Mariinsky Theatre tickets 22 June 2025 - Ruslan and Lyudmila (abridged version) | GoComGo.com

Ruslan and Lyudmila (abridged version)

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia
All photos (1)
Select date and time
1 PM 7 PM
Request for Tickets
Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 13:00
Acts: 5
Intervals: 3
Duration: 4h 30min
Sung in: Russian
Titles in: English,Russian

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
Chorus: Mariinsky Chorus
Creators
Composer: Mikhail Glinka
Musical Preparation: Irina Soboleva
Stage Director: Lotfi Mansouri
Librettist: N. A. Markevich
Librettist: Nestor Kukolnik
Set Designer: Thierry Bosquet
Librettist: Valerian Shirkov
Lighting Designer: Vladimir Lukasevich
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

In 2021 Ruslan was moved to the new stage of the Mariinsky Theatre; its lighting has been revived and the cast has been refreshed. This production is not merely a unique museum exhibit, not just a historic reconstruction, but also a living artistic organism with indefatigable energy and unfading beauty. 

Vladimir Odoyevsky called the opera Ruslan and Lyudmila a magnificent flower that had grown in Russian musical soil. Glinka’s score is laden with musical treats just like the tables at the princely feast in Act I. the composer’s imagination, given flight by the genius of Pushkin, came up with one superb melody after another, it created hitherto unknown chords and it suggested the original decisions as to the orchestration. Fully compensating for the losses that inevitably accompanied the literary masterpiece’s transformation into an opera libretto, Glinka produced an epic and magical fairytale opera about the fearless Ruslan and his faithful bride Lyudmila, about trials and temptations and about the battle between Light and Darkness. the opera’s structure is absolutely monumental: in the outer acts there are the immense crowd scenes of Kiev, while between them is a musical “novel-and-journey”, a series of adventures of the three claimants to the hand of the Prince’s daughter: a mighty Russian bogatyr, a dreamy Khazar prince and a boastful Varangian knight. Glinka wrote all of the protagonists with unusual clarity, as he did the destinations to which their laborious paths led them, be these the cave of the magician Finn, a battlefield strewn with bones, the palace of the perfidious Naina or Chernomor’s enchanted gardens. Glinka’s flower was to leave numerous seeds in its wake after blossoming – musical innovations and ideas from which the greatest works in the Russian composition school were subsequently to grow.

Odoyevsky’s words about Ruslan and Lyudmila may also be taken to refer to this production of the opera at the Mariinsky Theatre. Belgian Thierry Bosquet worked for months in the theatre’s artistic workshops, and he personally sourced fabrics for the costumes from shops across the globe, trying, ninety years later, to recreate the mind-boggling colours and ornamentation of the legendary 1904 production. Back then, in what was the hundred-year anniversary of Glinka, the designs for Ruslan were supervised by Konstantin Korovin and Alexander Golovin. the luscious Russo-Byzantine art nouveau of their set designs amazes even today, both as a whole and in its details, examining which is a joy in and of itself. the opera’s scenes follow one after another, just like the pages of some gigantic illustrated book of fairytales. the dances deserve special mention; these recreate another anniversary production, that of 1917, when the Mariinsky Theatre was commemorating seventy-five years since the first performance of  Ruslan and Lyudmila. That was staged using the familiar sets, though with new dances choreographed by Michel Fokine. Pushkin’s humour, having eluded the opera’s librettists, was restored in the dances and processions staged by Fokine, particularly in the culminating March of Chernomor.

Khristina Batyushina

History
Premiere of this production: 27 November 1842, Bolshoi Kamenny Theatre, Saint Petersburg

Ruslan and Lyudmila is an opera in five acts (eight tableaux) composed by Mikhail Glinka between 1837 and 1842. The opera is based on the 1820 poem of the same name by Alexander Pushkin. The Russian libretto was written by Valerian Shirkov, Nestor Kukolnik, and N. A. Markevich, among others. Pushkin's death in the famous duel prevented him from writing the libretto himself as planned.
Today, the best-known music from the opera is its overture.

Synopsis

Act I
At the court of Svetozar, Prince of Kiev, celebrations are in progress before the marriage of his daughter, Lyudmila, to Ruslan, a warrior. The Bayan (a minstrel) sings of the trials in store for Ruslan, though he predicts the victory of true love. Nostalgically, Lyudmila bids farewell to her parent’s home, and consoles her unsuccessful suitors, the eastern prince Ratmir and the Varangian warrior Farlaf. Suddenly all darkens: when light is restored, Lyudmila has vanished.
Svetozar promises her hand and half his kingdom to the  one who rescues her.

Act II
In  his cave, Finn, a good magician, reveals to Ruslan that Lyudmila’s abductor is the dwarf Chernomor (whose strength lies in his enormously long beard) and warns Ruslan against the evil enchantress Naina. The scene changes to a deserted place where Naina instructs a very frightened Farlaf to wait at home; she will help him defeat Ruslan and gain Lyudmila. Finally on a deserted battlefield Ruslan reaffirms hisresolve, then defeats a gigantic head and draws a sword from beneath; the head explains he is Chernomor’s brother and one of his victims, and that the sword’s magic can defeat the dwarf.

Act III
In Naina’s enchanted palace her maidens are directing their allure at a travel-weary Ratmir, to the distress of his slave, Gorislava, who loves him.
Ruslan appears and is smitten with Gorislava, but Finn intervenes and breaks the seductive spell, uniting Ratmir and Gorislava, and all set out to rescue Lyudmila.

Act IV
Confined in  Chernomor’s enchanted garden, Lyudmila voices her despair and defiance, rejecting her captor’s blandishments. At Ruslan’s approach Chernomor casts a  spell over her and goes out to fight with Ruslan. Chernomor’s followers observe the offstage encounter, in which Ruslan catches hold of Chernomor’s beard, then cuts it off. Triumphantly he returns onstage with it, but is in despair when he finds Lyudmila in an enchanted sleep. He decides to take her back to Kiev.

