Mariinsky Theatre tickets 19 April 2025 - The Little Humpbacked Horse | GoComGo.com

The Little Humpbacked Horse

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 13:00
Acts: 2
Intervals: 1
Duration: 2h 15min

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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: Rodion Shchedrin
Choreographer: Alexei Ratmansky
Music Director: Valery Gergiev
Lighting Designer: Andrei Ponizovsky
Light: Damir Ismagilov
Sets & costumes designer: Maxim Isaev
Overview

The Little Humpbacked Horse is a successful blend of many of the ingredients necessary for success – the fairy-tale plot so attractive for children, the ironic interpretation that is interesting for adults, the extravagant and stylish designs by Maxim Isaev, the talented and inventive choreography of Alexei Ratmansky and the emotional music of Rodion Shchedrin.

The score of the ballet The Little Humpbacked Horse was written by the young Shchedrin, then still a student at the Moscow Conservatoire. With its humour, mischief, colourfulness and affirmation of life it has inspired many musicians and choreographers. Everyone can find something individual in it. Alexander Radunsky, the choreographer of the first version of Shchedrin’s The Little Humpbacked Horse at the Bolshoi Theatre (1960), heard a traditional ballet fairy-tale in it, with ballerina princesses, tsars who didn’t dance very much and traditional divertissements that filled the ballet with dance. Igor Belsky, who staged his own version of The Little Humpbacked Horse at the Maly Opera in 1963, heard sharp satire in the music. First and foremost this concerned the image of the Tsar; it also matched the literary basis, Yershov’s fairy-tale, and the ideological framework of the age when the score was composed. The Tsar in Belsky’s ballet unambiguously brought Khrushchev to mind with his gestures. In 1981 Dmitry Bryantsev staged his own version at the Kirov Theatre, combining fairground decorativeness with incredibly human portraits of the protagonists.
Ratmansky’s ballet is a child of the early 21st century; in this dynamic, merry and ironic production there is also enough room for the dance itself, both classical and character, mime scenes, serious virtuoso skill and reckless humour. Interestingly, Ratmansky’s humour comes not at all from the playful scenes, mimes or gestures; the choreographer can make the audience smile through the actual dance. His divertissement in the production is a witty paraphrase on the theme of traditional divertissement character pieces. From the standpoint of a contemporary postmodernist, the choreographer looked at the old tradition of “revising” folkloric dance steps for classical productions, and he has brought this to life with a bold sense of humour. Recognising the quotations gives the choreography historic depth, and without having to solve the enchantingly ironic rebuses the production is engaging enough in its merriment. The dances conjured up by the choreographer are also interesting for the dancers, each role opening up a broad expanse in which to be creative – on the one hand, for acting skills and improvisation and, on the other, to test themselves with this technically demanding dance text. If, in the role of the amusing and grotesquely presented duffer that is the Tsar the playful element is richer than the dance component and the expressions of the “splinted” Father and Brothers of Ivan are simple in terms of the movements, then Ivan the Fool and the Tsar Maiden, in some scenes childishly capricious and in others virginally tender, and the fleet-footed and dexterous Horse reveal their characters through the dance.
Olga Makarova

History
Premiere of this production: 26 November 1866, Bolshoi Theatre, Moscow

The Little Humpbacked Horse, or The Tsar Maiden (a.k.a. Konyok Gorbunok ili Tsar-Devitsa, or Le Petit cheval bossu, ou La Tsar-Demoiselle) is a ballet in four acts and eight scenes with apotheosis.

