Mazepa

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia

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7 PM

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Important Info

Type: Opera

City: Saint Petersburg, Russia

Starts at: 19:00

Acts: 3

Intervals: 2

Duration: 3h 55min

Sung in: Russian

Titles in: English,Russian

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

Orchestra: Mariinsky Orchestra

Baritone: Elchin Azizov (Ivan Mazepa)

Chorus: Mariinsky Chorus

Creators

Composer: Pyotr Tchaikovsky

Music Director: Valery Gergiev

Set Designer: Alexander Konstantinovsky

Light: Damir Ismagilov

Stage Director: Ilya Shlepyanov

Musical Preparation: Irina Soboleva

Librettist: Viktor Burenin

Overview

History

Premiere of this production: 15 February 1884, Bolshoi Theater, Moscow

Mazeppa, properly Mazepa, is an opera in three acts (six scenes) by Pyotr Ilyich Tchaikovsky. The libretto was written by Victor Burenin and is based on Pushkin's poem Poltava, part of the cultural legacy of Mazeppa.

Synopsis

The action is set in the Ukraine in the early 18th century.

Act I
Scene 1
Kochubei’s house and garden.
The girls bring in Maria, Kochubei’s daughter, and take her off to have her fortune told. She refuses: her father has a guest, the hetman Mazepa whom she loves.
Her childhood friend, Andrei the Cossack, knowing of Maria’s secret passion, nevertheless declares his unrequited love for her and begs her to forget Mazepa. Maria, understanding the full recklessness of her feelings, is nonetheless powerless to resist them.
Kochubei enters the garden with his wife Lyubov, Mazepa and the other guests. Kochubei’s servants amuse Mazepa with singing and dancing. Mazepa asks Kochubei for Maria’s hand in marriage. Kochubei and Lyubov are incensed at the old hetman’s proposal – he is Maria’s godfather. The hetman turns to Maria and offers her a choice between him and her parents. After tortuous hesitation, she gives her hand to Mazepa. The hetman takes Maria away.

Scene 2
A room in Kochubei’s house.
Maria’s mother is lamenting her daughter, who has left her father’s home. She urges her husband to take revenge on Mazepa. Kochubei reveals his plan: he has found out about the links between the hetman and Sweden’s King Charles XII and of Mazepa’s proposed betrayal of Peter I, and he resolves to present the hetman to the Russian Emperor.
Andrei is ready to deliver the denunciation to the Emperor. Kochubei’s acquaintances are filled with hatred for the hetman Mazepa.

Act II
Scene 3
A cellar in Mazepa’s palace in Belotserkovsk.
The lying hetman, having been warned of his denunciation by Peter I’s retainers, has succeeded in slandering Kochubei to the Emperor. Bound in chains and having been tortured, both Iskra and Kochubei await interrogation.
Orlik, the hetman’s retainer enters. He demands that Kochubei give up the treasure he has allegedly buried in the village of Dikanka. Kochubei has nothing: his honour has been despoiled and his beloved daughter taken from him by Mazepa.
Kochubei desires one thing only – revenge.

Scene 4
A room in Mazepa’s palace.
The hetman is receiving in secret the ambassadors of the Swedish King. Orlik enters and receives the order to execute Kochubei.
Maria appears. In a talk with Mazepa, she upbraids him for his coldness towards her. Jealous suspicions torment her soul. Unwillingly, the hetman must state the true reason for his coldness, and he reveals the secret plan against the Russian Emperor. Mazepa wants to know whom Maria would choose: her father or her husband, if she was forced to make that choice? In disarray, she speaks of the boundless nature of her love, saying she does not understand the choice Mazepa is offering. Mazepa leaves. Having secretly gained access to the palace, Maria’s mother appears; she tells her daughter of the failed plot against Mazepa, and is stunned that her daughter does not know about the death that awaits her father. Maria and Lyubov hasten to stop the execution.

