Mariinsky Theatre: The Maid of Orleans Tickets | Event Dates & Schedule | GoComGo.com

The Maid of Orleans Tickets

Mariinsky Theatre, Saint Petersburg, Russia
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Available Dates: 17 Apr, 2025 (1 events)
Important Info
Type: Opera
City: Saint Petersburg, Russia
Duration: 3h 25min with 1 interval
Acts: 4
Intervals: 1
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
Choose the date to see the peformers
Creators
Composer: Pyotr Tchaikovsky
Librettist: Pyotr Tchaikovsky
Music Director: Valery Gergiev
Stage Director: Alexei Stepanyuk
Overview

The Maid of Orleans has always stood in the shadow of Tchaikovsky's other operas, and being presented with it has resulted in confusion, even among the composer's most ardent admirers. The authoritative Soviet music historian Boris Asafiev, for example, considered the work "masterful, though uneven", reprimanding its "false style" and "peculiar, pompous élan". The low evaluation of The Maid of Orleans can, to a great extent, be explained by its chronological proximity to (and inevitable comparison with) Tchaikovsky's most popular opera, Eugene Onegin. Following the lyrical "chamber scenes", here the composer unexpectedly turned to the genre of grand opéra with all its inherent attributes: a plot from an age of knights, a massive four-act structure, a ballet divertissement, the thunder of victory and fiery whirlwinds. Tchaikovsky was convinced of public acclamation, box-office success and of his "grand opéra" finding a stable place in the repertoire, though this was never fully achieved, either during the composer's lifetime or in the 20th century. One exception came with the Kirov Theatre's production in 1945 – its success to a large degree was down to Sofia Preobrazhenskaya, who appeared in the title role.

Succeeding a lengthy interval, last summer the Mariinsky Theatre staged a performance of The Maid of Orleans in concert and took the decision to bring it back to the stage, as the few generalised parts of the score are not a flaw but rather a nod of respect to the conditions of the genre of "grand opéra". Once one understands this, the merits of The Maid of Orleans become clear: the first-class music, the strong dramaturgy and the pathétique energy, rare in terms of its power. It towers above classical Russian operas, like the bulk of some Gothic cathedral – like that in Reims, here depicted in the final scene.

The opera is being restored to the repertoire of the theatre where it was staged for the first time one hundred and forty years ago. Back then, in 1881, Tchaikovsky was furious that no new designs had been produced for the premiere, instead borrowing the sets from other productions, and the new opus did not create the effect it ought to have done. Today the composer would be satisfied: in tandem with the designer Vyacheslav Okunev, director Alexei Stepanyuk has produced a true "grand spectacle". Moreover, the director was not content to be satisfied with a merely theatrical Gothic style: "We are not staging an historic opera 'about knights', but rather a romantic opera – a metaphysical one, even. Fire is the entire production's leitmotif, a symbol of all-consuming flame in which our whole world perishes with its madness of wars and hatred. And, with her saintly smile, the Maid of Orleans towers above these flames."

History
Premiere of this production: 13 February 1881, Mariinsky Theatre

The Maid of Orleans is an opera in 4 acts, 6 scenes, by Pyotr Ilyich Tchaikovsky. It was composed during 1878–1879 to a Russian libretto by the composer, based on several sources: Friedrich Schiller’s The Maid of Orleans as translated by Vasily Zhukovsky; Jules Barbier’s Jeanne d’Arc (Joan of Arc); Auguste Mermet’s libretto for his own opera; and Henri Wallon’s biography of Joan of Arc.

Synopsis

The action unfolds during the Hundred Years' War.

Act I
The little village of Domrémy. Young women are decorating a much-loved oak tree with garlands. Joan appears with her father Thibaut and Raymond, her betrothed. Thibaut is eager for the marriage to take place as soon as possible: in such dangerous times Joan should have a husband to protect her. The refusal of the girl, convinced that she has some other calling, enrages the father. He suspects that his daughter has made a pact with the powers of darkness, and so he rebukes her. The glow of a fire can be seen on the horizon and the alarm is heard. Peasants ruined by the English hasten in. The elderly Bertrand tells of what a desperate state the country is in: Orleans has been besieged by troops under the leadership of the unbeaten Salisbury. Unexpectedly for all, Joan announces that the troubles will soon be at an end, and she foretells the triumph of France. The people are amazed: "In these days, alas, the Lord creates no miracles!" "There are miracles..." exclaims Joan, "And a miracle has already occurred, the fearsome leader Salisbury has been reduced to dust!" No-one believes her. And yet a soldier who has arrived from Orleans confirms it: Salisbury lies dead. Having come to believe Joan, all pray to God. Left alone, the girl convinces herself that the time has come to act. She is gripped with a sense of nostalgia at being parted from her village and she hesitates. A chorus of angels can suddenly be heard. This inspires Joan to do battle.

