Stanislavsky Music Theatre tickets 27 October 2025 - The Talisman. Performance by the Buryat Academic Opera and Ballet Theatre | GoComGo.com

The Talisman. Performance by the Buryat Academic Opera and Ballet Theatre

Stanislavsky Music Theatre, Moscow, Russia
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Important Info
Type: Ballet
City: Moscow, Russia
Starts at: 19:00
Duration: 2h 25min

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Overview

The Stanislavsky Theatre, located in XIX century historical building just 750 metres (9-minute walk) from the Bolshoi, proudly presents the ballet "The Talisman" production on its stage. This production, based on the music of Riccardo Drigo, is unique in the Russian theatre landscape: the ballet has not been staged for more than a century. By bringing it back to the stage, the Buryat Opera and Ballet Theatre offers audiences a rare gem of ballet art, underscoring both its mastery and its commitment to tradition. Ballet at the Stanislavsky Theatre is the great and affordable alternative to the Bolshoi.

The ballet The Talisman, created by Marius Petipa and composer Riccardo Drigo in 1889, disappeared from the stage after 1926, when it was last performed at the Leningrad Choreographic School. That final performance became a triumph for the young Olga Jordan and Alexei Yermolaev, whose virtuoso dancing laid the foundation for a new ballet aesthetic of the 20th century, where technique reached unprecedented heights.

A century later, Alexander Mishutin—a graduate of the Moscow Choreographic School who spent many years working in Japan—undertook to bring The Talisman back to life. Using surviving materials (including a piano score preserved in Japanese archives), he rejected a straightforward reconstruction in the spirit of modern restoration practices and instead chose the path of creative interpretation, following in the footsteps of Pierre Lacotte’s revival of Don Juan. Mishutin shortened the libretto from four acts to three, removing excessive pantomime while preserving the dramatic core: the love story between Niriti, daughter of the goddess, and the Maharajah Nuredin, and his conflict with the abandoned bride Damayanti, Princess of Delhi.

The new staging draws on Petipa’s heritage and other great classical ballets: La Bayadère by Ludwig Minkus for its ethnographic color, Adolphe Adam’s Le Corsaire for ensemble dynamism, and Cesare Pugni’s The Pharaoh’s Daughter for monumental group scenes.

Mishutin created a “dance marathon” in three acts, where the corps de ballet fully demonstrates its precision, while the soloists take on not only leading roles but also demi-soloist parts—continuing Petipa’s tradition that every artist must be a true universalist.

Drigo’s music, still valued today for its theatricality and rhythmic richness, proved the key to success. The theatre’s orchestra reveals the “charm of forgotten melodies,” reminding audiences that Drigo was a master of “music for the body,” where every chord underscores movement and dramatic development.

The production at the G. Tsydynzhapov Buryat State Opera and Ballet Theatre confronts a paradox: contemporary audiences are less captivated by a story of a maharajah’s love, yet they are fascinated by “technical brilliance” and “plastic elegance.” Mishutin, in line with his Japanese colleagues, highlights the “laws of academic ballet”—reworking choreographic leitmotifs, pantomime patterns, and scene structures into a single score of movement, where “monotony is softened by artistry.”

The company has created a production where “experience transcends formal technique.” The dancers have shown that the Buryat ensemble is capable of realizing even the most large-scale works. The performance has become a symbol of continuity—just as the theatre’s Angara the Beauty (1959) combined “national motifs” with academic rigor, so too does The Talisman unite tradition with innovation.

Together, Alexander Mishutin and Morihiro Iwata saw in The Talisman a “modern longing for the past,” transforming the ballet into a cultural metaphor: that which was forgotten can become a talisman for the revival of interest in the classics. As critic Igor Koryabin noted, this is “an example of how art can be reborn through bold experimentation.”

Today, The Talisman is not merely a retrospective project but “an experiment on the edge”: a forgotten score by Drigo colliding with contemporary choreography, a theatre company revealing its full artistic potential, and a production capable of restoring this ballet to the Moscow repertoire. Its revival is a reminder that the classics live on as long as there are masters willing to reimagine them.

