One act operas
Music by Giacomo Puccini
Performed in Italian
The performance will have synchronised Russian supertitles
Premiere of this production: 17 April 2003, Mariinsky Theatre, St Petersburg
Running time: 3 hours 45 minutes
The performance has two intervals

Credits
Musical Director: Gianandrea Noseda
Stage Director: Walter Le Moli
Set Designer: Tiziano Santi
Costume Designer: Giovanna Avanzi
Lighting Designer: Claudio Coloretti
Master: Andrei Petrenko
Musical Preparation: Natalia Mordashova

Il tabarro
Libretto by Giuseppe Adami

Suor Angelica
Libretto by Giovaccino Forzano

Gianni Schicchi
Libretto by Giovaccino Forzano

SYNOPSIS GIANNI SCHICCHI
Setting Florence, 1299

The rich old Buoso Donati has died. His family express their grief to one another. However, in reality they are all thinking of the deceasedґs will. There are rumours that he has left everything to a monastery in San Reparata. Surely this canґt be true? The relatives turn for advice to the seventy-year-old Simone, the cousin of the dead man, who was once mayor of Fuccecio. Simone says that if the will is in the house something may yet be done. Everyone starts to search for the document that will reveal the dead manґs wishes. It is found by Rinuccio, the young nephew of Zita, Buosoґs cousin. Unlike the deceasedґs other relatives, he thinks little of money. His thoughts are taken up with Lauretta, Gianni Schicchiґs daughter. They love one another. But the elderly aunt is indifferent to the match. Zita promises her blessing on one condition - if the testament fills their pockets and there is no longer any need to think of the potential income from a dowry. Full of hope at the deliverance the will might lend, Rinuccio sends the young Gherardino for Schicchi and his daughter.
The reading of Buoso Donatiґs last will confirms the worst - all is to go to the monks. The relatives react with rage. Rinuccio suggests getting advice from Gianni Schicchi. Buosoґs relatives want nothing to do with him, considering him a vulgar peasant who is below them. Rinuccio defends the father of his beloved, praising the ingenuity of those who have, like him, come from outside Florence to make it a greater place. Gianni Schicchi appears with his daughter Lauretta. He is insulted almost from the outset, and the marriage refused on the grounds that Lauretta has no dowry to offer. Initially refusing to help, his daughterґs plea convinces him to intervene. Sending his daughter onto the balcony, Schicchi orders the body be taken into another room, the bed to be made and that all traces of mourning be removed. Suddenly there is a knock at the door - Dr Spinelloccio has come to see his patient. Hidden, Schicchi imitates Buoso Donatiґs voice, telling the doctor he is much better and asking him to return later. The doctor leaves singing the praises of Bolognese medicine.
Gianni Schicchi reveals his plan. All are convinced that he can copy the dead manґs voice to perfection. And if he can imitate his appearance too then he can dictate a new will to the notary. The relatives are delighted and begin to discuss the division of the property. Outside the window a funeral bell sounds and excitement turns to terror - surely Buosoґs death has not been discovered? But it is a false alarm. One after the other, Donatiґs relatives, unknown to each other, try to bribe Gianni Schicchi to give them the most valuable share of the inheritance. Schicchi promises to do as each asks, but reminds them that forgery is punishable by law and the penalty the cutting of a hand. The relatives are worried. But even fear of a frightful punishment cannot stop them dreaming of riches.
Having changed his clothes, Schicchi gets into Buosoґs death bed. Accompanied by two witnesses - Guccio and Pinellino - Ser Amantio di Nicolaio the local notary appears. The "dying man" informs him that his paralysed arm has left him unable to write, so his will must be dictated. He asks for "his family" to be present when the document is prepared. Then, after initially sharing the wealth as agreed, the false Buoso wills his most valuable property to his "great friend Gianni Schicchi". The relatives are beside themselves in fury but are powerless. If they expose this crafty villain they will put their own necks in the noose. When the notary departs, all the cousins and their spouses fall upon Schicchi. But as the new master he orders them all out. Rinuccio and Lauretta are able to love in peace and sing of their future together. The old Zita cannot prevent their marriage.
Gianni Schicchi turns to the audience and asks them to forgive him his little deceit because of the mitigating circumstances. Despite being banished to hell, he argues that all has could not have turned out better. He says that the great Dante also forgives him and expresses his gratitude for providing the subject of the work.

Ballet in three acts (six scenes)
Music by Ludwig Minkus
Choreography by Alexander Gorsky after Marius Petipa
Gypsy and Oriental Dances choreographed by Nina Anisimova
Libretto by Marius Petipa based on the novel by Miguel de Cervantes
World premiere: 14 December 1869, Bolshoi Theatre, Moscow (choreography by Marius Petipa)
Premiere of Alexander Gorskyґs version: 6 December 1900, Bolshoi Theatre, Moscow
Premiere of Alexander Gorskyґs version in St Petersburg: 20 January 1902, Mariinsky Theatre
The Performance has two intermissions

Credits
Set design: Alexander Golovin and Konstantin Korovin
Restoration of sets: Mikhail Shishliannikov
Costume design: Konstantin Korovin

SYNOPSIS

Proloque
A Room in Don Quixoteґs House Having read some tales of chivalry, Don Quixote decides to set out in search of adventures, defend virtue and punish those who violate the code of honour. It occurs to him to make his servant Sancho Panza his armour-bearer.

