In the radiant heart of Palermo, where golden Mediterranean light washes over ancient streets and baroque façades, stands one of the great temples of music and dance in Europe: the magnificent Teatro Massimo. Rising proudly on Piazza Verdi, this monumental theatre is not only the largest opera house in Italy, but also among the most impressive cultural landmarks on the continent. For generations it has been a symbol of artistic ambition, architectural beauty, and the enduring love of the performing arts that defines this extraordinary Sicilian city.
Palermo itself is a place where history and poetry seem to breathe through every stone. Founded over two and a half millennia ago, the city bears the marks of many civilizations—Phoenician, Arab, Norman, Spanish—each leaving behind treasures of architecture, culture, and tradition. Walking through its lively streets, one encounters palaces, churches, markets, and gardens that reveal centuries of layered beauty. The air carries the scent of citrus and the distant sound of the sea, while the city’s vibrant life unfolds between ancient monuments and sun-lit squares. It is a city that has always embraced art, theatre, and music with a special passion.
At the center of this cultural landscape stands the Teatro Massimo, a monument of grand neoclassical elegance. Designed in the late nineteenth century by the architect Giovanni Battista Filippo Basile and later completed by his son Ernesto Basile, the building was conceived as a celebration of classical harmony and Sicilian identity. Its monumental staircase and imposing colonnade recall the majesty of ancient Greek temples, an homage to the classical heritage of Sicily.
Yet the true wonder of the theatre reveals itself inside. The auditorium, designed in the traditional horseshoe shape of great Italian opera houses, rises in elegant tiers of boxes that surround the stage like a luminous architectural embrace. Delicate ornamentation, soft golden tones, and perfectly balanced proportions create a space of remarkable grace. Once capable of seating nearly three thousand spectators, the hall today offers a more intimate experience while preserving its majestic scale. Above all, the theatre is renowned for its exceptional acoustics—clear, warm, and resonant—making it one of the most admired opera houses in Europe.
Within this splendid setting, ballet finds a natural home. The vast stage, the refined elegance of the auditorium, and the passionate audiences of Palermo combine to create an atmosphere where dance can truly flourish.
It is here that the Teatro Massimo now welcomes one of the most joyful and beloved works in the classical repertoire: Don Quixote. Inspired by the immortal novel of Miguel de Cervantes, the ballet captures not the philosophical depth of the knight’s adventures, but rather the sparkling world of Spanish romance, humor, and youthful love.
The music was composed by Ludwig Minkus, whose melodies have become inseparable from the brilliance of nineteenth-century ballet. Minkus possessed an extraordinary gift for theatrical rhythm and danceable melody. His score for Don Quixote bursts with energy: sparkling variations, lively ensembles, and festive orchestral colors that evoke the warmth and vibrancy of an imagined Spain. From the spirited opening scenes to the dazzling grand pas de deux of the final act, the music radiates joy, elegance, and irresistible vitality.
The ballet itself first appeared in the golden age of classical ballet in Imperial Russia. Premiering in Moscow in 1869 with choreography by the legendary Marius Petipa, the work soon traveled to Saint Petersburg, where Petipa expanded and refined the production. There it became one of the most beloved spectacles of the imperial stage. Audiences were enchanted by its virtuoso dancing, colorful character scenes, and exuberant theatrical spirit.
From those Russian beginnings, Don Quixote quickly conquered the international ballet world. The work’s brilliant choreography, joyful music, and irresistible Spanish flavor made it a favorite of dancers and audiences alike. Generations of performers have delighted in the sparkling roles of Kitri and Basilio, whose love story lies at the heart of the ballet. Their dazzling technique, playful charm, and fiery passion have made the ballet a showcase for virtuosity and personality.
Today, more than a century after its creation, Don Quixote remains one of the most festive and life-affirming ballets in the classical tradition. Few works combine such technical brilliance with such an atmosphere of celebration. Every act unfolds like a living festival of dance: bustling village scenes, vibrant taverns, dreamlike gardens, and joyous finales filled with swirling ensembles and breathtaking solos.
In the present production, the choreography is created by the distinguished dancer and choreographer José Martínez. Known for his elegance and deep understanding of classical style, Martínez brings both refinement and vitality to the ballet. His interpretation respects the grand tradition of Petipa while offering a clear, dynamic theatrical vision that allows the story and the dancing to shine with renewed freshness.
