Spartacus

Bolshoi Theatre, Historic Stage, Moscow, Russia

Scene 1 from the ballet "Spartacus", photo 7

Scene 2 from the ballet "Spartacus", photo 8

Scene 4 from the ballet "Spartacus", photo 9

Scene 5 from the ballet "Spartacus", photo 10

Scene 6 from the ballet "Spartacus", photo 11

Scene 7 from the ballet "Spartacus", photo 12

Scene 8 from the ballet "Spartacus", photo 13

All photos (13)

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12 PM 7 PM

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Important Info

Type: Ballet

City: Moscow, Russia

Starts at: 12:00

Acts: 3

Intervals: 2

Duration: 3h 5min

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Ballet company: Bolshoi Ballet

Orchestra: Bolshoi Theatre Orchestra

Creators

Composer: Aram Khachaturian

Lighting Designer: Mikhail Sokolov

Librettist: Nikolai Volkov

Designer: Simon Virsaladze

Choreography: Yury Grigorovich

Overview

Having exchanged his native Leningrad for Moscow, and having been appointed Bolshoi Theatre chief choreographer, he immediately became one of the pacesetters for contemporary art. Ballet, it might seem, had always been part of culture, but this was something else — Grigorovich's arrival renewed our ideas of our own cultural legacy.

Spartacus, as is known, was produced twice at the Bolshoi Theatre before Grigorovich, first by Igor Moiseyevy, then by Leonid Jakobson — both well-known masters. The same grandiose music by Aram Khachaturyan, the same legendary stage, virtually the same dancers in the lead roles, and the same mass of historical parallels: the heavy millstones of ancient history turned on stage, and, in the name of that very same freedom, the Thracian Spartacus lost his life, submitting to tragic inevitability. With the appearance of Grigorovich, it was as if all these truths spoke anew. It was as if a different age had set in, a different ballet civilization and this was felt immediately — both in the auditorium and by professionals. Historical and philosophical definitions do not change — what changes is the way they are presented.

But first we should remember what Spartacus meant for the Russian people. It is by no means fortuitous that the best loved Russian football team bears this famous name. Spartacus was identified in the Russian mind with Alexander Matrosov who, during the Second World War, threw himself on to a German pill-box, blocking the machine-gun with his own body, to allow his unit to advance; or Nikolai Gastello, who carried out a suicide attack in his plane on an enemy echelon; or the collective farm worker who led his horses out of a burning stable. He represents fearlessness and daring, but also an extraordinary inner freedom. For the Russian man, outer constraints notwithstanding, freedom is an inner, spiritual quality, it carries a sense of his immortality and innocence.

Fifty years ago, the Bolshoi Theater hosted the premiere of the ballet Aram Khachaturian by the Soviet composer Spartak staged by Yuri Grigorovich. By that time, Igor Moiseev and Leonid Yakobson had already presented their stage incarnations of this score. However, it was “Spartak” of Grigorovich that became the hallmark of the theater and the Soviet ballet as a whole.

History

Premiere of this production: 27 December 1956, Kirov Theatre, Leningrad

Spartacus is a ballet by Aram Khachaturian (1903–1978). The work follows the exploits of Spartacus, the leader of the slave uprising against the Romans known as the Third Servile War, although the ballet's storyline takes considerable liberties with the historical record.

Synopsis

Act I
Scene 1
Invasion.
The military machine of imperial Rome, led by Crassus, wages a cruel campaign of conquest, destroying everything in its path. Among the chained prisoners, who are doomed to slavery, are Spartacus and Phrygia.

Spartacus’c Monologue.
Spartacus is in despair. Born a free man, he is now a slave in chains.

Scene 2
The Slave Market.
Slave dealers separate the men and women prisoners for sale to rich Romans. Spartacus is parted from Phrygia.

Phrygia’s Monologue.
Phrygia is overcome with grief. She thinks with horror of the terrifying ordeals that lie ahead of her.