Act I
Scene 1
In front of Lorenzoґs inn in Barcelona, a holiday crowd has gathered. Also there are Kitri, the flirtatious daughter of the innkeeper, and her lover Basilio, the barber, who has come to tease her; Basilio is over-attentive to Kitriґs friends.
Lorenzo catches his daughter kissing Basilio and forbids them ever to meet again; he wonґt have any penniless suitors. In vain Kitri tells her father how much she loves Basilio, but Lorenzo is implacable and turns the barber out of the house. Gamache, a rich and pompous nobleman, walks in, resplendent in his brocaded clothes. The crowd jeers at him. He has come to ask for the hand of the beautiful Kitri. Lorenzo would be delighted to have so highborn a gentleman for a son-in-law, but to Kitri the idea of marrying him is detestable. The innkeeper is shocked at his daughterґs impertinent manner towards Gamache.
A street dancer enters, cheered heartily by the crowd. The girl is eagerly awaiting the arrival of Espada, the famous toreador. Espada appears, accompanied by other toreadors. They dance, flourishing their cloaks, enacting scenes from a bullfight.
At the appearance of an extraordinary-looking horseman, the people are struck with astonishment. Sancho Panza blows a horn to announce the arrival of the knight-errant of la Mancha. Lorenzo welcomes the traveller courteously and invites him to partake of some refreshment. The girls seize the opportunity to have a bit of fun by playing tricks on the fat armour-bearer. They start a game of blind-manґs-buff. After that, the poor, harried Sancho becomes sport for the men, who toss him in the air. Sancho screams for help. Don Quixote comes to his rescue, armed with a huge toasting-fork and a plate for a shield.
The knight sees Kitri and is struck by her beauty. Is it not she who has haunted his dreams as the beautiful Dulcinea? In rapture, Don Quixote bends down on one knee and asks her to dance a minuet with him. To annoy Basilio, Kitri graciously accepts the invitation, flirtatiously imitating the manners of a fine lady.
While no one is looking, Sancho steals a fried fish from the kitchen and is about to slip away, but the scullions give chase and catch the thief.
Amidst the general confusion, Kitri and Basilio slip away unobserved.

Act II
Scene 2
Fleeing from Lorenzo and Gamache, the two lovers, Kitri and Basilio, wander into a gypsy camp. The gypsies dance for their guests. A girl informs them of the approach of a queer-looking horseman - it is Don Quixote. Basilio and Kitri greet him like old friends.
The gypsies invite Don Quixote to attend a play they are about to perform. He takes what is happening on stage to be reality, and rushes, sword in hand, to rescue the unhappy heroine; the improvised theatre is destroyed. The frightened actors and spectators scatter in all directions.
The turning sails of a windmill then catch Don Quixoteґs eye. They are the arms of giants!
Don Quixote attacks the windmill. His clothes get caught on a sail and he is first swung up into the air, then hurled to the ground.
Kitri and Basilio attend to his injuries. They spend the rest of the night resting by the gypsiesґ caravan.

Scene 3
Don Quixote is tormented by a nightmare. In his sleep, he sees a huge spider crawl out of a dark, dense forest. The knight boldly attacks the monster and overpowers it. At the same moment, the forest is transformed into the beautiful Kingdom of the Dryads. Among them is Kitri, who has assumed the form of Dulcinea, the queen of his heart.
Cupid presents Don Quixote to the Queen of the Dryads. The nymphs are grateful to him for rescuing them from the power of the monster, and dance for their deliverer.

Scene 4
Morning breaks and Kitri and Basilio wake up only just in time, for Lorenzo and Gamache are close upon them. The lovers flee. Don Quixote, their protector, sends Lorenzo and Gamache on a false trail, but Sancho Panza corrects his masterґs "mistake". The chase goes on.

Act III
Scene 5
People are gathering for a fiesta at an inn. Kitri and Basilio, having given Lorenzo and Gamache the slip, have also come here to take part in the merrymaking. The toreador and Mercedes the dancer enter, hailed heartily by the crowd. The innkeeper warns Kitri of her fatherґs approach; Kitri tries to escape, but her father overtakes her and drags her to Gamache to give them his parental blessing at their betrothal. Gamache kneels before Kitri.
Basilio, seeing this, stabs himself and falls to the ground. Kitri rushes to him. She guesses at once that he is pretending, but slyly begs Don Quixote to go to Lorenzo and persuade him to grant Basilioґs dying wish - to give their love his blessing. Basilio is sure to die. Why not ease his last moments?
Gamache protests, but is driven out unceremoniously. At Don Quixoteґs earnest entreaty, Lorenzo blesses the lovers. The very next instant, Basilio jumps to his feet and kisses the astounded Lorenzo. The merrymaking at the inn continues late into the night.

Act IV
Scene 6
Lorenzo, assisted by the scullions, the maidservants and Kitriґs friends, is putting the final touches to the wedding feast. Don Quixote is the guest of honour. The happy lovers dance for him. Wishing the newly-weds every happiness, the knight-errant departs in search of new adventures.

