Sadko Tickets

Bolshoi Theatre, Moscow, Russia

All photos (16)

1 / 16

At the moment, no Sadko events are scheduled in Bolshoi Theatre. Click here to check out the current Bolshoi Theatre events.

Important Info

Type: Opera

City: Moscow, Russia

Duration: 3h 40min with 2 intervals

Intervals: 2

Sung in: Russian

Titles in: English

Ticket delivery: E-Tickets

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.

Can I choose my seats?

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

Premiere of Sadko at the Bolshoi Theatre took place on 24 October 1906. Since then, it almost permanently remained in the repertoire (with an exception in the period from 1938 to 1949) right up until the last decades of XX Century.

Reasons for that are obvious. Opera was perfect for the stage of the Bolshoi Theatre. First of all, from scenic and decorative point of view. Change of the sceneries from Novgorod feast and biddings to poetic landscapes of Lake Ilmen; vessels which were fleeing sea and ocean waters; fantastic sight of the seafloor and the finest music of Sadko have been inspiring artists to create sketches that became masterpieces without exaggeration. Magnificent decorations for the setting at the Bolshoi Theatre were created by K. Korovin and F. Fedorovsky. V. Vasnetsov, I. Bibilin, A. Benois and others have also been set designers for Sadko. Food for inspiration was literally everything: from typical characters in the crowd in Novgorod to the change in scenery of quiet and raging sea; fantastic transformations, swans into Princess, Volkhova into the river...A special pleasure for Korovin (avid fisherman) was to depict fish: “Fish is flapping its tail, playing in hands, it is alive! Oh, Boy! Then you are throwing – and you fish gold! It is burning, while merchants – so fool, ha ha ha, – they do not even realize what is going on, just standing there like fools! So neatly thought through, isn't it? “...’’ ‘’Altitude, altitude is celestial, depth – down to sea and ocean’’. As Rimsky-Korsakov wrote, - what an opera!.. Korovin is thrilled with the piece’’. (V. Shkafer Forty years on the Russian opera stage).

Sadko is an absolute Rimsky-Korsakov’s masterpiece. Balance between melodious folk recitative, which opera heroes use to communicate with each other, and expressive solo numbers indicate master’s maturity. Perhaps, Rimsky-Korsakov has no other operas like this one that would contain that many ‘hits’: divertissement of arias of foreign guests, Varangian, Indian, Venetian; famous aria of Lyubava, Volkhova’s lullaby...Elegant and concise his orchestration is. Discreetly and gracefully, Rimsky-Korsakov reminds of Wagner’s findings (he admitted so numerous times), which is a special joy for a tempted viewer to guess the motifs of Rein Gold and Siegfried from Sadko. Sadko cast is an ideal match with the magnitude of the Bolshoi Theatre: grand, multi-figure choir, variety of solo singers voices... Georgii Nelepp and Vladimir Altantov were performing a part of Sadko on the stage of the Bolshoi Theatre during XX Century; Volkhova – Antonina Nezhdanova, Valeria Barsova, Elena Katulskaya, Tamara Milashkina; Lyubava Buslayevna – Nadezhda Obukhova, Larisa Avdeeva, Irina Arkhipova, Tamara Sinyavskaya and Elena Obraztsova; the Varangian guest – Maxim Mikhailov, Mark Reizen, Alexander Vedernikov; the Indian guest – Dmitri Smirnov, Sergei Lemeshev and Ivan Kozlovsky, the Venetian guest – Pavel Lisitsian and Yuri Mazurok.

And yet, since 1984 Sadko did not appear on stage of the Bolshoi Theatre. Sadko himself – Nazhmiddin Mavlyanov and Lyubava – Ksenia Dudnikova speak about the details of his entrance un 2020.

Nazhmiddin Mavlyanov:

Sadko is a modern man who goes through challenges, some type of ‘quests’. I personally can relate to this image very well. Basically all my life is the process of reaching specific goals. Sadko aims to become confident person who firmly stands on the ground, and takes right decisions. He gains knowledge about society, interacts with it, acquires experience how to deal with the world, acts in a way that requires immediate reaction. Circumstances change rapidly onstage, so does Sadko’s emotional state – just a moment ago he was a hero (‘’You are capable of anything, come to us!’’), and next thing he knows everyone is teasing him again. The core meaning is in conquering all obstacles and gaining self-confidence. And ultimately, not to quit the game and become ‘the real man’.

Ksenia Dudnikova:

Lyubava’s libretto and music part seems to contain only sufferings. If to do everything literally, there will be one big cry – and only in the end, joy appears out of nowhere. Director came up with an interesting concept for this image. Lyubava is a strong woman who courageously carries through her hardships and turn of events in life. And as any wise woman she is capable of enormous sacrificial patience. Sadko for her is a collective image of all men she had in her life. And they all brought her nothing but a disappointment because they never loved her back. It seems as she finds herself in the space where she tries to solve this problem.

