La Bayadere

It was Marius Petipa who created the ballet La Bayadère in 1877 with a staggering cast and fanciful scenic ideas to impress the St. Petersburg audience. To this day classical dance owes him a huge debt. The choreographer Alexei Ratmansky is interested in how Petipa’s works might have looked like. Based on Petipa’s notations that have survived almost intact and lend themselves to study and interpretation, his intentions are immediately comprehensible. In addition to the original ideas of movement and step sequences, this insightful connoisseur also reveals Petipa's equally brilliant scenic ideas and their effective connection to the music of Ludwig Minkus. In order to get as close as possible to the original, Alexei Ratmansky not only reconstructs La Bayadère, but also painstakingly examines Petipa's taste and instinct. This approach is taken up in the stage design and costumes being newly developed by Jérôme Kaplan.

The story, set in a fantastical India of lush splendour, revolves around Nikiya, one of the sacred temple dancers known as bayadères. She is loved by Solor, but he, however, is pledged to the Rajah’s daughter. Betrayed by intrigues and subjected to the strict laws of tradition, the love between Nikiya and Solor cannot end happily. Their unlucky relationship finds a celestial expression in one of the most beautiful white acts in the history of ballet: The Kingdom of Shades. In this ravishing scene the corps de ballet appear one by one to perform a hypnotic chain of ethereal movements, celebrating the clear precision of classical dancing and an overwhelming lyrical calm. This dream image is embedded in the beguiling world of Indian locations, colors and decorations, yet there is a hint of sandalwood in the air. The love drama develops with almost menacing sensuality.
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»Fascinating and impressive« (New York Times)

»If a brand-new dance management is setting the benchmark of quality with its very first world premiere, then Berlin can gear itself for some top-drawer classical fare.« (Süddeutsche Zeitung)

»This opulent production meets all the expectations of a ›grand ballet‹. At the same time, this back-to-the-roots version with its attention to detail is so unfamiliar to audiences in 2018 that it could well be termed brave.« (RBB Inforadio)

Choreography: Marius Petipa
Reconstruction and additional choreography: Alexei Ratmansky
Music: Ludwig Minkus
Stage and costumes: Jérôme Kaplan
Light Design: Linus Fellbom
Assistant to the Choreographer: Tatiana Ratmansky
Musical Direction: Victorien Vanoosten
Performed by: Staatskapelle Berlin
Nikiya: Elisa Carrillo Cabrera
Solor: Alejandro Virelles
Gamzatti: Aurora Dickie

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La Bayadère

Fairytale Oriental Ballet.

Experience a fantastic world with aesthetic choreography, dazzling costumes and breathtaking scenery and let yourself be carried away to faraway India.

Image 1
  • La Bayadère – Staatsballett Berlin
    Yan Revazov

    La Bayadère – Staatsballett Berlin

  • La Bayadère – Staatsballett Berlin
    Yan Revazov

    La Bayadère – Staatsballett Berlin

  • La Bayadère – Staatsballett Berlin
    Yan Revazov

    La Bayadère – Staatsballett Berlin

  • La Bayadère – Staatsballett Berlin
    Yan Revazov

    La Bayadère – Staatsballett Berlin

  • La Bayadère – Staatsballett Berlin
    Yan Revazov

    La Bayadère – Staatsballett Berlin

Classical dance with scenic logic

It was Marius Petipa who brought La Bayadère to the stage in St. Petersburg in 1877 with an expansive cast and imaginative scenic ideas. To this day, classical dance owes him an enormous legacy with far-reaching consequences. The choreographer Alexei Ratmansky is interested in what his works might actually have looked like. The intentions of Petipa are immediately comprehensible by means of almost completely handed down notations from Petipa's time that want to be studied and interpreted. In addition to the original movement ideas and step sequences, the sensitive connoisseur will also discover Petipa's congenial scenic logic and the incomparably effective connection to the music of Ludwig Minkus. In order to approach the original as closely as possible, Alexei Ratmansky not only reconstructs La Bayadère, but also dedicates himself to Petipa's taste and instinct in meticulous research. Jérôme Kaplan's stage design and costumes were also newly developed in this spirit.

Experience the exoticism of India with all your senses

An exotic dream world offered Marius Petipa the ideal setting. Against the backdrop of a fantastic India, in temples and palaces, in a sultry atmosphere in which one breathes exquisite sandalwood scents, the story of a forbidden love unfolds: Bayadère Nikia - an Indian temple dancer who has dedicated her life to the gods - loves the warrior Solor, who, however, is promised Gamsatti, the daughter of the mighty Rajah as her husband. Subject to the laws of tradition and exposed to intrigue, this union can only end unhappily. Only in the mysterious Kingdom of Shadows does the love of the two find its exaggerated expression. The eternal validity of the ethereal beauty of this ballet must not be missing in this version either. The dream image is embedded in the no less beguiling world of Indian settings, colours and decorations in which the love drama develops.
_____________________________________________________________

"Fascinating and Impressive" (New York Times)

"When the first premiere of a dance directorate sets the standard, Berlin can prepare itself for high-calibre classics." (Süddeutsche Zeitung)

"This opulent production fulfills all expectations of a Grand Ballet. At the same time, this original version is so unusual in detail for viewers in 2018 that the staging can be called courageous again." (RBB Inforadio)

Artists/Collaborators: Marius Petipa (Choreographie), Alexei Ratmansky (Rekonstruktion und ergänzende Choregraphie), Ludwig Minkus (Musik), Jérôme Kaplan (Bühne und Kostüme), Linus Fellbom (Licht), Tatiana Ratmansky (Choreographische Assistenz), Victorien Vanoosten (Musikalische Leitung), Staatskapelle Berlin (Es spielt)

Runtime: Thu, 19/09/2019 to Fri, 20/03/2020

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