Mariinsky Theatre: The Idiot Tickets | Event Dates & Schedule | GoComGo.com

The Idiot Tickets

Mariinsky Theatre, Saint Petersburg, Russia
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Available Dates: 23 Jun, 2025 (1 events)
Important Info
Type: Opera
City: Saint Petersburg, Russia
Duration: 3h 30min with 1 interval
Acts: 4
Intervals: 1
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
Choose the date to see the peformers
Creators
Composer: Mieczysław Weinberg
Librettist: Alexander Medvedev
Set Designer: Alexei Stepanyuk
Stage Director: Alexei Stepanyuk
Assistant Director: Anna Shishkina
Novelist: Fyodor Dostoevsky
Assistant Director: Ilya Ustyantsev
Musical Preparation: Larisa Gergieva
Assistant Director: Sergei Bogoslavskiy
Costume designer: Tatiana Mashkova
Musical Direction: Thomas Sanderling
Lighting Designer: Yevgeny Ganzburg
Overview

It’s not so long ago that the music by Mieczysław Weinberg (1919–1996) first appeared on theatres’ repertoire. The first concert performance of The Passenger, his first opera (1968), whose protagonists are a former concentration camp prisoner and her female guard, took place in 2006 in Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre. A festival dedicated to the 90th anniversary of the composer was held in England in 2009, featuring his instrumental pieces, the one-act opera Lady Magnesia and the Requiem. One year later Teodor Currentzis conducted the first performance of The Passenger at Bregenz Festival. After that, several opera theatres showed interest in Weinberg scores, especially The Passenger, The Portrait and The Idiot. Music by this "previously unknown Soviet composer" was a real revelation for Europe, while the author was soon announced to be the third greatest composer after Shostakovich and Prokofiev.
A younger contemporary of Shostakovich and an older contemporary of Schnittke, Mieczysław Weinberg was born in Warsaw. In 1939 he managed to escape and get to the Soviet Union while his entire family perished in the ghetto. The composer’s life changed greatly after meeting Shostakovich who became his friend, promoted his works and pleaded for his release when Weinberg was arrested in connection with "the Doctors' plot" in 1953. Weinberg always considered himself to be a disciple of Shostakovich, although formally he never took a single lesson from him, nor imitated his style despite the obviously strong influence of his senior colleague. While authoring more than 20 symphonies and 7 operas, he was better known to the general public for his numerous works in films and animation, including soundtracks for the famous film The Cranes Are Flying and for Winnie the Pooh cartoon series. The composer died in 1996, gaining no world fame and convinced that his music that was hardly ever performed in his lifetime, would be totally forgotten after his death.
The Idiot (1986) is the last opera by Weinberg. Four parts of the novel by Dostoevsky were transformed into four hours of music with intense symphonic development, catchy melodies and leitmotif-based structure. The story line of the opera reflects almost every twist and turn of the novel, but Prince Myshkin's disease is left in the past (the scenes showing his paroxysms, as well as the final, were not included in the libretto). Since the protagonist is preaching the composer’s own ideals, the monologues of Prince Myshkin are the only fragments of Alexander Medvedev’s libretto, that are not based on the original Dostoevsky’s text.

History
Premiere of this production: 09 May 2013, National Theatre Mannheim

The Idiot is a Russian-language opera by Mieczyslaw Weinberg after Dostoyevsky's novel of the same name. The piece was given its world premiere at the National Theatre Mannheim, on 9 May 2013, conducted by Thomas Sanderling, followed by a recording on Pan Classics.

Synopsis

Act I
Scene 1. The Meeting on the Train
Prince Lev Nikolaevich Myshkin is returning to St Petersburg following lengthy medical treatment in Switzerland. In his compartment he meets Parfyon Rogozhin and Lebedev. Rogozhin has just received an inheritance of two million roubles from his father who recently died. Not long before that, Parfyon had been forced to flee from his furious parent: he had spent ten thousand on a gift for Nastasia Filippovna whom he met and instantly fell in love with. And now he is in a hurry to see her again.
At this time, Nastasia Filippovna anxiously awaits the evening in her room – today is her name day and she has to announce whether she will marry Ganya Ivolgin. Afanasy Totsky, whose mistress she used to be, strongly supports this marriage. Being in St. Petersburg, Nastasya Philippovna compromises him, preventing him from getting married. So her marriage would set him free.. Ganya Ivolgin begs her to say if she is prepared to marry him. But she will give her response later when the guests arrive. She gives Ganya her portrait.