At the center of the performance are the radiant characters of Kitri and Basilio, whose romance drives the entire adventure. Their story—playful, passionate, and full of youthful energy—embodies the spirit of the ballet itself. Through brilliant variations, joyful duets, and electrifying bravura passages, the two lovers illuminate the stage with charm and virtuosity.
Behind them stands the splendid ballet company of the Teatro Massimo, a troupe whose dancers bring vitality, discipline, and expressive warmth to every performance. The ensemble scenes—vivid markets, lively tavern dances, and swirling festivals—display the strength and unity of the company, while the orchestra of the theatre brings Minkus’s music to life with color and brilliance.
All the elements come together: the grandeur of the theatre, the beauty of Palermo, the sparkling music of Minkus, and the timeless joy of classical ballet.
And so, in this magnificent season, audiences have the privilege of experiencing this beloved masterpiece in one of the most beautiful theatres in Europe. Within the glowing interior of the Teatro Massimo, surrounded by the artistic spirit of Palermo, the world of Don Quixote once again springs to life.
Now we may enjoy this radiant ballet in the splendid Teatro Massimo, brought to life by its talented ballet company—an evening of music, dance, and theatrical magic that celebrates the enduring joy of the classical stage.
Don Quichotte au Teatro Massimo de Palerme
Un chapitre sur le ballet, la ville et un théâtre vibrant
Au cœur de la lumineuse Palerme, au milieu de rues chargées d'histoire, de parfums méditerranéens et d'une architecture monumentale, se dresse l'un des temples musicaux les plus impressionnants d'Europe : le Teatro Massimo. Situé sur l'élégante Piazza Verdi, ce colosse de la culture italienne est non seulement le plus grand théâtre d'Italie, mais aussi l'un des plus majestueux du continent.
Dès leur arrivée devant son imposante façade néoclassique, inspirée par la grandeur des temples grecs siciliens, les visiteurs comprennent qu'ils se trouvent dans un lieu extraordinaire. Des escaliers monumentaux mènent à un édifice conçu pour la grandeur artistique. À l'intérieur, l'auditorium en forme de fer à cheval, entouré de sept niveaux de loges, crée une atmosphère unique où chaque représentation devient un événement inoubliable. Son acoustique, considérée comme l'une des meilleures d'Europe, enveloppe le public dans une expérience sonore parfaite.
Dans ce cadre historique, la compagnie théâtrale présente une nouvelle production du ballet Don Quichotte, l'une des œuvres les plus brillantes et festives du répertoire classique. Ce ballet, inspiré du célèbre roman de Miguel de Cervantes, est porté par la musique exubérante et colorée de Ludwig Minkus. Ses partitions, pleines d'énergie, de rythme et de mélodies irrésistibles, accompagnent un récit mêlant aventure, humour, romance et virtuosité.
La chorégraphie de cette nouvelle production est signée par le prestigieux chorégraphe et ancien danseur étoile de l'Opéra de Paris, José Martínez, qui offre à l'œuvre une interprétation élégante, brillante et profondément théâtrale. Martínez préserve l'essence du grand ballet classique tout en proposant une vision scénique inédite et dynamique, où chaque scène s'enchaîne avec naturel et vitalité.
La production bénéficie de la direction musicale de Mojca Lavrenčič et de la participation du Corpo di Ballo e Orchestra del Teatro Massimo, l'une des compagnies les plus prestigieuses et renommées de la scène italienne. Le directeur artistique du ballet est Jean-Sébastien Colau, à la tête d'une compagnie débordante de talent et de personnalité.
Le spectacle bénéficie également de décors raffinés signés Antonella Conte, de costumes chatoyants de Mario Celentano et de lumières théâtrales de Bruno Ciulli. L'ensemble crée un univers visuel qui transporte le public dans l'Espagne onirique du XVIIIe siècle : places animées, tavernes conviviales, campements gitans et jardins enchanteurs.
Mais le véritable cœur du ballet réside dans ses interprètes. Au centre de l'histoire se trouvent Kitri et Basilio, le couple vedette dont la passion et la virtuosité illuminent toute la scène.
Les représentations sont réparties entre différentes distributions, offrant ainsi au public l'opportunité de découvrir diverses interprétations des personnages.