In 2020, the Buryat State Opera and Ballet Theatre was nominated for the prestigious Golden Mask National Theatre Award in several categories for the first time in its history. The Talisman was presented in Moscow at the festival of nominees and was shortlisted in the category Ballet. Choreographer Alexander Mishutin received an individual nomination for his work, while ballerina Anna Petushinova, who danced the leading role of Niriti, was nominated for Ballet / Contemporary Dance: Best Female Role.

Production Team:
Composer – Riccardo Drigo
Libretto – Konstantin Tarnovsky, Marius Petipa
Choreographer – Alexander Mishutin
Conductor – Valery Volchanetsky
Set Designer – Alexey Ambaev
Costume Designer – Elena Babenko
Lighting Designer – Alexey Ambaev

Cast:
Niriti – Alexandra Bogdanova
Nuredin – Aldar Boltanov
Vayu – Eldar Vandanov
Damayanti – Haruka Yamada
Amravati – Antonina Volgina
Jamil – Vitaly Bazarzhapov
Nerilya – Margarita Erdnieva, Honored Artist of the Republic of Buryatia
Nal – Vyacheslav Namzhilon, Honored Artist of the Republic of Buryatia
Kadoor – Bator Nadmitov, People’s Artist of the Republic of Buryatia
Akdar – Sergey Borodin
Chopdar – Zorigto Dashiev

Elemental Spirits:
Earth – Ayame Masuoka Takayama
Air – Konomi Tsukada
Water – Viktoria Ilyina
Fire – Evgenia Tsyrenova, Honored Artist of the Republic of Buryatia

History
Premiere of this production: 06 February 1989, Imperial Mariinsky Theatre, St. Petersburg, Russia

Le Talisman is a ballet in 4 Acts and 7 Scenes, with choreography by Marius Petipa, and music by Riccardo Drigo. Libretto by Konstantin Augustovich Tarnovsky and Marius Petipa. It was premièred on February 6 [O.S. January 25] 1889 at the Imperial Mariinsky Theatre in St. Petersburg, Russia This ballet gave rise to the so-called Talisman Pas de Deux, which is today danced by many ballet companies.

Synopsis

Prologue — In the clouds

The gods and spirits descend to meet the Goddess Amravati, Queen of the heavens (Valse des esprits). She is in despair, and is asked why. She replies "It is today, in accordance with my immortal husband's wishes, that my daughter, the goddess Niriti, must descend to earth, and perhaps may never return."

Music heralds the entrance of Niriti (Entrée de Niriti). She runs to embrace her mother, and is then informed that the time has come for her to visit the earth. "But why must I visit the earth?" Niriti asks. "To test your heart against the temptations of earthly love," replies Amravati, "and should you fail, you will forfeit your right to immortality." "Must I go alone?" asks Niriti. "No," replies the goddess; "I have chosen a fine companion for you."

Vayou, the god of the wind, flies overhead, bringing a storm in his wake (Le vent de Vayou). He bows to the Queen and begs pardon for his tardiness; "A group of mortals dared to attempt to learn the secrets of the poles," he says, "for which I was forced to sink their ships."

Queen Amravati hands Vayou her golden mace, which makes him ruler of the spirits and of all the elements. She then takes a star from her crown and gives it to Niriti. "This talisman shall protect you against all danger which may befall you." The Goddess adds, "However, should she lose it, you shall never return to the heavens again." "But," enquires Niriti, "surely the mace shall force the talisman to be returned to me." "No," replies Amravati, "a talisman lost by a maiden of the air must be freely returned to her by whatever mortal may come to possess it."

Amravati bids her daughter farewell. Niriti and Vayou descend to the earth.

Act I — The hut of the old weaver Kadoor

Nal is working busily at his loom so that he may meet Nirilya, his betrothed. He is then distracted by a sun-beam which dazzles his eyes so that he decides to cover the window with his cloak. As he goes toward it his beloved Nirilya appears. He begs her to enter, but she refuses. Nal, annoyed, returns to his work. Nirilya creeps behind him and covers his eyes with her hands.

Enter Kadoor, accompanied by his friends and relatives. The lovers are embarrassed. The weaver tells them that they have nothing to be ashamed of, for they are to be married on the following day. He reminds them of their friends who have come to wish them happiness. The young people begin dancing while the old weaver and some of his guests decorate the hut with flowers and garlands (Danse des amis de Nirilya et Nal).

