Mariinsky Theatre tickets 25 May 2025 - An evening of ballets by Michel Fokine: Le Carnaval. Schéhérazade | GoComGo.com

An evening of ballets by Michel Fokine: Le Carnaval. Schéhérazade

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 13:00
Acts: 1
Duration: 30min

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Cast
Performers
Orchestra: Mariinsky Orchestra
Ballet company: Mariinsky Ballett
Creators
Composer: Nikolai Rimsky-Korsakov
Composer: Robert Schumann
Choreographer: Michel Fokine
Choreographer: Sergei Vikharev
Light: Alexander Naumov
Choreography: Andris Liepa
Choreography: Isabelle Fokine
Sets: Léon Bakst
Set Designer: Mikhail Shishliannikov
Costume designer: Tatiana Noginova
Festival

Stars of the White Nights Festival

"Stars of the White Nights": bright events of the big summer festival in the Mariinsky.

Overview

Staged in 1910 for a charitable evening, choreographer Michel Fokine and designer Léon Bakst’s Le Carnaval entered the annals of ballet history as a delightful stylisation of commedia dell'arte to music by Schumann. Fokine was inspired to create the production through his familiarity with the real-life peripeteia of the composer, finding a response in pieces from the piano cycle Le Carnaval. The duplicity of Schumann's spirit was reflected in the images of the fervent Florestan and the sentimental Eusebius, the beautiful Estrella brought to mind the composer's fascination with Ernestine von Fricken, and the coquettish Chiarina embodied his love for his future wife Clara Wieck. In Schumann's pieces there was also room for Fokine's beloved ideas of the struggle with philistines, adherents of the old traditions of art. "From all this, from the titles indicated in the sheet music – ‘Harlequin', 'Columbine', 'Pantalone', 'Pierrot' and 'Butterfly’ – I immediately saw a ballet scene,” the choreographer recalled, "It is a series of individual characteristics, mutually linked by the constant appearance of the deadbeat Pierrot, the humorous Pantalone and the always victorious-over-all Harlequin with his pranks and escapades. The brief plot surrounding the love between Harlequin and Columbine, the failures of Pierrot and Pantalone – all of this was literally improvised during rehearsals. The ballet was staged after three rehearsals..." One witness of the first performances of the ballet thus described the harmony of the characters: "A jest, a prank, in combination with the athletic power of Harlequin are reconciled in the tenderness" of his partner Columbine. In the series of enchanting scenes the charm depended on small, imperceptible and fleeting gestures, crafty smiles, coquettish flights and the "steely affectedness that conveys the age." The performers of this ballet did not have to dazzle with their technique in the complex dance passages, the main task of the dancers was to create an atmosphere of unforced play and levity. Famous dancers appeared in Le Carnaval in their day – Tamara Karsavina, Lydia Lopukhova, Leonid Leontiev and Vaslav Nijinsky. The role of Pierrot at the premiere was performed by the emergent stage director Vsevolod Meyerhold. Following the success of the ballet at its premiere, Sergei Diaghilev included it in his Saisons russes programme, in 1911 Le Carnaval was staged at the Mariinsky Theatre, and subsequently Fokine took it to theatres in Stockholm, Copenhagen, Buenos Aires, New York and numerous private theatre enterprises. In Russia, following many years of oblivion, in 1962 Konstantin Sergeyev restored Fokine's stylisation to the repertoire. And in 2008 the production took on a new life and today it delights audiences in reconstructed form after sketches by Fokine in a version by Sergei Vikharev.
Olga Makarova

The libretto was put together by Michel Fokine and Léon Bakst and has no real plot; rather it is a series of light, humorous, and joyous incidents combined with some moments of poignancy and an undercurrent of satire.

The four characters of the commedia are complemented by Florestan, representing the impulsive side of Schumann's nature, Eusebius, the thoughtful solitary side, Estrella (Ernestine), Chiarina (Clara), Papillon, a fluttering lady, six light-hearted couples, and four Philistines.

For the gallant males, coquettish females, and lovers who teasingly accept and reject each other, Fokine devised numerous pas de deux, pas de trois and pas seuls.

In 1910, Shéhérazade was a great success in Paris. The fashionistas of the time, having just shouted "bravo" at Les saisons russes premiere, hurried to put on serouals and turbans à la Eastern style which were created for the production by artist Léon Bakst. Fabric manufacturers launched the production of linens with ornaments in blue and orange colours, while jewelers sold gaudy trinkets, which were reminiscent of the shiny things worn by the artists on stage, with unprecedented success. Sergei Diaghilev was hoping to make a splash with a Paris performance of the ballet written after One Thousand and One Nights with the fabulous music by Rimsky-Korsakov and oriental exotics. Fokine sought to show all actions and feelings through poses and movements in his choreography. Ida Rubinstein drove the public crazy with her regal beauty, Vaslav Nijinsky – with animal-like flexibility of his half-naked body while soaring over the stage. Such passionate orgies as in Shéhérazade had never been seen by the Parisian ballet-goers before. And while modern theatre-goers would unlikely be stunned by the scenes of passionate embraces and bloody massacre at the harem, juicy musical, artistic and choreographic elements of Shéhérazade can still fire the imagination of a sensitive spectator.
Olga Makarova

On January 5, 1993, Isabelle Fokina and Andris Liepa resumed the performance of Fokine with the Bakst scenery restored by his sketches by the artists Anotoly and Anna Tender. Conductor A.N. Chistyakov. In the role of Zobeida - Ilze Liepa, Negro - V. Yaremenko, Shakhriyar - Mikhail Lavrovsky.

This staging was due to the support of the new Diaghilev Center Foundation.

Since May 26, 1994 "Scheherazade" officially entered the repertoire of the Mariinsky Theater.

History
Premiere of this production: 20 February 1910, Pavlov Hall, Saint Petersburg, Russia

Carnaval is a ballet based on the music of Robert Schumann's piano suite Carnaval, Op. 9, as orchestrated by Alexander Glazunov, Nikolai Rimsky-Korsakov, Anatoly Lyadov and Alexander Tcherepnin. It was choreographed by Michel Fokine to his own libretto, with costumes designed by Léon Bakst, and premiered in Pavlovsk on 5 March (old style, 20 February) 1910.

Premiere of this production: 04 June 1910, Opéra Garnier in Paris

Scheherazade, also commonly Sheherazade, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888 and based on One Thousand and One Nights (also known as The Arabian Nights). The name "Scheherazade" refers to the main character Shahrazad of the One Thousand and One Nights. It is considered Rimsky-Korsakov's most popular work.

Synopsis

The board Shahriyar is being entertained by odalisques and his favourite wife Zobeide. At the advice of his younger brother Shahzeman, who is certain of Zobeide’s unfaithfulness, Shahriyar departs to go hunting. An orgy begins in the harem, and when it is at its height the Sultan re¬turns unexpectedly. He orders his concubines, eunuchs and slaves be killed. Zobeide prays to leave her life, but, not receiving Shahriyar’s consent, kills herself.

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: Ballet
City: Saint Petersburg, Russia
Starts at: 13:00
Acts: 1
Duration: 30min
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