Ballet Manila’s Pearl Year Season will reach a spectacular finale with Don Quixote, starring Mariinsky Ballet principals Kimin Kim of Korea and Renata Shakirova of Russia.

At a press conference on 15 August at Conrad Manila, Ballet Manila artistic director and chief executive officer Lisa Macuja-Elizalde said audiences from abroad are expected to fly in to Manila for the show. For Manila’s classical ballet enthusiasts, it promises a rare and thrilling experience.

Kim will make his Philippine debut, while Shakirova returns following her acclaimed appearance in Ballet Manila’s Giselle last year.

About the ballet

Don Quixote, a “romantic-comedy” that premiered at Moscow’s Bolshoi Theatre in 1869, was choreographed by Marius Petipa to Ludwig Minkus’ music and inspired by episodes from Miguel de Cervantes’ novel.

The production blends Spanish folk dances — including fandango, bolero, seguidilla, and castanet solos — with precise footwork, high jumps, and complex turns. Pantomime conveys emotion and narrative, while colorful costumes and lively sets recreate the festive atmosphere of a Spanish village.

The story follows Kitri (Shakirova), the innkeeper’s daughter, who falls in love with Basilio (Kim), a barber, and features the eccentric knight Don Quixote and his loyal squire Sancho Panza.

Macuja-Elizalde called the pairing of Kim and Shakirova “a dream come true” and said their talent and star power will make the production “truly unforgettable.”

As the first Filipino to join the Kirov Ballet, Macuja-Elizalde performed Kitri herself in her 1986 debut. She later brought the role to the Philippines, where it became her signature.

“It’s one of the most fun performances to do, but also one of the hardest, because you have to stay constantly energetic — full of love for life — through all three acts of the ballet. The role requires nonstop jumping and turning, and you have to perform at your absolute best at all times. There’s no downtime as Kitri,” she said at the press conference.

On-stage chemistry

On how Kim and Shakirova develop on-stage chemistry, as the pair has danced Don Quixote countless times, Kim explained: “It’s really about looking into each other’s eyes. It’s very important. Whether in rehearsal or on stage, I always try to read her eyes. Actually, I really love watching Renata’s eyes on stage — her eyes are incredibly powerful.”

“Many of you may have seen her last year in Giselle; she gives maximum energy through her eyes, and for dancers, that’s crucial. Sometimes you don’t need to move at all; a look alone can convey everything to the audience and the audience understands. Chemistry, for me, is built through the eyes, through the gaze,” he added.

The stars’ backgrounds

Kim is the Mariinsky’s first foreign male principal dancer. Born in Seoul, he began ballet at age 10 and trained under former Mariinsky soloists at the Korea National University of Arts, mastering the Vaganova method. He earned top prizes in competitions including in Moscow, Varna and Jackson. His debut as Ali in Le Corsaire showcased his turns, jumps, and stage presence, leading to promotion as principal in 2015.

Shakirova studied at the Bashkir Choreographic College before joining the Vaganova Academy under Tatiana Udalenkova, becoming a mentor-sibling of Macuja-Elizalde. She joined the Mariinsky Ballet in 2015, debuting as Kitri the same year and earning recognition in Dance Magazine’s “25 to Watch,” making Kitri a signature role.

Shakirova expressed excitement about returning to the Philippine stage. Last year, she wowed audiences in Ballet Manila’s Giselle, one of the most memorable cultural highlights on the local stage.

“Last year, during Giselle, I received a warm reception, heartfelt hospitality, and enthusiastic reactions during the curtain calls — experiences I hadn’t had in a long time outside of Russia. So, returning to the Philippines for Don Quixote, I felt like I was coming home,” Shakirova shared.

Production highlights

When asked about this production’s unique touches, Macuja-Elizalde said: “We included a character, Dulcinea. [In other productions], sometimes it’s not clear to the audience why Don Quixote mistakes Kitri for Dulcinea, so I wanted to clarify that story element. Dulcinea floats through the scenes like a kind of mirage; only Don Quixote sees her. This makes the narrative clearer. I’ve also added a few dances to help with quick changes between Acts 3 and 4 and to give the principals a brief rest before the competitive sections.”

Over 30 years, she added, Ballet Manila has performed Don Quixote close to 70 or 80 times, and with each performance, audiences discover new elements, such as choreography, musical nuances, or fresh stage tricks.

“What audiences will see now is the latest version of Ballet Manila’s Don Quixote, featuring two brilliant artists in these iconic roles, performing in Manila for the first time. I think it’s going to be an incredibly exciting experience,” she said.

Don Quixote premieres 22 August at 8 p.m., with additional performances on 23 and 24 August at 5 p.m. at Aliw Theater, Pasay City. Tickets are available at www.ticketworld.com.ph.