Customer Reviews

Minkus - La Bayadere

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

 

 

With "La Bayadère" Milan's La Scala completes its Svetlana Zakharova/Roberto Bolle classical trilogy. Even more as with the previous releases in this series ("Swan Lake" and "Giselle", both published by TDK) the main reason for acquiring this DVD will be the presence of the two stars.

Filmed live at La Scala in May 2006, the company can be seen in Natalia Makarova's well-known staging of Marius Petipa's "La Bayadère", among others danced by London's Royal Ballet (and also available on a TDK DVD, starring Altynai Asylmuratova, Irek Mukhamedov and Darcey Bussell). As in the Royal Ballet's version the traditional sets are by Pier Luigi Samaritani, the costumes by Yolanda Sonnabend.

The company of La Scala proves competent, if nothing more. The female corps de ballet does a commendable job in the Shades Act, but the absence of noteworthy demi-soloists constitutes a serious handicap, as does the generally fast conducting of David Coleman. Moreover, by casting corps member Isabelle Brusson in the crucial role of Gamzatti, the dramatic development is seriously unbalanced. Understudy Brusson obviously wasn't ready yet for so challenging an assignment.

Bolshoi Ballet guest star Svetlana Zakharova, in one of her signature roles, easily dominates the performance, dramatically as well as by the quality of her dancing. As a supreme adagio ballerina, her appearance in the Kingdom of the Shades act, serene and cool, reveals the choreography in all its glory. La Scala's own Roberto Bolle is her likeable if never too exciting Solor.

Directed by Tina Protasoni for video and TV the fast multi-camera editing and unnecessary close-ups of faces during or at the ending of a movement are ultimately annoying. Otherwise, image and sound quality are top-notch.

In short, all admirers of Svetlana Zakharova and/or Roberto Bolle will rush to purchase this DVD, others will look for their Bayadère elsewhere.

Zakharova and Bolle are so handsome that they can get all attentions by just standing on the stage, not mention that they are great dancers. Unfortunately the rest of the cast does not match. I could have given 5 stars, but it is so obvious that the supporting roles and corps de ballet are technically not so good. Generally speaking La Scala Ballet is not first class ballet company, especially many of the female corps de ballet don't seem to have good physical conditions to be ballet dancers. Anyway Zakharova and Bolle save the show. This comment also applys to La Scala's Giselle and Swan Lake.

Svetlana Zakharova, star of the Bolshoi ballet, has certainly become represented on video more than any other star of her generation. We now have records of her Swan Lake, Giselle, Scherherazade, and Pharoah's Daughter on dvd. In particular three dvd's of her dancing at the La Scala ballet have come out in the past two years. This is her third. She dances Natalia Makarova's production of La Bayadere with her frequent partner Roberto Bolle.

I've explained the Makarova production in some detail in my review of the Royal Ballet dvd starring Altynai Asylmuratova and Irek Mukhamedov. Long story short: Makarova recreated, on her own, the long-lost fourth act (the Kirov recreated the last act, based on original notes and orchestration, in their Bayadere reconstruction a couple years ago). She also streamlined many of the dances in the Solor/Gamzatti Betrothal Act, 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.

That being said, La Bayadere lives or dies on its Nikya, and also on the corps de ballet. The Entrance of the Shades is one of the most famous (but treachorous) scenes in classical ballet. One by one, a "shade" descends down a ramp, making a penchee arabesque, and for the next 10 minutes, all their movements must be in exact parallel to each other. When done correctly, the effect is hypnotizing. When it's a bad night, it's just painful to watch. For an example of how beautiful the scene can be, buy the Paris Opera Ballet's La Bayadere with Nureyev's wonderful production. The wonderfully rehearsed POB corps show how it's done. Makarova makes it easier on the corps -- unlike the POB, Kirov, or Bolshoi, only 24 shades are used. But the La Scala corps are only average, and so the Entrance of the Shades is not all that magical.

And how are the dancers? Svetlana Zakharova in recent years has taken a lot of heat for her drastic hyperextension -- "ear-whacking," as the critics call it. Her mile-long legs and tiny head as well as her highly arched feet make Sylvie Guillem look positively rusty and stubby by comparison. But that's not actually what bothers me about her. Zakharova is a cold, ineffective actress. Her Nikya is lacking in emotional resonance and her "acting" borders on hamminess. She seems to have two expressions -- a furrowed brow when she's upset, a vacant smile when she's happy. Her Nikya is lacking in vulnerability -- Zakharova seems more interested in showing off her legs than creating a living, breathing character. It's only in the Shades scene that Zakharova proves her worth as Nikya. Here, she can stop acting and simply show off her very impressive classical technique. Her emotional remoteness is more tolerable -- Nikya is a Shade, not a real person anymore. She handles the treacherous duets and solos with Solor (particularly the viel duet) with aplomb. For a dancer with such a highly arched instep, her control over her balances is impressive. Roberto Bolle as Solor is dark and handsome, but to be quite honest only an average dancer and lacking in the emotion department as well.

In short, as with all Zakharova videos, I was disappointed. Why can't a dancer of such beauty and technique win me over? And I dislike the Makarova production intensely. My two favorite videos remain the Royal Ballet video (using the Makarova production, but also starring the incandescent Altynai Asylmuratova), and the Paris Opera Ballet dvd, with Nureyev's wonderful production (an almost exact replica of the Kirov production choreographically, but with extremely lavish sets and costumes.) There is also an OOP and not on dvd video from the Kirov from the 1970s starring Gabriela Komleva, Tatiana Terekhova, and Sergei Berezhnoi.

