Mayerling Tickets

Warsaw Grand Theatre - Polish National Opera (Teatr Wielki), Warsaw, Poland

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Important Info

Type: Ballet

City: Warsaw, Poland

Acts: 3

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

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Overview

Presented on many of the world’s balletic stages, Mayerling will be performed at the Wielki in Warsaw by the dancers of the Polish National Ballet in a production conducted by Patrick Fournillier.

Stage fright has been a bother for many performers; even the best virtuosos found themselves struggling with it, while some of the greatest talents lost their battle to it. Kenneth MacMillan began his dance career with London’s Sadler’s Wells Ballet. Considered a top prospect, his wings were clipped by stage fright. He retired from the stage becoming an eminent choreographer, creator of ten full-length ballets and over fifty one-act pieces featuring his original choreography. He was chiefly associated with The Royal Ballet, London, where he first served as artistic director, then chief choreographer until his death in 1992.

It was for this company that in 1978 he devised the three-act ballet Mayerling based on one of history’s most puzzling love stories: the affair between Prince Rudolf, son of Emperor Franz Josef I, and teenage Baroness Mary Vetsera. The couple was discovered dead in Rudolf’s hunting cabin, supposedly, after committing a double suicide. There were some, however, who speculated that the heir to the Austro-Hunagrian throne had been murdered. The spicy story inspired a host of films, including Terence Young’s Mayerling starring Omar Sharif and Catherine Deneuve, as well as catching the fancy of journalists and writers.

Drawing inspiration from George Marek’s book The Eagles Die, MacMillan wanted to showcase the compelling love and passion shared by the two aristocrats as well as the social pressures they faced, which – combined with the lack of prospects for their relationship to develop because of monarchistic reasons – could have led the lovers to take the tragic decision. MacMillan set his Mayerling to Franz Liszt’s Faust Symphony and employed Crown Prince Rudolf’s obsession with weaponry and death as the leading motif.

For adults only

Mayerling was first produced for the Royal Ballet in 1978, by the British choreographer Sir Kenneth Macmillan, with a scenario written by Gillian Freeman, scenery and costume designs by Nicholas Georgiadis and lighting design by David Hersey.

History

Premiere of this production: 14 February 1978, Royal Opera House, London

Mayerling is a ballet created in 1978 by Kenneth MacMillan for the Royal Ballet, London. The original production was, in general, well received by critics, however there were some reservations. Many reviewers found the ballet overly long and the historical background of the story difficult to follow. However, Mary Clarke in the Guardian defended the complexity of the work: "Easy, after one or two viewings, to say this or that scene must go. But patience and understanding bring rewards; every scene tells something about Rudolf and the Court of Vienna in his time."

Synopsis

PROLOGUE

At the cemetery at Heiligenkreuz before dawn.

ACT I

At the ball to celebrate his wedding to Princess Stephanie, Crown Prince Rudolf offends his parents and bride by flirting with Princess Louise. Alone, he meets Countess Larisch and Baroness Vetsera, who introduces her daughter, Mary. Four Hungarian officers interrupt, pleading their separatist cause. Countess Larisch tries to revive her past relationship with Rudolf. The Emperor discovers them and orders Rudolf to join his wife. Rudolf first visits his mother, Empress Elizabeth, and attempts to engage her sympathy. At Rudolf’s apartments, Stephanie is prepared for the wedding night. Rudolf forces himself on her, terrifying her with a revolver.

ACT II

At a notorious tavern, Bratfisch tries to entertain Stephanie, but she leaves, disgusted. Rudolf devotes his attention to his mistress, Mitzi Caspar. His Hungarian friends hand out political pamphlets. They hide during a police raid. Despairing, Rudolf suggests to Mitzi they commit suicide together. Prime Minister Taafe comes to remove Rudolf from the tavern. As Rudolf leaves, Countess Larisch presents Mary Vetsera.

Countess Larisch calls on Baroness Vetsera at her house. She tells Mary’s fortune, assuring her that her romantic dreams will come true. Mary gives her a letter for Rudolf.