Scene 5
The road leading to Kochubei’s place of execution.
The people await the appearance of the sentenced men, while a drunken Cossack sings and dances in the crowd.
The executioner appears, followed by Mazepa and Orlik, then Kochubei and his friend Iskra are brought in. The sentenced men bid farewell to one another, to the people and to life and they mount the scaffold. Maria and Lyubov run in. But they are too late. Sentence has been carried out.

Act III
Scene 6
The Battle of Poltava – symphonic scene.

Scene 7
Kochubei’s former home and garden.
The height of the battle, and the Russian warriors are pursuing the Swedes; Andrei is among them. He stops by the roadside and recalls the past when he was happy. Mazepa and Orlik appear. The y have fled the battle at Poltava. Andrei, recognising Mazepa, attacks him with his sword, but Mazepa is too quick for Andrei and wounds him fatally.
Maria appears; she has lost her mind; she recognises nothing around her. Drowning in grief, the girl laments her murdered father.
Orlik and Mazepa hide. Not recognising the dying Andrei, Maria soothes him with a lullaby.

Time: Beginning of the 18th century
Place: Ukraine
Overture: Mazeppa's ride

Act I

Scene 1: Kochubey's estate on the banks of the Dniepr

A group of peasant girls sail on the river, singing of making garlands of flowers to cast on the river and so divine their husband as a fortune-telling game. Mariya arrives, and they all plead with her to join them, but there is company at her house: The Hetman Mazeppa, and so she cannot stay with them. After they leave, she reveals that games have no temptation for her anymore, for she is in love with Mazeppa. Her childhood friend, Andrei, overhears her, and tries to comfort her, but when she thanks him for his kind friendship, he reveals he always loved her. She wishes it could be different, that she could love him too – but fate will not allow it. Andrei rushes off in despair. Mariya's father and mother, Vasily and Lyubov Kochubey arrive with the guests, and dance and song are provided for Mazeppa's entertainment, including the famous Hopak.

Then Mazeppa draws Kochubey aside, and asks for his daughter's hand. Kochubey thinks he's joking at first – he is, after all, very old. Mazeppa claims that the passions of an old heart, once lit, are not like those of a young heart that burn brightly but then fade – they smoulder forever. Kochubey points out, however, that Mazeppa is Mariya's godfather, which is considered closer than a blood tie in the Russian Orthodox Church. Mazeppa replies that he can easily apply to the church for an exemption. Kochubey orders Mazeppa to leave. Mazeppa replies that he has already asked Mariya's hand, and been accepted, with a slight hint that he may already have had his way with Mariya. Kochubey still refuses, and Mazeppa calls in his guard. Mazeppa demands submission, everyone else curses his immoral desires and rise up against him, but just as battle is about to break out, Mariya throws herself between the two groups. As he leaves, Mazeppa calls for Mariya to decide whether she wishes to stay at home and never see him again, or to come with him. She chooses him to everyone's surprise and distress.

Scene 2: A room in Kochubey's manor

Lyubov mourns Mariya's loss, the women of the house trying to comfort her, to no avail. She sends them away and tries to stir Kochubey to rouse the Cossacks to war and go to attack Mazeppa – but he has a better plan: Whilst the two were still friends, Mazeppa hinted at a plan to ally with Sweden and fight to free Ukraine from Peter the Great's rule. Iskra, Kochubey's friend, is all for it, but they need a messenger. Andrei, who feels his life is over after having lost Mariya, agrees to deliver it. Everyone curses Mazeppa and relishes the thought of his execution.

Act 2

Scene 1: A dungeon in Mazeppa's castle, night.

The plan has not gone well. Peter the Great sided with Mazeppa, and turned Kochubey over to him, sending, as Kochubey puts it, a loyal servant into the hand of a treasonous one. Under torture, Kochubey has made a false confession. Kochubey is trying to make himself right with God, and thinks he hears the priest coming to hear his last confession – but instead, it turns out to be Orlik, Mazeppa's henchman and torturer. Kochubey asks what more he could want – he had agreed under torture to everything that had been asked of him. But he hadn't revealed the location of his hidden treasures. He tells them to send Mariya, who will show them everything, and let him pray before his execution: he has already lost his treasures – His honour to a false confession extracted under torture, Mariya's honour to Mazeppa, and now has only the prospect of God's Vengeance after his death. This is not enough for Orlik – the tortures recommence.