Opera in four acts
Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halйvy after the novel by Prosper Mйrimйe
Performed in French
The performance will have synchronised Russian supertitles
World premiere: 3 March 1875, Opйra-Comique, Paris
First performance in Russia: 16 February 1878, the Italian Opera Company, Bolshoi (Stone) Theatre, St Petersburg
First performance at the Mariinsky Theatre: 30 September 1885, St Petersburg
Premiere of this production: 30 April 2005, Mariinsky Theatre, St Petersburg
Running time 4 hours 20 minutes
The Performance has three intermissions

Credits
Musical Director: Valery Gergiev
Stage Director: Alexei Stepanyuk
Set Designer: Igor Grinevich
Lighting Designer: Gleb Filshtinsky
Musical Preparation: Irina Soboleva
Principal Chorus Master: Andrei Petrenko

SYNOPSIS

Act I
A square in Seville
In the guard house, Moralиs and his soldiers are discussing the passers-by. Micaлla arrives, looking for the corporal Don Josй. Moralиs explains that Josй is in another company that is due to take over the guard. Micaлla decides not to wait and departs. The officer Zuсiga and Josй lead in the new guard, accompanied by a horde of children. Moralиs tells Josй that Micaлla was asking for him. Zuсiga, leader of the new guard, asks Josй about the women who work in the factory nearby, but Josй says he pays them no attention.
It is break-time at the factory and the women come out to smoke and flirt with the young men who have been waiting for them. Carmen is at the centre of everyoneґs attention. She talks of love (Lґamour est un oiseau rebelle), that it is elusive and inconstant and that she will only love a man she herself chooses even if he does not love her in return. The bell rings, signalling the break is over. Carmen, desirous of catching Josйґs attention, throws him a flower. Enraptured, he quickly hides it.
Micaлla returns, bringing Josй a letter from his mother in which she asks him to return to marry Micaлla.
Uproar suddenly breaks out in the factory and the women pour into the square, accusing Carmen of drawing a knife on her friend in a quarrel. Josй is sent to question Carmen, but she refuses to answer. Zuсiga orders Josй to take her to prison. Carmen starts to captivate Josй and tries to persuade him to release her. Forbidden to speak, she sings, contriving to arrange a rendezvous with him at Lillas Pastiaґs tavern. He agrees to free her only if she will love him. She promises to do so, Josй frees her and is subsequently himself arrested.

Act II
Lillas Pastiaґs tavern
Carmen, Frasquita and Mercйdиs are entertaining gypsies and soldiers. Zuсiga tells Carmen that Josй, demoted and jailed for a month for aiding her escape, has just been released.
A crowd is heard outside acclaiming the victorious toreador Escamillo, who enters followed by a throng of admirers. He returns Zuсigaґs toast, drinking to his health, and describes the exhilaration of fighting a bull. Carmen immediately captures his attention but she shows no interest. Everyone leaves.
The smugglers Remendado and Dancaпro arrive; they are about to depart and ask Carmen, Frasquita and Mercйdиs to help them carry their wares. Carmen refuses: she is in love and waiting for Josй. Mockingly, the smugglers suggest Josй joins their band.
Don Josй arrives. Carmen dances for him. When a signal is heard in the distance, summoning him back to his barracks he prepares to leave. Furious, Carmen accuses him of not loving her. In response he describes his passion and how, while in prison, he treasured the flower she threw at him when they first met. As proof, Carmen insists he deserts and goes with her to the mountains. Zuсiga unexpectedly appears; he has come to meet Carmen. When he sees Josй he orders him back to the barracks. Zuсiga and Josй fight over Carmen. The smugglers run in and separate them; then they tie up Zuсiga and Dancaпro shoots him. Having refused to obey orders, Josй realises he has no choice other than to join the smugglers.

Act III
In the mountains
The exhausted smugglers are examining their goods. They have stopped for a short rest. Carmen and Josй are there too. Carmen senses that Josй would be prepared to kill her if she left him.
Frasquita and Mercйdиs read their fortunes with cards. They see a prosperous future. Carmen joins them. But however much she shuffles the cards, only death is foretold.
Dancaпro and Remendado return. The gypsy women leave, having been instructed to distract the customs officers who are blocking the smugglersґ path. Josй is left to guard the contraband goods.
Having overcome her fear, Micaлla arrives. She is looking for Josй. A shot frightens her and she hides. It was Josй firing at an intruder - Escamillo. The toreador explains that he is pursuing Carmen, having heard that she no longer loves her soldier. The enraged Josй reveals himself and the rivals start to fight. Carmen stops them. Escamillo thanks her and invites everyone to his next bullfight in Seville and leaves. Crazed with jealousy, Josй threatens Carmen.
The smugglers find Micaлla in her hiding place. She has come to beg Josй to return to his mother. Carmen urges him to go. Micaлla then reveals that Josйґs mother is dying and wants to forgive him. He agrees to accompany Micaлla. Escamillo can be heard in the distance.