Scene 3
Orgy at Crassus’s Palace.
Mimes and courtesans entertain the guests, making fun of Phrygia, Crassus’s new slave. Aegina draws Crassus into a frenzied, bacchanalian dance. Drunk with wine and passion, Crassus demands a spectacle. Two gladiators are to fight to death in helmets with closed visors, i.e., without seeing each other. The victor’s helmet is removed. It is Spartacus.

Spartacus’c Monologue.
Against his will, Spartacus has been forced to murder a fellow man. His despair develops into anger and protest. He will no longer tolerate captivity. He has but one choice of action — to win backhis freedom.

Scene 4
The Gladiators’ Barracks.
Spartacus incites the gladiators to revolt. They swear an oath of loyalty to him and, of one accord, break out of the barracks to freedom.

Act II
Scene 5
The Appian Way.
Having broken out of their captivity and finding themselves on Appian Way, surrounded by shepherds, Spartacus’s followers call the latter to join the uprising. Shepherds andpopulace proclaim Spartacus as their leader.

Spartacus’s Monologue.
The thought of Phrygia’s fate as a slave gives Spartacus no peace. He is haunted by memories of his loved one whom he thinks of day and night.

Scene 6
Crasuss’s Villa.
His search for Phrygia leads Spartacus to Crassus’s villa. The two lovers are overjoyed at their reunion. But, due to the arrival of a procession of patricians, led by Aegina, they are forced to hide.

Aegina’s Monologue. Aegina has long dreamed of seducing and gaining power over Crassus. Her goal is to win him and there by gain legal admittance to the world of the Roman nobility.

Scene 7
Feast at Crasuss’s Villa.
Crassus celebrates his victories. The patricians sing his praises. The festivities are cut short by an alarming piece of news: Spartacus and his min have all but surrounded the villa. The panic-stricken guests disperse. Crassus and Aegina are also forced to flee. Spartacus breaks into the villa.

Spartacus’s Monologue.
Victory! It elates him and fills him with faith that the uprising will be successful. Victory!

Scene 8
Spartacus’s Victory.
Spartacus’s men have taken Crassus prisoner and want to kill him, but Spartacus is not bent on revenge and suggests that they should engage in single-handed combat.Crassus accepts the challenge and suffers defeat: Spartacus knocks the sword out of his hand. Crassus makes ready demonstratively to meet his death, but Spartacus, with a gesture of contempt, lets him go. That all shall know of Crassus’s dishonor is punishment enough. The jubilant insurgents praise the victory of Spartacus.

Act III
Scene 9
Crasuss Takes His Revenge.
Crassus is tormented by his disgrace. Fanning his hurt pride, Aegina calls on him to take his revenge. There is only one way forward — death to the insurgents. Crassus summons his legions. Aegina sees him off to battle.

Aegina’s Monologue.
Spartacus is Aegina’s enemy too. The defeat of Crassus will be her downfall. Aegina devises a perfidious plan — she will sew dissension in Spartacus’sencampment.

Scene 10
Spartacus’s Encampment.
Spartacus and Phrygia are happy to be together. But suddenly his military commanders bring the news that Crassus is on the move with a large army. Spartacus decides to give battle but, overcome by cowardice, some of his warriors desert their leader.

Scene 11
Dissension.
Aegina infiltrates the ranks of the traitors who, though they have abandoned Spartacus, might still be persuaded to go with him. Together with the courtesans she seduces the men with wine and erotic dances and, as a result, they put all caution to the winds. Having lured the traitors into a trap, Aegina hands them over to Crassus.

Spartacus’s Monologue.
Crassus is consumed by the wish for revenge. Spartacus shall pay with his death for the humiliation that he, Crassus, was forced to undergo.

Scene 12
The Last Battle.
Spartacus’s forces are surrounded by the Roman legions. Spartacus’s devoted friends perish in unequal combat. Spartacus fights on fearlessly right up to the bitter end but, closing in on the wounded hero, the Roman soldiers crucify him on their spears.

