Don Quixote

Ruffled skirts swirling, toreadors strutting, street dancers cavorting, and so much more in this unforgettable, fully–staged production. With its maddeningly hummable Minkus score, Don Quixote is filled with endless delights, sparkling wit, and show–stopping dancing in this stylish rom­–com. It's classical dancing at its most exquisite—and demanding. The leaps! The balances! The bravura!


Updated 1/20/2022: Per San Francisco city guidelines, beginning February 1, 2022, San Francisco Ballet will require up-to-date vaccination, including proof of a COVID-19 booster—received at least one week prior to the performance they are attending—for entrance into the venue. This expands upon the Company's current requirement that all patrons ages 12 and up present proof of full vaccination against COVID-19 and audience members under the age of 12 to show proof of full vaccination against COVID-19 or a negative COVID-19 test (PCR test taken within 48 hours of the performance start time or antigen [rapid] test within 24 hours of the performance start time).

Patrons will also be required to show a photo ID alongside proof of vaccination and booster shot to enter. Patrons can show either paper or electronic documentation (including a photo of the card).

If your child under the age of 12 does not meet the two-week or greater completion requirement to qualify as being fully vaccinated, they must show proof of a negative result from a COVID-19 test taken within one day for antigen or two days for PCR tests prior to entry into the War Memorial Opera House or 455 Franklin Street. Fully vaccinated children under 12 may present proof of full vaccination and if eligible booster shot in lieu of a negative test result.

SF Ballet requires all patrons to wear a N95, KN95, KF94 mask to enter the venue. We will provide a KN95 or equivalent mask upon entry if you do not have one. Masks must be well-fitted and cover the nose, mouth, and chin. Masks are required at all times, regardless of age, while inside the War Memorial Opera House. Food and drinks are not permitted inside the auditorium to ensure masks are worn throughout the performance.

Click the Learn More button or visit sfballet.org/safety for more information and policy details.

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San Francisco Ballet is carefully monitoring the evolving pandemic and continues to follow the health guidelines set forth by the Centers for Disease Control, the State of California, and the City and County of San Francisco. We cannot wait to get back on the Opera House stage and as an organization, we are planning accordingly to ensure the safety of audiences, artists, and staff.

Feb 26–Mar 06, 2022


Ludwig Minkus


Alexander Gorsky after Marius Petipa

Staging and Additional Choreography

Helgi Tomasson and Yuri Possokhov


The Story of Don Quixote

Follow the journey of Don Quixote, Sancho, Kitri, and Basilio

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About Don Quixote

A Romantic Comedy Done Ballet Style

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Your Ultimate Guide to Don Quixote

An intro to its sassy heroine, Spanish setting—and real donkey onstage

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Don Quixote

Scenic and Costume Design: Martin Pakledinaz
Lighting Design: James F. Ingalls
Associate Scenic Designer: Arnulfo Maldonado
Associate Costume Designer: Heather Lockard
Author of Don Quixote: Miguel de Cervantes

World Premiere (Original Petipa production): December 26, 1869—Imperial Ballet, Bolshoi Theatre; Moscow, Russia

World Premiere (Gorsky production): December 6, 1900—Imperial Ballet, Bolshoi Theatre; Moscow, Russia

World Premiere (Tomasson/Possokhov staging): March 14, 2003—San Francisco Ballet, War Memorial Opera House; San Francisco, California

Music: Don Quixote by Ludwig Minkus. Additional music: Act I, Overture: Galop from La Source Act I by L. Delibes, with introduction by Patrick Flynn. No. 17, "Basilio's Variation" is "Ole de la Curra" by A. S. Arista, orchestrated by Patrick Flynn. Act II, No. 21a, additional material in opening ensemble by Patrick Flynn; No. 23, "Kitri & Basilio" is "Three Spanish Women" by V. P. Soloviev-Sedoi; No. 30, Queen of the Dryads Variation: "Souvenir du Bal" by A. Simon; No. 31, "Cupid's Variation" from Paquita by L. Minkus; No. 32, "Kitri's Variation" by R. Drigo. Act III, No. 48, "Fandango" by Eduard Napravnik; No. 51, Finale: Galop from La Source Act I by L. Delibes, with introduction by Patrick Flynn. Assistant Costume Designer: Shawn McCulloch; Assistant Interns to Martin Pakledinaz: Hannah Kittel, Guilia Cauti, Laura Ortiz. Costumes constructed by: Carelli Costumes Inc. New York, NY; Krostyne Studio Pittsburgh, PA; Parsons-Meares Ltd., New York, NY; Tricorne Inc. New York, NY; Driad tutus by Yoshi Terashima London, England; Masks, Millinery and Head Dressing by Carelli Costumes Inc. New York, NY; Karen Eifert New York, NY; Rodney Gordon New York, NY; Arnold S. Levine, Inc. Theatrical Millinery and Crafts New York, NY; Lynne Mackey Studio New York, NY; Don Quixote Armor by Costume Armour New York, NY; Painting and distressing by Jeff Fender Studio Inc. Brooklyn, NY; Fabric Dyeing by Eric Winterling Inc. New York, NY; Kimtex Fabric Services New York, NY; Lisa Sacaris Houston, TX; Jewelry by Franklin Labovitz Washington, D.C.; Boots by Hiatt Dance Boots Salt Lake City, UT; Pluma Portland, OR. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments.

The 2012 production of Helgi Tomasson and Yuri Possokhov's Don Quixote was made possible by New Productions Fund Lead Sponsors Mrs. Jeannik Méquet Littlefield, and Mr. and Mrs. John S. Osterweis; Major Sponsors Rudolf Nureyev Dance Foundation, and Larry and Joyce Stupski; and Sponsors Richard C. Barker, Christine H. Russell Fund of the Columbia Foundation, Suzy Kellems Dominik, Stephanie Barlage Ejabat, Gaia Fund, The William Randolph Hearst Foundation, Cecilia and Jim Herbert, and Diane B. Wilsey.