Ballet in two acts and six scenes
Choreography Marius Petipa / Patrice Bart · Composer Ludwig Minkus
Thursday, 05. May 2016
03:00 pm – 05:35 pm
Duration est. 2 hours 35 minutes · 1. Akt (est. 03:00 pm - 04:10 pm ) · Interval (est. 04:10 pm - 04:40 pm ) · 2. Akt (est. 04:40 pm - 05:35 pm )
Prices F , € 60 /53 /- /35 /25 /16 /9 /6Download Cast List (PDF) To List of Performances
- Musikalische Leitung
- Michael Schmidtsdorff
- Marius Petipa
- Patrice Bart
- Bühne und Kostüme
- Tomio Mohri
- Maurizio Montobbio
- Musikalische Einrichtung
- Maria Babanina
- Wolfgang Oberender
- Daria Sukhorukova
- Ekaterina Petina
- Maxim Chashchegorov
- Norbert Graf
- Ilya Shcherbakov
- Elaine Underwood
- 1. Variation
- Alisa Scetinina
- 2. Variation
- Mai Kono
- 3. Variation
- Luiza Bernardes Bertho
- Das Goldene Idol
- Adam Zvonař
- Soloists and corps de ballet of the Bavarian State Ballet
- Bayerisches Staatsorchester
La Bayadère was the first work in a series of successful reconstructions of 19th century repertory which has been completed with Paquita in December 2014.
Created in 1877, La Bayadère is a mixture of an exotic tale, a thriller and a celebration of virtuosity. At its center are the two lovers: the priestess, the Bayadère, Nikija and the soldier Solor. The latter however is promised in marriage to Gamzatti, the daughter of the Radja, whilst the Great Brahman has fallen in love with his priestess Nikija. Nikija falls victim to murder by her rival and Solor dreams himself into the 'Kingdom of Shades' in order to be reunited with his love. What follows is one of the most famous, magnificent white acts in ballet history.
Scene One: In front of the temple
The Great Brahmin, his priests and the temple dancers, called Bayadères, assemble for the festivities of the Holy Fire. The last to appear is Nikiya, the noblest and holiest of the Bayadères. The Great Brahmin vows Love to her, but she refuses him. Solor, a rich and noble warrior of royal caste, is on his way to a hunt. While he sends on his friends he secretly awaits Nikiya. Solor and Nikiya confess their love. The Bayadère demands of him his vow of fidelity. The Great Brahmin who has witnessed the meeting of the lovers desperately swears revenge.
Scene Two: In the palace of the Rajah
The Rajah announces to his daughter Gamzatti that her wedding with Solor, to whom she has been betrothed since childhood, will soon take place. She is enchanted by Solor, but does not understand why he behave in such a restrained way towards her. After a few dancers presented some entertainment the Great Brahmin appears to confess a secret to the Rajah. He tells him of the forbidden love between Nikiya and Solor, hoping that the Rajah might dispose of Solor. Instead, to the dismay of the Great Brahmin, the Rajah in blind fury orders Nikiya`s death. Gamzatti has overheard the conversation and sends her servant Aiya to call the Bayadère. She asks Nikiya to abandon Solor, offers her jewels as a reward. Nikiya refuses and in her despair attacks Gamzatti with a dagger. Aiya stops her, she can escape, Gamzatti swears her death.
Scene Three: In the garden of the palace
The engagement festivities of Solor and Ganzatti. A grand procession opens the festivities during which Solor presents a tiger as bag. The Great Brahmin brings Nikiya as a temple dancer in honour of the ceremony. Nikiya is given a basket with flowers by Aiya, which she takes to be a secret sign of love by Solor. However, it is by the rajah and his daughter who had a snake hidden in it. When Nikiya continues to dance, embracing the small basket, the viper attacks her with a deadly bite. The Great Brahmin offers Nikiya an antidote if only she would accept his love. She refuses it and dies, urging Solor never to forget his vow of love.
