Review: TAM Ballet’s Don Quixote – Anna Tsygankova and Giorgi Potskhishvili shine in Milan

In Milan, TAM Ballet recently presented a full-length staging of Don Quixote that offered a compelling blend of youthful promise and seasoned artistry. The production, held at Teatro Arcimboldi Milano (TAM), featured a cast combining emerging dancers from the company’s affiliated Ukrainian Ballet Academy with internationally recognized guest principals.

TAM Ballet is a relatively new initiative, formed less than two years ago through a collaboration between Teatro Arcimboldi Milano and the Ukrainian Academy of Ballet. This partnership provides students aged 10 to 18 with an alternative training path to La Scala’s ballet school, followed by a three-year professional course that culminates in several annual productions. While TAM Ballet has yet to establish itself as a major force in Italy’s dance scene, it functions as a vital platform for young dancers to gain performance experience and exposure.

The recent Don Quixote marked a significant event for the company, largely due to the presence of guest stars Anna Tsygankova and Giorgi Potskhishvili, both principal dancers from the Dutch National Ballet. Their participation elevated the production, creating moments of synergy with the company’s own performers and attracting attention from critics and audiences alike.

The ballet was presented in its entirety, including the prologue, with some additions such as a spirited Sailor’s Jig in the tavern scene, a nod to Soviet-era repertoire enhancements. This particular number, featuring a blend of folk and flamenco elements, provided a quirky but engaging contrast within the traditional framework and highlighted the versatility of the company’s male dancers.

Among TAM Ballet’s homegrown talent, several individuals made notable impressions. Marco Rodella’s portrayal of Espada was marked by virtuosic technique and dynamic stage presence, while Yurin Kanasugi brought confidence and grace as the Queen of the Dryads. Sara Giubergia’s embodiment of Amour was charming, and the roles of Kitri’s friends were performed with poise by Greta Cattaneo and Federica Spiga. While there were moments where the acting was uneven, such as a detached portrayal of Don Quixote and some exaggerated gestures among the corps de ballet, the overall technical standard was commendable, especially given the dancers’ relative inexperience.

Tsygankova’s performance stood out for its technical precision and expressive warmth. Her execution of classical variations, including the demanding fouetté turns, demonstrated mastery and control. Her ability to engage the entire auditorium, from the main stage to the upper galleries of the 2,400-seat venue, underscored her stage charisma and professionalism. The interactions between Tsygankova and Potskhishvili reflected a well-established partnership, despite their age difference.

Potskhishvili brought a charismatic and energetic Basilio to life, combining technical feats with a playful stage persona. His confident performance included high-impact jumps and turns, executed with a flair reminiscent of celebrated dancers like Ivan Vasiliev, though with occasional lapses in precision. His chemistry with Tsygankova, especially in the grand pas de deux, displayed trust and synchronization, enhancing the ballet’s emotional core.

While the production did not reach the polish of major international companies such as American Ballet Theatre or Paris Opera Ballet, it succeeded in conveying the narrative’s vibrancy and showcased the potential within TAM Ballet’s ranks. The set design, though occasionally showing signs of wear with creased backdrops, contributed to the period atmosphere, notably the use of La Scala’s historic curtain which added a ceremonial weight to the performance.

Overall, TAM Ballet’s staging of Don Quixote served its mission to provide a prestigious platform for developing dancers to express their artistry. The collaboration between the young company and guest principals demonstrated a promising model for nurturing talent and expanding audience engagement in Italy’s ballet landscape. While challenges remain in achieving full artistic refinement, this production signaled an encouraging step forward.

The review and insights on this performance were reported by Graham Spicer for gramilano.com, a respected dance critic and photographer based in Milan with extensive experience covering international ballet.

Details regarding the future programming and long-term plans of TAM Ballet remain limited, but this production suggests an ongoing commitment to combining education and professional exposure in the city’s vibrant cultural scene.