At the beginning (third scene), we hear her confession. It is important to note that she is not weeping, she is confessing everything that is going on in her life: I do not know how to fix it, I do not see any solution. And Sadko leaves again. However, at the end of opera something happens that is possible to describe as a usual story... everyone just remains as they are, without adding happiness to anyone… Speaking of how families are usually saved, and if there is any sense in it.

Olesya Bobrik

History

Premiere of this production: Solodovnikov Theatre, Moscow

Sadko is an opera in seven scenes by Nikolai Rimsky-Korsakov. The libretto was written by the composer, with assistance from Vladimir Belsky, Vladimir Stasov, and others. Rimsky-Korsakov was first inspired by the bylina of Sadko in 1867, when he completed a tone poem on the subject, his Op. 5. After finishing his second revision of this work in 1891, he decided to turn it into a dramatic work.

Synopsis

SCENE ONE

Sadko finds himself at the feast in a rich house of the Novgorod merchants’s guild. Guild leaders order a song in praise of heroic deeds. Nezhata, a young guslar, sings for them. Unable to hold his tongue at the table, Sadko admonishes the merchants for their clinging to the antique traditions and vain boasting. Affronted by Sadko’s accusations, the merchants angrily banish him from the feast.

SCENE TWO

Sadko comes to the shore of Lake Ilmen. Surprised to see a beautiful girl appear there, he desperately tries to find out her identity. The girl reveals her secret to him: she is Princess Volkhova, the youngest daughter of the Sea Tsar and Tsarina Hydraqua. Her beauty enchants Sadko into total oblivion. Volkhova promises to help Sadko and tells him about the three magic goldfishes he will capture once he goes fishing in Lake Ilmen with his net. These fishes will make Sadko rich and prosperous.

SCENE THREE

Sadko arrives at his wife’s, Lubava Buslaevna. She has waited for him all night long and rushes to embrace him, but he turns her down. Sadko has made up his mind to go to the harbour and make a bet that there are three goldfishes in Lake Ilmen.

SCENE FOUR

The harbour of Novgorod hosts a boisterous market. Sadko challenges the guild leaders to bet there is goldfish in Lake Ilmen. The guild leaders mock him, so he raises the stakes and bets his life against all the guildsmen’s wares. The leaders take the bet. Sadko casts his net, the crowd impatiently anticipating the result. Volkhova’s promise is fulfilled: three living goldfishes are agonizing in Sadko’s net, eventually turning into pure gold. Sadko is rich now and subject to everyone’s praises. Exalted, Sadko decides to summon a band of brave men and equip ships. He asks foreign merchants to tell him about the distant lands to choose where to set sail to.

SCENE FIVE

Sadko is in despair. Before his eyes there are hopeless scenes of his ship standing still in the high seas and his men throwing barrels of gold, silver, and pearls overboard as a toll to the Sea Tsar so that he would release the ship to join the rest of the fleet. Sadko supposes the Sea Tsar is up to a human sacrifice and suggests that they should cast lots to choose a victim to be drowned. The band agrees, and the lot is drawn by Sadko himself. Solemnly heading to his death, Sadko suddenly hears Volkhova’s voice.

SCENE SIX

Sadko and Volkhova are in the underwater realm before the Sea Tsar and Tsarina Hydraqua. The Tsar orders Sadko to sing a glorifying song, and the singing is so much to his taste that he offers Sadko to stay for good and marry Volkhova. Sadko plays his gusli, and the seafolk dance frantically. Amidst the celebrations Vision the old mighty warrior appears and stops the dance, ordering the Sea Tsar to let Volkhova go away with Sadko.

SCENE SEVEN

Sadko is asleep to the sound of Volkhova’s lullaby. Volkhova bids him farewell forever. Awake, all Sadko can hear is Lubava’s wailing. Everyone gathers to greet Sadko.

Dmitri Tcherniakov

(Note: Instead of traditional acts, Sadko is divided in seven scenes, and, as that type of structure would suggest, is more loosely constructed than a traditional opera. The opera is usually performed in three or five acts, depending on how the scenes are grouped: Three acts – 1–2, 3–4, 5–6–7 or 1–2–3, 4, 5–6–7: Five acts – 1, 2–3, 4, 5–6, 7)

Time: The historical figure Sadko lived in the 12th century.
Place: The action takes place in Novgorod and in the legendary realm of the Sea-King.
The opera tells the story of Sadko, a gusli player (guslar), who leaves his wife, Lubava, and home in Novgorod and eventually returns a wealthy man. During his years of travel he amasses a fortune, weds the daughter of the King and Queen of the Ocean and has other adventures. Upon his return, the city and Lubava rejoice.

Scene 1 – The rich mansion of a guild in Novgorod

The wealthy Novgorod merchants congratulate themselves on their prosperity. Nezhata, a gusli player from Kiev, sings an heroic song. In reply, Sadko also sings, but the merchants laugh at him when he suggests that Novgorod would be more prosperous if a river joined Lake Ilmen to the ocean.

