Mariinsky Theatre tickets 30 May 2025 - Salammbô | GoComGo.com

Salammbô

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia
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Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 2
Intervals: 1
Duration: 2h 50min

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Cast
Performers
Orchestra: Mariinsky Orchestra
Chorus: Mariinsky Chorus
Creators
Composer: Modest Mussorgsky
Director: Sergei Novikov
Festival

Stars of the White Nights Festival

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

Overview

Scenes from an unfinished opera by Modest Musorgsky

Musorgsky worked tirelessly on the plot of the opera Salammbô from 1863 to 1866. The opera was essentially composed independently from The Five and Mily Balakirev, who during those years was Musorgsky’s musical mentor. According to Nikolai Rimsky-Korsakov, the composer occasionally allowed extracts from Salammbô to be performed within the circle and these extracts “at times drew the most tremendous approval for the beauty of their themes and ideas, while at others they drew the most incredible censure for their lack of order and muddle.” The generally sceptical attitude within The Five to Musorgsky’s first attempt at an opera (it is indicative that not a single one of even the completed numbers of the score of  was ever performed at the concerts of the Free School of Music run by Balakirev) and his friends’ doubts about his abilities seem to have been the main reason why the composer refused to continue with the work. Musorgsky did not, however, reject the musical material of Salammbô, realising its high artistic merits. In later years, the composer would turn to the music of the opera on several occasions as a kind of musical “backroom”, borrowing from it certain themes and more developed episodes for his new opuses (among them Boris Godunov and the chorus Joshua).
The source of the opera’s plot was Gustave Flaubert’s novel Salammbô, a Russian translation of which was first published in 1863. Writing the libretto himself, Musorgsky did not entirely follow the novel’s plot: it was the composer who introduced the motif of the enslavement of the Libyans by Carthage as a reason for their insurrection (with Flaubert, the reason was another one, the hired Libyans having not been paid for their work). The composer planned for Salammbô to have four acts, though the music of the surviving original score includes the completed music in part only; this includes the separate numbers Song of the Balearic Islander from Act I, War Song of the Libyans (traditionally performed in Act I, though going by its content it should belong to Act II), Chorus of the Priestesses from the opera’s finale and the following expanded scenes: The Temple of Tanit (Act II, Scene 2), The Heathen Temple of Moloch (Act III, Scene 1) and The Dungeon of the Acropolis (Finale, Scene 1). According to some sources, Musorgsky composed but in all probability did not write down some further scenes, in particular a love scene featuring Mathô and Salammbô.
Arguably, the strongest impression made on audiences when first listening to the music of Salammbô is admiration – of the beauty and the refined poeticism of the lyrical episodes, the scale and the dramatic tension of the crowd scenes (the most vivid of which is the sacrifice of children to Moloch) and the power of Mathô’s persona. In terms of character, several pages of the opera’s score (for example, the start of the scene of the rite in Tanit’s temple, Tanit’s hymn in Act II and the chorus of priestesses in the finale) may be considered unique as they were never to be continued in any of Musorgsky’s other music.
The undeniable power of Musorgsky’s music for Salammbô has repeatedly spurred attempts to bring the opera to the stage, despite its incomplete state. These efforts have sought to overcome the challenges posed by the work’s fragmentary nature, the composer’s reuse of significant portions of the material in his later works, and the prevailing belief that completing the opera is an impossible task.
Much of the credit for returning Salammbô to the Russian and international music scene belongs to the Mariinsky Theatre. In 1989 the theatre commissioned the renowned St Petersburg composer Vyacheslav Nagovitsyn to create a performing edition of the opera. This edition presents the music of Salammbô in its most complete form, incorporating numbers orchestrated by Musorgsky himself, along with orchestrations by Rimsky-Korsakov and Vissarion Shebalin. At Valery Gergiev’s suggestion, Nagovitsyn expanded this edition in 1991, adding music from several works by Musorgsky that share thematic connections with Salammbô, including the song Night, which illuminates the character of the opera’s heroine. The Mariinsky Theatre premiered this version in the same year at the evocative setting of the ancient Roman amphitheatre in Mérida, Spain.
Sergey Novikov’s production takes this a step further. It features a newly added duet for Salammbô and Shahabarim, in which the astute listener will recognise echoes of the duet for Marina Mnisheck and the Jesuit Rangoni from Boris Godunov. This reconstruction is entirely fitting, as the duet was initially conceived for Salammbô, as evidenced by Musorgsky’s sketches. In addition to the singers, the production also features a narrator, a dramatic actor who takes on the role of Hamilcar, Salammbô’s father, a character who never appears in Musorgsky’s score. This production breathes new life into a fascinating operatic rarity, inviting audiences to experience the captivating world of Salammbô and to appreciate the depth and breadth of Musorgsky’s genius.