Towards the conclusion of their dances a handsome youth appears - Noureddin, the young Maharajah of Lahore. He has lost his way while hunting and asks for shelter for the night. Kadoor welcomes the visitor and places refreshments before him. Noureddin begs the young people to continue their dancing, so Nirilya and Nal perform a joyous dance to the delight of the young Maharajah (Danse orientale), who gives Nirilya a necklace and Nal a purse of gold. Then, feeling tired, Noureddin asks to be shown to his room. The guests leave and darkness falls. There is distant thunder and lightning.

Enter Niriti and Vayou (Premières sensations). Niriti enquires where they are. Vayou asks her to remain while he goes to explore. Feeling tired from their travels, Niriti lies down and falls asleep.

Noureddin comes out of his room, rubbing his eyes, having been disturbed by a strange noise. He catches sight of the sleeping Niriti, and is amazed by her beauty. Niriti awakens. Frightened by the stranger she attempts to flee, but Noureddin holds her firm and demands a kiss. Struggling violently, she calls to Vayou for help. Suddenly Vayou appears and seizes Niriti while brandishing the golden mace. There is a violent gust of wind and Niriti and Vayou disappear. During the escape, the talisman falls from Niriti's head. Noureddin searches vainly for Niriti and discovers the talisman. Convinced that he has met his true love, he swears to find the beautiful girl.

Enter King Akdar and his daughter, the Princess Damayanti, attended by a magnificent retinue. The King expresses his delight at seeing Noureddin, as his daughter, to whom Noureddin is betrothed, had been troubled by his disappearance. The company now departs, and the King requests that Noureddin follow them.

Niriti and Vayou reappear, followed by spirits of the earth. They search anxiously for the talisman, but in vain.

Act II — The gardens of King Akdar's magnificent palace in Dehli

Servants are completing the preparations for the feast which will prelude the wedding of the Princess Damayanti and Noureddin. Enter King Akdar and his daughter, who seat themselves upon the throne. They are attended by rajahs, bayadères, eunuchs and the Princess's attendants. Noureddin enters, followed by his bodyguard Djemil and several of his guards.

The festival begins with various diversions (Danse nautchDanse de l’hindoustan), with Noureddin and the Princess Damayanti performing a dance together in which the young Maharajah is haunted by visions of Niriti (Grand pas d’action). At the end the chief eunuch announces that the feast is ready in the great hall of the palace. Noureddin lingers behind. He cannot forget the beautiful girl he encountered in Kadoor's hut.

Moonlight filters into the garden. As Noureddin begins to leave to attend the feast a rose-bush springs from the ground and bars his way. Other bushes appear and from each emerges a rose in human form. From the center rose-bush comes Niriti in the guise of the Goddess of the Flowers, and from each side appear the spirits of the earth. With bewitching glances they ask him to give up the talisman, but when Noureddin refuses they vanish. Niriti and her retinue of flowers perform dances to entice Noureddin into giving up the talisman (Grand ballabile — La Rose de Bengale), but to no avail. Niriti and her retinue disappear.

Fanfares announcing King Akdar are heard. "Come!" cries the King, "the priests are waiting to perform the wedding ceremony.". Noureddin, unable to forget Niriti, confesses that he loves another and must refuse the Princess Damayanti's hand. The Princess then faints into the arms of her attendants and the enraged King draws his sword; his guards follows suit. At that moment Noureddin's guards place themselves in a posture defense to protect him. A terrible struggle is imminent when flames rise from the earth and separate the antagonists. Vayou has devised this to save Noureddin so that he may return Niriti her talisman.

Niriti appears in the fountain and, unseen, wafts him a passionate kiss. Her heart has been melted by his indomitable love.

Act III, tableau 1 — A bazaar on the banks of the river Ganges

It is market-day and the bazaar is crowded with types of the numerous races of India. Noureddin enters with his troops on his way back to Lahore. He calls a halt and lies down to rest. The talisman can be seen glittering from his breast. At a sign from one of the slave-dealers dancing begins (Danse des montagnards de l’HimalayaPas Katchack).

