Customer Reviews

La Bayadere - The Royal Ballet

5 star:		(7)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This Royal Ballet La Bayadere features Natalia Makarova's reconstruction of Petipa's ballet. Much of the choreography has been lost, including the entire final act. Makarova has thus chosen to streamline the extant choreography, and through some recreation and reshuffling, reconstruct a final act. Other versions (such as the Paris version by Nureyev) choose to work with the extant choreography and end the ballet with the last known Petipa choreography (the Shades act). There are plusses and minusses to both approaches. Makarova's version gives the ballet some closure. On the other hand, she severely streamlined many of the dances in the Solor/Gamzatti Betrothal Act (including the delightful 'pot' dance), and redid the orchestration. The more I see Makarova's version, the less I like it, from the drastic slash and burn of the Engagement scene, to the artificially souped up orhcestrations (so different from the simple but beautiful orchestrations of both the POB and Kirov), to reducing the Shades from 32 to 24, and I don't like her reconstruction of the lost act either, which recycles earlier music and has very little actual dancing. Recently the Kirov Ballet has attempted to add ALL of Petipa's choreography AND recreate the lost act, but that version is not out on videotape.

The Nikya of this production, Altynai Asylmuratova, is still unmatched in available videos. AA was prima ballerina of the Kirov ballet, and her Russian style of dancing is obvious: extremely arched back, long flexible extensions, an emphasis on hand gestures and an elegant port-te-bras. But what separates her Nikya is the intangible: her Nikya simply has a soul and vulnerability that is so absent, for instance, from Svetlana Zakharova's interpretation in the recent La Scala dvd. In every scene, Asylmuratova is a revelation. In the dance Asylmuratova is forced to perform in front of Gamzatti and Solor, her whole spirit seems to crumble. Her uber-flexible back seems to writhe in agony. In the Shades act she really does seem otherworldly. Like many Russians she is very dramatic but never over-the-top -- when she enters in white during the Shade scene, I actually ached and sighed at how beautiful she was.
Bussell is also great as Gamzatti -- athletic, haughty, and sexy. She is stiff-backed, regal, and elegant, and she can certainly kick her legs high! She's not quite as evil as Elisabeth Platel in the Paris Opera Ballet but still she gives the role a certain seductive charm that makes Gamzatti more believable as a rival to Nikya. Mukhamedov is less impressive as Solor -- theres nothing really wrong with him, but he lacks charisma and chemistry with the two leading ladies. I've seen him in other films where he's been very impressive (a demented Mayerling, some excerpts from Spartacus and Romeo and Juliet). So maybe Solor wasnt his role.

The Paris video's dancing is also fine, but Isabelle Guerin (Nikya) is not as memorable and touching as Asylmuratova. Between Platel and Bussell, I really like both. Platel is frighteningly icy, Bussell snooty. But the contrast between Bussell and Asylmuratova is more memorable. Asylmuratova looks like an exotic dancer, whereas Bussell, blond and blue-eyed, seems like a spoiled princess. However, in the famous Entrance of the Shades scene, the Paris Opera Ballet wins over the Royal Ballet, hands down. For one, Nureyev uses 32 shades instead of 24, giving the whole scene an extra sense of grandeur. The POB Shades truly dance as one. The Royal Ballet Shades are ok, but nothing like the Paris Opera Ballet.

There are now three La Bayaderes on video. This video, the Paris Opera Ballet video, and the La Scala video with Svetlana Zakharova. I'd say this video and the Paris Opera Ballet video are the true "must gets" for fans of this grand and beautiful ballet.

The great Mariinsky Ballerina Natalia Makarova shares with the West her Russian heritage with this staging of "La Bayadere". Here we have a magnificent 1990 film of her version staged for the Royal Ballet a year earlier in 1989 (this version was originally staged for American Ballet Theatre in 1980, and the production shown here includes the same decor). Makarova's version is very stream-lined. The biggest change is Makarova's version of the long lost last act (mind you - this is NOT reconstruction, merely a completion of the original libretto. Although it is still not clear why the final act stopped being performed in Russia, one of the most widespread theories is that after the Revolution the Mariinsky Theatre lacked the technical staff required to produce the stage effects. It is possible that the sets for Act IV of "La Bayadere" were ruined when St. Petersburg was flooded in 1924). A very unfortunate change is Makarova's deletion of the Act II Grand Divertissement - the 'Danse Manu' (where a ballerina dances a pas d'action in an attempt to balance a water jug on her head, and still keep away the jug's contents from 2 thirsty little girls), the 'Danse infernale' (a frenizied number that seems more American-Indian than India-Indian), as well as the 'Charmeur des serpents' from the beginning of Act III. In light of the shortened second Act, Makarova's production changes the scene to Act I, scene 3.