Act II
At the Château de Chinon King Charles VII and his beloved, Agnès Sorel, are being entertained. Minstrels, dwarves, gypsies and jesters follow one another in a succession of songs, dances and amusements. The monarch orders the artistes be given food and drink and a golden chain each. Dunois the knight remarks that chains cannot be forged from words, that the treasury is empty and the troops are ready to desert. Agnès decides to donate her jewels to pay the wages and immediately goes to fetch her casket. The king admits to Dunois that it is possible to survive any unhappiness if one is loved by such a woman. "This is no time for love," objects Dunois, and he convinces the king to head the regiments. The king recalls that he is a knight and resolves on war.
The wounded knight Lauret hastens in with news of a battle lost and dies at the feet of his sovereign. Despairing, Charles decides to flee. Dunois spurns him and departs to die in battle. Returning, Agnès is amazed at the news but attempts to comfort her beloved.
Off-stage, fanfares can be heard: a miracle has occurred and the English have been defeated and routed. The Archbishop appears and confirms the news: at a critical point a maid appeared and seized victory from the hands of the enemy. The cries of the people and the pealing of bells can be heard. Joan appears accompanied by the knights. At her arrival, the king orders Dunois to take the position of monarch, himself hiding among the throng of courtiers. Joan, however, goes directly to the king. In response to his surprise, she admits that she saw him where "he was seen to none but God", and names the three prayers he said. All are stunned. "Who are you?" they ask her. She relates her story. The king entrusts his troops to Joan, and all delightedly welcome her.

Act III
Scene 1. Not far from the battlefield. the English and their allies – the Burgundians – have been defeated. Joan unarms the Burgundian knight Lionel. Raising her sword over him, in the moonlight she sees his face. Staggered by the youth's handsome features, Joan is unable to strike him down. Lionel, humbled by the girl's noble and generous behaviour, calls on her to follow him and leave behind her death-dealing sword. Joan is assailed by doubt. Dunois appears. Lionel throws himself at him and says that he is defecting to the French side. Dunois accepts his repentant enemy and relates that the battle is won and that the gates to the city of Reims have been opened to Charles VII, his coronation to take place at the cathedral there. Exhausted, Joan collapses into Dunois' arms; she has been wounded.
Scene 2. The square in front of the cathedral of Reims. A triumphant procession heads to the cathedral where Charles VII is to be crowned king. The people praise the maid and the king. Thibaut and Raymond appear in the crowd. Convinced that his daughter is in league with the Devil, Thibaut intends to restore her to God and "abandon the worthless adulation". Raymond entreats him not to kill the girl. The procession headed by the king leaves the cathedral. The king declares Joan to be their salvation and asks her to show her radiant and immortal face. Suddenly Thibaut appears before her and accuses his daughter of colluding with the forces of Hell. Joan remains silent, believing she has no right to defend herself: she has sinned and broken her vow by falling in love with Lionel. Dunois takes arms to defend her innocence. Just then, an almighty peal of thunder is heard. All step back from Joan. Again Joan's father demands an answer from her. There is another even more mighty peal of thunder. The Archbishop turns to Joan and asks her the same question – is she innocent? She makes no answer. There is yet more thunder, still mightier than before. In fear, all abandon Joan. Lionel offers her his protection, but with hatred in her voice Joan tells him that he is her worst enemy and she runs away. Lionel follows after her.

Act IV
Scene 1. In the forest. Hiding from the people, Joan is unable to overcome her emotions: her soul is burning with the flames of passion. In torture she thinks fondly of Lionel and greets his unexpected appearance with a joyful exclamation. A moment of sheer bliss. Joan hears the voices of the angels: she has disregarded the behest of Heaven – she has allowed earthly love into her heart – and so cannot complete her holy mission. She must submit to her ill-fated destiny without complaint – redemption will be her reward. The English suddenly appear and capture Joan while Lionel, trying to protect her, is killed.
Scene 2. A square in Rouen. A funereal procession: Joan is being led to her execution. She asks for a crucifix. Surmounting her fears, the maid climbs onto the pyre. "The Heavens have opened up and suffering is at an end!" are her last words.

