Minkus: La Bayadère
Principals and Corps de Ballet of the Ballet of the Opéra National de Paris
Orchestra of the Opéra National de Paris
Fayçal Karoui
Of all the classical ballet companies in Western Europe, that of the Paris Opera is probably the closest, stylistically, to the great Russian companies. It's not surprising, they share the same roots and there has been a lot of cross-pollination, so to speak, over the years. In addition, La Bayadère is something of a signature piece for the Paris Opera, ever since Rudolf Nureyev, the ballet company's Artistic Director at the time, reconstructed a complete version for them shortly before his death in 1992.
At the very least, it's a sumptuous spectacle, with lavish designs and costumes by Ezio Frigerio and Franca Squarciapano. It's clearly more than that to this company, however, for there was a verve and an energy to the performance at all levels that was well-nigh irresistible, and not just from the stage. Minkus's score is perfectly adapted to its purpose, but there's little denying that it's second-rate music. However, the trick with that sort of thing is to take it seriously, and give it just the same sort of care and attention to detail as you would give one of the Tchaikovsky or Prokofiev ballet scores, and that was exactly what we got from the orchestra and conductor Fayçal Karoui (who is currently Music Director at the New York City Ballet), who delivered the music with warmth and feeling.
Nureyev's version omits the last act (or last scene, depending) of the ballet, leaving us with the redoubtable 'white' act of the Kingdom of the Shades, which for a long time was all the West knew of this ballet. I'm inclined to view that as a bit of a pity, because it does sort of leave the story hanging, but the practicalities of the decision were obvious. It also had the advantage, on this occasion, of demonstrating the best of Aurélie Dupont's Nikiya. Dupont is a strong dancer with a flawless line, superb balance, precise footwork and generally a rock-steady technique, which only faltered (fleetingly) once, at the start of her "Shades" Variation; in short, she's technically quite outstanding. However, I have to say that I find her inexpressive, and not able to project much beyond a sort of grave nobility, which is well suited to Nikiya's Shade, but not to the living character. Twice, something sparked; during the confrontation with Gamzatti, at the moment Nikiya attempts to stab her royal rival, and again when she's given the basket of flowers she believes to come from her lover Solor. For a moment, the character came alive, but very briefly. Otherwise she was detached and cool and quite uninvolving, so I ended up admiring the technique, but not sympathising much with the person she was supposed to represent.
Solor was danced by the company's newest male star, Josua Hoffalt, an attractive, ardent lover with an easy, springing elevation and plenty of light grace, as well as a strong partner who made the big lifts look effortless. There was a passage in the second act, during the engagement celebrations, when he took a little too long to remember that he's not supposed to be happy at the current events, but otherwise he was fairly convincing.
Two days ago, I would have written that he was their newest star, full stop, but we were privileged to witness the nomination (announced live, on-stage, as is the custom at the Paris Opera) of Ludmila Pagliero, replacing Dorothée Gilbert as Gamzatti at very short notice, and from the evidence of this performance, the promotion was well-deserved. Pagliero may not have the adamantine technique of Dupont, but she's capable of expressing emotions, and particularly impressive with Gamzatti's complex mix of pain, fear and hatred; the character's not a sympathetic one, but she does have feelings, and Pagliero made those clear.
There were other noticeable roles. Yann Saïz was a rather younger High Brahmin than I'm used to seeing. Normally he comes across as an old lecher, used to using his position to getting what he wants. This one projected someone once wholly devoted to his faith, whose passion for the temple dancer blindsides him completely, and leaves him floundering, a good, persuasive interpretation. Florimond Lorieux was not quite perfect enough as the Golden Idol, whose short solo is quite deliberately choreographed as the single most spectacular number for any of the male dancers, to the point of being a show-stealer. On the other hand, Charline Giezendanner was quite delightful in her Water-Carrier number, and very charmingly accompanied by two young ladies from the Ballet School; all three looked to be enjoying themselves thoroughly.
The male corps was impressively athletic, the female corps vivacious in the 'story' acts, and generally good in the Shades act, though I missed the second level of the ramp that I've seen in other productions (there's only one here, before they reach the stage proper), and the held arabesques weren't as steady as they could have been, but it was a minor point in an otherwise very enjoyable performance.
One final note; congratulations to the Paris Opera, and to Gaumont Cinemas, for the quality of the broadcast. I don't know how much was the actual transmission, and how much was the quality of the equipment in the cinema, but this was, by some way, the best and most convincing broadcast I have seen since companies like the Met and Paris Opera have begun screening live performances for cinema audiences. Seated where I was, and the camera angle being what it was, at the start of the Shades act, when the girls begin that long procession down the ramp, I could have sworn I was in the actual theatre. A standard that should be emulated by every other company attempting the same thing.
[Next: April 17th]
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