Bolshoi Ballet (live broadcast), 20/01/2019
Minkus : La bayadère
Artists of the Bolshoi Ballet
Orchestra of the Bolshoi Theatre
Pavel Sorokin
Two months after the Royal Ballet, here came another Bayadère via the cinema, from the Bolshoi, and the contrast and compare exercise promised to be an interesting one. The main difference has not all that much to do with the dancing, or not exactly, it's the edition, for the Royal Ballet's version has four acts, while the Bolshoi's only has three, and ends with the famous Kingdom of the Shades scene. Much of the material of the fourth act - the wedding - is therefore incorporated into the second act as part of a big divertissement, including, of course, the Grand pas d'action for Solor and Gamzatti.
Considered dramatically, a four-act version is preferable. It makes more sense of the overall story, and allows for better character development. In the longer version, it's feasible to assume that Solor is completely taken by surprise by the events of the second act, and his interaction with Gamzatti in the last act is clearly deeply strained. In the shorter version, he comes across as a spineless jerk. Gamzatti also benefits from the expanded role, being able to show emotions beyond spiteful jealousy. However, either way, it's still quite the show.
More directly, the Bolshoi has three main advantages over the Royal Ballet's version; a brighter, more visible production, the size of the stage, and the number of dancers they're able to field, particularly for Act 3. There's a world of difference between seeing 24, and 36 girls on stage for the Shades, and the size of the stage means that the access ramp, while shorter in length, is four tiers high, so you have a really striking visual effect of around 16 dancers processing in a tight, but majestic zig-zag before they reach the level surface of the stage. It's extremely effective.
This particular production dates from 1991, Grigorovich not messing around too much with the piece, though there is some borrowing from the wartime Chabukiani version which did end up being the basis for most post-war productions. Leaving aside the Shades scene, the most effective work is in the betrothal/wedding celebrations, a succession of colourful numbers for corps and assorted secondary soloists, all superbly delivered, leading to the Grand Pas, leading to Nikiya's dazzling solo. It maybe dramatically a little thin, but as a demonstration of the art of classical ballet in all its splendour, it's almost as good as it comes,
Of the secondary roles, special mention to Daria Khokhlova's charming Dance with the Water-Jug, and the explosive Dance with Drum from Bruna Gaglianone, Georgy Gusev and Denis Savin and company. The company might want to consider revising the make-up and costumes for the six youngsters obliged to appear as picaninnies - I use the term advisedly, black-face and knotted wigs in full evidence - at which point they could probably get away with the choreography without ruffling feathers so badly, but otherwise the décor is suitably stupendous, and the costumes colourful without being garish. As mentioned above, it's all a lot more clearly lit than the London production, which makes seeing the actual dancing rather easier.
The Solor of Artemy Belyakov was a particularly handsome specimen. It was easy to see why the rival ladies were losing their heads over this eloquent, long-limbed, supple young man who positively flew over the stage, and made the lifts in the pas de deux look singularly effortless. Olga Marchenkova was a thoroughly entitled Gamzatti; having seen what can be done with the character from Natalia Osipova back in November, I couldn't help but feel a little short-changed by this one, but there wasn't anywhere much Marchenkova could take her, since she's out of the picture after the wedding. As for Smirnova, as the living Nikiya, she was ideal, a slender reed with a perfect, seemingly endless line. As the Shade Nikiya, she was living dangerously, extensions and arabesques pushed to the limit, though rarely showing any unsteadiness, a breathtaking speed on the piqué turns. It was as if she was trying to project the character physically when at this point she's a ghost, and somewhat distant emotionally. It was slightly nerve-racking to watch, but exciting, nevertheless.
There's more substance to the Royal Ballet's version of this ballet, but that doesn't prevent the Bolshoi's from being an excellent spectacle, beautifully danced all through.
[Next : 22nd January]
Artists of the Bolshoi Ballet
Orchestra of the Bolshoi Theatre
Pavel Sorokin
Two months after the Royal Ballet, here came another Bayadère via the cinema, from the Bolshoi, and the contrast and compare exercise promised to be an interesting one. The main difference has not all that much to do with the dancing, or not exactly, it's the edition, for the Royal Ballet's version has four acts, while the Bolshoi's only has three, and ends with the famous Kingdom of the Shades scene. Much of the material of the fourth act - the wedding - is therefore incorporated into the second act as part of a big divertissement, including, of course, the Grand pas d'action for Solor and Gamzatti.
Considered dramatically, a four-act version is preferable. It makes more sense of the overall story, and allows for better character development. In the longer version, it's feasible to assume that Solor is completely taken by surprise by the events of the second act, and his interaction with Gamzatti in the last act is clearly deeply strained. In the shorter version, he comes across as a spineless jerk. Gamzatti also benefits from the expanded role, being able to show emotions beyond spiteful jealousy. However, either way, it's still quite the show.
More directly, the Bolshoi has three main advantages over the Royal Ballet's version; a brighter, more visible production, the size of the stage, and the number of dancers they're able to field, particularly for Act 3. There's a world of difference between seeing 24, and 36 girls on stage for the Shades, and the size of the stage means that the access ramp, while shorter in length, is four tiers high, so you have a really striking visual effect of around 16 dancers processing in a tight, but majestic zig-zag before they reach the level surface of the stage. It's extremely effective.
This particular production dates from 1991, Grigorovich not messing around too much with the piece, though there is some borrowing from the wartime Chabukiani version which did end up being the basis for most post-war productions. Leaving aside the Shades scene, the most effective work is in the betrothal/wedding celebrations, a succession of colourful numbers for corps and assorted secondary soloists, all superbly delivered, leading to the Grand Pas, leading to Nikiya's dazzling solo. It maybe dramatically a little thin, but as a demonstration of the art of classical ballet in all its splendour, it's almost as good as it comes,
Of the secondary roles, special mention to Daria Khokhlova's charming Dance with the Water-Jug, and the explosive Dance with Drum from Bruna Gaglianone, Georgy Gusev and Denis Savin and company. The company might want to consider revising the make-up and costumes for the six youngsters obliged to appear as picaninnies - I use the term advisedly, black-face and knotted wigs in full evidence - at which point they could probably get away with the choreography without ruffling feathers so badly, but otherwise the décor is suitably stupendous, and the costumes colourful without being garish. As mentioned above, it's all a lot more clearly lit than the London production, which makes seeing the actual dancing rather easier.
The Solor of Artemy Belyakov was a particularly handsome specimen. It was easy to see why the rival ladies were losing their heads over this eloquent, long-limbed, supple young man who positively flew over the stage, and made the lifts in the pas de deux look singularly effortless. Olga Marchenkova was a thoroughly entitled Gamzatti; having seen what can be done with the character from Natalia Osipova back in November, I couldn't help but feel a little short-changed by this one, but there wasn't anywhere much Marchenkova could take her, since she's out of the picture after the wedding. As for Smirnova, as the living Nikiya, she was ideal, a slender reed with a perfect, seemingly endless line. As the Shade Nikiya, she was living dangerously, extensions and arabesques pushed to the limit, though rarely showing any unsteadiness, a breathtaking speed on the piqué turns. It was as if she was trying to project the character physically when at this point she's a ghost, and somewhat distant emotionally. It was slightly nerve-racking to watch, but exciting, nevertheless.
There's more substance to the Royal Ballet's version of this ballet, but that doesn't prevent the Bolshoi's from being an excellent spectacle, beautifully danced all through.
[Next : 22nd January]