Time: Beginning of the 15th century, in the midst of the Hundred Years' War with England
Place: France
Act 1
Introduction
Chorus of Maidens (No. 1)
Scena & Terzetto (No. 2)
Scena (No. 3)
Chorus of Peasants & Scena (No. 4)
Scena (No. 5)
Hymn King of the heavenly host (No. 6)
Joan's Aria Farewell, you native hills and fields(No. 7)
Finale (No. 8)
Joan's Aria & Chorus of Angels (No. 8a)
In the square in front of the church village girls decorate an oak and sing songs. Peasant Thibaut of Arc is annoyed by their levity at such a terrible time for the fatherland. He is concerned about the fate of his daughter, Joan who is seventeen, and wants her to marry Raymond, to protect her from danger. But Joan feels another calling. An alarm sounds announcing the fall of Paris and the siege of Orleans. In a panic, the citizens pray for salvation; inspired, Joan predicts imminent victory. The girl says goodbye to her birthplace, hearing voices of angels blessing her heroic endeavor.

Act 2
Entr'acte (No. 9)
Chorus of Minstrels (No. 10)
Gypsy Dance (No. 11a)
Dance of the Pages & Dwarves (No. 11b)
Dance of the Clowns & Tumblers (No. 11c)
Scena & Duet (No. 12)
Agnes's Arioso & Duettino (No. 13)
Scena & Archbishop's Narration (No. 14)
Joan's Narration (No. 15)
Finale (No. 16).
In Château de Chinon the king is being entertained forgetting his duty with his beloved Agnès Sorel. Minstrels, pages, gypsies, clowns follow each other. The king is paralyzed by inaction. Neither the appearance of Knight Lauret, mortally wounded in the battle, nor the resignation of courageous Knight Dunois, who leaves to fight with honor ("I'm sorry! Monarch we do not have, I am not your servant any more...") can shake the king's decision to flee. The archbishop suddenly appears; courtiers and people tell the king about the rout of the British, the French victory, and the "glorious Maiden" who inspired the soldiers. Joan tells the astonished audience about the vision she had telling her to lead the fight. A vow of virginity was a condition of that victory. On the orders of king, Joan is put in command of the army.

Act 3
Tableau 1 and Tableau 2

Scena & Duet (No. 17)
March (No. 18)
Scena & Duettino (No. 19)
Finale (No. 20)
Scene 1

Deep in the woods Joan fights Knight Lionel of Burgundy. He is struck, the helmet with a visor falls. Conquered by his beautiful young face, she cannot kill him. Lionel is moved by the generosity of Joan: "Rumor has it that you do not spare enemies, why mercy for me, alone?" She is shocked by her awakened feelings, remembering the vow. Lionel decides to side with the French and offers his sword to Dunois. In the heart of the recent enemy, a love for Joan grows.

Scene 2

The nation celebrates the king and Joan - the victor. Her father, however, believes that all the acts of his daughter are the devil's work and decides to save her soul, even at the cost of her life. When the king declares her savior of the fatherland, ordering an altar to be erected, the father accuses the daughter of dealing with Satan and challenges her to publicly prove her innocence: "Do your believe yourself holy and pure?" Joan does not answer, tormented by her love for Lionel. Dunois attempts to protect the heroine; frightened by a clap of thunder, the citizens, considering it a judgment from heaven, renounce her. Lionel tries to protect her, but Joan drives him away.

Act 4
Introduction & Scena (No. 21)
Duet & Scena (No. 22)
Final Scena (No. 23)
Scene 1

Joan is alone, abandoned in the remote woods. "To a mortal how dare I give the soul promised to the creator?" But when Lionel finds her, she eagerly responds to him. The happy moment is cut short as English soldiers arrive, killing Lionel and capturing Joan.

Scene 2

In the square of Rouen, a pyre is built. Joan is to be executed. The citizens filling the square sympathize with the heroine, and doubts grow about the justice of the impending execution. But Joan is tied to a pole, a fire ignited. Holding a cross, Joan cries out to God, humbly ready to die. She hears voices of angels bearing forgiveness.

Source: Tchaikovsky Research

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 25min with 1 interval
Acts: 4
Intervals: 1
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).

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