Act IV
Outside a bull-ring in Seville
A crowd has gathered outside the bull-ring prior to the bullfight. As they arrive, the participants of the corrida receive a rapturous reception. Escamillo appears, with Carmen in his wake. Frasquita and Mercйdиs warn Carmen that Josй is following her, hidden in the crowd. However, she decides to wait and talk to him. All depart to watch the bullfight. Josй appears and pleads with her to return to him. She remains unyielding. She showers him with insults, provoking him. The crowd ecstatically greets Escamillo. Her rapture over the toreador makes Carmen betray her new love. She throws the ring Josй gave her in his face and heads towards the arena. Mad from suffering and humiliation he plunges a dagger into her.
The crowd rejoice at the toreadorґs victory.

Musical in two acts performed in Russian

Musical in two acts performed in Russian

Musical in two acts performed in Russian

Musical in two acts performed in Russian

Opera-bylina in seven scenes
Music by Nikolai Rimsky-Korsakov
Libretto by the composer and Vladimir Belsky
Performed in Russian
The performance will have synchronised English supertitles
Premiere at the Mariinsky Theatre: 26 January 1901
Premiere of this production: 5 March 1993, Kirov Theatre, Leningrad
Running time: 3 hours 55 minutes
The performance has two intervals

Credits
Set designs revived from the original designs by Konstantin Korovin for the 1920 production
Stage Director: Alexei Stepanyuk
Set Revival Designer: Vyacheslav Okunev
Lighting Designer: Vladimir Lukasevich
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva

SYNOPSIS

Tableau I. The merchants of Novgorod are sitting down to a feast, rejoicing in their prosperity. Nezhata, a singer and gusli player from Kiev, sings on the heroic days of his cityґs past. The merchants would like one of their own countrymen to sing about their town and the minstrel Sadko, who enters at that moment, is asked to oblige. But his song disturbs them: Novgorod is on a lake, he sings, with no access to the ocean. If only their ships could reach the sea they would bring back fortunes from all over the world. The merchants laugh at him and send him on his way, and the feast continues with singing and dancing.

Tableau II. On the shore of Lake Ilmen Sadko sings of his sadness and disillusionment: "Oh, yon dark forest". Sadkoґs song is heard by some young maidens. Amongst them is Volkhova, daughter of the King of the Sea. He sings for them again and they dance. Volkhova tells him that he has won her love. As dawn breaks, they part, but Volkhova tells Sadko that he will catch three golden fish in the lake, that he will make a journey to a foreign land, and that she will faithfully await his return. She returns to the deep and the kingdom of her father. The sun rises.

Tableau III. Sadkoґs wife Lyubava is lamenting her husbandґs absence. Has he gone to seek adventure far away? It was only yesterday that he assured her of his love. Sadko enters and she rejoices, but is broken-hearted when he soon leaves her again, crying out "Farewell!"

Tableau IV. The port of Novgorod on Lake Ilmen. Ships lie peacefully at anchor and the townspeople crowd around the rich foreign merchants who have arrived from every land known to man. Soothsayers ply their trade, Nezhata sings to the accompaniment of his gusli, buffoons sing and dance, and a pilgrimґs chant can be heard. Sadko appears and is greeted with laughter, which increases when he tells them that he has learned a secret: there are golden fish in the lake. He bets his head against the wealth of all assembled at the port that he can prove the truth of his words. A net is set and the song of Volkhova, the Sea Princess, is heard. Sure enough, when the net is pulled in it contains three golden fish. Sadko invites all the adventurous men of the port to join him on his forthcoming journey and they go off to make their preparations.
Nezhata sings of the nightingale which became a great merchant. Sadko returns and announces that he will restore to the merchants their wealth but he intends to keep their ships. He asks three merchants, a Viking, a Venetian and an Indian, to sing of their native lands so that he may decide which he should visit. The Viking sings first: his countryґs shores are rugged, the sea rough, and his countrymen fierce warriors. This slow, pleasant aria is one of the most famous in the Russian bass repertoire. Next comes the Indian merchant. His music and his story are of a much more exotic cast. India is a land of gems and mystery, he sings the stuff of which dreams are made.
The last of the merchants is the Venetian, a baritone, who sings a gondolierґs song or barcarole. Sadko decides that Venice is for him and sets sail, asking the people of Novgorod to take care of his wife.

Tableau V. Sadko is returning home, his ships laden with treasure. But they are becalmed, and Sadko decides that this is because in all the twelve years they have been away, they have never once made a sacrifice to the King of the Sea. The sailors pour treasure over the side into the water, but still there is no wind. At Sadkoґs command, the sailors next throw logs overboard: Sadkoґs sinks and he descends a ladder to the waterґs edge, stepping onto a plank which has been thrown into the water. A breeze picks up immediately and the ship sails away, leaving Sadko abandoned. A mist settles.

Tableau VI. When the mist clears we find ourselves at the bottom of the sea, at the court of the King of the Sea. The king and queen are seated on their thrones while Volkhova, their daughter, sits spinning seaweed. Sadko sings for the king and queen and is promised Volkhovaґs hand in marriage. The wedding guests arrive - every denizen of the deep seems to have been invited - and the marriage is celebrated in a fitting manner. There are dances and Sadko sings again, arousing such enthusiasm that the listeners join in the dance. As their movements become faster and faster, the waves lash into a fury and ships sink down into the deep. An apparition then warns them that the reign of the King of the Sea is at an end and seagulls draw Sadko and Volkhova away in a shell.