Requiem.
Phrygia retrieves Spartacus’s body from the battle field. She mourns her beloved, her grief is inconsolable. Raising her arms skywards, Phrygia appeals to the heavens that the memory of Spartacuslive forever...

Act I
The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian king Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus’ harem of concubines. To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend. Horrified at his deed, Spartacus incites his fellow captives to rebellion.

Act II
The escaped captives celebrate their freedom. Meanwhile, Crassus entertains the Roman patricians with lavish entertainment. Spartacus and the other escaped captives disrupt the orgy and rescue the slave women, including Phrygia. Aegina insists that Crassus pursue the slave army immediately. The lovers celebrate their escape to the "Adagio of Spartacus and Phrygia".

Act III
Aegina discovers Spartacus’s camp and observes the lovers emerging from their tent the next morning. Aegina sends word to Crassus, who sends his army in pursuit. Internecine struggles break out among Spartacus’s forces. Finally, Crassus’s forces discover Spartacus and impale him upon their spears. Spartacus’s closest followers recover his body and carry it off while Phrygia mourns her loss.

Venue Info

Bolshoi Theatre - Moscow
Teatralnaya Square 1

The Bolshoi Theatre is a historic theatre in Moscow, Russia, originally designed by architect Joseph Bové, which holds ballet and opera performances. Before the October Revolution it was a part of the Imperial Theatres of the Russian Empire along with Maly Theatre (Small Theatre) in Moscow and a few theatres in Saint Petersburg (Hermitage Theatre, Bolshoi (Kamenny) Theatre, later Mariinsky Theatre and others).

The Bolshoi Ballet and Bolshoi Opera are amongst the oldest and most renowned ballet and opera companies in the world. It is by far the world's biggest ballet company, with more than 200 dancers. The theatre is the parent company of The Bolshoi Ballet Academy, a world-famous leading school of ballet. It has a branch at the Bolshoi Theater School in Joinville, Brazil.

The main building of the theatre, rebuilt and renovated several times during its history, is a landmark of Moscow and Russia (its iconic neoclassical façade is depicted on the Russian 100-ruble banknote). On 28 October 2011, the Bolshoi re-opened after an extensive six-year renovation. The official cost of the renovation is 21 billion rubles ($688 million). However, other Russian authorities and other people connected to it claimed much more public money was spent. The renovation included restoring acoustics to the original quality (which had been lost during the Soviet Era), as well as restoring the original Imperial decor of the Bolshoi.

The company was founded on 28 March [O.S. 17 March] 1776, when Catherine II granted Prince Peter Ouroussoff a licence to organise theatrical performances, balls and other forms of entertainment. Ouroussoff set up the theatre in collaboration with English tightrope walker Michael Maddox. Initially, it held performances in a private home, but it acquired the Petrovka Theatre and on 30 December 1780, it began producing plays and operas, thus establishing what would become the Bolshoi Theatre. Fire destroyed the Petrovka Theatre on 8 October 1805, and the New Arbat Imperial Theatre replaced it on 13 April 1808, however it also succumbed to fire during the French invasion of Moscow in 1812.

The first instance of the theatre was built between 1821 and 1824, designed and supervised to completion by architect Joseph Bové based upon an initial competition-winning design created by Petersburg-based Russian architect Andrei Mikhailov that was deemed too costly to complete. Bové also concurrently designed the nearby Maly Theatre and the surrounding Theater Square, The new building opened on 18 January 1825 as the Bolshoi Petrovsky Theatre with a performance of Fernando Sor's ballet, Cendrillon. Initially, it presented only Russian works, but foreign composers entered the repertoire around 1840.

Important Info

Type: Ballet

City: Moscow, Russia

Starts at: 12:00

Acts: 3

Intervals: 2

Duration: 3h 5min

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