Mariinsky Theatre 6 June 2025 - Raymonda | GoComGo.com

Raymonda

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
All photos (10)
Select date and time
7 PM
Request for Tickets
Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h 15min

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
Orchestra: Mariinsky Orchestra
Ballet company: Mariinsky Ballett
Creators
Composer: Alexander Glazunov
Choreographer: Fyodor Lopukhov
Choreographer: Konstantin Sergeyev
Librettist: Ivan Vsevolozhskiy
Author: Lidiya Pashkova
Librettist: Marius Petipa
Costume designer: Simon Virsaladze
Festival

Stars of the White Nights Festival

On 22 May, the Mariinsky Theatre opened the XXXIII Music Festival Stars of the White Nights with a grand celebration. Year after year the festival draws the attention of audiences from around the world who cherish musical and theatrical art. Stars of the White Nights remains one of the most prominent and anticipated cultural events of the Mariinsky Theatre – the culmination of its entire season. This year’s festival runs from 22 May to 3 August, with events scheduled across all of the theatre’s St Petersburg stages.

Overview

Marius Petipa created Raymonda when he was in his eightieth year, and it was one of his late grand ballets. Its simple story, based on a medieval chivalrous legend, brought together everything that was the best of the best that Petipa had done in the course of his long career as a choreographer in Russia.

Here there is a ballet and detective plot including dreams, kidnappings and joyous releases, a complex and varied ballerina role and a conflict between the male roles – the refined and classical Jean de Brienne and the passionate and pointedly typical oriental Abderakhman, the vast number of characters, meaning a similar number of dancers engaged in the ballet, the colourful character dances and, arguably, Petipa's main pride and glory – the fully-developed dance scenes of classical ensembles.
The composer, on the other hand, began his ballet career with Raymonda. The production was staged when Alexander Glazunov was in his thirty-third year. In this work the composer, new to the ballet genre, so ardently used his experience as a symphonist and maestro of vivid and colourful orchestral music that his subsequent dance works (The Trial of Damis and The Seasons) never cast a shadow over the glory of Raymonda, and it is this ballet that remains in history as perhaps Glazunov's most famous work.
Its conflict is based on the contrast of two different worlds: the serene and knightly noble idyll of Raymonda's medieval castle meets the Barbarian world of ungovernable passions embodied by Abderakhman and his suite. The choreographer resolved the musical contrast by juxtaposing the expressive nature of Abderakhman's gestures, the temperamental character dances of his suite and the classical dance of Raymonda's world. The role of Raymonda is one of the most demanding in the classical ballet repertoire. In this masterpiece by Marius Petipa, the ballerina performs five variations as well as incredibly beautiful adagios, the Pas d’action and the Grand pas. Alexander Glazunov did not stint in the musical richness of the female protagonist, accentuating each of her variations with different emotional colours. Choreographically, too, she reveals new sides to her character in the solo variations. In Act I Raymonda is light-heartedly youthful, in the scene The Dream her variation is songfully dreamy, in Act II she is ceremonially triumphant, and in Act III she alone is coquettish and different, performed to piano solo, meditative. Together this all creates the image of a heroine who embodies the many facets of womanhood. That's on the one hand. And, on the other, it is a role that showcases a virtuoso ballerina fully armed with universal technique and grace, beauty of line and absolute skill, a ballerina the likes of whom Marius Petipa sought throughout his creative career and an anthem for whom was to be his "swan song", Raymonda.

Olga Makarova

History
Premiere of this production: 19 January 1898, Imperial Mariinsky Theatre, Saint Petersburg, Russia

Raymonda  is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa to music by Alexander Glazunov, his Opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.

Synopsis

ACT I 
Scene 1 
Preparations for Raymonda’s birthday celebrations are underway in a grand medieval castle.
The seneschal announces the arrival of foreign nobles. René de Brienne from Hungary enters the hall together with other knights and armour-bearers. He asks for the fair Raymonda’s hand in marriage on his son’s behalf and presents her with a tapestry portrait depicting Jean de Brienne.
The seneschal barely manages to announce the arrival of other guests when Abderakhman, a Saracen sheikh, decisively enters the hall. He is unable to tear his eyes away from the beauty he sees and resolves to do anything in order to have her.
The party lasts late into the night. Alone and exhausted, Raymonda sits down in a chair and falls asleep...

Scene 2 
(Raymonda’s Dream)
Raymonda dreams that the tapestry portrait comes to life; the handsome young knight draws her to himself and leads her into a castle.
Raymonda is enchanted with this beautiful world, one she has never seen before. The castle suddenly disappears, however, and in its place stands a desert tent...

Scene 3
(Raymonda’s Dream)
... The Saracen sheikh appears before Raymonda. He is gloomy and threatening and pursues her. Overcome, Raymonda falls, unconscious...