Synopsis

The synopsys of the ballet is published in the author's version of the Set Designer Maxim Isaev
Act I
1. A house on the edge of a field. An Old Man is at home. Gavrilo and Danilo are at home. Ivan the Fool is at home. It is crowded in the house. The Old Man goes out to cut the rye wheat. Gavrilo and Danilo are glad. Gavrilo and Danilo make merry. Gavrilo and Danilo arrange an outdoor party. Gavrilo and Danilo dance with the Wet-Nurses. The Old Man returns from the field. The Old Man drives the Wet-Nurses away. The Old Man tells his sons of a terrible villain. This villain comes at night. The villain cannot be seen by anyone. The villain tramples on and ruins the wheat. The villain must be caught and destroyed. The Old Man himself is weak and infirm. The Old Man sends his sons out to guard the field. Gavrilo and Danilo set out on patrol. They don’t take Ivan. They think Ivan is too young. They think Ivan is clumsy. They think Ivan is a fool. Ivan asks to go to the field with his brothers. Ivan also wants to catch the villain. Ivan knows that he can confront the villain. Ivan is afraid of nothing. Ivan sets out into the field alone.

2. It is night. Ivan is guarding the field. A Young Mare trots into the field. The Young Mare is beautiful. The Young Mare is wild. The Young Mare tramples and ruins the wheat. The Young Mare enjoys itself. Ivan grabs the Young Mare by the tail. Ivan climbs onto the Young Mare. Ivan is dexterous. Ivan sits on the Young Mare back to front. Ivan finds this amusing. The Young Mare is embittered. The Young Mare attempts to throw off Ivan. But to no avail! The Young Mare makes Ivan a gift of some Horses and a Humpbacked Horse. If only Ivan will free her! The Horses are indeed beautiful. The Horses are large and powerful. The Humpbacked Horse is little. The Humpbacked Horse is weak. The Humpbacked Horse is most peculiar. What can he do? The Firebirds land in the field. The Firebirds dance. The Firebirds play. The Firebirds fly past. The Firebirds are free. Ivan runs after the Firebirds. Gavrilo and Danilo arrive in the field. Gavrilo and Danilo notice the Horses. The brothers like the Horses. Gavrilo and Danilo abduct the Horses. Gavrilo and Danilo are cunning. Ivan returns with a feather from the Firebird. Ivan likes the feather. Ivan is easy and relaxed. Ivan notices the Horses have disappeared. Ivan is upset. Ivan cries bitterly. The Humpbacked Horse comforts Ivan. The Humpbacked Horse proposes that Ivan pursues the abductors. The Humpbacked Horse promises to help Ivan. The Humpbacked Horse can, in fact, do a great deal.

3. A square in the Capital City. The people are on the square. The people are enjoying themselves. The people perform a round dance. The people dance a quadrille. Gavrilo and Danilo are on the square. Gavrilo and Danilo plan to sell the Horses. Gavrilo and Danilo want money. The Tsar enters the square. The Tsar loves to walk amongst his people. The people love to see their Tsar. The Tsar loves to look all around. The Tsar sees the Horses. The Tsar likes the Horses. The Tsar is ready to buy them. Ivan and the Humpbacked Horse rush onto the square. Ivan recognises the Horses. Ivan recognises his brothers. Ivan upbraids his brothers. Ivan takes the Horses from his brothers. They are his Horses. The Tsar has become attached to the Horses. The Tsar bargains for the Horses with Ivan. Ivan is prepared to let the Horses go. The question of price remains. The Tsar takes off the Gentleman of the Bedchamber’s hat: there is a wonderful price. Ivan is delighted with the hat. The hat really suits Ivan. The Guardsman is furious with Ivan.

4. In the royal chambers. The Tsar’s rooms. The Wet-Nurses are feeding the Tsar. The Tsar is eating. The Tsar is sate and falls asleep. At the entrance to the room, Ivan lies down to sleep. The Gentleman of the Bedchamber observes Ivan. The Gentleman of the Bedchamber steals the Firebird’s feather from Ivan. The Gentleman of the Bedchamber sneaks into the Tsar’s chambers. The Gentleman of the Bedchamber wakens the Tsar and shows him the feather. Where has Ivan acquired riches such as this? The Tsar loves the feather. The Tsar has a vision. The Tsar sees the Firebirds. The Tsar sees the Tsar Maiden. The vision fades. But the Tsar is already in love with the Tsar Maiden. The Tsar needs the Tsar Maiden. That is an order! The Gentleman of the Bedchamber wakens Ivan and gives him the Tsar’s order. Ivan is in despair. Ivan doesn’t know where to seek out the Tsar Maiden. The Little Horse comforts Ivan. The Little Horse knows what to do. Ivan and the Little Horse depart for the Tsar Maiden.

