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 )

Family Performance: 8 years or older · Children's Introductory Event: 02:15 PM

Prices F , € 60 /53 /- /35 /25 /16 /9 /6

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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
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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.


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Act I

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.

Act II

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.

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Principal dancer

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.

Debut 2007/2008
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)

Debut 2008/2009
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)

Debut 2009/2010
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)

Debut 2010/2011
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)

Debut 2011/2012
Louise in The Nutcracker (J. Neumeier)
Bianca in The Taming of the Shrew (J. Cranko)
First Soloist in Scènes de ballet (F. Ashton)

Debut 2013/2014
Hermia in a Midsummer Night's Dream (J. Neumeier)
Choreartium (L. Massine)
Motherly Figure in Le Sacre du printemps (M. Wigman)

Debut 2014/2015
Marguerite in The Lady of the Camellias (J. Neumeier)
Paquita in Paquita (M. Petipa/A. Ratmansky)
Tatjana in Onegin (J. Cranko)

Debut 2015/16
In A Landscape (R. Siegal)
Soloist 2nd and 4th movement in Symphony in C (G. Balanchine)

Debut 2015/2016
For the Children of Yesterday, Today and Tomorrow. A piece by Pina Bausch (P. Bausch)

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