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Prologue
Don Quixote, an eccentric country gentleman, considers himself to be the le-gitimate successor of the medieval knights-errant, about whom he has read a great deal, perhaps too much. He is dreaming of the noble lady Dulcinea, for whose sake he will perform feats of arms. His dreams are brutally inter-rupted by the entrance of his neighbour Sancho Panza, who is fleeing from a group of servants after stealing a chicken. Don Quixote immediately ap-points him as his squire and the two take off for knightly adventures of love and war.
Act Ⅰ
Kitri, daughter of the innkeeper Lorenzo, is looking for her lover, the barber Basilio, whom she meets in the village square. Their joyful dance is brought to a halt by the arrival of Kitri’s father, who wants her to marry the rich and noble Gamache. Kitri absolutely refuses to do so. In the meantime, Don Quixote and Sancho Panza arrive and Lorenzo offers them rooms in his inn. The village folk continue to dance happily and begin to make fun of Sancho until his master comes to his rescue. Don Quixote admires Kitri and sees in her his beloved Dulcinea. He gallantly offers her his arm to dance a minuet. The furious Gamache is forced to join in the dance. In the confusion, Kitri and Basilio escape.
Act Ⅱ
Kitri and Basilio take shelter in a windmill, where they are set upon by gyp-sies, who soon understand that the youngsters do not have anything worth stealing; they then turn their attention to Lorenzo and Gamache, who have arrived, looking for the fugitives, and who appear to offer better pickings. When the two lovers see Don Quixote, who has also arrived, they make a pact with the gypsies to rouse Don Quixote’s anger against Lorenzo and Gamache. The gypsies set up a marionette theatre, and perform the story of the lovers Kitri and Basilio, thwarted by her father and Gamache. Don Quixote is quick to come to the rescue of the oppressed and destroys the theatre. However, Don Quixote suddenly notices the windmill, which his imagination converts into a giant enemy to be fought. The sails of the wind-mill knock him to the ground. He is also frightened by the gypsies, who ap-pear dressed up as monsters. Once again Kitri and Basilio flee. In a state of semiconsciousness induced by his injuries, Don Quixote dreams that he has been transported into an enchanted garden, as a reward for the courage and loyalty he has demonstrated. The queen of the Dryads leads him to Dul-cinea, to whom he declares his love. But the vision suddenly vanishes.
Act Ⅲ
Kitri and Basilio have taken refuge in a tavern, where they have encountered friends and are making merry. Lorenzo, Gamache, Don Quixote and Sancho Panza come in. Lorenzo is more than ever determined that his daughter mar-ry Gamache. Basilio is desperate and tries to save the situation by pretending to kill himself, while Kitri begs Don Quixote to help them. He forces Lorenzo to bless the two lovers before Basilio’s death separates them forever. As soon as the blessing has been given, Basilio jumps up more lively than ever. Gamache is outraged and challenges Don Quixote to a duel, because he helds him responsible for the events. He is defeated. During the rejoicing and the grand finale, Don Quixote and his squire depart for further adventures.
ACT I
The peasants of a Rhineland village are celebrating the vintage festival. A young nobleman, prince Albrecht, disguised under the name of Loys, pays court to a girl named Giselle, who accepts. But the gamekeeper Hilarion, who suspects Loys’ true identity and is jealous of him, awaits the propitious moment to get his revenge. Giselle is happy and pays no heed to the advice and warnings of her mother, who puts her on her guard by telling her the story of the Willi, the maidens who died before marriage and who, transformed into spirits, lure the men whom they encounter by night and compel them to dance to death. Meanwhile a procession of nobles who have been hunting arrives at the village, in attendance upon the duke of Courland and his daughter Bathilde, who is engaged to Albrecht. Giselle confides to the young lady that she has fallen in love. She receives a wedding present, but Hilarion chooses this moment to appear, revealing that Albrecht and Loys are the same person. The prince cannot deny it. Giselle, who feels betrayed in her most cherished and pure sentiment, goes out of her mind. In a wild dance, she tries to kill herself with Albrecht’s sword, then she goes mad and dies of a broken heart.
