Staatsballett Berlin: La Bayadère - Petipa and Ratmansky (2018)
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- čas přidán 10. 09. 2024
- Staatsballett Berlin in Alexei Ratmansky's historical production of Marius Petipa and Ludwig Minkus's "La Bayadère"
Music by Minkus
Choreography by Petipa, reconstructed from the notation scores of the Sergeyev Collection by Ratmansky
Additional choreography by Ratmansky
Recorded on the 5th November 2018 at the Staatsoper Unter den Linden, Berlin
Cast:
Nikiya - Polina Semionova
Solor - Alejandro Virelles
Gamzatti - Yolanda Correa
The Grand Brahmin - Vahé Martirosyan
Madhavya - Vladislav Marinov
The Rajah - Tommaso Renda
Aya the handmaid - Birgit Brux
The Three Solo Shades - Iana Balova, Aurora Dickie & Krasina Pavlova
Résumé of scenes and dances
1. Introduction - 0:05:51
Act 1, scene 1
2. Scène première et entrée de Solor - 0:07:31
3. Scène: Solor et Madhavya - 0:08:49
4. Scène: Entrée du Grand Brahmane - 0:10:39
5. Danse des bayadères - 0:12:20
6. Danse des fakirs - 0:14:58
7. Entrée de Nikiya - 0:15:34
8. Variation de Nikiya - 0:17:00
9. Scène: Nikiya et le Grand Brahmane - 0:18:57
10. Scène: Nikiya et Madhavya - 0:21:19
11. Scène: Le retour de Solor et Nikiya joue sa veena - 0:22:41
12: Scène romantique: Solor et Nikiya - 0:25:20
13. Scene finale: le retour des bayadères et guerrières. Le colère du Grand Brahmane - 0:28:45
Act 1, scene 2
14. Entrée du Rajah - 0:32:32
15. Danse D'Jampe - 0:34:24
16. Scène: Entrée de Gamzatti - 0:37:31
17. Scène dramatique: le Grand Brahmane et le Rajah - 0:41:19
18. Scène dramatique et finale: Nikiya et Gamzatti - 0:43:55
Act 2
19. Grande Marche - 0:49:02
20. Grand divertissements
20a. Danses des esclaves - 0:54:02
20b. Danse des éventails - 0:56:54
20c. Valse des perroquets - 0:58:32
20d. Pas de quatre: Variation I - 1:00:47
20e. Pas de quatre: Variation II - 1:02:16
20f. Danse manu - 1:03:36
20g. Danse hindou - 1:06:42
20h. Coda générale - 1:09:22
21. Entrée de Nikiya - 1:11:25
21a. Variation de Nikiya avec le veena - 1:11:43
21b. Variation de Nikiya avec le panier de fleurs - 1:15:21
22. Scène finale: la morte de Nikiya - 1:16:18
Act 3, scene 1
23. Scène: Le deuil de Solor - 1:27:21
24. Danse du le fakir et le charmeur de serpent - 1:28:30
25. Scène: entrée de Gamzatti et l'apparition de l'ombre de Nikiya - 1:31:16
26. Scène dansante: l'apparition de l'ombre de Nikiya - 1:35:07
Act 3, scene 2
27. Entrée des ombres - 1:38:13
28. Danse des ombres - 1:45:16
29. Entrée de Solor - 1:47:37
30. Entrée de Nikiya - 1:48:48
31. Grand Pas Classique
31a. Grand adage - 1:52:15
31b. Variation I - 1:55:35
31c. Variation II - 1:56:41
31d. Variation III - 1:58:08
31e. Variation de Nikiya - 1:59:37
31f. Grand coda - 2:01:39
Act 3, scene 3
32. Scène finale: le réveil de Solor - 2:05:37
Act 4
33. Marche - 2:10:58
34. Danse des fleurs de lotus - 2:12:38
35. Grand Pas d'action
35a. Entrée - 2:16:30
35b. Adagio - 2:20:35
35c. Variation de Solor (Variation pour Mons. Nikolai Legat) - 2:24:24
35d. Variation de Gamzatti (Variation pour Mlle. Julia Sedova) - 2:25:34
35e. Coda - 2:27:35
36. Scène finale: la destruction du palais - apothéose - 2:30:05
FINALLY WE SEE THE FULL VERSION OF THE BALLET AND NOT THE SOVIET CASTRATED VERSION, THANKS RATMANSKY
Fascinating. I loved hearing the changed music; and the story makes so much more sense with the final wedding scene. Loved the pas de deux being moved there. I did expect the Golden Idol solo to show up somewhere. I thought the extra pantomime was nice. I really liked the extended scene before Kingdom of Shades, and the transition after. Somehow, Gamzatti came across as more sympathetic in this version. The finale destruction was quite effective. Really beautiful sets, too. Thank you so much!
The Golden Idol is a Soviet addition--but one I expected them to include here as well.
Thank you for sharing! I saw this production in 2019 and really enjoyed it.