Scene 2 – The shores of Lake Ilmen

Sadko wanders unhappily by the lakeside. His singing attracts some swans, one of which changes into Volkhova, the Sea Princess, who wishes to marry a mortal. She explains to Sadko how to catch three golden fish which will lead to his fortune after a long voyage. The Princess promises to him to wait patiently for his return. At dawn, from the lake the voice of the Sea-King is heard. He calls his daughters home into the depths. The girls once again turn into white swans and swim away into the distance.

Scene 3 – An attic in Sadko's home (in Novgorod)

Sadko's wife, Lubava, is missing her husband. She is happy when he comes home at last, but distressed when he announces his intention to leave immediately in order to seek his fortune.

Scene 4 – A pier in Novgorod (on the banks of Lake Ilmen)

Merchants assemble at the quayside and Nezhata sings another gusli song. The merchants deride Sadko when he explains how he will win his fortune by catching three golden fish. Sadko bets them that he can do this, and, after he is successful in catching the fish, he wins their ships to take on his voyage. He sets about gathering a crew for his voyage. Three visiting merchants, a Viking, an Indian and a Venetian, sing in turn of their homelands. Sadko decides to set sail for Venice.

Scene 5 – A peaceful expanse of the ocean

Sadko's fleet of ships is returning home, laden with treasure, but becomes becalmed. Sadko's crew throw treasure over the side to propitiate the Sea-King, but no wind appears. Sadko is left behind, clinging to a log, when the wind suddenly picks up while he is overboard.

Scene 6 – In the depths of the sea

The scene shifts to the realm of the sea-king, where Sadko sings to the king and queen, winning the hand of their daughter, Volkhova. The wedding celebrations become so boisterous that a storm springs up, sinking ships on the surface of the sea, and the realm of the Sea-King is destroyed. The end of the reign of the pagan king is heralded by an apparition of a Christian pilgrim (actually St Nicholas of Mozhaysk) Sadko and Volkhova escape the destruction on a sea-shell.

Scene 7 – Novogrod, a green meadow on the shores of Lake Ilmen

Sadko is asleep by the lakeside. Volkhova watches over him and sings a lullaby. Before he wakes, she bids him farewell and then disappears, becoming changed into the River Volkhova that now links Lake Ilmen with the sea. Lubava finds her husband asleep and wakes him: he believes that his voyage was nothing but a dream, but the sight of the new river and his fleet of ships convinces him that he really is now a very wealthy man.

Venue Info

Bolshoi Theatre - Moscow
Teatralnaya Square 1

The Bolshoi Theatre is a historic theatre in Moscow, Russia, originally designed by architect Joseph Bové, which holds ballet and opera performances. Before the October Revolution it was a part of the Imperial Theatres of the Russian Empire along with Maly Theatre (Small Theatre) in Moscow and a few theatres in Saint Petersburg (Hermitage Theatre, Bolshoi (Kamenny) Theatre, later Mariinsky Theatre and others).

The Bolshoi Ballet and Bolshoi Opera are amongst the oldest and most renowned ballet and opera companies in the world. It is by far the world's biggest ballet company, with more than 200 dancers. The theatre is the parent company of The Bolshoi Ballet Academy, a world-famous leading school of ballet. It has a branch at the Bolshoi Theater School in Joinville, Brazil.

The main building of the theatre, rebuilt and renovated several times during its history, is a landmark of Moscow and Russia (its iconic neoclassical façade is depicted on the Russian 100-ruble banknote). On 28 October 2011, the Bolshoi re-opened after an extensive six-year renovation. The official cost of the renovation is 21 billion rubles ($688 million). However, other Russian authorities and other people connected to it claimed much more public money was spent. The renovation included restoring acoustics to the original quality (which had been lost during the Soviet Era), as well as restoring the original Imperial decor of the Bolshoi.

The company was founded on 28 March [O.S. 17 March] 1776, when Catherine II granted Prince Peter Ouroussoff a licence to organise theatrical performances, balls and other forms of entertainment. Ouroussoff set up the theatre in collaboration with English tightrope walker Michael Maddox. Initially, it held performances in a private home, but it acquired the Petrovka Theatre and on 30 December 1780, it began producing plays and operas, thus establishing what would become the Bolshoi Theatre. Fire destroyed the Petrovka Theatre on 8 October 1805, and the New Arbat Imperial Theatre replaced it on 13 April 1808, however it also succumbed to fire during the French invasion of Moscow in 1812.

The first instance of the theatre was built between 1821 and 1824, designed and supervised to completion by architect Joseph Bové based upon an initial competition-winning design created by Petersburg-based Russian architect Andrei Mikhailov that was deemed too costly to complete. Bové also concurrently designed the nearby Maly Theatre and the surrounding Theater Square, The new building opened on 18 January 1825 as the Bolshoi Petrovsky Theatre with a performance of Fernando Sor's ballet, Cendrillon. Initially, it presented only Russian works, but foreign composers entered the repertoire around 1840.