Minkus - La Bayadere
agreed with some of other reviewers. I am not a criticizer'I only say what felt in layman's term.
It is true, it is a two main characters show, but they (Zakharova and Bolly)did a wonderful job, after a couple years they have been together, they really developed affectional chemistry' I can't get over it, so are my friends, but I stopped to lent it, it may never come back, because it definitely is a keeper. other than that I like the 3 acts version, it close to the original , many of the Russian version have been cut of to 2 acts, it makes whole act unbalanced, people puzzled in the end.
camera work/shot is very professional' many great close up to show 2 main stars exquisite expression.
looks like I am giving it 5 stars, but I did not, I rarely do that....

I bought this for my aunt in China. The delivery was fast, it was new and good quality when played. My aunt loved it, she said she watched it for days after she received it.

Debuted at La Bayadere Mariinsky Theater, now St. Petersburg, Russia in 1877. The period, the romance was at its height: strange and exotic places, fascinating dances, costumes and choreography loaded complex were the head of the gang. Triangles and betrayals were also part of the routine, and made the girls fall off in tears. Petipa, Nijinsky and deep knowledge of the taste of his audience, choreographed La Bayadere. The story takes place in distant India, where parade rajas and exotic characters. All according to the taste of the time, a recipe for success. The Scala di Milano presents a traditional version of this ballet. Costumes and scenery of good taste and classic style, without great novations. The corps de ballet dance with correction, the coreograia want to be as faithful as possible to set up by Petipa. A ballet that seems ballet, and not these modern inventions.
Svetlana Zakharova is a star of the ballet world, already knew their steps in Giselle, Swan Lake and The Daughter of Pharaoh. With his experience, dominates the performance for the quality of their dance. What is missing in this great dancer's scenic interpretation. As an actress, the girl is a cold polar. I have the impression that she wants to be bigger than the character, he shows great skill and technique of his legs and forget that it is the character. It's so sad, now happy too, there is complexity, doubt, passion?
Roberto Bolle is good-looking dancer, who never compromise their presentations. Versatile, have seen him do many roles. Emotional, know how to convey the emotions of the character, while that with good technique, as few can at present dance and various roles. Physical beauty and good performances fill theaters.
The orchestra of La Scala goes apace. The conductor David Coleman must have been dying to go home early. His times are super fast. Breathtaking! The direction of images, represented now by Tina Protasoni, loves to show the face of the dancers. St. closes fast, usually in the face, which add nothing to the work.
Bayadère My favorite is still the version of Paris, directed by Rudolf Nureyv and great dancers Isabelle Guerin, Laurent Hilaire and Elizabeth Platel.


La Bayadère, Scala di Milano, 2006

La Bayadère estreou no Teatro Marinsky, atual São Petesburgo, na Rússia, em 1877. No período, o romantismo estava no auge: lugares distantes e exóticos , danças fascinantes, figurinos carregados e coreografias complexas faziam a cabeça da galera. Triângulos amorosos e traições também eram parte da rotina, e faziam as moças cairem em lágrimas. Petipa, grande bailarino e profundo conhecedor do gosto de seu público, coreografa La Bayadére. A história se passa na distante Índia, onde desfilam rajás e personagens exóticos. Tudo de acordo com o gosto da época, receita certa para o sucesso. O Scala di Milano apresenta uma versão tradicional desse balé. Figurinos e cenários de bom gosto e no estilo clássico, sem grandes novações. O corpo de Baile dança com correção, a coreograia pretende ser a mais fiel possível à criada por Petipa. Um balé que parece balé, e não essas invencionices modernas.
Svetlana Zakharova é uma estrela do balé mundial, já conhecia seus passos em Giselle , Swan Lake e A Filha do Faraó. Com sua experiência, domina toda a performance pela qualidade de sua dança. O que falta a essa grande bailarina é interpretação cênica. Como atriz, a moça é de uma frieza polar. Tenho a impressão que ela quer ser maior que o personagem, quer mostrar a grande destreza e técnica de suas pernas e se esquece que ela é o personagem. Ora triste demais, ora alegre demais, onde está a complexidade, a dúvida, a paixão?
Roberto Bolle é bailarino boa pinta, que nunca compromete suas apresentações. Versátil, já o vi fazer inúmeros papéis. Emotivo, sabe transmitir as emoções do personagem, enquanto que, com técnica apurada, consegue como poucos na atualidade dançar bem diversos papéis. Beleza física e boas apresentações lotam teatros.
A orquestra do Scala anda em ritmo acelerado. O maestro David Coleman devia estar morrendo de vontade de ir para casa mais cedo. Seus tempos são super-rápidos. Haja fôlego! A direção de imagens, representada ora por Tina Protasoni, adora mostrar a cara dos bailarinos. São closes rápidos, geralmente no rosto, que não acrescentam nada à obra.
Minha Bayadère preferida continua sendo a versão de Paris, dirigida por Rudolf Nureyv e os grandes dançarinos Isabelle Guérin, Laurent Hilaire e Élizabeth Platel.

Ali Hassan Ayache

Svetlana is superb and the embodiment of perfection, technique, beauty and emotion. The production is good. Everything is good. It is worth all the costs plus more.

This is a living archive DVD. They are dancing when you watch them in .3. It is not a "taped live broadcast." It is happening while you are sitting in front of your tv screen.

Ballet concerts happen through stardoor/spacedoors. There is no interface in this concert. You're watching Anna Pavlova. So enjoy it. She's alive today. Any day that there is ballet, Anna Pavlova is in the ballet. It is also not "staged." Ballet has four walls. They are not looking at an audience. In La Bayadere, when you think that they are looking at the opera house, they are looking at the sea in .3. The audience is in a pit. When you hear applause, the audience creates a current at the bottom of the pit. The sound is the lapping waves. Svetlana and Roberto are bowing and curtsying to the sea and the stars. In ballet, there is no rapport with an audience because there is no audience.

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