I can't fathom why the Kirov Ballet of the Mariinsky Theatre in St. Petersburg chose to open its season at the Metropolitan Opera House with a La Bayadère that took close to four hours in running time. And that is no exaggeration. By my trusty watch, I entered at 2 pm for the July 10 matinee and exited at 5:45. Did no one realize that American "zitz fleisch" (sitting meat), where ballet is concerned, is usually limited to two-and-a-half hours?
Petipa initially created the ballet in 1877 and it was produced at the Maryinsky Theatre (now called Mariinsky) in St. Petersburg. His later version, which he recreated in 1900, was the one seen here. This was eventually recorded by Nikolai Sergeyev, utilizing the Stepanov dance notation.
Most ballet devotees are familiar with the shortened version that Natalia Makarova created for American Ballet Theatre in 1974. Although she rearranged the acts, she managed to include the plot's basics, even as she excluded the elaborate pageantry that makes up a large part of the original creation.
We were advised, "As this is a reconstruction of the 1900 Petipa production of La Bayadère, the variation of the Golden Idol, which was added in 1948, is not being performed." Actually, this was a showstopper in the Makarova re-creation when Johan Renvall performed it to tremendous acclaim.
However, despite the length of the 1900 version and some dragged out spots, there was a plenitude of great dancing. Could anyone expect less from a company that produced such legendary luminaries and innovators as Pavlova, Karsavina, Fokine, Nijinsky and his sister, Bronislava Nijinska, and, closer to our own times, the dancers Ulanova, Nureyev, and Baryshnikov?
To this day, the Kirov possesses bravura dancers aplenty and they came across the footlights with dazzling perfection. Not only were the principals and soloists of the current company in splendid form, the corps de ballet was exemplary, particularly in what has become one of the most eagerly awaited scenes, that of "The Kingdom of the Shades." Throughout all those penché arabesques, alternating with back bends, the group maintained flawless balance. As anyone can tell you, this remains one of the most difficult scenes ever staged for a ballet corps.
While ballet devotees are familiar with the overall plot, we will attempt to chew down the four-act synopsis for those who aren't. The nobleman, Solor, is in love with the Bayadère (temple dancer), Nikiya. She is desired by the High Brahmin, whose blandishments she rejects. When he becomes aware of Solor and Nikiya meeting in secret, he swears revenge.
Dugmanta, the Rajah, had chosen Solor as a bridegroom for his daughter, Gamzatti, and they were betrothed. Solor, who had sworn eternal love to Nikiya, attempts to refuse Gamzatti. But the Rajah insists on their marriage taking place. Enter the High Brahmin, who tells the Rajah of Solor's love for the Bayadère.
Contrary to the holy man's wishes for the death of Solor, the Rajah plots to kill Nikiya instead. Invited to dance at the ceremony before the wedding, Nikiya is offered a basket of flowers containing a poisonous snake, which bites her, causing her death.
Exhausted and tormented by his conscience, Solor falls into a deep sleep and dreams of Nikiya in the Kingdom of the Shades. He is awakened and escorted to the wedding ceremony with Gamzatti. Amid the crowds, Nikiya's spirit follows Solor relentlessly, reminding him of his promise.
As the wedding ceremony begins, earthquake and lightning destroy the palace, burying the High Brahmin, the Rajah, Gamzatti, and Solor under the ruins. In the apotheosis, Nikiya is seen hovering over the palace in triumph. She gazes at Solor with undying love and, as the curtain falls, seems to have revived him.
In between all the elaborate ceremonies and pageantry, proceedings are drawn out considerably. While all of this, plus the elaborate settings and costumes, was extensive and colorful, somehow a bit of tedium couldn't help but set in.
Although many welcomed the unaccustomed length, quite a few folk were seen to leave before the ballet's conclusion. However, in all fairness, it must be stated that quite a number found the 1900 work worthy of loud and lusty cheers. And why not? Those in principal roles proved illuminating in all respects. That goes for the Nikiya of Daria Pavlenko, Viacheslav Samodurov's Solor, and Ekaterina Osmolkina's Gamzatti.
While space limitations preclude our listing all the excellent soloists, we feel compelled to mention Tatiana Tkachenko, Yana Serebriakova, Xenia Ostreikovskaya, and Yana Selina, whose performances incised the Act IV pas d'action.
Eliot Feld's Ballet Tech will have its annual summer preview season at the Joyce Theater with three different programs of new and recent works. A revival of Feld's "Endsong" will feature company principal Patricia Tuthill, and Patrick Lavoie, a guest from the National Ballet of Canada. Previewing is the new "Pianola: Indigo," a companion work to the recent "Pianola" and "Raven." Soloist Nickemil Concepcion will be seen in "Behold the Man," with music by Brian Eno and David Lang. "Pacific Dances," performed to the sounds of Hawaiian slack key guitar, and "Simon Sez" will also be seen, with both Ballet Tech and Kids Dance performing the latter.
Venue: The Joyce Theater, 175 Eighth Ave., NYC. Performances: July 29-Aug. 10, Mon.-Sat. at 8 pm. Tickets: $38, available at the box office or by calling JoyceCharge at (212) 242-0800.
'Marking Dance' Showcases
"Marking Dance: Documents from Judson Memorial Church, 1958-1968," an exhibition showcasing the Judson Dance Theatre, is currently on view at New York University's Fales Collection, located on the third floor of the NYU Bobst Library, 70 Washington Square South, NYC. The exhibition will run through Oct. 18 and is free and open to the public. Gallery hours are Monday through Thursday from 10 am to 5 pm, Friday by appointment only. For further information, the public may call (212) 998-2596.