Word: gamzatti
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...from Act I of “La Bayadère,” was quite lackluster as well. The chorus, which did not dance on pointe, should have put on a cohesive, clean performance, but instead proved boring and imprecise. The pas de deux by the two leads, Gamzatti (Amanda C. Lynch ’10) and Solor (Kevin Shee ’10) was not much better. The two dancers were clearly talented but completely mismatched: Shee visibly shook when lifting Lynch and strained when turning her. At one point, Lynch even took an unfortunate fall. She redeemed...
Complications settle into the plot during the latter part of the first act when the Rajah gives the hand of his daughter Gamzatti to Solor in reward for his success as a warrior. Although he loves Nikiya, Solor does not feel that he can refuse the wishes of the Rajah. As Gamzatti, April Ball takes the stage with exceptional presence, bringing to the performance clear, insightful mime and impressive theatrical and technical versatility. Without dancing a single step in the first act, Ball holds full command of the stage, developing the dimensions of Gamzatti's struggles as a woman...
...story is a boggler. Nikiya (Makarova), a bayadére, or temple dancer, and the imperious Rajah's daughter Gamzatti (Cynthia Harvey) are rivals for the love of the great warrior Solor (Anthony Dowell), who pledges himself to Nikiya over a sacred fire. Later the Rajah chooses Solor to marry his daughter. If this sounds like Aida, it is. In the ballet, both women are murderous. Gamzatti, who plants a deadly snake among flowers given to the dancer, is the successful killer, but Nikiya has ectoplasmic revenge. Her spirit appears first in a lyrical vision to Solor, and again...
...opening night the production glowed. The corps de ballet - more the heroine than either Nikiya or Gamzatti- danced the "Kingdom of the Shades" scene with technical purity and a moving, almost votive, concentration...
Dowell flew over Solor's ambiguous emotions, relying mostly on his light leaps and exquisite musical phrasing. Harvey, who is only 23, lacked the authority to make Gamzatti believable. She seemed relieved when she could forget acting and just dance. Helped by Dowell's impeccable partnering, she was convincing as a ballerina of the future. Playing Nikiya, Makarova mastered all the problems set by La Bayadére: drama, poetry, virtuosity...
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