Scene 2: A terrace of Mazeppa's castle. The same night

Mazeppa ponders the terrible blow that will befall Mariya when she learns what he has done to her father – He has to be strong whilst he's trying to consolidate his power, but Mariya... Orlik arrives. Kochubey has revealed nothing about his treasure as yet. The execution is set for dawn, and Orlik is sent off to resume what needs to be done. Mazeppa ponders Mariya and the night.

Mariya arrives, and flirts with him, but her thoughts turn darker – why is he spending so much time away from her of late? Why did he toast Poltava the other night? Who is she? She gave up everything for him – if he rejected her now... Mazeppa tries to calm her, unsuccessfully at first, but eventually succeeds. He reveals his plan to gain independence for Ukraine, making himself King and Mariya queen. Mariya thinks the crown would suit him very well. He then begins testing her out about her father – who does she care for more – her husband or her family? Eventually Mariya says she would give up – indeed, has given up, everything for him. Mazeppa leaves, reassured.

Lyubov arrives, and pleads with Mariya to go to Mazeppa to save Kochubey – only she can save him. Mariya, not knowing anything about it, takes some time to figure out what was going on, but then is horrified and faints, unable to bear it. Lyubov shakes her awake – the procession is already leaving. The two run off in an attempt to plead with Mazeppa for Kochubey's life.

Scene 3: By the town ramparts

The poor of the city have gathered for the execution, but their grim fears for Kochubey and hatred of Mazeppa are interrupted by a drunken Cossack singing a cheery little folk song. Mazeppa and Orlik arrive, Kochubey and Iskra are dragged on as prisoners and pray to God to forgive them. They are dragged to the stocks – the crowd gathers round – The axes are raised. Mariya and Lyubov arrive – just in time to see the axes fall. Lyubov rejects Mariya, who collapses in tears as the grim final chords of the chorus echo over the stage. Curtain.

Act 3

Orchestral Interlude: The Battle of Poltava: Peter the Great's defeat of Mazeppa and Charles XII of Sweden

Scene 1: The ruins of Kochubey's estate, near the battlefield

Andrei has fought in the Battle of Poltava, but was unable to find Mazeppa. He wanders around the ruins of the estate, remembering happier times. Horsemen approach and he hides.

Mazeppa and Orlik are fleeing the battle, Mazeppa brooding over having once been powerful, but now, in one day, having lost everything. He sends Orlik off to prepare camp. Andrei springs out and challenges Mazeppa with his sword. Mazeppa warns Andrei he is armed. Andrei charges at him, sword waving... and Mazeppa shoots him.

Mariya arrives, completely mad. She does not recognise Mazeppa, and has convinced herself that her father's trick was just a joke played on her by her mother. But she sees blood everywhere. Mazeppa tries to comfort her – she starts to be, and babbles to him, but then sees blood on his face, and apologises: She had thought him someone else, but the person she thought he was had white hair, and his is covered with blood. Orlik returns and warns Mazeppa that troops approach – Mazeppa wants to take Mariya, but Orlik points out she'd slow them down. He asks whether Mazeppa cares more for a mad woman or his own head, and Mazeppa reluctantly leaves Mariya behind.

Mariya finds Andrei, and the blood on him – she cries out at finding blood everywhere, and remembers "dreams" of an execution. Andrei stirs, not quite dead, and Mariya mistakes him for a young child. He begs Mariya to look at him so he can see her face one last time – but she is in her own world, and just sings a lullaby to him, not realising what's happening or who he is. Part way through it, he dies, giving her one last farewell. Mariya continues rocking his corpse, singing the lullaby and staring into the distance as the opera ends.

Venue Info

Mariinsky Theatre - Saint Petersburg
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.