La Bayadère

Ph. Damir Yusupov
From 7 to 10 September 2018
Ludwig Minkus

Running Time: 2 hours 55 minutes intermissions included

Ballet in three acts

Libretto by Marius Petipa and Sergei Khudekov

in Yuri Grigorovich's version


Bol'šoj Theatre of Moscow Ballet Company 
Teatro alla Scala Academy Orchestra
With the participation of Students of the Ballet School of Teatro alla Scala Academy


Bol'šoj Theatre of Moscow Production


Music Ludwig Minkus
Conductor Pavel Sorokin
Choreography Marius Petipa (1877)
Revived in a new choreographic version by Yuri Grigorovich
Incorporated in the production are excerpts from versions by

Vakhtang Chabukiani,
Konstantin Sergeyev,

Nikolai Zubkovsky

Scenery and costumes Nikolai Sharonov
Scenography and Costumes Consultant Valery Leventhal
Lighting Designer Mikhail Sokolov



From September 7th to 13th, 2018, the stage of La Scala will host the prestigious Bolshoi Ballet, within a partnership that saw La Scala performing in Moscow last September. The first of the two productions presented by the Bol’šoj Ballet is La Bayadère by Marius Petipa, in the version by Yuri Grigorovich. La Bayadère, staged for the first time in Saint Petersburg in 1877, is one of the masterpieces of the classical repertoire. The Indian poem Śakuntalā by Kālidāsa inspired Petipa to create the perfect harmony between ensemble scenes, solos and pas de deux, with moments of high lyricism and poetic charm. Above all, the wonder of the Kingdom of the Shades, a framework that opened the way to the western fortune of this ballet. Working with Petipa’s ballets has been one of the main trends in Grigorovich’s choreographic activities, aware of Petipa’s living presence, and the preservation of the classical legacy - and  Petipa himself better than others showed that old ballets have to be restored. This was the aim of Grigorovich’s  version of La Bayadère in 1991, and in 2013, when the ballet has been revived again. The principles underlying the production remain unchanged: all the genuine Petipa compositions, later interpolations, and also extended fragments of ballet action re-choreographed by Grigorovich himself; new to the audiences in 2013, the absence of the final. There is not the earthquake that destroys the temple. Grigorovich decided that after the symphonic Shades act, there is no need for anymore dancing: “The Shades are a pinnacle in ballet art and long may they remain so. And may every person sitting in the auditorium feel to their finger tips the magic of Russian ballet, one of the wonders of the world”.


Main Partner