Scene 4
... Waking up, Raymonda can’t understand where she is. Her eyes catch the little Arabs presented to her by Abderakhman: they revive in her memory the image of the Saracen sheikh. A ray of sunlight touches the portrait of Jean de Brienne. So it was just a dream!

ACT II 
Scene 5
The inner courtyard of the castle. Guests arrive from various countries to take part in the wedding festivities. Raymonda impatiently awaits the arrival of Jean de Brienne, but Abderakhman approaches her again and again with his passionate and ardent declarations of love. He promises her inestimable riches and supreme control of his lands, anything she desires! Having been refused, Abderakhman and his retinue attempt to abduct Raymonda, but his path is barred by Jean de Brienne. He challenges the sheikh to a duel and Abderakhman dies, slain by the knight’s sword. Raymonda welcomes her groom.

ACT III
Scene 6
Raymonda and Jean de Brienne are happy. The castle celebrates their marriage in an explosion of merriment.

Act I
Scene 1: Raymonda's feast

At the castle of Doris, preparations are under way for the celebrations of the young countess Raymonda’s name day. Countess Sybille, her aunt, chides those who are present, including Raymonda's two friends Henrietta and Clémence, and the two troubadours Béranger and Bernard, for their idleness and their passion for dancing, telling them of the legendary White Lady, the protector of the castle, who warns the Doris household every time one of its members is in danger and casts punishment on those who do not fulfil their duties. The young people laugh at the countess’s superstitions and continue to celebrate. The seneschal of the Doris castle announces the arrival of a messenger, sent by Raymonda's fiancé, the noble crusader knight, Jean de Brienne, bearing a letter for his beloved. Raymonda rejoices when she reads that King Andrew II of Hungary, for whom Jean de Brienne has fought, is returning home in triumph and Jean de Brienne will arrive at the Doris castle the next day for their wedding. Suddenly, the celebrations are interrupted when the seneschal announces the arrival of an uninvited Saracen knight, Abderakhman and his entourage, who have stopped at the castle seeking shelter for the night. Captivated by Raymonda's beauty, Abderakhman falls in love with her at once and resolves to do anything to win her. The party lasts late into the night and, left alone and exhausted by the day, Raymonda lies down on a couch and falls asleep. As she sleeps, she begins to dream that the White Lady appears illuminated by the moonlight and, with an imperious gesture, orders Raymonda to follow her.

Scene 2: The Visions

The White Lady, without making a sound, advances along the terrace. Raymonda follows her in a state of unconsciousness. At a signal from the White Lady, the garden is wrapped in mist. A moment later, the mist vanishes and Jean de Brienne appears. Overjoyed, Raymonda runs into his arms and they are surrounded by glory, knights and celestial maidens. The garden is illuminated by a fantastic light and Raymonda expresses her joy to the White Lady, who interrupts her enthusiasm with a vision of what awaits her. Raymonda wants to return to her fiancé, but instead, she finds Abderakhman, who has taken Jean de Brienne's place. Abderakhman declares his passionate love for her, but Raymonda, though confused and upset, is quick to reject him. Imps and elves appear from everywhere surrounding Raymonda, who begs the White Lady to save her and Abderakhman tries to take Raymonda by force. Raymonda cries out and falls to the ground in a faint. The frightful vision disappears along with the White Lady.

Act II
The Courtyard of the Castle

The feast in honour of Jean de Brienne's arrival is taking place. Raymonda welcomes her guests, but cannot hide her uneasiness caused by Jean de Brienne’s delay. Abderakhman approaches her repeatedly and reveals his passion for her, but remembering the warnings of the White Lady, Raymonda rejects him with contempt. Abderakhman becomes even more insistent and realises the only way to possess Raymonda is by force. He calls his slaves to dance for her, after which he summons his cup bearers and they pour a potion into everyone’s cup, causing all the guests to become drunk. Seizing his chance, Abderakhman grabs Raymonda in an attempt to abduct her, but luckily Jean de Brienne arrives just in time, accompanied by King Andrew II and his knights. Jean de Brienne saves Raymonda from the hands of the Saracens and tries to seize Abderakhman. The King commands the two rivals to put an end to the matter in a duel, during which the White Lady appears on the castle tower. Abderakhman is dazed and dies, slain by Jean de Brienne's sword. Raymonda joyfully embraces her fiancé and the two reaffirm their love as the King joins their hands.

Act III
The Wedding

Raymonda and Jean de Brienne are finally married and King Andrew II of Hungary gives the newly wedded couple his blessing. In his honour, everyone at court is dressed in Hungarian fashion and perform a range of Hungarian-style dances, ending in an Apotheosis where everyone comes together in a knightly tournament.

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: 19:00
Acts: 3
Intervals: 2
Duration: 3h 15min
Top of page