Far more than technique

By Ricardo Leitner

I think that Jeanette Andersen summarised the answer to a certain question quite simply and logically in her (very good) critique from 2024. It referred to the staging of Patrick Bart's version, which was commissioned for the Bavarian State Ballet. Therefore, I must quote her:
"Is it politically correct to put a ballet like Marius Petipa’s 'La Bayadère' (1877) on stage today, with its westernised and romanticised version of a snippet of Indian culture that’s a far cry from reality? Absolutely yes, if you can accept the fact that it was created in a bygone era ruled by values differing from ours of today, and if you can see it as the fairytale it is."

I would like to remind you of a headline in The Guardian, a few years ago, which I also quote here:
"Arguing over Art is right, but trying to ban it is the work of fascists!" 

Nearly all modern versions of La Bayadère are derived from Vladimir Ponomarec and Vakhtang Chabukiani's 1941 version staged for the Kirov/Mariinsky Ballet. It still remains in the company's repertory to this very day. 

Albert Mirzoyan's staging of La Bayadère

This "Baydère" is, no question, a very elaborate, complex, and costly production. It is blessed (yes, I prefer to use this word instead of just "filled") with such an abundance of details, in the purest Mariinsky tradition, that makes you wonder how the company was able to catch all this information in the rehearsal and preparation period of six weeks. All this contributes meticulously to the perfect storytelling, which in the purest dance language, is transmitted to the audience. Even to those who happen not to know the ballet. This is what I am always looking for: Dramaturgy being transferred in all the glory of its emotional strength and depth. 

The company is in incredible shape, and was extremely well-coached and guided. Not only that, but in unison. Pin-pointed exactness, togetherness (not only physically but also mentally), coordination. And this not only on what „technique“ is concerned (Note: I mean the way technique may be, unfortunately understood nowadays; just the "bravura", the "circus-like" virtuosity of it) but the subtle side of it, the precise efacés and écartés in bigger groups of the corps de Ballet, the exact holding of one's arms and hands, the bending of a head. Yes, these, the so-called minuscule things that must also be projected into the big auditorium. Chapeau. Good work.

Between beautiful and precarious 

Maria Beck as Gamzatti gave a beautiful reading of the role. A reading filled with nuances that not only fit the character, giving hints of not only strength and willingness to get what she wants (Solor) but also insecurities, as in the first moment when, sitting, she lifts Nikiya's head and realises that she is possessed of such beauty. A moment that, due to its delicacy, was kept "photographed"  in my mind.

Interesting but traditional at the Mariinsky: During her first appearance in the second act, Gamzatti wears shoes with low heels – Contrary to Western versions, Gamzatti has no variations in this act.

Louis Scrivener, as Solor, still has a way to go to conquer the role and claim it his own. Don't misunderstand me. He is a good dancer, a very good one indeed. Technically, his interpretation is nearly flawless, and he is a good, reliable partner. But his character construction is still very precarious. It lacks continuity, especially in the being in the role department. Sometimes, just after dancing and observing Nikiya or while walking hand in hand with Gamzatti to take a seat and watch Nikiya dance, he leaves the character behind – and one can see this plainly on the way his body loosens as if relaxing from the attitude and (healthy) tension while portraying, carrying a character. 

Tatyiana Melnyk personified Nikiya with dignity, charisma, tenderness, and humanity (also getting upset, desperate and threatening to kill Gamzatti is a „human“ reaction). Nikiya is a wonderful, rich character to portray. I won't go into all the technical „bits and bobs“ as well as more significant steps because it was all there. In every nuance needed for the role. Precisely in the right dosage. Miss Melnyik gave Nikiya a certain seriousness and never let her fall to the level of being just a victim. Her Portrayal was of a woman who is terribly wronged and treated unfairly and turns into a character with whom one can identify

Highly recommendable to those who truly appreciate ballet – AND I am sure that those, who do not yet appreciate it as it should be appreciated, will think a little differently after watching such a display of choreography, colours, music, harmony, beauty and joy in a ballet that combines not only a plot but has so many divertissements that are extremely enjoyable.

Long article on attitude by Ricardo Leitner