Scene 2. At the Epanchins’
In his study, General Epanchin and Afanasy Ivanovich Totsky are discussing the fate of Nastasia Filippovna, Totsky’s kept woman. They are resolved to have her married off to Gavril Ivolgin, for his marriage to the “fallen” woman, Ganya will be generously rewarded – Totsky will advance her a large sum of money. If it happens, he will be able to marry Aglaya, Yepanchin’s daughter
Prince Myshkin has arrived to meet his only relatives in St Petersburg, the Epanchin family. The general is little pleased with his visitor who has no plans for the future or means to live. Ganya enters;he shows them a portrait of Nastasia Filippovna which she gave to him. The prince is amazed:“A beautiful and mysterious face, and her destiny is an unusual one.”
General Epanchin leaves his visitor with his wife and daughters Aglaya, Alexandra and Adelaida. They are enchanted with Myshkin’s stories about life in Switzerland. The prince read human faces; he describes the character of each of the Yepanchins, but when it comes to Aglaya, he is silent for a while before saying: “You have a rare beauty ... Almost like Nastasya Philippovna”.
Ganya asks the prince to give Aglaya a letter in which he confirms that at one word from her he will break off the engagement. Instead of a response the girl asks the prince to write a phrase in her album – “I don’t stoop to trading” and returns his note. Ganya is furious. Meanwhile Rogozhin borrows a hundred thousand roubles to buy Nastasya Philippovna. Accompanied by a crowd of usurers, he goes to Ganya

Scene 3. At the Ivolgins’
The Ivolgins gather in the drawing room. Varya, Ganya’s sister, is horrified – he plans to marry a dissolute woman whom he, moreover, does not love. Nastasia Filippovna herself appears. Her meeting with the prince, whom she initially thought to be a servant, amazes her. A drunken crowd comes in, led by Rogozhin – he tries to outbid Ganya and then Nastasia Filippovna in order to prevent the marriage. The deal is broken off amid a scene of scandal – Ganya attempts to hit Varya who is incensed at all that has happened but the prince stops him.

Scene 4. Day of the Angel
General Epanchin, Lebedev, Totsky and Ganya are visiting Nastasia Filippovna. Unexpectedly for all present, the prince appears. The name-day girl asks him whether she should marry Ivolgin – and he says no. “That’s how it should be,” she concludes. It is clear to her that Ganya was led only by self-interest. Rogozhin enters; he has brought the hundred thousand he had promised. The prince proposes that Nastasia Filippovna marry him, stating that her life is not over, that she is guilty of nothing and that, quite the reverse, she is a victim. She is prepared to break up with her past and ‘set Totsky free for nothing’. It turns out that the prince has inherited a great fortune. Nastasya Philippovna feels happy about the prince’s proposal: she believes that he is the only one to understand her nature. But she cannot agree to the marriage – it seems to her that any such union will destroy the prince. She takes the money from Rogozhin, throws it into the fire and orders Ganya to take it out. He faints.Rogozhin and Nastasia Filippovna depart.


Act II
Scene 5. At Rogozhin’s
Six months later. The prince had an affair with Nastasya Philippovna and then broke up with her. Now she lives with Rogozhin.
The prince has come to Rogozhin. Parfyon is convinced that Nastasia Filippovna, who lives with him, is in love with the prince alone. Myshkin convinces him that he is not a rival – he is driven only by pity. The prince and Rogozhin fraternise. In the gateway the prince falls senseless.

Scene 6. The Faithful Knight
In Lebedev’s country house, the prince recovers from his seizure.The Epanchins arrive to visit him. Aglaya sings a ballad about “The Poor Knight”, but the proposal that she might marry Prince Myshkin drives her furious. The prince is forced to explain that he had no intention to ask for Aglaya’s hand.Mrs Epachkin laments – how hard it is to be the mother of grown-up daughters!

Scene 7. Two Meetings
Aglaya has appointed a meeting with the prince in the park. She wants to elope from home and begs his assistance. Yet the notion that the prince has lived with Nastasia Filippovna perturbs her – and now this unknown woman is writing her letters, persuading her to marry the prince. In disarray, Aglaya flees. Nastasia Filippovna appears. All is decided – she will marry Rogozhin and only wishes to know if prince Myshkin is happy.

Scene 8. Lebedev’s Confession
The Epachins are in disarray: they have received news that the prince is Aglaya’s fiancé. At their request to provide a definite answer if he has asked her hand the prince confirms all. Lebedev informs the prince that Aglaya is meeting Nastasia Filippovna. “Evil rules the world. And gold as well,” he confirms in response to the prince’s past musings. The prince and Aglaya go to Nastasya Philippovna. Aglaya wants to take her rival down a peg.

Scene 9. The Rivals
The prince and Aglaya are with Nastasia Filippovna. Being determined to protect the prince from Nastasya Philippovna, Aglaya asks her to stop writing letters and trying to interfere in their lives. ‘You’re a coward! You’re jealous! You’re afraid of me!’ Nastasya Philippovna replies. Now the prince has to make a choice – and the prince, unable to overcome his suffering, remains with Nastasia Filippovna. But their marriage never truly took place: the bride flees from the ceremony to Rogozhin.

Scene 10. Reconciliation
Nastasia Filippovna is dead, Rogozhin has killed her. The prince who has come to see him learns of the murder.

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
Duration: 3h 30min with 1 interval
Acts: 4
Intervals: 1
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).

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