But the biggest and most obvious differences is the revised Minkus score, done by John Lanchbery. Minkus's score for "La Bayadere" was orchestrated in the usual rushed fashion of the era it was composed in, with endless scoring for first violins and flutes to carry the main melodies. Nevertheless Minkus's original score has a wonderful antiquated charm. Although Lanchbery's orchestrations are entertaining in some sections, they are not that great, and in some sections they are horrible (or in the words of Clement Crisp, they are "gratuitous burblings"). His work however extends beyond mere orchestration - those familiar with Minkus's original score will notice differences in editing, as well as the complete omission of the opening theme of the original overture, which occurs throughout the ballet. The music for the final act, with the exception of the "Dance of the Golden Idol" (or Bronze Idol, as Makarova calls it), and the music which accompanies the dance for the corps de ballet (which is by Pugni) is all Lanchbery's own work. Here he does a good job, and is appropriate to the situation (his music for the "Destruction of the Temple" is really good).

The Prima Ballerina of the Kirov/Mariinsky Altynai Assylmoratova guest stars in this film as Nikiya, perhaps the greatest late 20th century interpretor of the role (today Assylmoratova is director of the renowned Vaganova Academy of Russian Ballet). Irek Mukhamedov dances Solor, a Bolshoi trained power-house with obvious English style coaching since his arrival at the Royal Ballet in 1989 - making him a true Danseur Noble and exquisite performer. A young Darcey Bussel dances the role of Gamzatti. She is a lovely ballerina, with long legs, high extensions, and expressive arms. Her style, physique, and approach to ballet are not typical of Royal Ballet Danseuses, but she is very British in her dancing. She is a great actress as well (watch her and Assylmoratova in the 'cat-fight' scene in Act I, scene 2 where the heroines feud). Tetsuya Kumakawa dances the variation of the Bronze Idol, and his performance makes the ever so polite English audience get the loudest it ever got during this performance.

The corps de ballet does not hold a candle to the Kirov or the Bolshoi in the "Kingdom of the Shades" scene, but they give it thier all and do better than most (especially ABT, whos corps contains far to many ballerinas from different schools to be able to achieve true perfection). Due to the small stage of the Royal Opera House, Makarova was forced to reduce the number of the corps de ballet from 32 to 24 in "The Kingdom of the Shades" scene, as well as changing the poses of the ballerinas as they stand on the sides of the stage, due to the difference of physique from the Kiorv/Mariinksy Ballerinas to the Royal Ballet Ballerinas. The three shades solos are near perfect, if only the first two ballerinas would wipe those stupid smiles off of thier faces, as they have no business in the opulent "Kingdom of the Shades". But regardless of our first two shade girl's grins, all of the classical variations in this performance are examples of ballet dancing at its best, and the revised Minkus score by John Lanchbery gives the soloists a big drum roll at the end of a variation for added effect.

The greatest highlight of all in this film is the miracle that is Altynai Assylmoratova dancing in the scene "The Kingdom of the Shades". She gives the best performance I have ever seen live or on film. In her entrance she really does seem other-worldly. She dances this scene in the way it should be, with her Vaganova training showing through in the beauty of her severly arched backed, elaborate port de bras, clearly defined movements, and opulent carriage. Her technique is superb, but it never makes a spectacle of itself, and, as it should be, her artistry is the focal point. Never does her leg go higher than 100 degrees (unlike many modern ballerinas who insist on having their leg come into contact with the side of their head in an a la seconde), but the perfection of her placement is the true spectacle. She is divine in every way here, particularly in the "Grand adage", where she demonstrates that she is a true St. Petersburg Grand Ballerina; a well-deserved successor of the Ballerinas of old who once graced the stage of the Mariinsky.

In 2001, with the aid of the choreographic notation from Petipa's 1900 revival for the ballerina Mathilde Kschessinskaya, and of the recently re-discovered hand-written score of Ludwig Minkus, the Kirov/Mariinksy Ballet fully reconstructed "La Bayadere". The ballet was completely restored, music, sets, costumes and all. Hopefully the Kirov doesnt let this production stay absent from DVD or video for to long (as they have with thier reconstruction of the 1890 premiere of "The Sleeping Beauty" from 1999)- it would be a great disservice to the world of dance.

