Two takes on 'La Bayadere' set to dazzle this fall

A scene from Universal Ballet's production of "La Bayadere" (Universal Ballet)

This fall, Seoul will see a captivating artistic duel, as two leading ballet companies stage their productions of “La Bayadere,” a timeless ballet masterpiece.

The Universal Ballet will perform the piece from Sept. 27 to 29, while the Korean National Ballet’s production will go onstage Oct. 30 to Nov. 3. Both productions will be staged at the Seoul Arts Center’s Opera House.

“La Bayadere,” which translates to “The Temple Dancer” in French, is set against the imaginative backdrop of ancient India and follows the dramatic tale of love and betrayal of four main characters. The alluring temple dancer Nikiya and a young, royal warrior Solor pledge eternal fidelity to each other. But their love turns tragic when the High Brahmin also falls for Nikiya and the Rajah Dugmanta of Golconda chooses Solor to wed his daughter Princess Gamzatti, who desperately wants to marry the fetching warrior.

Known for its grandeur, “La Bayadere” is one of the most extravagant productions in the classical ballet repertoire. The spectacle includes a cast of more than 120 dancers, over 200 dazzling costumes, and a large, life-size elephant prop that Solor rides onstage.

A scene from Korean National Ballet's production of "La Bayadere" (Korean National Ballet)

Universal Ballet’s Petipa vs. KNB’s Grigorovich

Both the Universal Ballet and the Korean National Ballet will use the original score by Ludwig Minkus, but their productions will diverge in choreography.

The Universal Ballet’s “La Bayadere” adheres to Marius Petipa’s version, first staged by the Mariinsky Ballet in 1877 in St. Petersburg. This production has been a staple in Universal Ballet’s repertoire since it became the first Korean company to perform “La Bayadere” in 1999. Over the years, it has been restaged at the companies’ key anniversary years, including 2000, 2004, 2010, 2015 and most recently in 2018 to commemorate Petipa’s 200th birthday.

Celebrating the company’s 40th anniversary, the production promises to be even grander this time with over 150 performers and 400 costumes.

Adding to the anticipation is the debut of rising star Jeon Min-chul, a 20-year-old ballet dancer who made headlines last month when it was announced he would join the prestigious Mariinsky Ballet as a soloist next February, becoming only the second Korean dancer to do so. Jeon's performance on Sept. 29 sold out within five minutes of ticket sales opening on July 18, according to the Universal Ballet.

A scene from Korean National Ballet's production of "La Bayadere" (Korean National Ballet)

The Korean National Ballet will present its version of “La Bayadere” choreographed by legendary choreographer Yury Grigorovich, who led the Bolshoi Ballet for 33 years.

Grigorovich first rechoreographed Petipa’s original in 1991 for the Bolshoi. He later modified it specifically for the Korean National Ballet, debuting this version in Seoul in 2014. Since then, it has become a defining work of the state ballet company under the direction of Kang Sue-jin, who took the helm at the company that same year. This fall will mark the fourth time the company is performing this version, following successful runs in 2014, 2016 and 2021.

Though the core choreography of both productions remains true to the original, audiences can look forward to contrasting interpretations between the Mariinsky-inspired Universal Ballet and the Bolshoi’s grand, contemporary style.

“While the Mariinsky style strives for elegance, precision and splendor, the Bolshoi style emphasizes power and grandeur,” said an official from the Universal Ballet.

A scene from Universal Ballet's production of "La Bayadere" (Universal Ballet)

Also, the love between Nikiya and Solor meets different fates. In the Universal Ballet’s rendition, Nikiya and Solor vow their eternal love amid an ensemble of the corps de ballet. In contrast, the Korean National Ballet portrays Solor’s descent into despair after Nikiya’s death, with the ballet closing on a more introspective note as Solor is haunted by her ghost.

Additionally, in Grigorovich’s production, dances were incorporated into the music played between acts, and even into the mime scenes, which could otherwise feel tedious, adding more visual interest to the performance, according to a KNB official.

Tickets for the Korean National Ballet’s production have yet to go on sale.

By Hwang Dong-hee(hwangdh@heraldcorp.com)