Marianela Núñez as Kitri in Don Quixote

Marianela Núñez as Kitri in Don Quixote. Music by Ludwig Minkus, choreography by Alexander Gorsky after Marius Petipa. Ballet Icons Gala 2026, London Coliseum 15.2.2026.

Marianela Núñez’s interpretation of Kitri in Don Quixote is often cited as the gold standard of the modern era. While many dancers can handle the technical fireworks, Núñez elevates the role through a rare combination of Argentine flair, British precision, and a visible sense of pure joy.

Núñez is famous for her rock-solid stability. In the Act I entrance and the Act III Grand Pas de Deux, she performs Kitri’s signature balances (holding a pose on one toe without a partner’s help) for an almost impossibly long time. Unlike many dancers who look like they are “holding their breath” during a balance, Marianela looks completely relaxed, often smiling or playing with her fan, which makes the feat look effortless.

Being from Buenos Aires, the Spanish-influenced style of Don Quixote is in her blood. Kitri requires a specific use of the upper body—sharp épaulement (shoulder placement), arched backs, and expressive use of the head. She brings a natural, fiery charisma to the role that never feels forced or “acted.”

Kitri is one of the most demanding roles for “petit allegro” (fast, small jumps). Núñez is a master of the fan; she uses it as an extension of her body to accent the music, snapping it open and shut with percussive timing that matches the orchestra. Her pointework is exceptionally crisp. In the Act I “Platanos” sequence, her feet move with a rhythmic speed that mimics the sound of castanets.

Perhaps the most “Núñez” quality is her smile. She genuinely looks like she is having the time of her life. Because she has mastered the technique so thoroughly, she isn’t worried about the next jump or turn; she is focused on the character’s flirtation with Basilio. This creates a powerful connection with the audience—you aren’t just watching a professional athlete; you’re watching a village girl in love.

In the final act, after two hours of high-energy dancing, she traditionally performs the 32 fouettés with incredible power, often adding double turns and opening her arms wide rather than keeping them in the traditional “first position.” It’s a display of sheer physical dominance that usually brings the Royal Opera House to its feet.

Photos by Jack Devant © with kind permission of the Ballet Icons Gala, special thanks to Olga Bakaleets