During Franz Josef’s birthday, Taafe confronts Rudolf with the Hungarian pamphlet. The Empress presents her husband the Emperor with a portrait of his ‘friend’, Katherina Schratt, and Rudolf observes an amorous exchange between the Empress and ‘Bay’. Countess Larisch teases Rudolf with Mary’s letter. Mary and Rudolf meet in secret at Rudolf’s apartments for the first time.

ACT III

At a shoot in the countryside, Rudolf kills a courtier and almost hits the Emperor. The Empress discovers Countess Larisch with Rudolf at his apartments and dismisses her, unaware that Mary is waiting outside. Mary joins Rudolf, who asks her to die with him.

Rudolf, drinking with his friends in the hunting lodge at Mayerling, indicates that he is unwell, and they leave. Bratfisch arrives with Mary and attempts to entertain them. In a passionate frenzy Rudolf makes love to Mary. Calming his nerves with morphine, he embraces her then shoots her. Rudolf’s friends rush in and are expelled by Rudolf who, left alone, shoots himself.

EPILOGUE

Return to the cemetery at Heiligenkreuz.

Prologue: The cemetery at Heiligenkreuz before dawn

Act I
Scene 1: The ballroom at the Hofburg Palace, Vienna

A ball to celebrate the marriage of Crown Prince Rudolf of Austria-Hungary and Princess Stephanie of Belgium is in full swing. Rudolf flirts shamelessly with Stephanie's sister, Princess Louise, offending both his new bride and his parents, Emperor Franz Josef and Empress Elisabeth. Rudolf meets Countess Marie Larisch, a former mistress, and Baroness Vetsera. The Baroness introduces her 17-year-old daughter Mary Vetsera. Four Hungarian officers, friends of Rudolf, enter and forcefully argue the separatist cause of their country. Countess Larisch tries to rekindle her relationship with Rudolf. The pair are discovered by the Emperor, who demands that Rudolf return to his wife.

Scene 2: The Empress’s apartments at the Hofburg

Having retired from the ball, Empress Elisabeth is being attended by her ladies-in-waiting. Rudolf visits his mother, on his way to his new bride. He expresses his deep unhappiness at being pressured into marriage. Desperate for maternal affection he tries to embrace the Empress, only to be coldly rebuffed.

Scene 3: Rudolf’s apartments at the Hofburg

Princess Stephanie is getting ready for her wedding night. Rudolf enters and threatens Stephanie with a revolver before forcing her.

Act II
Scene 1: A notorious tavern

Rudolf and Stephanie enter the tavern in disguise. They are accompanied by Rudolf's driver Bratfisch, who attempts to lighten Stephanie's spirits. Prostitutes compete for the men's attention and Stephanie flees the tavern in disgust. Rudolf turns his attention to his Hungarian friends and his regular mistress, the courtesan Mizzi Kaspar. The police burst in and Rudolf, Mitzi and the Hungarian officers hide. The police arrest several people before leaving. In a despairing mood, Rudolf proposes a suicide pact to Mitzi. The Prime Minister Count Taaffe enters the tavern, looking for Rudolf. Rudolf hides again but Mitzi tells the Count where he is hidden. The Count and Mitzi leave together.

Scene 2: Outside the tavern

Countess Larisch, ostensibly chaperoning Mary, presents the young girl to Rudolf as he leaves the tavern.

Scene 3: The Vetsera house

Countess Larisch calls on her friend Baroness Vetsera. She finds Mary absorbed by a portrait of Rudolf. Countess Larisch tells Mary's fortune using a pack of cards and informs her that her romantic dreams will come true. Mary gives the Countess a letter to deliver to Rudolf on her behalf.

Scene 4: The Hofburg

During the Emperor's birthday celebrations Count Taaffe confronts Rudolph over an incriminating political pamphlet on the Hungarian cause. Colonel 'Bay' Middleton hands the Count a joke cigar, to Rudolf's intense amusement. The Empress presents the Emperor with a portrait of his 'friend' Katherina Schratt. A firework display distracts everyone except the Empress and 'Bay.' Rudolf notices their amorous exchange and becomes bitterly resentful. Countess Larisch produces Mary's letter and teases Rudolf with it.