Synopsis

Act I
The Feast in Hamilcar's Gardens
In the suburb of Megara, nestled near Carthage, a group of weary, battle-worn soldiers gathere. These mercenaries – hailing from the far reaches of Africa and Europe – had been hired by the Carthaginian Republic to wage war against Rome. But when the war ended in a humiliating peace, Carthage found itself crushed under the weight of debt, unable to pay its soldiers. Resentment brewed among the citizens, who began to see the mercenaries as little better than the Romans they had fought against. The soldiers, sensing this growing hostility, responded with anger of their own.
In an effort to defuse the tension, the Republic’s council offered the mercenaries the palace of their former commander, Hamilcar.
Here, the soldiers drowned their bitterness in wine, inflating their own importance and valor. What began as revelry quickly devolved into disorderly games and vile wagers. And in this debauchery, they freed the slaves that belonged to Hamilcar, including Spendius, the son of a Greek rhetorician and a Campanian courtesan. Freed from chains, Spendius swearts unflinching loyalty to Mathô, one of the mercenaries’ leaders. The debauchery reached its peak when the soldiers stumbled upon a sacred pond in Hamilcar’s gardens. This pool was home to the family’s revered fish, believed to be descended from ancient burbots that, according to legend, had produced the mystical egg of Tanit, the goddess who protected Carthage. These nearly tame fish, adorned with jewels on their lips, became easy prey for the marauding sacrilegers.
As the sacred fish choked in the barbarians’ hands, Salammbô – the daughter of Hamilcar – appeared. Together with Tanit’s priests, she pleads with the soldiers to return the fish, even if only their lifeless remains, for they are sacred to her.
The mercenaries surround the enigmatic girl. Mathô, commander of the Libyan warriors, leans forward, unable to tear his gaze from Salammbô’s ethereal presence. Moved by his admiration, Salammbô offers him a cup of wine, hoping to calm the mercenaries. But Narr-Havas, commander of the Numidians, wants Salammbô for himself, so he hurls a javelin at Mathô, igniting chaos. The soldiers turned on one another in a frenzy, providing the priests with the opportunity they needed to spirit Salammbô away to safety.
The Temple of Tanit
After being lured out of Carthage through clever deceit, the mercenaries realized the Republic had no intention of honoring its debts, and besieged the city.
Meanwhile, Salammbô prays in the temple of Tanit. Priestesses perform a ritual over her, unveiling the mystical zaïmph – a divine veil said to have descended from the heavens. Legend held that the gods themselves dwelled wherever the zaïmph resided, and the power of Carthage was inexorably tied to its possession.
The cunning Spendius devised a daring plan to lead Mathô into the temple and steal the zaïmph. They sneak into the city through the aqueduct tunnels. Inside the temple, they find Salammbô, fast asleep.
Salammbô awakes, and Mathô confesses his love for her. Confounded by the barbarian’s unexpected behavior, Salammbô eventually the zaïmph in his hands. She cries out, cursing Mathô for his sacrilege.
Priests, warriors, and children hurry to Salammbô’s aid. Yet no one dares to lay a hand on Mathô, cloaked by the zaïmph, lest they should invoke Tanit’s divine wrath. Realizing the power of the zaïmph, Mathô boldly lifts the sacred veil high above his head and strides out of Carthage, untouched. Helpless, the people can only watch as the token of their city’s happiness disappears into the night.
Salammbô summons her pet python, seeking to divine Carthage’s fate through the movements of the serpent.

