On opening night Momoko Hirata was a fine Kitri, light and precise (she is tiny, so must be a joy to partner) with secure balances and lovely port de bras. She brings a real sense of mischief and fun to the role. Her Basilio was the wonderful Mathias Dingman, who oozes masculinity and has a fine stage presence. He was almost outdanced by Brandon Lawrence as the lead matador, who performed all his solos with a sure technique along with supreme self-mocking arrogance.
There are some wild dances from a band of gypsies (they look a lot sexier than those in Ashton’s The Two Pigeons) and a sweet magic garden scene, where Tzu-Chao Chou camped up the role of Amour. Usually danced by a woman, in this version it is a man who tackles the difficult solos, and Chou coped admirably with the fiendish petit batterie.
Unusually, this ballet contains quite a lot of oohing and aahing from all the dancers. It adds to the atmosphere on the stage and creates a real flavour of Spain, though purists may think it an unnecessary addition.
The joyful music by Minkus – such an underrated composer – was beautifully perform by the Royal Ballet Sinfonia, conducted by Paul Murphy. If you want a ballet filled with sunshine, the triumph of true love and a wealth of superb dancing, then Carlos Acosta’s interpretation of Cervantes’ classic is just the ticket.
Don Quixote is at Sadler’s Wells Theatre until 9 July