This production is as good as the Paris version (Nureyev's),though with different endings(Makarova's choreography follows strongly Petipa's version). Here with have four extra-brilliant stars:Absolutely divine Asylmuratova,Mukhamedov and Bussel dancing,Anthony Dowell playing the High-priest.Russian(Vaganova) and English schools,side by side, to compare.The sets are good,costumes rich,the "arabesque" scene done most nicely ,but 24 ballerinas instead of 32(as in Nureyev's version).The three shadows are extremely good ,notably V.Durante(later Vetsera in MacMillan's Mayerling,also with Mukhamedov)and Fiona Chadwick.
But the Garnier version is also beautifully danced (Guérin,Platel and Hilaire)and the "rampe en arabesque" is done with proficiency and sheer beauty, the scenery and costumes being exquisitely sumptuous.I'd say one must have the two versions.

Asylmuratova, Bussel, Muhammadov and Dowel.... No need to comment on or further glorify these dancers through this review.... As expected, these dancing deities did their job as expected of them - divine.

So why just 4 stars?

Well, there is no ballet without a good score and rendition. I have great respect for Lanchberry for his other arrangements and conducting, but in this one, I think he kinda screwed up just a bit. A bit too brassy at times, and I am afraid they go out of control in some places, and the OOM-PAH of the Tubas and other Base brass Instruments are sometimes a little overwhelming. I think the post production sound editing too did not come through too good. The balance between the brasses and the rest of the orchestra is found terribly wanting at times.
The orchestra too, was a bit off colour, with the woodwinds sounding a little brittle at times, and the strings 'tired' in spite of the high treble equalization. Lesser said about the solo violinist, the better. He somehow managed to squeak through his passages. Why could the original score not be used?

I would any day go for the Paris National Ballet rendition. For one, the music is much better played and recorded. The costumes are far more authentic (in the sense they are far more 'Indian' unlike the caricature types used here), and so also many little details like even the hairstyles are far better attended to. The only exception is the Rajah who, in this edition, is just fine in those aspects. In the Paris edition, Guerin is simply fantastic (though definitely no match for Azylmuratova), and the clarity of the picture (recorded much later than this one) enhances the DVD experience exponentially.
This is more of a collector's item for those who like me, literally worship Asylmuratova and the rest of the main cast.

After buying the Royal Ballet's version, and enjoying the absolutely perfect Asylmuratove, and a Bussell who seems perfect for the role of Gamzatti, I saw and failed to be overly impressed with the Kirov's version. Both female leads are excellent dancers but I, personally, did not find them as effective as Asylmuratova and Bussell. Furthermore, Anthony Dowel makes a much more impresive high priest than the kirov's.
In spite of some criticism of Makarova's staging, I found it more satisfying, and the last act with the destruction of the temple is part of the reason. Also, the Kirov's costumes seem drab compared to the Royal Ballet's.
Yes, the Shades are excellent in the Kirov's, but I'm willing to trade a little bit of that excellence for richness of the scenary and the costumes, and for the pleasure of watching Asylmuratova and Bussell. This is a great DVD.

Since I'm not a fan of the POB I have not seen that Bayadere.

An excellent production - Act 2 superb choreography for the Corps de Ballet - "Shades". A Royal Ballet 'A'
grade performance with some virtuoso dancing. This was definitely worth watching!

While not the newest edition of La Bayadere by far, I will always adore this one, as it has nearly flawless casting. Asylmuratova is such a wonderful Nikiya; she is strong, sober, and dances with the perfect balance of technicality and smooth emotion. Irek Mukhamedov is a wonderful Solar; athletic, impressive, sometimes dense, but a good guy. And Darcey Bussell is and always will be the definitive Gamzatti for me. Her dancing fits the role perfectly, and I'd swear she was made to dance it. A wonderful staging, perfect casting, and my favorite edition.

This was absolutely georgous! I loved it so much. The dancing is phenominal. Darcey Bussell is so beautiful and so talented. She is so amazing! I totally reccomend this DVD!

IF YOU WANT A COPY OF THIS BALLET, I RECCOMMEND THE PARIS BALLET OR THE KIROV

I hate to add a little rain to a parade of positive reviews, but I judge a ballet more on the beauty of the choreography (and of course the dancers' ability to dance that choreography) and the beauty of the music (and to a lesser extent, the beauty of the staging). This ballet doesn't have the beauty of choreography/dancing nor the beauty of music of: Swan Lake by the American Ballet Theatre, Sylvia by the Royal Ballet, The Firebird by the Royal Ballet, Manon by the Australian Ballet, Romeo and Juliet by the La Scala Ballet, La Sylphide by the Ballet de l'Opera National de Paris, or A Midsummer Night's Dream by the Pacific Northswest Ballet. It's a 3 star ballet in my judgement.