Act II
Carthage languished under siege, cut off from the outside world and plunged into the torment of thirst and starvation, followed by the plague. The Council issued a decree, and young boys from the wealthiest families were chosen as a sacrificial offering to Moloch, the supreme god. Among these chosen was Hannibal, the son of Hamilcar. Hamilcar decided to replace him with the son of a slave.
The Sacrifice
The people of Carthage assembled before Moloch’s altar as temple priests stoked the fires beneath the bronze colossus. The spectacle horrifies the crowd, the elders, and the priests alike. Only Aminahar, Moloch’s high priest, stays unmoved, his gaze fixed on the storm clouds gathering above the city. One by one, the boys are thrown into the flames… Finally, the storm breaks, quenching the people’s thirst, and is hailed as Moloch’s sign of acceptance, a divine answer to the people’s prayers. The remaining children are released, and the city erupts in euphoric celebration. Carthage’s despair gives place to great hopes.
It is if the city has been reborn.
Yet for the parents of the sacrificed children, grief lingers like an open wound. Aminahar commands them to go to the sacred grove of Eshmun and plead with the gods for vengeance against the barbarians.
Salammbô and Schahabarim
Schahabarim, high priest of Tanit, seeks to restore the people’s faith in the goddess. He demands that Salammbô goes to the Libyan camp to reclaim the zaïmph. Aware of Mathô’s infatuation, Schahabarim instructs his spiritual daughter to use her beauty as a weapon and sacrifice her honor if necessary to save Carthage. At first, Salammbô refuses. Yet memories of Mathô, and the weight of her homeland’s fate, help her make up her mind and risk her life.
The Square Before Moloch’s Idol
Before the gathered crowd at Moloch’s temple, Salammbô declares her intent to confront the barbarians and reclaim Tanit’s sacred veil. Her fearless resolve fills the people with awe and dread. But when the salvation of Carthage in on stake, a woman’s life is not too dear a price.
Mathô’s Tent
Salammbô slips into the Libyan camp and enters Mathô’s tent. Overwhelmed with joy at her arrival, Mathô drapes the zaïmph over her legs, as if it were a mere sheet.
Following Schahabarim’s instructions, Salammbô surrenders to the languor of the moment. When Mathô, inebriate with passion, finally drifts into a slumber, she notices a dagger lying at the bed side.
A flash of bloodlust surges within her, but she suppresses it. Salammbô takes the zaïmph, but, to her surprise, the much-anticipated bliss of this prized possession evades her. Her dream is fulfilled, yet she is unhappy.
The Acropolis Dungeons
The return of the zaïmph did not bring immediate victory, but it reignited Carthage’s belief in the gods’ protection.
In the final battle, Mathô stood alone, betrayed by Narr-Havas, who had allied with Hamilcar.
Captured, Mathô is chained in the Acropolis dungeons, awaiting his execution.
His mind races with memories: Spendius’s death, Narr-Havas’s treachery, and Salammbô’s deceit.
Aminahar and the pentarchs pronounce Mathô’s sentence. He will be paraded through the city among the raging crowd, before his tongue and heart are torn out and his ashes scattered to the winds.
The Finale
Chorus of priestesses inquire of Salammbô’s grief on the eve of her wedding with the Numidian Narr-Havas, now celebrated as Carthage’s hero.
The rejoicing city anticipates Mathô’s execution. Despite the priests’ warnings to avoid blows in the chest, eye-picking, throwing stuff at him or hitting him with more than three fingers, the mob’s cruelty knew no limits, and by the time Mathô reaches the temple of Khamon, his eyes remained the only recognizable part of his body.
From her terrace, Salammbô watches the chaos below, her gaze fixed only on Mathô. As he dies, she remembers him as the man who once knelt before her, whispering words of love.
Beside her, Narr-Havas raises a golden cup, toasting Carthage’s triumph as he pulls Salammbô close in a gesture of prideful possession.
Salammbô lifts her own cup – and immediately falls, with her head tilting back and her mouth frozen in a silent gasp.
Sergey Novikov’s rendition

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: 19:00
Acts: 2
Intervals: 1
Duration: 2h 50min
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