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

The Bronze Horseman Tickets

Mariinsky Theatre, Saint Petersburg, Russia
Important Info
Type: Ballet
City: Saint Petersburg, Russia
Duration: 3h with 2 intervals
Acts: 3
Intervals: 2

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

This fantasy ballet is based on Pushkin’s poem The Bronze Horseman and invites the audience to see the characters through the eyes of the poet, whose pen inexorably controls their fates.

The revival of forgotten but once-loved productions has been a trend of the Mariinsky Theatre over the last seventeen years. The appearance The Bronze Horseman is a continuation of this course. But if previously old ballets were revived and scrupulously reconstructed from archive materials or from personal memories of performers who danced in them, then here we have an antique adapted to the modern day. In the new Bronze Horseman we still have the choreographic structure of Rostislav Zakharov’s production, created in 1949: those who appeared in the ballet in the 1980s have demonstrated their roles to today’s performers. And it was Yuri Smekalov who has brought the dance modesty of that drama-ballet to match contemporary interests of today’s performers and the habits of today’s audiences – there are more leaps and complex pirouettes in the choreographic text. “In my production I am trying to retain Zakharov’s choreographic idea, but I want to show it in a different light so that the ballet has meaning for the audience today”, Yuri Smekalov said. If the dances have been only partially revived then the stage décor of the Stalinist era has been fully rejected, and much of what mid-20th century audiences contemplated, submitting to the pathétique of Glière’s music, has today been executed using computer graphics. The patina of time an antique souvenir has been removed, giving The Bronze Horseman a modern gloss.
Olga Makarova

History
Premiere of this production: 14 March 1949, Kirov Opera and Ballet Theatre, Leningrad

Libretto by Pyotr Abolimov after the poem by Alexander Pushkin 

Synopsis

Prologue
A bare shore. Peter I is immersed in thought about the future of Russia and the construction of his new city on the River Neva.

Act I
St Petersburg, 1824. There is a popular fete on Senate Square near the monument to Peter I. Wandering artistes are giving a performance. The dance of Columbine and Harlequin is interrupted by the sounds of a military orchestra – a regiment marches across the square. The lovers Yevgeny and Parasha meet at the monument. In the growing gloom the monument to Peter the Great appears triumphantly threatening. Yevgeny delightedly tells Parasha about Peter...

The port in St Petersburg. At the wharves the construction of a ship is complete and preparations are underway for its grand launch. Founder of the Russian fleet Peter I proudly examines the new ship and gives the final instructions. Visitors from overseas arrive. Everything is ready for the festivities. Peter chops the rope and the ship slowly moves down the slips.
The visitors pass along an alley in the Summer Garden towards Peter I’s palace for a ball. Peter introduces his god-son Ibrahim who has returned from France to a dazzling beauty who has been acclaimed by the assembly as the “queen of the ball”. The Emperor opens up a globe gifted by Dutch sailors that contains a model of the new ship. At the height of the general dancing, Menshikov organises a game – whoever is left without a woman must empty a “grand eagle cup”. The guests depart long after midnight.
Left alone, Peter dreams of what the city he has founded at the mouth of the River Neva will be like.

Act II
Autumn 1824. Parasha is living with her mother in a small house on the shore of Vasilievsky Island. In the garden in the shade of the willow tree she and her friends are performing a round dance. Parasha’s mother demonstrates how they used to dance in the old days. The girls tell each others’ fortunes. Yevgeny, who is hiding behind the willow tree, admires their dancing.
Yevgeny and Parasha dream of quiet domestic bliss. The girls give the lovers wedding garlands made from autumn leaves.
Suddenly the wind rises and dark clouds fill the sky – bad weather is approaching. Yevgeny bids farewell to Parasha and hurries home before the bridges across the Neva are washed away.
Yevgeny’s room. Yevgeny recalls his meeting with his beloved; all his thoughts are of the wedding.
Outside the weather is dreadful and the flood is ever nearer. Worried about Parasha, whose house is on the very banks of the gulf, Yevgeny hastens off to his beloved.

Act III
On the shore a crowd of frightened citizens observes how quickly the waters of the Neva are rising. The river has burst its banks. Yevgeny despairs – his path to Parasha is cut off. Climbing onto a stone lion, with horror he views the scene of the flood. Mad with longing and fear, Yevgeny jumps into the water in the hope of swimming through the seething Neva to Parasha’s house.
The storm has passed. Where yesterday Parasha lived, today the old house, the gate and the people have all gone – only the broken willow tree stands, drooping. Grief-stricken, Yevgeny imagines he can see his beloved once more. Yevgeny loses his reason.

Boys are making fun of the insane Yevgeny. On the site of his recent rendezvous with Parasha, Yevgeny looks with loathing at the Bronze Horseman, believing that Peter, who founded the city on the Neva, is the cause of his grief. Behind him Yevgeny hears the clatter of hooves from the horseman’s steed and enters a fatal encounter with him. Too weak to fight, Yevgeny drops down dead.

Epilogue
The city founded by Peter has been transformed and its residents, as before, dream of love and happiness...

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: 3h with 2 intervals
Acts: 3
Intervals: 2

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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