Flanders also doesn't like the double-ramp used in the Grigorovich program, which leads her to the following image:
When the Kingdom of the Shades scene begins, there is always a moment of shock, before I remember that the Russian ballet companies take the entry much faster than we are used to in the West -- it was Nureyev, in his 1963 staging, who slowed it down, giving it a gravitas that Ludwig Minkus's rumpty-tump accompanying music signally lacks.
Any thoughts? Is this an accurate account of tempo inconsistences in Bayadere productions? Any examples you can share with us? Which speed do you prefer?
[the Shades] intersect at odd angles -- they look more like small white cars buzzing along a busy junction of the M25 than single-minded spirits of the dead.