Tableau VII. Morning. Sadko is asleep on the shore of Lake Ilmen, watched over by Princess Volkhova, who sings a lullaby. She bids a last farewell to the still-sleeping minstrel and then vanishes in the mist, turning into the great River Volkhov, which flows from Lake Ilmen to sea.
Lyubava is distractedly searching for her husband. When she sees him asleep on the shore of the lake she is filled with delight. Sadko awakes. He thinks he has been asleep since he last parted with her, that his voyage was only a dream. But the sight of his fleet sailing up the new river from the sea tells him that it was all real, and that he is now the richest man in Novgorod. He is welcomed by the citizens of the town, among them the three merchants who sang for him before he set out on his long journey.

Opйra fantastique in five acts performed in French

The performance has two intervals

World premiere: 10 February 1881, Opйra Comique, Paris
Premiere at the Mariinsky Theatre: 5 February 1899
Premiere of this production: 26 December 2011

SYNOPSIS
Prologue
Hoffmann is returning home following a wild night out. He is in love with a beautiful girl he does not know who lives in the house across the road and whom he calls Stella.
In Hoffmann's feverish state two alter egos come to life: the experience-rich, mature and rational Lindorf and the young poet Nicklausse. Lindorf and Nicklausse try various means to tease the amorous Hoffmann. They make fun of him, pretending that bills for the apartment are the love letters that Hoffmann dreams of receiving from the mysterious stranger.
Students assemble in Hoffmann's room - in their eyes he is a literary giant and a great authority. At the height of the friendly meeting Hoffmann begins to relate the story of his love, as it were in order to comprehend who the stranger, his beloved, actually is. Hoffmann draws his guests into his tale of three love stories.
First Love. Olympia
With Coppйlius' assistance, Spalanzani the inventor has created Olympia, an amazingly lifelike illusion. Having barely had a glimpse of Olympia, Hoffmann immediately falls in love with her. Wishing to become acquainted with the girl, he presents himself as a man of science. Coppйlius appears, having come to Spalanzani for the money owed him for the work he did. In order to get rid of CoppйliusSpalanzani gives him a check from a bank that has collapsed. Coppйlius sells Hoffmann a pair of special glasses. When he wears them he finds Olympia even more beautiful. Spalanzani demonstrates his enchanting invention to a group of friends. The guests listen to Olympia's song. Hoffmann is bewitched by her voice and he declares his love for her. But the deception is revealed and Hoffmann understands that he has been in love with an illusion.
True Love. Antonia
The young Antonia, who dreams of a career on the stage, has inherited a wonderful voice from her mother who was a renowned singer; but in addition to the voice she has also inherited a terrible disease that resulted in her mother's death. Singing could also have tragic consequences for Antonia. Crespel, the girl's father, tries to keep his daughter away from Dr Miracle who caused her mother's death. Hoffmann chances to hear Crespel talking with Miracle and discovers that Antonia is ill. He makes her promise not to sing and abandon any dreams of the stage in order to dedicate herself to her family. But as soon as Hoffmann departs Miracle appears. He tempts Antonia with the glory of being a great singer and the adulation that comes with acclaim and success. Antonia imagines her mother is calling her on-stage.
Deceptive Love. Giulietta
Christmas Eve. Hoffmann's friends have arranged a masked ball and are disguised as characters from Hoffmann's tales. The plot about the capricious courtesan Giulietta, her lover Shlemil and the wicked Dapertutto begins as a performance in a private theatre. "Dapertutto" orders "Giulietta" to ensnare Hoffmann and steal his reflection. Obediently listening to "Dapertutto's" demands, "Giulietta" enchants Hoffmann and obtains what she came for. Reality and fantasy are mixed together in Hoffman's perturbed mind. He kills "Shlemil" in order to obtain the key to "Giulietta's" bedroom and makes haste after the courtesan. "Giulietta", however, flees with a new lover.
Epilogue
Hoffmann is sitting in his room alone. He stares at the window opposite where the unknown girl lived. In view of the empty rooms and a sign it is clear that she no longer resides there. Was she, in fact, ever there at all? Or did he imagine everything? A poetic fantasy? Did Hoffmann merely dream it all?

Fantasy ballet in two acts
Music by Adolphe Adam
Choreography by Jean Coralli, Jules Perrot and Marius Petipa
Libretto by Vernoy de Saint-Georges, Thйophile Gautier and Jean Coralli
World premiere: 28 June 1841, Thйвtre de lґAcadйmie Royal de Musique, Paris
Premiere in St Petersburg: 18 December 1842, Bolshoi Theatre
Premiere Marius Petipaґs version: 5 February 1884, Bolshoi Theatre, St Petersburg
The Performance has one intermission

Credits
Set design by Igor Ivanov
Costume design by Irina Press
Production reconstruction consultant (1978): Yuri Slonimsky