Enter Vayou and Niriti, who are disguised as a Brahim and his slave. Vayou presents Niriti to the crowd wrapped in a long veil (Danse sous le voile). Recognising Noureddin, they decide to steal the talisman, but Noureddin recognises Niriti, who tries to hide among the crowd. Noureddin pursues her but is stopped by Vayou, who reproaches him for annoying his slave. "Will you sell me your slave?" asks Noureddin. "Yes," replies the Brahmin, "in exchange for the talisman on your breast." Noureddin refuses. Vayou and the supposed slave depart.

Noureddin is now suspicious that the talisman should be preferred to the wealth he could have offered and feels that there is some mystery connected to it. He wonders if the slave-owner's tongue might be loosened with wine and, calling his bodyguard Djemil, whispers his orders.

Niriti and Vayou return. Noureddin goes to them and asks the Brahmin to taste a new European drink: perhaps it may help them come to an understanding. Vayou drinks and, finding the drink greatly to his taste, continually asks for his glass to be refilled. Thus, Vayou becomes increasingly communicative and confides that his slave is really the Goddess Amravati's daughter, and so long as Noureddin possesses the talisman, Niriti must remain on earth. To emphasize his word his Vayou strikes the table with his golden mace, which snaps in two. He continues to drink until he falls to the ground (Scène dansante — L’ivresse de Vayou).

Noureddin orders the bodyguard Djemil to seize Niriti, who desperately calls for Vayou to help her. He awakes but, stupefied with wine, is helpless. Niriti is led away.

Act III, tableau II — Some ancient ruins at night

Niriti is brought in by the bodyguard Djemil and placed before Noureddin, who orders his men to keep strict watch. Niriti then beseeches Noureddin to restore her talisman. He replies that he cannot, for if he does she shall return to heaven, and he loves her too much to allow it (La danse à l’amour). She admits that he speaks the truth, but implores him to help her return to heaven and her mother.

Noureddin refuses because he wishes for her to remain on earth and be his wife and queen, but Niriti refuses. Noureddin pleads on his knees, but again she refuses. He then reminds her that she is in his power and has no choice but to cede to his wishes. Niriti then plucks a dagger from Noureddin's belt and threatens to stab herself. He quickly wrests the weapon from her and, furious that she should hold his love for her so lightly, snatches the talisman from his breast and throws it at her feet. There is a deafening clap of thunder.

Act III, tableau III — At the top of the stage is seen the heavens, at the bottom, the ancient ruins

The Goddess Amravati awaits Niriti's return. Niriti, clasping her talisman, is about to ascend when she resolves to bid Noureddin farewell. Seeing his eyes filled with tears she is overcome with sadness herself. She begins to wonder whether celestial delights can equal the earthly happiness which Noureddin offers, and which she is about to sacrifice. She wavers, then drops the talisman and throws herself into Noureddin's arms.

Apotheosis

The talisman ascends to heaven. Seated on her throne, the Goddess Amravati is surrounded by gods and other heavenly spirits.

Venue Info

Stanislavsky Music Theatre - Moscow
Location   B. Dmitrovka, 17

The Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre is a music theatre in Moscow.

The Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre was founded in 1941 when two companies directed by the legendary reformers of twentieth-century theatre — Konstantin Stanislavski and Vladimir Nemirovich-Danchenko — merged: the Stanislavsky Opera Theatre (established at the end of 1918 as an Opera Studio of the Bolshoi Theatre) and the Nemirovich-Danchenko Music Theatre (set up in 1919 as a Studio of the Moscow Art Theatre).

The new theatre followed the artistic principles of its founders, who applied the system of the Moscow Art Theatre to opera and ballet. Both Stanislavsky and Nemirovich-Danchenko rejected the current conception of opera as "costume concert". They wanted to bring it closer to drama and comedy, revealing the main idea of the plot through psychologically motivated action. The ballet company entered the Theatre as a part of Nemirovich-Danchenko's troupe. It was the former company of the Moscow Art Ballet, established in 1929 by Victorina Krieger, the valued ballerina of the Bolshoi Theatre. She was Artistic Director and one of the principal dancers of the Moscow Art Ballet. Soon after Stanislavsky's death, Nemirovich-Danchenko took charge of all the companies (Vsevolod Meyerhold invited by Stanislavsky to work for his theatre, was arrested in 1939, and no other stage director could prove equal to Nemirovich-Danchenko). Then the theatre was given its present name.

Important Info
Type: Ballet
City: Moscow, Russia
Starts at: 19:00
Duration: 2h 25min
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