I was able to watch only the first half before I had to leave for a live performance.
There are some small photographs of the production on the company's web site. http://www.bayerisch...togallerie.html Designer Tomio Mohri used stylized, decorative backdrops rather than anything quasi-realistic. There was no sacred fire. I was grateful for the absence of bare midriffs and bikini tops. Counting ballerina ribs is usually my least favorite aspect of La Bayadère. The High Brahmin's collar of large petals looked bad every time he raised his arms to shoulder level or higher, and I'm sure the little pagoda on his head wasn't easy to balance. I also thought the lamp-shade headdresses worn by the supers looked silly.
There are no fakirs in this production. The D'Jampe dance is performed at an insane speed and in soft shoes. In the betrothal scene we saw parrots and the Drum Dance, but no Manu. I'm guessing the Idol appeared in the final scene. Gamzatti dances a variation on pointe in her first appearance, and her solo in the betrothal scene is not the one with which I'm familiar.
Based on what I saw, I thought Lucia Lacarra was a lovely Nikiya. By nature her body is extremely pliable, but she didn't make a big deal of it. The last Nikiya I saw was Olga Smirnova, and her non-stop undulating made me crazy. There was nothing exaggerated in Lacarra's performance, no sense that she was showing off her formidable range of motion or trying to dazzle the audience with the beauty of her physique. Her acting was always clear, and her performance could be described as a sort of hybrid, combining the elegance and refinement of the French style with a more expressive upper body. Of course, I didn't see the 'Kingdom of the Shades' so I can't be sure. Her slip just before her death scene happened during a transition between sequences, so the choreography was not seriously marred.
Lacarra and Marlon Dino have obvious chemistry, though in truth I think the height discrepancy between them is too great for classical choreography. I can't say definitively that he is too big to be able to jump easily, but I do think his plié is lacking, in terms of his ability to land jumps and also in the way he does not exploit "low" space as well as he could to give his dancing more dynamic variety. But he is very sincere and always dramatically engaged. He was also gentlemanly; in side-by-side sequences he stayed on the music and did not attempt to outjump his partners.
It's a valid interpretation, though I'm not sure it's necessary for Gamzatti to come across immediately in Odile mode, before she realizes she has a romantic rival. Ivy Amista was strong and impressive, dazzling and secure in her fouetté coda.
I'm sorry I didn't see the rest. It would be a shame if the stream were never to be seen again.