SYNOPSIS

Act I
Count Albert has fallen in love with a peasant girl, Giselle, though she is ignorant of his rank and believes him to be a simple villager staying in a nearby cottage. Giselle has another suitor, Hans, a gamekeeper, who is suspicious and jealous of Albert.
Albert arrives to court Giselle. The young loversґ encounter is interrupted by Hans, who warns Giselle against trusting this unknown admirer, but Giselle does not heed his advice, and Albert drives Hans away.
The sound of horns announces the arrival of a hunting party, amongst whom are Albertґs betrothed, Princess Bathilde, and her father. By chance, they are seeking rest and refreshment in the village, and Bathilde, charmed by Giselleґs innocence and beauty, gives her a gold necklace. When the hunting party retires, the peasants begin to celebrate the new vintage, but Hans has meanwhile searched Albertґs cottage and discovered his sword, proof of his identity. At the height of the festivities, he unmasks Albert. However, Giselle does not believe her loverґs deception. Hans then summons the hunters, who bow before their Count, while Bathilde fondly greets the embarrassed young nobleman. The shock unsettles Giselleґs reason; in her madness, she relives her love for Albert and then, heartbroken, dies.

Act II
Hans enters in sorrow. He has come at midnight to visit Giselleґs tomb in the forest, but is frightened away by the approach of the Willis, the ghosts of girls who died on the eve of their wedding; arising at night from their tombs, they will dance any man they encounter to death. Myrtha, the Queen of the Wilis, summons Giselle from her tomb and initiates her into their order, but the Willis disperse at the arrival of Albert and his attendant, who are seeking Giselleґs grave.
As the young Count grieves at the tomb, Giselle appears; unbelieving, he tries to catch her, but she eludes his grasp. At last, touched by Albertґs sincere grief and despair, she forgives him.
Hans enters, pursued by the Wilis, who drive him to his death in the lake and then surround Albert, whom Myrtha insists must dance to death. He begs Myrtha for mercy, and Giselle pleads for him, but the Queen is adamant and, as Albert dances, Giselle tries to sustain him with her love.
Dawn breaks; with the daylight, the Wilisґ power is at an end and they disappear, leaving Albert to bid a last farewell to Giselle.

Ballet in two acts
Music by Pyotr Tchaikovsky
Set, costume and production design by Mihail Chemiakin
Choreography by Kirill Simonov (2001)
Libretto and stage plan by Marius Petipa adapted by Mihail Chemiakin after the tale by E. T. A. Hoffmann
World premiere of Mihail Chemiakinґs version: 12 February 2001, Mariinsky Theatre, St Petersburg
Running time 2 hours 10 minutes
The Performance has one intermission

Credits
Musical Director: Valery Gergiev
Lighting design: Vladimir Lukasevich
Assistant to Mr Chemiakin: Andrei Voitenko

SYNOPSIS

Act I
Scene 1. Counsellor Stahlbaumґs Kitchen
The ballet begins in the kitchen of Counsellor Stahlbaumґs house, where preparations for the holiday dinner are underway. Before the stunned kitchen maids sausage-people, a human soup tureen, and a platter with a boarґs head stride in on human legs. All these metamorphoses dissipate when these apparitions turn out to be cooks carrying delicacies on their shoulders.
As the scene continues, the world of the kitchen acquires an even more Hoffmannesque character. A cook attempting to cut a slice of cheese is surprised to discover a naughty little rat inside the cheese. The startled rat dashes out between the cookґs legs and heads for the kitchen, creating panic and havoc among the kitchen staff who then, to their horror, realize that one of the sous-chefs is also a rat in disguise.
Counsellor and Mrs. Stahlbaum come to the kitchen with their children Masha and Fritz, who hope for a taste. The favorite child, Fritz, gets a sweet, while Masha is rudely pushed aside.
The staff and members of the Stahlbaum family leave the kitchen and rat hooligans of all ages emerge from every nook and cranny and set to feasting. In the heat of the festivities the Rat Cardinal Kryselieu and Mashaґs godfather Drosselmeyer appear, Drosselmeyer with his young nephew the Nutcracker.

Intermedia. The Dressing Room
Counsellor Stahlbaum and his wife come to their dressing room to dress for the Christmas party, followed by their children.
As the adults preen in front of their respective mirrors - the Counsellorґs convex mirror reflects everything wider, while Mrs. Stahlbaumґs concave mirror stretches the reflection vertically - servants propose garment after garment. The parents find nothing to their liking, and settle on the house-coats they are already wearing. The spoiled Fritz gets a Napoleonic hat to wear, while Masha, through whose eyes we see the closet, enormous, foreboding, dark, is once again pushed aside.

Scene 2. The Christmas Party
The Stahlbaumґs guests gather for Christmas dinner. Mashaґs godfather Drosselmeyer arrives. He presents his automatic dolls to the assembled company: The Recruit and his Canteen Girl and two Cossacks. Drosselmeyer gives Grandfather Stahlbaum an enormous pipe, Fritz a miniature bridge for toy soldiers.
Masha is left with the toy no one wants, the Nutcracker. She is charmed by the Nutcrackerґs agility cracking nuts, and she senses that he is not just a toy. The guests retire to the table at the back of the room for dinner.
Grandfather and his Bonapartist friend observe the festivities from their chairs, then Grandfather decides to lead a dance. He dances vigorously and becomes so carried away that he loses one of his shoes in the process.

