Mariinsky Theatre tickets 7 May 2025 - Romeo and Juliet | GoComGo.com

Romeo and Juliet

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h 20min

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Cast
Performers
Orchestra: Mariinsky Orchestra
Ballet company: Mariinsky Ballett
Creators
Composer: Sergei Prokofiev
Choreographer: Leonid Lavrovsky
Lighting Designer: Andrei Ponizovsky
Playwright: William Shakespeare
Lighting Designer: Yegor Kartashov
Overview

The ballet Romeo and Juliet might never have been. In 1934 Prokofiev discussed the possibility of staging The Gambler and The Fiery Angel in Leningrad. At the time, Andrian Piotrovsky (the director of the Leningrad studios and a consultant for the GATOB) forwarded the idea of a new opera and, among other plots, he suggested Shakespeare’s tragedy. The idea for Romeo as a ballet finally took shape in May 1935.

The second “godfather” of this production was Sergei Radlov. A co-writer of the scene plan, he proposed radical re-workings of Shakespeare, the most fantastical of which involved a happy ending. In the summer of 1935 the score was completed. During this time the GATOB production fell through and the idea was taken up by the Bolshoi Theatre. A stormy time began for the lovers of Verona: the failure of the first public performance (4 October 1935), the reworking of the finale in line with Shakespeare, the performance of two symphony suites from the ballet (1936-1937 season), a new contract with the GATOB (then known as the Kirov Theatre) and only on 11 January 1938 did the premiere of Romeo take place.
Apropos, the premiere of Romeo took place in the Czech city of Brno – encyclopaedias list this as the world premiere. It is known that this was a one-act ballet which featured only selected excerpts (possibly the music of the two suites). It was in Leningrad that the score was heard in its entirety for the first time.

In 1938, the Kirov Theater agreed to stage Sergei Prokofiev's Romeo and Juliet. Lavrovsky and Prokofiev struggled for a period over the score and libretto, Lavrovsky eventually persuading the composer to add variations for Romeo and Juliet as well as some other incidental numbers. The ballet premiered on January 11, 1940. It featured sets by Pyotr Vilyams and starred Galina Ulanova in the role of Juliet and Konstantin Sergeyev in the role of Romeo. Lavrovsky's production is widely recognized as one of the greatest examples of the drambalet genre in Soviet Theater. Lavrovsky's choreography for the ballet is highly dramatic and largely realistic, closely hewing to the motions taken by stage actors and mostly eschewing traditional ballet divertissements.

The choreographer made a meticulous study of Veronese archives, medieval novels and descriptions of early dances. For his principal expressive means he chose dramatically vivid pantomime dance. Swearing allegiance to the spirit of Shakespeare, Lavrovsky demanded the removal of all radical elements from the libretto in addition to expanding several parts and augmenting the orchestration. Prokofiev resisted the changes even after the premiere.
The production was designed by Pyotr Williams, one of the finest theatre designers of the age. Williams’ Italy arbitrarily combined heterogeneous elements of the Renaissance: on the squares of Verona there was the cupola of Santa Maria del Fiore and in the costume sketches one could find traces of portraits by Botticelli and Cranach the Elder. Verona literally moved to the expanses of Leningrad: many columnists noted the restrained and not remotely southern flavour of the production.

History
Premiere of this production: 30 November 1937, Mahen Theatre, Brno

Romeo and Juliet is a ballet by Sergei Prokofiev based on William Shakespeare's play Romeo and Juliet. Prokofiev reused music from the ballet in three suites for orchestra and a solo piano work.

Synopsis

Act I
Scene 1
It is early one morning. Romeo, dreaming of love, wanders through the deserted streets of Verona. Little by little, all sorts of people fill the square and the first customers arrive at the inn.
Tybalt, noticeably drunk, is on his way home. He sees Benvolio and, drawing his sword, attacks him immediately. The peaceful square turns into a scene of fierce fighting between the supporters of the Montague and Capulet households. Swords cross, people are killed and the alarm is sounded.
Paris, a young nobleman, appears. He has come to ask for the hand of Juliet, the beautiful daughter of Old Capulet. Nobody heeds him. Old Capulet himself is seen running out of his house, eager to play a part in the encounter with the Montagues.
The Duke of Verona and his guards appear in the square. The people implore him to put a stop to the bloodshed. The Duke commands them to drop their weapons, and issues a decree stating that anyone who bares arms in the streets of Verona will be sentenced to death.

Scene 2
Juliet playfully teases her old nurse, who is helping her dress for the imminent ball. Juliet’s mother enters and scolds her daughter for her childishness.