Scene 5: Rudolf’s apartments at the Hofburg

Mary and Rudolf meet in secret for the first time.

Act III
Scene 1: A royal shoot in the countryside

During a hunting expedition, Rudolf unaccountably shoots wildly. He kills a member of the court, narrowly missing his father.

Scene 2: Rudolf’s apartments at the Hofburg

The Empress discovers Countess Larisch and Rudolf alone together and angrily dismisses the Countess, unaware Mary is waiting outside. Mary enters after the Empress has left. Rudolf asks her to commit suicide with him.

Scene 3: The hunting lodge at Mayerling

Rudolf shares a drink with Count Hoyos and Prince Philipp of Coburg, attended by his valet Loschek. He asks them to leave, saying he is unwell. Bratfisch enters with Mary. Rudolf instructs Bratfisch to entertain him and Mary. Bratfisch, soon realizing he has lost their attention, leaves. In a mounting frenzy Rudolf makes love to Mary. He injects himself with morphine to calm his nerves and embraces Mary for the last time. He shoots her. Loschek, Hoyos and Philipp rush in, having heard the shot. Rudolf reassures them and instructs them to leave. Alone, he shoots himself. His friends rush in again, and collapse in despair when they find Rudolf's dead body.

Epilogue: The cemetery at Heiligenkreuz before dawn

Venue Info

Warsaw Grand Theatre - Polish National Opera (Teatr Wielki) - Warsaw
plac Teatralny 1

The Grand Theatre in Warsaw is a theatre and opera complex situated on the historic Theatre Square in central Warsaw. The Warsaw Grand Theatre is home to the Polish National Ballet and is one of the largest theatrical venues in the world.

The Theatre was built on Theatre Square between 1825 and 1833, replacing the former building of Marywil, from Polish classicist designs by the Italian architect Antonio Corazzi of Livorno, to provide a new performance venue for existing opera, ballet and drama companies active in Warsaw. The building was remodeled several times and, in the period of Poland's political eclipse from 1795 to 1918, it performed an important cultural and political role in producing many works by Polish composers and choreographers.

It was in the new theatre that Stanisław Moniuszko's two best-known operas received their premieres: the complete version of Halka (1858), and The Haunted Manor (1865). After Frédéric Chopin, Moniuszko was the greatest figure in 19th-century Polish music, for in addition to producing his own works, he was director of the Warsaw Opera from 1858 until his death in 1872.

While director of the Grand Theatre, Moniuszko composed The Countess, Verbum Nobile, The Haunted Manor and Paria, and many songs that make up 12 Polish Songbooks.

Also, under Moniuszko's direction, the wooden Summer Theatre was built close by in the Saxon Garden. Summer performances were given annually, from the repertories of the Grand and Variety (Rozmaitości) theatres. Józef Szczublewski writes that during this time, even though the country had been partitioned out of political existence by its neighbors, the theatre flourished: "the ballet roused the admiration of foreign visitors; there was no equal troupe of comedians to be found between Warsaw and Paris, and Modrzejewska was an inspiration to drama."

The theatre presented operas by Władysław Żeleński, Ignacy Jan Paderewski, Karol Szymanowski and other Polish composers, as well as ballet productions designed by such choreographers as Roman Turczynowicz, Piotr Zajlich and Feliks Parnell. At the same time, the repertoire included major world opera and ballet classics, performed by the most prominent Polish and foreign singers and dancers. It was also here that the Italian choreographer Virgilius Calori produced Pan Twardowski (1874), which (in the musical arrangement first of Adolf Sonnenfeld and then of Ludomir Różycki) has for years been part of the ballet company's repertoire.

During the 1939 battle of Warsaw, the Grand Theatre was bombed and almost completely destroyed, with only the classical façade surviving. During the Warsaw Uprising of 1944 the Germans shot civilians in the burnt-out ruins. The plaque to the right of the main entrance commemorates the suffering and heroism of the victims of fascism.