ACT II
Some time has passed, and Albrecht, seized with remorse, returns to the village. Here the magic spell is cast by the Willi maidens, who, led by their imperious queen Myrtha, come out of their tombs by night. Albrecht finds Giselle again, but is condemned to dance until he dies, as is the gamekeeper Hilarion. In vain the prince begs Myrtha to forgive him: the law of the Willi maidens is inflexible. Giselle herself, however, saves him by helping him to resist and dancing with him until the sun rises.When the spell comes to an end, Albrecht finds himself in the village, alone with his remorse.
The present day Ballet Company of Teatro alla Scala can boast a glorious past whose roots go back centuries to the 1778 inauguration of the world’s most celebrated musical theatre. Illustrious choreographers, such as Jean-Georges Noverre, Gasparo Angiolini, Salvatore Viganò, were to exert great influence on dance in Europe, even before the founding in 1813 of the Imperial Dance Academy of La Scala. From here Carlo Blasis, the illustrious dancer, teacher and theorist brought Ballet into the romantic period, contributing to the technical innovation of its style. In Russia, Enrico Cecchetti, propagated the teaching of the Italian academic technique and by way of Serge Diaghilev’s Ballets Russes, which he had joined, elevated its status in this new era.
Dance at La Scala entered the twentieth century also with renowned choreographers linked to the Ballets Russes, like Mikhail Fokin and Leonide Massine. From the free and expressionist dance of Middle-Europe of the thirties and forties, came, above all, Aurel Milloss. Arturo Toscanini gave him the task of reuniting the lost threads of the Scala company after the Second World War. For his repertoire, he not only chose great musicians, renowned set designers and painters, but also illustrious guests such as George Balanchine.
In the fifties and sixties, La Scala became a stage open to the best names of the then artistic panorama. Roland Petit made his début in 1963, Maurice Béjart in the seventies, and many guest stars were added like Rudolf Nureyev, beginning in 1965 a very close collaboration with the Milanese theatre.
Recent years have seen the La Scala Ballet expand its visibility at home and abroad, with debut performances at the Paris Opera, Moscow’s Bolshoi Theatre, the Mariinsky (Kirov) Theatre, and in the USA, Germany, Turkey, Brazil, Spain, Mexico and China, to name just a few. Thanks to the unfailing expressive, technical and interpretative appeal of La Scala’s étoiles Svetlana Zakharova, Roberto Bolle, Massimo Murru, guest artists, principals, newly appointed soloists, and the many Corps de Ballet members frequently selected for major roles, Makhar Vaziev’s direction (from 2009 since end of 2015) resolutely embraces a set of precise artistic standards. The aim is to reinvigorate the twentieth century’s most refreshing and influential ballet repertoire as a “tradition of the new” in the ballet world, reviving the necessary classics, providing young choreographers with creative opportunities, and drawing celebrated musical directors to the ballet rostrum, both as an element of added appeal and also as an unmistakable sign of the musical excellence that befits La Scala, not only in its operatic performances but also in its dance productions. Under his direction, the Ballet Company's chain of command has grown in every respect. Today's principals include Nicoletta Manni, Claudio Coviello, Virna Toppi, Martina Arduino and Timofej Andrijashenko and soloists include Massimo Garon, Marco Agostino, Vittoria Valerio, Federico Fresi, Alessandra Vassallo, Christian Fagetti Nicola Del Freo and Maria Celeste Losa and very young dancers trained at the Ballet School are emerging from the ranks of the Ballet Company: among them, and many new dancers who have debuted in main roles, fulfilling the Company's brief to recognise and cast burgeoning talent.
The successor of Makhar Vaziev, Mauro Bigonzetti, had to withdraw the ballet direction due to a health problem; from October 2016 the direction of the Ballet Company has been entrusted to Frédéric Olivieri.