2023-05-27 07:27:35
Review – “La Bayadere” in Munich
An indispensable classic
May 27, 2023 by Rita Argauer
A journey through time at the Bavarian State Ballet: “La Bayadère” is a classic in ballet history, especially in the more than 100-year-old choreography by Marius Petipa. A critical reconstruction of the piece succeeds in the Nationaltheater – and one that shows how good the new ballet director Laurent Hilaire is for the ensemble.
Image source: Wilfried Hösl
Classical ballets are generally danced the way they were danced in the 19th century. And also so equipped. And that is – in some cases – not entirely unproblematic. Clichés and references from the European colonial era are often found in the colorful parades of these ballets. This sparks debates. For example, when the “Nutcracker” was removed from the pre-Christmas schedule in Berlin for this reason. So it’s fair to wonder if the Bavarian State Opera had a good idea when they decided to put Petipa’s classic “La Bayadère” back on the schedule.
Despite colonial clichés: a great ballet evening succeeds in Munich
Because “La Bayadère” is full of India clichés that come from the European colonial era: Orientalism, bloomers, temple dancers. But that is also “La Bayadère”: wealth, macho men, social inequality. After all, the love between the warrior Solor and the Bayadère Nikija cannot be fulfilled due to social hierarchies. And yes, of course, “La Bayadére” is also a great love story. The Bavarian State Ballet has revived the romantic classic in Maurice Bart’s 1998 adaptation. Of course, not without a doubt in advance. After all, this work was more likely to be removed from the schedules than brought out of the scenery storage.
The result was primarily a big ballet evening. The company is currently experiencing a heyday. The new ballet director Laurent Hilaire is clearly doing the ensemble good. The dancers were technically brilliant even before. But what is new is: the narrative will, which is now linked to the qualities of movement, the community spirit of the group scenes, the euphoria of working together that can be felt across the ramp. And: “La Bayadère”, as one of the great classical narrative ballets, is a showpiece to show this new quality.
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“How’s the ballet doing, Herr Hilarie?” – Read here what Laurent Hilaire is up to with his ensemble in the 2023/24 season.
The supporting program places the ballet in its historical context
Madison Young in the title role and Maria Baranova as Gamazatti create an antagonistic couple who not only face each other in terms of dance, but also as people. Young dances the Bayadère Nikija with melancholy coolness. A bit otherworldly even before her death, but strong-willed. Baranova, on the other hand, gives her arabesques a sharpness, an arrogant self-confidence that makes her higher origins, her socially better demands on life, noticeable. And Osiel Gouneo as Solor actually stands a bit between them. Not just because of the external tragic circumstances. Inwardly, too, he can definitely gain something from Gamazatti in the joint pas de deux.
So much for the basic constellation. There are also many symbols of India, just as they were imagined in the 19th century. The Bavarian State Ballet accompanied the revival of this piece with a supporting program in order to soften it somewhat. For example, a classical Indian dancer was invited, who exchanged ideas with the dancers in the company. The program booklet was reissued and supplemented with texts on orientalism in the 19th century and on the history of this ballet. The revival of the Bayadère in Munich is a kind of critical edition of the classic. A kind of constructive conservatism. Because despite all the criticism: you don’t want to do without this piece here.
The audience is enthusiastic
Neither did the audience on the evening of the premiere. Almost every solo, almost every section gets heavy interim applause. Right from the start. The dancers are pushed. Osiel Gouneo jumps twisted arabesques in the circus ring, Madison Young turns the obligatory fouéttes flawlessly. António Casalinho gives the Golden Idol an almost surrealistic radiance. The shadow act is pure ballet magic, the corps de ballet scenes are cast in one piece. Because yes, that’s what “La Bayadère” is too: Classical ballet in top technical form, which is also shown in exactly the same way. And in all this artistry there is also a little smile: The parade at the end of the first act – colourful, exuberant and with a drum dance: strong men, high jumps, and then suddenly a woman in between. Belongs to the piece. She dances the same jumps. It is not on display, does not embody the opposite side, it is simply there. In spite of all man-woman clichés, all East-West clichés, there is this small break here. But it creates a great connection to today’s thinking and feeling.
Broadcast: “Piazza” on May 27 from 8:05 a.m. on BR-KLASSIK
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