Mariinsky Theatre 1 April 2025 - Carmen | GoComGo.com

Carmen

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia
All photos (21)
Tuesday 1 April 2025
7 PM
Request for Tickets
Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00

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.

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
Mezzo-Soprano: Ekaterina Semenchuk (Carmen)
Orchestra: Mariinsky Orchestra
Chorus: Mariinsky Chorus
Creators
Composer: Georges Bizet
Music Director: Valery Gergiev
Lighting Designer: Alexander Sivaev
Stage Director: Alexei Stepanyuk
Librettist: Henri Meilhac
Set Designer: Igor Grinevich
Assistant Director: Ilya Ustyantsev
Musical Preparation: Irina Soboleva
Librettist: Ludovic Halévy
Author: Prosper Mérimée
Overview
History
Premiere of this production: 03 March 1875, Opéra-Comique, Paris

Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences.

Synopsis

Act I
Scene 1

A squarein Seville
In the guard house, Moralès and his soldiers are discussing the passers-by. Micaëla arrives, looking for the corporal Don José. Moralès explains that José isin another company that is due to take over the guard. Micaëla decides not to wait and departs. The officer Zuniga and José leadin the new guard, accompanied by a horde of children. Moralès tells José that Micaëla was asking for him.
It is break-time at the factory nearby and the women come out to smoke and flirt with the young men. Carmen is among them. She talks of love (L’amour est un oiseau rebelle), that it is elusive and inconstant. The bell rings, signalling the break is over. Carmen, desirous of catching José’s attention, throws him a flower. Enraptured, he quickly hides it.
Micaëla returns, bringing José a letter from his motherin which she asks him to return to marry Micaëla.
Uproar suddenly breaks outin the factory and the women pour into the square, accusing Carmen of drawing a knife on her friendin a quarrel. José is sent to question Carmen, but she refuses to answer. Zuniga orders José to take her to prison. Carmen starts to captivate José and tries to persuade him to release her. Forbidden to speak, she sings, contriving to arrange a rendezvous with him at Lillas Pastia’s tavern. He agrees to free her only if she will love him. She promises to do so, José frees her and is subsequently himself arrested.

Scene 2
Lillas Pastia’s tavern
Carmen, Frasquita and Mercédès are entertaining gypsies and soldiers. Zuniga tells Carmen that José, demoted and jailed for a month for aiding her escape, has just been released. A crowd is heard outside acclaiming the victorious toreador Escamillo, who enters followed by a throng of admirers. He returns Zuniga’s toast, drinking to his health, and describes the exhilaration of fighting a bull. Carmen immediately captures his attention but she shows no interest. Everyone leaves.
The smugglers Remendado and Dancaïro arrive; they are about to depart and ask Carmen, Frasquita and Mercédès to help them carry their wares. Carmen refuses: she isin love and waiting for José. Mockingly, the smugglers suggest José joins their band. Don José arrives. Carmen dances for him. When a signal is heardin the distance, summoning him back to his barracks he prepares to leave. Furious, Carmen accuses him of not loving her. In response he describes his passion and how, whilein prison, he treasured the flower she threw at him when they first met. As proof, Carmen insists he deserts and goes with her to the mountains. Zuniga unexpectedly appears; he has come to meet Carmen. When he sees José he orders him back to the barracks. Zuniga and José fight over Carmen. The smugglers runin and separate them; then they tie up Zuniga and Dancaïro shoots him. Having refused to obey orders, José realises he has no choice other than to join the smugglers.

Act II
Scene 3

In the mountains
The smugglers are examining their goods. They have stopped for a short rest. Carmen and José are there too. Carmen senses that José would be prepared to kill her if she left him. Frasquita and Mercédès read their fortunes with cards. They see a prosperous future. Carmen joins them. But however much she shuffles the cards, only death is foretold. Dancaïro and Remendado return. The gypsy women leave, having been instructed to distract the customs officers who are blocking the smugglers’ path. José is left to guard the contraband goods.
Having overcome her fear, Micaëla arrives. She is looking for José. A shot frightens her and she hides. It was José firing at an intruder — Escamillo. The toreador explains that he is pursuing Carmen, having heard that she no longer loves her soldier. The enraged José reveals himself and the rivals start to fight. Carmen stops them. Escamillo thanks her and invites everyone to his next bullfightin Seville and leaves. Crazed with jealousy, José threatens Carmen. The smugglers find Micaëlain her hiding place. She has come to beg José to return to his mother. Carmen urges him to go. Micaëla then reveals that José’s mother is dying and wants to forgive him. He agrees to accompany Micaëla.

Scene 4
Outside a bull-ringin Seville
A crowd has gathered outside the bull-ring prior to the bullfight. As they arrive, the participants of the corrida receive a rapturous reception. Escamillo appears, with Carmenin his wake. Frasquita and Mercédès warn Carmen that José is following her, hiddenin the crowd. However, she decides to wait and talk to him. All depart to watch the bullfight. José appears and pleads with her to return to him. She remains unyielding, she loves the toreador. The crowd ecstatically greets Escamillo. Mad from suffering he plunges a dagger into her. The crowd rejoice at the toreador’s victory.

