A most enjoyable evening for the premiere of Dutch National Ballet’s reworking of Ludwig Minkus’ La Bayadère. Not a work I knew previously and not a work you first think of if music is your passion. But DNB’s reverence to the classics, and in this case Marius Petipa’s original 1877 choreography, which I am assured is kept largely intact, reveals a compelling depth in talent.
Ted Brandsen, Rachel Beaujean and the team’s reworked version successfully merges the old with the new, bringing La Bayadère’s tragic love story, now set in an updated vision of colonial India, to a highly appreciative Amsterdam audience. This shortened version – just two acts instead of the original four – uses colour, both in the set and opulent costumes, to propel the storytelling. The constant parade of turquoise trousers, fuchsia pink tights, ochre and regal grey tunics and varying shades of blue, coupled with burnt orange golden arches and crimson red is a visual feast.
After Act I’s riot of colour and the tragic death of Anna Tsygankova’s Nikiya – poisoned by Riho Sakamoto’s jealous Alida – Act II’s retreat to a world of virginal white was both the perfect antidote and the perfect metaphor for the characters’ dream-like state. As 32 female dancers all dressed in white processed onto the stage, their striking display of the fragility of temporal passions prompted a chilling yet quiet calm.
The music
La Bayadère is seeing something of a revival this year. Indeed conductor Koen Kessels will also lead a production with Paris Ballet next month using Nureyev’s choreography. And while the Dutch Ballet Orchestra’s delivery of Minkus’ score could perhaps have been a little tighter on the night, especially at the beginning and end of numbers, those valiant second violins, whose off-beat accompaniment brought many a waltz alive, deserve special praise. Bravo also to the percussion and onstage djembe player who at one point hinted an almost Tchaikovsky-like trepak.
The whole cast were fabulous, but the biggest cheer of the evening went to Giorgi Potskhishvili for leaps so high, he seemed suspended in space. Equally astounding is how Anna Tsygankova (46) continues to create astonishing beauty at a time when most of us may be starting to feel the odd ache and pain.
Thoughts for the future
Interesting chats before the performance centred around funding and support for young Dutch dancers, and the question of nurturing sufficient home-grown talent who are sufficiently skilled to compete on a world stage. A similarly pertinent question for the Dutch classical music scene.
What additional support is required to ensure that Dutch dancers are a staple not just on the Amsterdam stage, but are ambassadors for their nation, exporting their craft all around the world?
Taking a bow
Clare attended the premiere of La Bayadère on Thursday 26th March at Dutch National Opera and Ballet
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