Act II
5. The Firebirds live on the edge of the world. Among them is the Tsar Maiden. Ivan and the Horse have come to the edge of the world. To the Tsar Maiden and to the Firebirds… Ivan wants to capture the Firebirds. The Firebirds fly away. Ivan sees the Tsar Maiden and cannot take his eyes off her. A miracle, what a beauty! The Tsar Maiden allows Ivan to catch her. She allows herself to be carried to the Capital City. The Tsar Maiden likes Ivan. Oh, well!

6. The Tsar and the Boyars are in the royal chambers. They are waiting for the Tsar Maiden. The Tsar is anxious. He is like a cat on hot bricks. The Tsar falls asleep. The Boyars, devoted servants, fall asleep too. One of the Boyars is still awake. He sees Ivan returning with the Little Horse and the Tsar Maiden. The Boyar wakens the Tsar. The Tsar wakes up and sends everyone away. The Tsar declares to the Tsar Maiden that he plans to marry her. Ivan is distressed. Ivan loves the Tsar Maiden. The Boyars bring the engagement ring. The Tsar Maiden agrees to marry, but the ring is not right. For the wedding the Tsar Maiden needs a stone that lies on the seabed. The Tsar is confounded. How can he get the stone? The Gentleman of the Bedchamber is at his side. How about Ivan? The Gentleman of the Bedchamber sends Ivan to the seabed. Ivan is grieved. The Gentleman of the Bedchamber is pleased. He awaits Ivan’s death.

7. The seabed. There, the Sea People are living their marine lives. Ivan and the Little Horse reach the seabed. Ivan looks for the ring. The ring is nowhere to be found, nowhere! What he can do he does not know! No! Ivan then asks for help from the Princess of the Sea. The Princess of the Sea will help Ivan, yes! The Sea People bring the ring to Ivan, oh yes!

8. A square in the Capital City. The Tsar Maiden is invited to dance by the Tsar. The Tsar and Tsar Maiden dance. The Tsar tires quickly. The Tsar is old. Ivan appears with his Little Horse and the stone. The Tsar Maiden is pleased that Ivan is unharmed. The Gentleman of the Bedchamber is angry. The Gentleman of the Bedchamber takes the ring from Ivan. The Gentleman of the Bedchamber drives Ivan away. Ivan is not required any longer. The Tsar is ready to marry. But the Tsar Maiden is not. She does not fancy the Tsar for a husband. For a husband she needs a man as handsome as a picture. If the Tsar wishes to marry, then he must become such a fine fellow. But how? He must jump into a cauldron of boiling water, that’s how! The cauldron is brought in. The Tsar is in terror. How can he jump into boiling water? The Gentleman of the Bedchamber proposes the cauldron be tried out using Ivan. Ivan is pushed into the cauldron. The faithful Little Horse works a spell. Ivan is transformed into a handsome fellow indeed. Ivan becomes a Tsarevich. The people rejoice. The people are anxious. They all want to be young and beautiful; they all want to be tsars and tsarevnas. The Tsar orders all be kept back from the cauldron. The Tsar himself is immersed in boiling water. The Tsar perishes. The people mourn. The people bury the Tsar. The people find life hard without a Tsar. The people need a Tsar. Ivan Tsarevich and the Tsar Maiden are delighted. Preparations for the wedding are made. Then the people too are happy. The people will have their new Tsar. Handsome and young…

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: 13:00
Acts: 2
Intervals: 1
Duration: 2h 15min
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