Intermedia I. The Wine Cellar: The Guests Depart
After the party, the guests file out through the wine cellar into the snowy night. The last to leave is Drosselmeyer, holding aloft a platter with the boarґs head from dinner, licked clean to the bone.

Intermedia II. The Transformation
After the guests have left and the household has retired for the night, Masha slips back to the parlor to see the Nutcracker. In the darkness she sees rats in ball gowns. Frightened, she faints. The rats disappear. The parlor clock strikes midnight. The transformation begins.

Scene 3. The Battle
When Masha awakens from her fainting spell, she sees that the parlor has become enormously large, so large that she is the size of a toy. She hears fanfares. Drosselmeyer swings on the pendulum of the grandfather clock. Masha watches in terror as the rat army rallies before the Rat Emperor. The army is commanded by a Rat Napoleon, quite reminiscent of her spoiled brother Fritz. The Nutcrackerґs soldiers appear, and the battle begins. The Rat Emperor forgets his pride and slips out of his mantle, which, as it turns out, is nothing but a false carcass.
In his haste to escape danger, the Emperor leaves the royal mantle and six of his terrifying heads behind and dashes for cover in Drosselmeyerґs wig, along with the Queen and their two small children. The Crown Prince remains in the fray, battling the Nutcracker.
The battle rages. Masha is so alarmed by the fighting that she hides in Grandfatherґs shoe.
The Nutcracker fights with the Crown Prince one on one.
Masha manages to deal the Crown Prince a blow to the head with her own shoe, taking advantage of the height of her perch.
The Crown Prince is stunned for a moment, and the Nutcracker deals him a final blow with his sword. The wounded Prince accepts defeat, gallantly saluting Masha. The Rat Emperor gives Masha a royal mantle. Masha and the Nutcracker mount the shoe and ascend into the branches of the tree.

Panorama
Masha and the Nutcracker travel in Grandfatherґs shoe through the night sky, above the rooftops of the sleeping town. The only lighted window is in the sweets shop Confiturenburg.

Scene 4. The Snowstorm
Snow begins to fall. Masha and the Nutcracker are forced to make a stop in their journey. They alight in an abandoned churchyard where strange cocoons hang from the trees. Snowflakes, led by their Queen, surround Masha. Masha dances with them. The dance gets faster and faster, becoming a real blizzard that could cost Masha her life. The Nutcracker rescues her, and Drosselmeyer stops the storm.

Act II
Scene 1. Confiturenburg, The Sweets Shop
Masha and the Nutcracker finally arrive in Confiturenburg, seen through the window of the sweets shop. It is filled with candies and pastries and with sweets-loving flies and bees; doctors ready to pull rotten teeth or cure a sick stomach wander about. Masha and the Nutcracker are greeted by the Sugar Plum Fairy and the Nutcrackerґs four sisters. Suddenly the Fly-Person attacks the Nutcracker, who successfully fights him off.
The inhabitants of Confiturenburg present dances for Masha and the Nutcracker. Masha is stunned by the extraordinary spectacle. In a burst of feeling she runs to the Nutcracker and kisses him. Her kiss breaks the spell and the Nutcracker is transformed into a Prince. Their wedding waltz begins.

Intermedia. Outside the Shop
On the wintry street outside Confiturenburg stands a distraught Drosselmeyer. The window is boarded up, and light comes through the cracks between the planks. Drosselmeyer tries desperately to see what is happening within.

Final

Ballet in two acts
Music by Pyotr Tchaikovsky
Set, costume and production design by Mihail Chemiakin
Choreography by Kirill Simonov (2001)
Libretto and stage plan by Marius Petipa adapted by Mihail Chemiakin after the tale by E. T. A. Hoffmann
World premiere of Mihail Chemiakinґs version: 12 February 2001, Mariinsky Theatre, St Petersburg
Running time 2 hours 10 minutes
The Performance has one intermission

Credits
Musical Director: Valery Gergiev
Lighting design: Vladimir Lukasevich
Assistant to Mr Chemiakin: Andrei Voitenko

SYNOPSIS

Act I
Scene 1. Counsellor Stahlbaumґs Kitchen
The ballet begins in the kitchen of Counsellor Stahlbaumґs house, where preparations for the holiday dinner are underway. Before the stunned kitchen maids sausage-people, a human soup tureen, and a platter with a boarґs head stride in on human legs. All these metamorphoses dissipate when these apparitions turn out to be cooks carrying delicacies on their shoulders.
As the scene continues, the world of the kitchen acquires an even more Hoffmannesque character. A cook attempting to cut a slice of cheese is surprised to discover a naughty little rat inside the cheese. The startled rat dashes out between the cookґs legs and heads for the kitchen, creating panic and havoc among the kitchen staff who then, to their horror, realize that one of the sous-chefs is also a rat in disguise.
Counsellor and Mrs. Stahlbaum come to the kitchen with their children Masha and Fritz, who hope for a taste. The favorite child, Fritz, gets a sweet, while Masha is rudely pushed aside.
The staff and members of the Stahlbaum family leave the kitchen and rat hooligans of all ages emerge from every nook and cranny and set to feasting. In the heat of the festivities the Rat Cardinal Kryselieu and Mashaґs godfather Drosselmeyer appear, Drosselmeyer with his young nephew the Nutcracker.