Scene Four: The Kingdom of Shades
Solar, haunted by reminiscences of Nikiya, seeks oblivion in opium. He finds himself in the Kingdom of Shades, united with Nikiya who introduces him to the world of shades and reminds him of his vow of eternal fidelity. On awakening he sees his friends and the Rajah who wants to accompany him to his wedding.
Scene Five: In the temple
A ritual procession unites Gamzatti and Solor for their wedding ceremony. The dance of the lotus flowers with Solor`s friends and the dance of the Golden Idol are symbols of the good wishes for beauty and riches to the couple. In the ensuing dance of Solor with Gamzatti Nikiya shade takes part, visible only for Solor. Solor decides in favour of life, of Gamzatti. In the moment of the wedding oath to which the couple is summoned by the Great Brahmin there happens a earthquake. The temple falls in ruins and everybody is buried under them.
Scene Six: Apotheosis
In the world hereafter we see Solor, Nikiya and Gamzatti united in the picture of eternal light.
The Bavarian State Ballet has worked on this version, together with the French choreographer Patrice Bart and the Japanese stage- and costume designer Tomio Mohri. The heart of the piece, the 'Kingdom of Shades' act, the betrothal celebration scene with it ceremonious line filing dance and some elaborate pantomime scenes can be seen in its original version.
The final act, lost in Russia since the beginning of the century, is part a new creation, part reconstruction.
Daria Sukhorukova, born in St. Petersburg, completed her dance education at the famous Waganowa academy in her home town and directly received a contract at the Mariinsky Theatre in 2001.
During the six years of her carrier in Russia she got the opportunity to enlarge her repertoire with important dance parts such as the female title role of Romeo and Juliet and several soli in Sleeping Beauty, Les Sylphides (M. Fokine), Jewels (G. Balanchine) or La Sylphide (F. Taglioni).
In the season 2007/2008, she joined the Bavarian State Ballet as a First Soloist and became a Principal Dancer in the season 2010/2011. With the end of the season 2015/2016, Daria Sukhorukova has left the Bayerisches Staatsballett.
Medora and Odaliske in Le Corsaire (M. Petipa/I. Liška)
Odette/Odile in Swan Lake (R. Barra)
Pas de deux in the second movement in Brahms-Schönberg-Quartett
Ariel in The Tempest (J. Mannes)
Nikiya in La Bayadère (M. Petipa/P. Bart)
Sister in A Cinderella Story (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Adagio Hammerklavier (H. van Manen)
Manon Lescaut in The Lady of the Camellias (J. Neumeier)
Leading Nymph in L'Après-midi d'un faune (V. Nijinsky)
Raymonda in Raymonda (R. Barra)
Woman in blue dress in Les Biches (B. Nijinska)
Zobéide in Shéhérazade (M. Fokine)
Sylvia Pas de deux (G. Balanchine)
Woman 1 in My Ravel: Whichever Way he Looks... (J. Mannes), creation
Topas in Sleeping Beauty (M. Petipa/I. Liška)
Princess Odette in Illusions - like Swan Lake (J. Neumeier)
Princess Natalia in Illusions - like Swan Lake (J. Neumeier)
Princess Aurora in Sleeping Beauty (M. Petipa/I. Liška)
First Dream Variation in Don Quijote (R. Barra after M. Petipa/A. Gorski, tradition)
Louise in The Nutcracker (J. Neumeier)
Bianca in The Taming of the Shrew (J. Cranko)
First Soloist in Scènes de ballet (F. Ashton)
Hermia in a Midsummer Night's Dream (J. Neumeier)
Choreartium (L. Massine)
Motherly Figure in Le Sacre du printemps (M. Wigman)
Marguerite in The Lady of the Camellias (J. Neumeier)
Paquita in Paquita (M. Petipa/A. Ratmansky)
Tatjana in Onegin (J. Cranko)
In A Landscape (R. Siegal)
Soloist 2nd and 4th movement in Symphony in C (G. Balanchine)
For the Children of Yesterday, Today and Tomorrow. A piece by Pina Bausch (P. Bausch)