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Le Parc Tickets

Mariinsky Theatre, Saint Petersburg, Russia
Important Info
Type: Ballet
City: Saint Petersburg, Russia
Duration: 1h 40min
Acts: 3

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
Overview

The main ballet event of the season was the premiere of Angelin Preljocaj’s Le Parc, the original choreography of which the Mariinsky Ballet Company discovered for the first time.

In actual fact, Le Parc is a direct descendant of the Mariinsky Theatre’s The Sleeping Beauty by Marius Petipa. The archaeology, which exists in it as a principle for the plot to unfold, never fades. The gardeners at Versailles in the mid 18th century fell asleep, just like Princess Aurora did in the 16 th century in order to wake up one century later at the Court of the Sun King. Preljocaj’s Gardeners slept somewhat longer – at the end of the 20 th century. The Gardeners in Le Parc are unusual. They tend the garden and “grow” love stories in it – they are gravedigging archaeologists with torches on their foreheads that seek out items of the gallant age from the era of the “star wars” and artefacts from the canvases of Antoine Watteau at Versailles. And they discover much more than mere crinolines, camisoles, fans, veils and Mozart’s divinely beautiful music which Preljocaj and the designer Thierry Leproust depict with the most incredible subtlety, as well as the frivolous mood of love that characterizes the mad era of cavaliers, ladies, courting, sighs and stolen kisses. Moreover, these children of a more cruel time in which AIDS kills any healthy emotion are running against the story of the mad passion of two courtiers which then ends with that very famous prolonged kiss where the lovers no longer fear anything – neither men, nor gods nor class prejudices.


 

History
Premiere of this production: 09 April 1994, Opéra de Paris, Paris

Le Parc is a choreography by Angelin Preljocaj created in 1994, to music by Mozart, for the dancers of the Paris Opera Ballet. The choreographer wonders about the progression of passions and the war between the sexes. It invites you on a journey to the land of the Carte de Tendre1 in a particular style made up of a lyricism tinged with a strong sensuality.

Synopsis

Act I

Each section begins with a weird, stiffly-moving, coven of Gardeners. Are they fate? Are they the rigid rules of society? Wearing welder’s glasses and butcher’s aprons, are they hiding from the light of day or does this indicate that love is blind, scalding, fatal? Their music will sound like a train wreck or the repetitive grind of a factory assembly line: are we ever in control of such events? In a harsh and stiff way, they map out the very gestures and movements that will follow. Notice that the “garden” is carved out of steel and wood beams. This “park,” this “landscape of love,” will have sharp and painful edges.

Suspicion/Flirtation. 

The company assembles around a game (is it only a game?) of one-upmanship and musical chairs. He checks out the available women (en travesti, a wink at Marivaux) while She feigns indifference. But He has noticed Her. Despite the ordered surface, the disorienting game of seduction has begun.

The first meeting/Temptation (Pas de deux/duet #1).

He is ardent, she apprehensive; but both quickly realize that they are in synch. The two of them “talk” but hesitate to touch…until she faints. They struggle to remain true to – and break out of – polite society’s rules.

Act II

Gardeners again.
Delicious bait. The women, having discarded some clothing, cheerfully anticipate being loved some more. She, in a bright red gown, is curious but apprehensive.
Desire. Four men arrive on hands and knees as if desperate. He is one of them, and he happily pairs off to flirt with another woman. Four other men who don’t get lucky dance out their frustrations.

The second meeting/Resisting (Pas de deux #2). 

The gardeners bring her to a grove in the park. As hard as He tries to impress her, She resists. While he seems to be offering his body and soul, she fears the consequences. Perhaps she could surrender only her body but not her soul?

Act III

She is trapped in a nightmare, manipulated by the ice-cold gardeners.
Regrets. Late at night, the women lament lost (or dead) love.
Passion. He, aflame with desire, goads the other men on.
Weakness. A second later, some of the men realize just how much women can/will depend upon them. While seduction may result in a man acquiring a “ball and chain,” for all women the results – including childbirth – could be fatal.

The Third Meeting/ Surrender (Pas de deux #3)

In French, the title is “abandon.” As They dance, the steps they once did side by side merge into one. This is truly love, but can it last?
 

EPILOGUE: As the sky blackens (the storm approaches?) the gardeners have the last word.

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
Duration: 1h 40min
Acts: 3

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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