It was sheer delight to see the American Ballet Theatre (ABT) performing La Bayadère at the Metropolitan Opera House this season with precision and uniformity, qualities that have been noticeably lacking from the American company.
That it has all come together this year seems to be due to the influence of John Tara, ABT's new associate director. Tara, who was previously associated with the New York City Ballet, brought his vast experience with the disciplined precision achieved by NYC Ballet.
In its new six years of artistic direction by Mikhail Baryshnikov, the company has disappointed many of its audiences with undue emphasis on modern dance works and with younger and younger dancers prematurely replacing the beloved veteran dancers who brought maturity and charisma to their roles.
The house for La Bayadère was full, as it has always been when a full-length ballet is well performed. Classical enthusiasts, however, have boycotted many mixed and modern dance repertory performances, leaving rows of empty seats.
La Bayadère itself is a spellbinder, a tale like that which may have been told and passed from generation to generation by the great storytellers of old. It has all the elements needed for a good plot; passions, eternal love, kismet, vengeance, justice, and mystery, not to mention glorious sets to bring forth the mood of Royal India.
Marius Petipa created La Bayadère for the Bolshoi Theatre in St. Petersburg to music written by Ludwig Minkus. It was first performed on February 4, 1877, at the Maryinski Theatre and then kept alive in the Russian repertory. The ballet, however, didn't reach the Western world until the Kirov toured with it in 1961.
Two years later, Rudolf Nureyev, who defected on the Kirov tour, produced a version of the ballet for London's Royal Ballet.
In July of 1974, after Natalia makarova joined American Ballet Theatre, she choreographed the ballet's eternity scene, known as the Kingdom of the Schades, for the American company.
On May 21, 1980, a full-length version was performed by the ABT at the Metropolitan Opera House. Perhaps based on the success of the one scene version, Makarova brought forth the entire production in the Petipa style. The music was specially arranged by John Lanchbery. The result is a truly magnificent ballet that has earned its place in the ABT repertory.
In the role of Nikiya, Cynthia Harvey now shows a polished maturity. She danced the lead role of the head temple dancer (La Bayadere) with elegance and poise. A vision of beauty when she entered veiled, Harvey conveyed innocence and incredible lightness with her dancing.
Her rival, the Radjah's daughter, Gamzatti, also was well danced by Susan Jaffee. Jaffee is extremely well suited to roles like this which call for a colder yet outstanding beauty. Till this performance, the only memorable portrayal I saw Jaffee give was as Myrtha, the Queen of the Wilis, in Giselle.
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