Mariinsky Theatre 9 November 2019 - The Sleeping Beauty | GoComGo.com

The Sleeping Beauty

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
All photos (14)
Saturday 9 November 2019
7 PM
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 19:00

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Overview

Ballet-féerie in three acts with a prologue and apotheosis

 

Ivan Vsevolozhsky, the Director of the Imperial Theatres, was the initiator of The Sleeping Beauty production and the landmark encounter between Pyotr Tchaikovsky and Marius Petipa. He wrote the libretto, created the costumes and became the co-author of the miracle born by the genius of two great masters in 1890. In the production, it was as if Vsevolozhsky, a brilliant connoisseur and enthusiast of Louis XIV, opened a window into his favourite period creating a feeling of an exuberant, almost masquerade-like extravaganza: in one scene, like at balls in Versailles, could come together ultramarine, lilac, scarlet and emerald costumes.

The pathos of respect for the French Golden Age (not just Aurora but the entire world woke up under the Sun King) was fundamental to the idea behind The Sleeping Beauty and determined the atmosphere of the ballet extravaganza. But, unfortunately, in the 20th century, the production got a makeover, was adapted to the tastes of different times.

After long decades of oblivion, the image of the production of the times of Petipa returned to the stage of the Mariinsky Theatre in 1999. The 1890 stage design was revived based on the sketches by Vsevolozhsky and the premiere decorative artists, while the choreographer Sergei Vikharev restored the structure of Marius Petipa’s creation drawing on the recordings of the ballet made in the early 20th century – with all the splendour of the spectacle, the ceremonious metering of dance and pantomime, and the atmosphere of celebration. And today the 21st century audience has the opportunity to see in action on stage the luxurious gesamtkunstwerk which in its day inspired Alexandre Benoi to venture Russian Seasons.

History
Premiere of this production: 03 January 1890, Mariinsky Theatre in St. Petersburg

The Sleeping Beauty is a ballet in a prologue and three acts, first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. The choreographer of the original production was Marius Petipa.

Synopsis

Prologue
King Florestan and his court are celebrating the christening of his daughter, Princess Aurora. Fairies bring gifts for the young child for whom they will be godparents, among whom the Lilac Fairy is the principle godmother. The celebrations are suddenly interrupted when Catalabutte, the Master of Ceremonies responsible for compiling the guest list, realises that he has forgotten to invite the fairy Carabosse. Carabosse appears with her evil entourage and swears that she will have her revenge. She predicts that one day Aurora will prick her finger and die. The Lilac Fairy, however, intervenes. She promises that Aurora shall not die, but will merely fall into a deep slumber, to be awakened by the kiss of a Prince enchanted by her sleeping beauty…

Act I
A Terrace in the Castle Park
Aurora has just turned twenty and Florestan is delighted that Carabosse´s prophecy has not come to fruition. Some women are found knitting in front of the castle and are immediately condemned to prison, but the Queen intervenes on their behalf and the King pardons them. At the birthday celebrations, four Princes come to seek Aurora´s hand in marriage. Aurora enters and, having charmed them all, dances with each of them. While Aurora is reflecting on the Princes, she notices an old woman marking time to the music with a spindle. She takes the spindle from her and dances with it herself to impress her suitors. But she pricks her hand and, a few moments later, falls senseless. The old woman then reveals herself as Carabosse and, evading capture by the Princes, disappears in a cloud of smoke and flame. The Lilac Fairy appears and, as the Princess is carried indoors, says she has come to keep her word. At a wave of her wand, a deep sleep falls over the whole court and a dense forest grows up around the castle.

Act II
Scene 1: The Forest
Prince Désiré and his courtiers are out hunting. He is tired and sends them off to hunt without him. Once he is left alone, the Lilac Fairy appears in a mother-of-pearl boat and shows him a vision of Aurora whom she says can be his wife. The Prince is enraptured by Aurora´s beauty, but each time he tries to touch her, she evades him. The Prince implores the Lilac Fairy to show him where this vision may be found in reality. Motioning him into the boat, the Lilac Fairy promises to take him there.

Scene 2: Sleeping Beauty´s Castle
Aurora is sleeping on a wide bed under a canopy, surrounded by the slumbering court. Prince Désiré and the Lilac Fairy enter and the Prince rushes to Aurora´s side. He calls to her in vain to wake her and then, in desperation, he kisses her. The spell is broken and Aurora awakes. The rest of the court stirs also, and the castle comes to life. Enchanted by Aurora´s beauty and charm, Désiré asks the King for her hand in marriage.

