Ballet in two acts and six scenes

Choreography Marius Petipa / Patrice Bart · Composer Ludwig Minkus

Saturday, 07. May 2016
07:30 pm – 10:05 pm

Duration est. 2 hours 35 minutes · 1. Akt (est. 07:30 pm - 08:40 pm ) · Interval (est. 08:40 pm - 09:10 pm ) · 2. Akt (est. 09:10 pm - 10:05 pm )

Prices G , € - /63 /53 /- /- /- /10 /7

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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

Ekaterina Petina
Daria Sukhorukova
Maxim Chashchegorov
Norbert Graf
Ilya Shcherbakov
Elaine Underwood
1. Variation
Alisa Scetinina
2. Variation
Mai Kono
3. Variation
Luiza Bernardes Bertho
Das Goldene Idol
Jonah Cook
  • 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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Guest Artist

Ekaterina Petina was born in Sevastopol. Ten years old she started training at the Waganova Academy in St. Petersburg. In 2001 she assumed her first engagement at the Mariinsky Theatre St. Petersburg where she among others danced solo parts. She also participated in various Mariinsky Theatre tours across Japan, England, China, Canada and Mexico. In 2009/2010 she became a Soloist with the Bavarian State Ballet and from the beginning of the season 2011/2012 she performed as First Solist. Ekaterina danced in the rank of Principal Dancer from the season 2014/2015 until the season 2015/2016. In the season 2016/2017 she returned as a guest artist. 

Debuts with the Bayerisches Staatsballett 
Olympia in The Lady of the Camellias (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Girlfriend in Raymonda (R. Barra)
Odalisk in Le Corsaire (M. Petipa/I. Liška)
Pas de deux 2 in Artifact (W. Forsythe)
Rival in Série Noire - A choreographic murder mystery (T. Kohler)
Woman 3 in My Ravel: Whichever Way he looks... (J. Mannes), creation
Nymph in My Ravel: Daphnis and Chloé (T. Kohler), creation
Lilac Fairy, Violente fairy, Duchess and Rubin in Sleeping Beauty (M. Petipa/I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Bianca in The Taming of the Shrew (J. Cranko)
Princess Odette in Illusions - like Swan Lake (J. Neumeier)
Dulcinea in Don Quijote (R. Barra after M. Petipa/A. Gorski, tradition)
Mercedes in Don Quijote (R. Barra after M. Petipa/A. Gorski, tradition)
Katharina in The Taming of the Shrew (J. Cranko)
Princess Natalia in Illusions - like Swan Lake (J. Neumeier)
Louise in The Nutcracker (J. Neumeier)
Broken Fall (R. Maliphant)
1st Pas de trois in Goldberg-Variations (J. Robbins)
1st Pas de deux in Goldberg-Variations (J. Robbins)
Odette/Odile in Swan Lake (R. Barra)
Nikiya in La Bayadère (M.Petipa/P. Bart)
2nd Pas de deux in Goldberg-Variations (J. Robbins)
The Woman in Song of the Earth (K. MacMillan)
6th Variation in Birthday Offering (F. Ashton)
Hippolyta/Titania in A Midsummer Night's Dream (J. Neumeier)
Paquita in Paquita (M. Petipa/A. Ratmansky)
Marguerite Gautier in The Lady of the Camellias (J. Neumeier)
Soloist 1st movement in Symphony in C (G. Balanchine)
2nd and 3rd Pas de deux in In the Night (J. Robbins)

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