Scene 3
Guests pass in a ceremonious parade to the ball at the Capulets’ house. Paris is amongst them, accompanied by his page. Romeo’s friends, the witty Mercutio and the loyal Benvolio, persuade
him to go to the ball with them. The young men put on masks; without them they cannot go to the feast because of the feud between the two families.

Scene 4
Romeo and his friends enter the Capulets’ palace. Romeo is captivated by Juliet’s beauty and cannot conceal his emotions. By accident, his mask slips, revealing his face to Juliet. She falls in love with the youth.
Tybalt recognises Romeo as an enemy of the Capulets and hurries off to tell Old Capulet that Romeo has dared to come to the ball. Romeo and his friends leave the house to avoid trouble.

Scene 5
On a moonlit balcony of the Capulets’ house, Juliet dreams of seeing Romeo again.
Her dream comes true as Romeo appears in the garden below. He stretches out his arms to her in an expression of love. A moment later, they are together. They tenderly declare their love and vow eternal fidelity to each other.

Act II
Scene 6
In the noisy gaiety of the square in Verona, Juliet’s nurse hands Romeo a letter from her young mistress. Romeo reads it with delight, for Juliet has agreed to be his wife.

Scene 7
Friar Lawrence is happily passing the day in his quiet cell. Romeo enters and begs the monk to wed him to Juliet in secret. The friar promises to help, hoping that the marriage will reconcile the Montagues and the Capulets and thus end the feud. Juliet enters and Friar Lawrence performs the wedding rites.

Scene 8
Mercutio, Benvolio and their friends have come to the inn. Tybalt enters and, upon seeing his enemies, he draws his sword and rushes at Mercutio. Romeo tries to make peace between them. Tybalt pushes him away. Tybalt and Mercutio cross swords. Romeo again attempts to separate them, but Tybalt, seizing a favourable moment, deals Mercutio a treacherous blow and kills him.
Romeo is wild with fury at the death of his friend. He draws his sword and challenges Tybalt to a duel. Tybalt is killed. Benvolio, frightened, points to the decree posted by the Duke of Verona and leads his friend away. Tybalt’s kinsmen gather round his dead body and swear vengeance on the House of Montague.

Act III
Scene 9
Romeo has come to bid farewell to Juliet. He is ready to flee Verona, having violated the Duke’s decree. As the rays of the morning sun stream into the room, Romeo takes leave of his beloved. The nurse comforts Juliet, who is heart-broken at her separation from Romeo. Juliet’s parents enter the room, and her mother tells her that her marriage to Paris has been arranged. Paris, who has also come in, declares his love for Juliet; she listens to his passionate avowals, but refuses
to comply with her parents’ wish. When Paris has left the room, they shower her with reproaches. Her father says firmly that he is determined to have his way.
Juliet is in despair. She makes up her mind to go to Friar Lawrence for advice.

Scene 10
Juliet comes to Friar Lawrence’s cell. The monk is touched by the tale of her boundless love for Romeo and gives her a potion. His plan is that she will drink the potion and fall into a deep sleep. She will be thought dead, and her body will be taken to the family vault – in an open coffin according to the ancient custom of the country. Meanwhile, Friar Lawrence will write to Romeo who is hiding in Mantua and summon him back to Verona. The young man will return at once.
Juliet will have awoken by that time and Romeo will take her away with him back to Mantua.

Scene 11
When Juliet returns home, she pretends to have submitted to her parents’ will. She takes the potion and falls into a deep sleep. Juliet’s friends come in with bunches of flowers and, unable to find her, believe her to be still asleep. Her parents enter, accompanied by Paris. The nurse draws
the curtains of Juliet’s bed aside. All are paralysed with horror – Juliet lies lifeless on her couch.

Scene 12
Mantua. It is night. Romeo is alone, lost in gloomy thoughts. He has had no news from Juliet. Friar Lawrence’s messenger has not arrived. Benvolio, who has just come from Verona, rushes to Romeo and tells him of Juliet’s death. Romeo hurries back to Verona.

Scene 13
At the cemetery in Verona, the mourners, sad and silent, take their last farewell of Juliet and depart. Romeo enters the vault. He cannot take his eyes off his beloved; she is dead, and life no longer has any meaning for him. Romeo swallows some poison and falls dead at her feet. Juliet wakes up to see Romeo dead. Snatching his dagger, she stabs herself.
The people assembled at the cemetery watch as Old Montague and Old Capulet gaze sorrowfully at the bodies of their dead children. In silence, they stretch out their hands to each other.
The tragic death of the two lovers was the price to pay to end their long and bloody feud.

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 20min
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