Place: Seville, Spain, and surrounding hills
Time: Around 1820

Act 1

A square, in Seville. On the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse.

A group of soldiers relaxes in the square, waiting for the changing of the guard and commenting on the passers-by ("Sur la place, chacun passe"). Micaëla appears, seeking José. Moralès tells her that "José is not yet on duty" and invites her to wait with them. She declines, saying she will return later. José arrives with the new guard, who is greeted and imitated by a crowd of urchins ("Avec la garde montante").

As the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd ("La cloche a sonné"). Carmen enters and sings her provocative habanera on the untameable nature of love ("L'amour est un oiseau rebelle"). The men plead with her to choose a lover, and after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence.

As the women go back to the factory, Micaëla returns and gives José a letter and a kiss from his mother ("Parle-moi de ma mère!"). He reads that his mother wants him to return home and marry Micaëla, who retreats in shy embarrassment on learning this. Just as José declares that he is ready to heed his mother's wishes, the women stream from the factory in great agitation. Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. When challenged, Carmen answers with mocking defiance ("Tra la la... Coupe-moi, brûle-moi"); Zuniga orders José to tie her hands while he prepares the prison warrant. Left alone with José, Carmen beguiles him with a seguidilla, in which she sings of a night of dancing and passion with her lover—whoever that may be—in Lillas Pastia's tavern. Confused yet mesmerised, José agrees to free her hands; as she is led away she pushes her escort to the ground and runs off laughing. José is arrested for dereliction of duty.

Act 2

Lillas Pastia's Inn

Two months have passed. Carmen and her friends Frasquita and Mercédès are entertaining Zuniga and other officers ("Les tringles des sistres tintaient") in Pastia's inn. Carmen is delighted to learn of José's release from two months' detention. Outside, a chorus and procession announces the arrival of the toreador Escamillo ("Vivat, vivat le Toréro"). Invited inside, he introduces himself with the "Toreador Song" ("Votre toast, je peux vous le rendre") and sets his sights on Carmen, who brushes him aside. Lillas Pastia hustles the crowds and the soldiers away.

When only Carmen, Frasquita and Mercédès remain, smugglers Dancaïre and Remendado arrive and reveal their plans to dispose of some recently acquired contraband ("Nous avons en tête une affaire"). Frasquita and Mercédès are keen to help them, but Carmen refuses, since she wishes to wait for José. After the smugglers leave, José arrives. Carmen treats him to a private exotic dance ("Je vais danser en votre honneur ... La la la"), but her song is joined by a distant bugle call from the barracks. When José says he must return to duty, she mocks him, and he answers by showing her the flower that she threw to him in the square ("La fleur que tu m'avais jetée"). Unconvinced, Carmen demands he show his love by leaving with her. José refuses to desert, but as he prepares to depart, Zuniga enters looking for Carmen. He and José fight, and are separated by the returning smugglers, who restrain Zuniga. Having attacked a superior officer, José now has no choice but to join Carmen and the smugglers ("Suis-nous à travers la campagne").

Act 3

A wild spot in the mountains

Carmen and José enter with the smugglers and their booty ("Écoute, écoute, compagnons"); Carmen has now become bored with José and tells him scornfully that he should go back to his mother. Frasquita and Mercédès amuse themselves by reading their fortunes from the cards; Carmen joins them and finds that the cards are foretelling her death, and José's. The women depart to suborn the customs officers who are watching the locality. José is placed on guard duty.

Micaëla enters with a guide, seeking José and determined to rescue him from Carmen ("Je dis que rien ne m'épouvante"). On hearing a gunshot she hides in fear; it is José, who has fired at an intruder who proves to be Escamillo. José's pleasure at meeting the bullfighter turns to anger when Escamillo declares his infatuation with Carmen. The pair fight ("Je suis Escamillo, toréro de Grenade"), but are interrupted by the returning smugglers and girls ("Holà, holà José"). As Escamillo leaves he invites everyone to his next bullfight in Seville. Micaëla is discovered; at first, José will not leave with her despite Carmen's mockery, but he agrees to go when told that his mother is dying. As he departs, vowing he will return, Escamillo is heard in the distance, singing the toreador's song.

Act 4

A square in Seville. At the back, the walls of an ancient amphitheatre

Zuniga, Frasquita and Mercédès are among the crowd awaiting the arrival of the bullfighters ("Les voici ! Voici la quadrille!"). Escamillo enters with Carmen, and they express their mutual love ("Si tu m'aimes, Carmen"). As Escamillo goes into the arena, Frasquita and Mercedes warn Carmen that José is nearby, but Carmen is unafraid and willing to speak to him. Alone, she is confronted by the desperate José ("C'est toi ! C'est moi !"). While he pleads vainly for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen contemptuously throws down the ring he gave her and attempts to enter the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. José kneels and sings "Ah! Carmen! ma Carmen adorée!"; as the crowd exits the arena, José confesses to killing the woman he loved.

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Top of page