"Raymonda is betrothed to Jean de Brienne who visits her in Castle Doris just before he is due to go on crusade. After he has left she falls asleep and dreams of an eastern prince called Abderakhman who declares his love for her. She wakes up in a cold sweat and finds that it was all a nightmare. In the second Act, however, the real Abderakhman appears and offers to carry her away. She politely turns him down but Abderakhman will not take "no" for an answer. He and his followers try to adduct her but are interrupted by de Brienne. They fight each other with swords and de Brienne kills his rival. In the last Act, Raymonda weds de Brienne and they all enjoy a long Hungarian divertissement."
Beaujean has changed that story but not as much as Tamara Rojo who has set her ballet in the Crimean war of the mid-19th century (see Raymonda An epic journey of love and courage on the English National Ballet website). In Beaujean's version, Abd al-Rahman is a friend of Raymonda's grandfather and she falls in love with him. There is a sword fight between Jean and al-Rahman when Jean finds out that the latter has won Raymonda's affections but Raymonda stops the fight before anyone is killed. Jean slopes off and Raymonda marries al-Rahman in Hungary.
In my review of the Bolshoi's performance, I mentioned that Raymonda had been created for Pierina Legnani who pioneered the 32 fouettés in the seduction scene in Swan Lake. It is not surprising that there is some very demanding choreography for the leading lady. In today's streaming, Raymonda was danced by Maia Makhateli with grace but also breathtaking virtuosity. I was particularly impressed by a sequence in the second act where, after several fouettés, she was gathered up by Young Gyu Choi, performed what looked like a grand battement and was immediately flung into a fish dive.
Sadly the company did not publish a downloadable cast list and I was not quick enough to write down the names of artists and roles as they flashed across the screen at the beginning and end. I have already commended Makhateli. She was ably supported by Young Gyu Choi who danced Abd al-Rahman and Semyon Velichko. I recognized several of the other principals and soloists but I can not remember their roles except Sandor who was danced by Jozef Varga. Everyone danced well. All are to be congratulated.
Although much of Petipa's choreography seems to have been preserved there were some obvious additions. My guess is that the dance by al-Rahman's retainers in the second act had more in common with Jerome Robbins than Petipa was created for this production. If so, I make no complaints about it because it worked.
Even on a small screen Kaplan's sets and costumes shone through. I had been impressed by his work on The Great Gatsby but the designs for Raymonda were on an altogether different order of lavishness.
One of the compensations for watching this live streaming was that a camera was placed at the back of the orchestra pit. It enabled viewers to watch the conductor from the musician's angle and the audience beyond for a few moments during the overture to the third act. That is a view that an audience would never see in a theatre or indeed in most screenings. It felt briefly like being inside the performance.
Watching live streaming has left me with conflicting emotions. On the one hand, I now know what I missed which saddens me. On the other hand, it is better than not seeing any of the show at all which cheers me. I don't think this emotional conflict can be resolved until I see the show on stage. With any luck, I will get another chance in the next few years.
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