Act V
Ratmir sings of his love for Gorislava. Farlaf abducts Lyudmila and speeds to Kiev.
Meanwhile Finn gives Ratmir a magic ring that will waken Lyudmila. In Kiev Farlaf cannot rouse her but when Ruslan arrives with Ratmir he breaks the spell with the aid of the ring. General rejoicing.

Time: The time of Kievan Rus' (9th to 13th centuries)
Place: Kiev; various imaginary and fantastic locations

Act 1

In Svetozar's banquet hall, the wedding feast for Ruslan and Lyudmila is taking place. The guests listen to Bayan sing a song foretelling misfortune for the bride and groom, followed by happiness from true love. Lyudmila, saddened by the prospect of leaving her father, offers words of comfort to her unsuccessful suitors, Farlaf and Ratmir, and then pledges herself to Ruslan. Svetozar blesses the couple. All of a sudden everything goes dark and there is a crash of thunder. The people are paralysed by a spell while two monsters carry Lyudmila away. When light returns and everyone recovers, they panic over Lyudmila's disappearance. Svetozar promises half his kingdom and Lyudmila's hand to the man who brings her back. The three suitors ready themselves for the journey to find Lyudmila.

Act 2

Tableau 1

Ruslan comes upon the cave of the kindly wizard Finn, who tells him that the evil sorcerer Chernomor has absconded with Lyudmila and that Ruslan is the man who will destroy him. Ruslan asks Finn why he lives in this deserted place, and Finn relates the story of many years ago, when he was a shepherd in his distant homeland (he says he is "a Finn") and fell in love with a beautiful girl named Naina. When she rejected his declaration of love, he went off to do battle with enemies for booty. Returning with this booty, he presented it to Naina, but she yet again spurned him. Then he resolved to study magic to win her; many years went by, and through sorcery he finally summoned an old, grey-haired, humpbacked woman – it was Naina, who now was mad with passion for him. He ran away from her and has been hiding from her ever since. For abandoning her, Naina is consumed by vengeful hatred, which will likewise fall upon Ruslan. Assuring him that Lyudmila will not be harmed, Finn instructs Ruslan to head north, and the two of them exit in opposite directions.

Tableau 2

In a deserted place, the cowardly Farlaf wonders whether he should continue searching for Lyudmila, when the decrepit Naina approaches him. She promises to get Lyudmila for him and send Ruslan far away. She disappears, and Farlaf rejoices in his triumph.

Tableau 3

Ruslan, having come upon a foggy desert strewn with weapons and bones from a past battle, wonders at the cause of this scene and whether he, too, may end up the same way. He chooses a new shield and spear from the ground to replace his broken weaponry, but cannot find a sword heavy enough to complete his new set of armor. When the fog lifts, a giant Head is revealed and blows through its lips to bring up a storm so as to drive Ruslan away. When Ruslan strikes the head with his spear, the Head falls back and reveals a sword underneath. He takes it and asks the Head whence it came. As it is dying, the Head explains that it once was a giant, and his dwarf brother is the evil sorcerer Chernomor. The sword was destined to kill both of them; so, in order to forestall fate, Chernomor tricked the giant, beheaded him, and flew his live head away to the distant desert to keep the sword protected underneath it. With the sword now in Ruslan's hands, the Head calls for vengeance on Chernomor.

Act 3

Young maidens are luring passing travelers to enter Naina's magical castle. Gorislava appears, looking for Ratmir, who had taken her captive and then abandoned her. After she goes away for a moment, Ratmir himself comes on the scene and falls under the spell of the maidens, who seduce him with dance. The final guest attracted to the castle is Ruslan, who finds himself forgetting Lyudmila upon seeing Gorislava. Suddenly Finn appears; and, after pronouncing a happy fate for Ratmir with Gorislava, and for Ruslan with Lyudmila, the castle turns into a forest as they resolve to rescue Lyudmila.

Act 4

Within Chernomor's magical gardens, Lyudmila longs for Ruslan and resists the influence of the enchanted surroundings. Chernomor with his retinue arrives; dances are performed. A trumpet call signals a challenge from Ruslan. Chernomor puts Lyudmila under a sleeping spell and goes off to fight Ruslan, who shortly comes on the scene triumphantly wearing Chernomor's beard around his helmet. Although he is disheartened by Lyudmila's condition, Ruslan, along with Ratmir and Gorislava, resolve to return to Kiev with Lyudmila to seek the aid of the magicians there. Chernomor's former slaves freely come along.

Act 5
Tableau 1

In a moonlit valley, Ruslan, Ratmir, and Gorislava, with Lyudmila, have camped for the night. Ratmir, who is standing guard, worries about Ruslan, and then expresses his happiness at his reunion with Gorislava. Suddenly the slaves report that Lyudmila once again has been abducted and that Ruslan has left in search of her. Finn appears, gives a magic ring to Ratmir that will awaken Lyudmila when she is brought back to Kiev.

Tableau 2

Lyudmila lies asleep in Svetozar's banquet hall. It turns out that Farlaf, with Naina's assistance, kidnapped Lyudmila and brought her to Kiev so as to appear to have been her rescuer. However, he cannot waken her. Horses approach, and Ruslan, Ratmir, and Gorislava arrive. Ruslan brings the magic ring to Lyudmila, and she awakens. As the tableau opens onto a view of Kiev, the people rejoice in their gods, their motherland, and the young couple.

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: 13:00
Acts: 5
Intervals: 3
Duration: 4h 30min
Sung in: Russian
Titles in: English,Russian
Top of page