Three major ballet companies in Japan (National Ballet of Japan, K-Ballet Tokyo and Tokyo Ballet) are coincidentally mounting La Bayadère, a Petipa classic, this year. National Ballet of Japan has revived its version choreographed by their former director, Asami Maki, which premiered in 2000. Maki’s version is based on the original Petipa choreography, and her aim was to refine this 19th century classic by not including some of the added choreography, but to focus on the sheer beauty of classical ballet.
La Bayadère is a perfect vehicle to showcase the versatility of the female dancers of the company. At the opening performance, Ayako Ono, as the temple dancer Nikiya, danced with polished intensity and outstanding musicality, which was most clear in her lyrical Kingdom of the Shades pas de deux. Her control during the turns while holding a veil was precise and her ethereal carriage of the arms and airy leaps indicated that she belonged to the spirit world. Before her death, Nikiya was secretly in love with the warrior Solor but he betrays her, becoming betrothed to Gamzatti, the daughter of Rajah. The two women confront each other in a fierce quarrel over Solor, but Nikiya’s love for Solor meets with a tragic end. She is bitten by a poisonous snake which kills her. The desperation that led to her death was delicately and vividly expressed by Ono’s excellent dramatic skills.
This performance marked the role debut of Miho Naotsuka as Gamzatti and her performance was phenomenal. Russian-trained Naotsuka is a strong technician with beautifully turned-out feet, huge leaps, and powerful Italian fouettés. Her glamorous entrance to the stage showed the power she wields as a princess, even in the way she walked. She still managed to imply fear and vulnerability, disguised under her strong gaze when she confronted the determined Nikiya.
Solor, the male lead was performed by Yudai Fukuoka. His performance was as strong as ever: soaring leaps, brilliant partnering skills and in the final coda where he executes multiple double assemblés, his virtuosity was a pleasure to watch. One of the characteristics of this production is the final scene, when the temple collapses and everyone dies, except the wounded Solor who chases Nikiya ascending to heaven. Solor tries to catch Nikiya’s veil, but he has not been forgiven, and falls down on the slope and dies while Nikiya leaves him and ascends.
The highlight of the performance was the corps de ballet of 32 dancers in the breathtaking Kingdom of the Shades. Their serenity, their uniformity, while descending the 3-tiered slopes in a series of arabesques, left the audience mesmerised. The three Shades’ solos at this performance displayed fine technique, especially Haruka Soutome in the first solo, who was outstanding. The three solo ballerinas also contributed to the glamour of the betrothal ceremony in the second act. The Bronze Idol, danced by principal Kosuke Okumura, not only astonished us with his crisp turns and airy jumps, but his celestial elegance embodied the spirit of the role and left a lasting impression.
This production of La Bayadère is delicately and lushly designed by Alistair Livingstone. Maki mentioned in previous programme notes that her father had lived and studied in India and it was her wish to create her own vision of the country in this ballet. She and the designer had closely examined Indian art, philosophy and literature so the production is quite true to the Indian culture, with beautiful shades of blue and orange. This production of La Bayadère is a jewel in the company’s repertoire. The only reservation I have, is that there are very few scenes featuring the male dancers in the company. Ukrainian maestro Alexei Baklan led the Tokyo Philharmonic Orchestra with passion, playing the Minkus score arranged by John Lanchbery. It was a treat for both eyes and ears.