Act III
Scene 1: The Esplanade of King Florestan´s Castle
The wedding of Prince Désiré and Princess Aurora.
The court assembles for the wedding celebrations. At a sign from the King, the celebrations begin, first with national dances, then with a procession of fairy-tale characters. Aurora and Désiré are congratulated by the Diamond, Sapphire, Gold and Silver Fairies. Finally it is the turn of Désiré and Aurora themselves to dance.

Time: Baroque
Place: Europe

Prologue (The Christening)

King Florestan XXIV and his Queen have welcomed their first child, Princess Aurora, and declare a grand christening ceremony to honor her. Six fairies are invited to the ceremony to bestow gifts on the child. Each fairy brings a gift of a virtue or positive trait, such as beauty, courage, sweetness, musical talent, and mischief. The most powerful fairy, the Lilac Fairy, arrives with her entourage, but before she can bestow her gift, the evil fairy Carabosse arrives with her minions. Carabosse furiously asks the King and Queen why she had not received an invitation to the christening. The blame falls on Catalabutte, the Master of Ceremonies who was in charge of the guest list. Carabosse gleefully tears his wig off and beats him with her staff, before placing a curse upon the baby princess as revenge: Aurora will indeed grow up to be a beautiful, healthy, delightful young lady, but on her sixteenth birthday she will prick her finger on a Spindle and die. The King and Queen are horrified and beg Carabosse for mercy, but she shows none. However, the Lilac Fairy intervenes. Though she does not have enough power to completely undo the curse, she alters it, allowing the spindle to cause a peaceful 100-year sleep for the princess, rather than death. At the end of those 100 years, she will be woken by the kiss of a handsome prince. Relieved that Aurora's life will ultimately be spared, the court is set at ease.

Act I (The Spell)

It is the day of Princess Aurora's sixteenth birthday. Celebrations are underway, though the King is still unsettled by Carabosse's omen. The master of ceremonies discovers several peasant ladies frolicking about with knitting needles and alerts the King, who initially sentences the women to a harsh punishment. The Queen gently persuades him to spare the innocent citizens, and he agrees. An elaborate waltz is performed and Princess Aurora arrives. She is introduced to four suitors by her doting parents. Aurora and the suitors perform the famous Rose Adagio. Presently, a cloaked stranger appears and offers a gift to the princess: a spindle. Having never seen one before, Aurora curiously examines the strange object as her parents desperately try to intervene. As predicted, she pricks her finger. While initially appearing to recover quickly, she falls into a swoon and collapses. The cloaked stranger reveals herself to be Carabosse, who believes that her curse still stands and that the princess is dead. Once again, the Lilac Fairy quells the hubbub and reminds the King and Queen that Aurora is merely asleep. The princess is carried off to bed, and the Lilac Fairy casts a spell of slumber over the entire kingdom, which will only be broken when Aurora awakens. A thick layer of thorny plants grows over the palace, hiding it from view.

Act II (The Vision)

One hundred years later, Prince Désiré is attending a hunting party. Though his companions are lighthearted, the prince is unhappy and eventually asks to be left alone. On his own in the forest, he is met by the Lilac Fairy, who has chosen him to awaken Aurora. She shows him a vision of the beautiful princess, and the prince is immediately smitten. The Lilac Fairy explains the situation, and Désiré begs to be taken to the princess. The Lilac Fairy takes him to the hidden castle. Carabosse makes one last attempt to cement her vengeful curse, but the Lilac Fairy and the prince manage to defeat her together at last. Once inside the castle, Désiré awakens Aurora with a kiss. The rest of the court wakes as well, and the King and Queen heartily approve when the prince proposes marriage and the princess accepts.

Act III (The Wedding)

The royal wedding is underway. Guests include the Jewel Fairies: Diamond, Gold, Silver and Sapphire, and of course the Lilac Fairy. Fairytale characters are in attendance, including Puss in Boots and The White Cat, Princess Florine and the Bluebird, and others. Aurora and Désiré perform a grand Pas de Deux, and the entire ensemble dances. The prince and princess are married, with the Lilac Fairy blessing the union.

Structure

Titles of all of the numbers listed here come from Marius Petipa's original scenario, as well as the original libretto and programs of the first production of 1890. Major changes which were made to the score for Petipa's original production are mentioned, and help explain why the score is often heard in different versions in theatres today.

All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Emperor's Court, as well as the language in which balletic terminology is derived.

Prologue — Le baptême de la Princesse Aurore

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: 19:00
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