Thank you thank you!!! I’ve been wanting to see this forever but it’s difficult to find clips of it! Hope you’re doing well. ❤️
I have honestly dreamed of seeing this. Thank you!!
Ratmansky looks very sluggish between showy moments. I wonder if company class was adjusted to account for the different kind of technique purely classical ballet requires.
I’ve watched this reconstruction with great interest. The mime scenes are more present and elaborate than in current versions, making the story easier to follow, but also more static. Since Fokine introduced mime/story telling through dance, we have grown accustomed to emotions expressed through dance. To a modern audience this version could be perceived as boring quite easily. But that will do this project a great injustice. It is interesting to see a glimpse of what the public would have seen back in the day. However, although the choreography follows the dance notation (you can see Petipa’s style merging), the interpretation of the movement is still a modern one. Back in the day beauty of movement was perceived quite differently, not to mention that the dancers movements were restricted by the fact that they wore corsets. Nevertheless, this version is interesting and enthralling. And not surprisingly, a lot of the good stuff has been kept in todays performances in some way or another. It is only natural for a ballet to evolve, so it can entertain generations to come.
Thanks for sharing. I live in Mexico and it is very difficult to see these ballets.
今まで視たバヤデールの中で、最も美しいセットで目を奪われました。同時に、少し物足りなさを感じました。
Thank you very much Amy! I am a fan of Ratmansky, and love particularly his reconstructions of the Petipa classics. I've been longing to see this ballet for a long time, so here it is 🎉🎉🎉... pity that quality is not higher... Do you have more full ballets to share? this would be appreciated.
Grazie per questo upload! Apprezzo molto il lavoro di recupero storico che fa Ratmansky, è veramente interessante confrontare le versioni antiche e moderne dei grandi balletti di repertorio. La sua Giselle mi era piaciuta moltissimo. Questa Bayadere invece non mi ha entusiasmato più di tanto, per me la versione migliore che ho visto e che mi è rimasta nel cuore è quella di Nureyev con l’opera di Parigi degli anni novanta. Comunque è sempre interessante vedere diverse realizzazioni, grazie Amy❤
Quale lavoro di ricerca??? il Pas d'action lo ha inventato V Chabukiani negli anni 40 . La versione di Nureyev l'ha rimontato N Kurgapkina perché lui stava già molto male ed e identica alla versione del Kirov degli anni 80 per fortuna
@@sergemanguette9104Chabukiani did not invent the grand pas, it’s the original by Petipa and Minkus. Chabukiani and Ponomarev heavily revised Petipa’s original in 1941.
OMG thank you so much !
Hi there, thank you so much for this. Been dying to see this for ages. What other treasures do you have for us?
Allora preferisco la versione del kirov 1980
Beside some idleness: Semionova is excellent!💐 The entrance of the shadows looks very nice! In the last act the invisible Bajadere dances with a living guests of the wedding?
the dancers are good and deserves not this shit
@@pediatrapaolaI dont know what is the Sergeyev - collection? Ratmansky changed the story and Coreography.
Golden Idol - Soviet version. 1949
Curious attempt of making the reconstruction of the original La Bayadere. But I think Vikharev's historical version was better.
czcams.com/video/EusCZQKH6nw/video.html
It looks more like the nineteenth century ballet than Ratmasky’s production with it’s ugly modern costumes and set design.
awful production , not interesting
Only watched the 3 shades. The difficulty level is significantly reduced.
Eto nikamu nie nujno ! stari viechi chaine na polupalzo! pas d'action vapche cafe chantant kada pridumal genialnaia postanofka Chabukiani!
This is Petipa’s “La Bayadère”, it has nothing to do with Chabukiani, who revised Petipa’s ballet in 1941.
I'm kinda surprised that the 3rd shade variation is not as fast as I expected, unlike in Doug Fullington's reconstruction of the choreography.
Anyways, thank you so much for uploading this reconstruction, I've grown really fond of La Bayadere. ❤
Such a beautiful production marred by horrible costumes. It should be a crime to put dancers in costumes (i.e., long skirts) that cover the beautiful movements of their legs.
a big shit as any things where ratmansky puts his hands
I like the white act despite a lot of changes, except some strange steps for Polina near the end. I´m sure you know which one.
Excuse me, Enrico, not on my videos please. If you don’t like them, then just don’t say anything.
There is another Bajaderka on Ziskaridses channel choreo: Petipa/Vikharev Mariinsky 2003, my favorit!
also that revision is not my cup of tea @@susannevollmer2347
sorry amy l didn't say anything against the dancers that are good my critic is against the ugly revision of ratmansky so l apologize for the word shit but being this a pubblic channell about ballet l belive that an opinion about the work is not to be blamed l am not a fan of the revisions of ratmansky despite his pretense to show supposed original coreoghraphies that he probabily recives due a three legs table directly from petipa etc so if the word shit is not appropriate l made save the right to say that prsonally l don't like his revisions exactly as l always told that l didn't like the nureyev's revisions of classics that are imho a calamity .@@amygrowcott