala Theatre Ballet Don Quixote Review
The evening opened with a prologue that successfully established the production’s playful tone. Through a clever use of lighting, Edoardo Caporaletti’s Don Quixote appeared to battle his own enlarged shadow – a wonderfully effective introduction to a character suspended between reality and imagination, allowing the audience “in on the joke” immediately.
Act I then burst into life through vivid costumes, crowded ensemble work and a seemingly endless sequence of activity. Nureyev’s choreography included men partnering men through energetic jumping sequences, adding another layer of playfulness to an already animated scene.
As Espada, Christian Fagetti commanded the stage with the familiar confidence I have come to appreciate in his performances at La Scala.
His jumps were among the strongest of the act, although the rapid footwork beneath them was not always articulated with the same clarity. Alongside him, Maria Celeste Losa became one of my favorite dancers of Act I. She matched his confidence and theatricality, establishing herself as an equally compelling presence.
Alice Mariani (who replaced the originally announced Virna Toppi) entered as Kitri with assurance, approaching her first solo of the evening with strength and spirit. As Kitri’s friends, Alessandra Vassallo and Caterina Bianchi brought an appealing presence to the stage, although several passages appeared slightly out of sync.
It was Mattia Semperboni’s Basilio, however, who left the strongest impression during the first act. His performance (originally, Nicola Del Freo was to dance) drew some of the warmest reactions of the evening, and understandably so.
The Act II pas de deux between Kitri and Basilio was a particular highlight, the first of a few alluring duets between them that we would see throughout that night.
The gypsy dance again exposed the considerable difficulty of Nureyev’s choreography. Its petit allegro sequences and densely layered ensemble patterns required an obvious force and precision among the dancers, and they did not disappoint.
The Garden of the Dryads offered a complete change in atmosphere. Mariani’s veiled entrance as Dulcinea was nothing other than ethereal, with the fabric lending her movement an almost otherworldly quality.
Mariani may have been at her best in the forest scene, where she danced my favorite variation of the night and showed an outstanding strength in her balances.
Martina Valentini, as the Queen of the Dryads, also distinguished herself through a series of clean, masterful jumps.
Act III returned to the production’s broad comedy. The confrontation between Don Quixote and Kitri’s father, Lorenzo, portrayed by Daniele Lucchetti, was particularly successful. Caporaletti repeatedly positioned his sword between Lorenzo’s legs, turning their dispute into an extended moment of physical comedy. There were audible laughs from the audience.
The ensemble dancing that followed was a spectacle in the best sense. The gypsies returned with renewed energy, while the large group sequences allowed the production’s colorful costumes and constantly shifting formations to make their full impact.
During Kitri and Basilio’s final pas de deux, the exposed violin line was breathtaking. By this stage, Mariani appeared to be feeling the physical demands of the role, with some instability beginning to enter her post-promenade balances.
The final group dance brought the evening to an exuberant conclusion. Nureyev’s Don Quixote requires its dancers to combine intricate footwork, powerful jumps, theatricality and sustained characterization, all while making the result appear “fun” – which they successfully did.
Semperboni’s Basilio was one of the evening’s most enjoyable portrayals, thanks largely to the ease and humour he brought to the role. Mariani, however, was my favourite. Across Kitri and Dulcinea, she moved from fire and comic resolve to something softer and more dreamlike, all while carrying some of the ballet’s most technically demanding material.
Featured Photo of La Scala Theatre Ballet‘s Alice Mariani as Kitri in Rudolf Nureyev’s Don Quixote. Photo by Brescia e Amisano © Teatro alla Scala.
