La Bayadere

Last week, the Philippine Ballet Theater, the country’s oldest purveyor of classical ballet, mounted the three-act La Bayadere at the CCP main theater. Presumably, it was the first time the ballet in its entirety was shown.

The exquisitely lyrical score of Minkus provided Petipa with ample opportunity for rich, beautiful, elegant choreography which the Russian Anatoly Panasyukov, currently PBT’s ballet master, admirably restaged, with Gener Caringal giving meticulous attention to details as artistic director.

An exotic ambiance was created by the dancing, the costumes and the sets which, except for a rather over-sized moon in Act I that appeared in the nether world, were stunning. The sacred forest, the palace room with its towering, ornate trappings befitting royalty, the eerie, dreamlike Kingdom of the Shades and the awesome, terrifying fire destroying the temple – all these heightened and intensified the drama as also the over-all grandeur and spectacle of the production.

Like many classic ballets, the plot of La Bayadere is love betrayed. The warrior Solor shifts his affections from the bayadere Nikiya to Gamzatti, the Rajah’s ravishing daughter. Nikiya is poisoned and dies. Remaining loyal to Nikiya, however, Solor refuses to marry Gamzatti. The gods, in their fury, set fire to the temple while Nikiya and Solor are reunited in spirit.

The soloists – ballerinas and danseurs – and corps de ballet have reached a remarkable level of polish and proficiency. Panasyukov has achieved a marvelous degree of disciplining and whipping them into line and shape.

Highlight of the corps de ballet’s performance was in the Kingdom of the Shades where some 22 ballerinas, descending from a ram and going across the stage in repeated arabesques penchées, struck a compelling sight. The dancing would have been more impressive had it been flawlessly precise and in perfect unison, but even then the long line of ballerinas winding down slowly in white tutus made a strong impact.

The solo, pas de deux, pas de trois and pas de quatre numbers were uniformly well-crafted and smoothly executed; the danseurs displayed solid technique while also providing the ballerinas with dependable partnering. Miming was consistently clear and eloquent.

Faye Abigail Tan was a delightful Nikiya, graceful, swift and light on her toes. The lithe, long-limbed Aileen Gallinera as Gamzatti, looking every inch like an exotic princess, demonstrated fluid, sinuous grace. Both she and Faye had admirably high extensions.

Lucas Jacinto, a steady partner to both principal ballerinas, showed technical discipline. Jared Jehowl Tan was brilliant as The Golden Idol, dazzling the audience with rapid yet controlled leaps, jumps and turns. Panasyukov stood out as the Rajah for his imperious and grand manner. Joel Matias distinguished himself as the High Brahmin; Julius Salazar, as Solor’s friend.

Credit for the set design goes to Ricardo Cruz; for the light design, to Dennis Marasigan. The light breaking above the clouds was a sight to behold.