Dates des représentations
29 mars 2026 — 20h00 — Spectacle principal
31 mars 2026 — 18h30 — Partie B
1er avril 2026 — 20h00 — Partie F
2 avril 2026 — 18h30 — Partie C
3 avril 2026 — 18h30 — Danse
4 avril 2026 — 17h30 — Partie D
Salle principale du Teatro Massimo
Répartition par dates
29 mars
Kitri — Martina Pasinotti
Basilio — Michele Morelli
Don Quichotte — Diego Millésimo
Dulcinée — Carla Del Sorbo
Cupidon — Francesca Davoli
Gamache — Andrea Mocciardini
Mercedes — Aurora Mostacci
Épée — Diego Mulone
Capo dei gitani — Dennis Vizzini
Solisti Fandango — Romina Leone, Diego Mulone
Sancho Panza — Francesco Curatolo
Lorenzo — Fabio Correnti
Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli
31 mars
Kitri-Yuriko Nishihara
Basilio — Alessandro Cascioli
Don Quichotte — Andrea Mocciardini
Dulcinée — Arianna Cipolla
Cupidon — Michaela Colino
Gamache — Vincenzo Carpino
Mercedes — Francesca Davoli
Épée — Giovanni Traetto
Capo dei gitani — Emilio Barone
Solisti Fandango — Valentina Chiulli, Giovanni Traetto
Sancho Panza — Francesco Zappalà
Lorenzo — Fabio Correnti
Amiche/Damigelle — Sanna Athmani, Léa Salomon
1er avril
Kitri — Giulia Neri
Basilio — Alessandro Casà
Don Quichotte — Diego Millésimo
Dulcinée — Carla Del Sorbo
Cupidon — Francesca Davoli
Gamache — Andrea Mocciardini
Mercedes — Aurora Mostacci
Épée — Diego Mulone
Capo dei gitani — Dennis Vizzini
Solisti Fandango — Romina Leone, Diego Mulone
Sancho Panza — Francesco Curatolo
Lorenzo — Fabio Correnti
Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli
2 avril
Kitri — Martina Pasinotti
Basilio — Michele Morelli
Don Quichotte — Andrea Mocciardini
Dulcinée — Arianna Cipolla
Cupidon — Michaela Colino
Gamache — Vincenzo Carpino
Mercedes — Francesca Davoli
Épée — Giovanni Traetto
Capo dei gitani — Emilio Barone
Solisti Fandango — Valentina Chiulli, Giovanni Traetto
Sancho Panza — Francesco Zappalà
Lorenzo — Fabio Correnti
Amiche/Damigelle — Sanna Athmani, Léa Salomon
3 avril
Kitri-Yuriko Nishihara
Basilio — Alessandro Cascioli
Don Quichotte — Andrea Mocciardini
Dulcinée — Arianna Cipolla
Cupidon — Francesca Davoli
Gamache — Vincenzo Carpino
Mercedes — Aurora Mostacci
Épée — Diego Mulone
Capo dei gitani — Dennis Vizzini
Solisti Fandango — Romina Leone, Diego Mulone
Sancho Panza — Francesco Curatolo
Lorenzo — Fabio Correnti
Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli
4 avril
Kitri — Giulia Neri
Basilio — Alessandro Casà
Don Quichotte — Diego Millésimo
Dulcinée — Carla Del Sorbo
Cupidon — Michaela Colino
Gamache — Andrea Mocciardini
Mercedes — Francesca Davoli
Épée — Giovanni Traetto
Capo dei gitani — Emilio Barone
Solisti Fandango — Valentina Chiulli, Giovanni Traetto
Sancho Panza — Francesco Zappalà
Lorenzo — Fabio Correnti
Amiche/Damigelle — Sanna Athmani, Léa Salomon
Ainsi, pendant ces journées printanières, la ville de Palerme se remplit de musique, de danse et de joie. Sous la coupole du majestueux Teatro Massimo, l'esprit aventureux de Don Quichotte, l'amour passionné de Kitri et Basilio et l'éclat festif de la musique de Minkus s'unissent pour offrir au public un spectacle éblouissant.
Un ballet débordant de vie, de couleurs et de virtuosité qui nous rappelle pourquoi Don Quichotte demeure l'un des ballets les plus appréciés au monde : une célébration de la danse, de l'imagination et de la joie du théâtre.
