Love and ‘La Bayadere’

Young Chang

If the mark of a great piece of work -- as opposed to something merely

“good” -- is that it stands the test of time, then Rudolf Nureyev’s “La

Bayadere” earns that title.

The late dancer-choreographer first staged his version in 1992 in

Paris, basing it on a ballet created by Marius Petipa, which premiered in

Russia in 1877. Set in ancient India, the story of love, jealousy and

betrayal is one that spans not only time, but the globe over, says Agnes

Letestu, principal dancer with the Paris Opera Ballet.

“I think it could happen now,” added Letestu, who will dance the

principal role of Nikiya for this week’s performances of “La Bayadere” at

the Orange County Performing Arts Center. “I think it could be a story of

now.”

The story is a tragic tale of two lovers -- Solor, a warrior, and

Nikiya, a bayadere (Hindu dancing girl). The Grand Brahmin also loves

Nikiya and becomes jealous upon discovering she and Solor are together.

On top of everything, the Rajah offers Solor his daughter, Gamzatti, for

marriage. Solor accepts out of obligation.

Gamzatti has Nikiya poisoned by a snake. The Grand Brahmin offers to

save her life in exchange for his love. Nikiya declines and dies. Solor

grieves and meets her in his dreams.

Nureyev took some liberties with the piece, adding steps and technical

difficulties to create something in his style and to modernize a

classical story, Letestu said.

Judy Morr, executive vice president of the Center who oversees dance

programming, calls his touches “the Nureyev nuances” apparent in all of

his work.

Letestu maintains this is necessary.

“Because now people come to see a person, and they want to understand

what they see,” she said in a lispy, French accent. “If we used

old-fashioned, they don’t understand the story. We have to be modern and

very clear.”

The dancer said the same applies to the way they move.

A luxurious, extravagant ballet, “La Bayadere” is a grand production.

Set designs reminiscent of royal courts in India will transform

Segerstrom Hall into an exotic world this week.

The costumes -- far from the traditional tutus -- include gold-trimmed

saris; yellow, green and orange dresses and elaborately jeweled hair

decorations.

Ludwig Minkus composed the score, which the Pacific Symphony Orchestra

will perform this week.

“And it’s important to see Nureyev’s ‘Kingdom in the Shades,’ which is

the third act, which is this extraordinarily beautiful positioning [and]

choreographing [of] dancers that I think is incomparable,” Morr said.

“There are, of course, many other ‘Bayaderes’ that are beautiful, but I

think this one is extraordinary, and people won’t forget it.”

Nureyev danced the role of Petipa’s Solor in 1961. Many have restaged

the piece, including Natalia Makarova for the American Ballet Theatre and

Yuri Grigorovich for the Bolshoi, but Nureyev’s version stems from

Petipa’s notes.

The sets and costumes were created by Ezio Frigerio and Franca

Squarciapino. Some of the dresses are heavy, all are beautiful, and none

are hard to dance in after extensive rehearsals, Letestu reassured.

“The most hardest is to be very pure and very simple,” said the

dancer, who’s done the ballet twice before -- once in the role of

Gamzatti, once as Nikiya.

This week, the company performed the ballet in San Francisco.

“The public is very good, very warm,” Letestu said. “I feel in the

role, really inside, you know? When you do a role you have to do it

onstage. If you rehearse you can rehearse many months but it’s not the

same. You have to feel the profession. I really felt it yesterday.”

FYI

WHAT: “La Bayadere”

WHEN: 8 p.m. Tuesday, Wednesday, and May 11-12; 2 p.m. May 12-13.

WHERE: Orange County Performing Arts Center, 600 Town Center Drive,

Costa Mesa

COST: $20-$85

CALL: (714) 740-7878