Intermedia. The Dressing Room
Counsellor Stahlbaum and his wife come to their dressing room to dress for the Christmas party, followed by their children.
As the adults preen in front of their respective mirrors - the Counsellorґs convex mirror reflects everything wider, while Mrs. Stahlbaumґs concave mirror stretches the reflection vertically - servants propose garment after garment. The parents find nothing to their liking, and settle on the house-coats they are already wearing. The spoiled Fritz gets a Napoleonic hat to wear, while Masha, through whose eyes we see the closet, enormous, foreboding, dark, is once again pushed aside.

Scene 2. The Christmas Party
The Stahlbaumґs guests gather for Christmas dinner. Mashaґs godfather Drosselmeyer arrives. He presents his automatic dolls to the assembled company: The Recruit and his Canteen Girl and two Cossacks. Drosselmeyer gives Grandfather Stahlbaum an enormous pipe, Fritz a miniature bridge for toy soldiers.
Masha is left with the toy no one wants, the Nutcracker. She is charmed by the Nutcrackerґs agility cracking nuts, and she senses that he is not just a toy. The guests retire to the table at the back of the room for dinner.
Grandfather and his Bonapartist friend observe the festivities from their chairs, then Grandfather decides to lead a dance. He dances vigorously and becomes so carried away that he loses one of his shoes in the process.

Intermedia I. The Wine Cellar: The Guests Depart
After the party, the guests file out through the wine cellar into the snowy night. The last to leave is Drosselmeyer, holding aloft a platter with the boarґs head from dinner, licked clean to the bone.

Intermedia II. The Transformation
After the guests have left and the household has retired for the night, Masha slips back to the parlor to see the Nutcracker. In the darkness she sees rats in ball gowns. Frightened, she faints. The rats disappear. The parlor clock strikes midnight. The transformation begins.

Scene 3. The Battle
When Masha awakens from her fainting spell, she sees that the parlor has become enormously large, so large that she is the size of a toy. She hears fanfares. Drosselmeyer swings on the pendulum of the grandfather clock. Masha watches in terror as the rat army rallies before the Rat Emperor. The army is commanded by a Rat Napoleon, quite reminiscent of her spoiled brother Fritz. The Nutcrackerґs soldiers appear, and the battle begins. The Rat Emperor forgets his pride and slips out of his mantle, which, as it turns out, is nothing but a false carcass.
In his haste to escape danger, the Emperor leaves the royal mantle and six of his terrifying heads behind and dashes for cover in Drosselmeyerґs wig, along with the Queen and their two small children. The Crown Prince remains in the fray, battling the Nutcracker.
The battle rages. Masha is so alarmed by the fighting that she hides in Grandfatherґs shoe.
The Nutcracker fights with the Crown Prince one on one.
Masha manages to deal the Crown Prince a blow to the head with her own shoe, taking advantage of the height of her perch.
The Crown Prince is stunned for a moment, and the Nutcracker deals him a final blow with his sword. The wounded Prince accepts defeat, gallantly saluting Masha. The Rat Emperor gives Masha a royal mantle. Masha and the Nutcracker mount the shoe and ascend into the branches of the tree.

Panorama
Masha and the Nutcracker travel in Grandfatherґs shoe through the night sky, above the rooftops of the sleeping town. The only lighted window is in the sweets shop Confiturenburg.

Scene 4. The Snowstorm
Snow begins to fall. Masha and the Nutcracker are forced to make a stop in their journey. They alight in an abandoned churchyard where strange cocoons hang from the trees. Snowflakes, led by their Queen, surround Masha. Masha dances with them. The dance gets faster and faster, becoming a real blizzard that could cost Masha her life. The Nutcracker rescues her, and Drosselmeyer stops the storm.

Act II
Scene 1. Confiturenburg, The Sweets Shop
Masha and the Nutcracker finally arrive in Confiturenburg, seen through the window of the sweets shop. It is filled with candies and pastries and with sweets-loving flies and bees; doctors ready to pull rotten teeth or cure a sick stomach wander about. Masha and the Nutcracker are greeted by the Sugar Plum Fairy and the Nutcrackerґs four sisters. Suddenly the Fly-Person attacks the Nutcracker, who successfully fights him off.
The inhabitants of Confiturenburg present dances for Masha and the Nutcracker. Masha is stunned by the extraordinary spectacle. In a burst of feeling she runs to the Nutcracker and kisses him. Her kiss breaks the spell and the Nutcracker is transformed into a Prince. Their wedding waltz begins.

Intermedia. Outside the Shop
On the wintry street outside Confiturenburg stands a distraught Drosselmeyer. The window is boarded up, and light comes through the cracks between the planks. Drosselmeyer tries desperately to see what is happening within.

Final

Ballet in two acts
Music by Rodion Shchedrin
Сhoreography by Alexei Ratmansky (2009)
Libretto by Maxim Isaev after the tale of Pyotr Yershov
World premiere: 1960, Bolshoi Theatre, Moscow
Premiere of this production: 14 March 2009, Mariinsky Theatre, St Petersburg
Runnig time 2 hours 15 minutes
The Performance has one intermission

Credits
Musical Director: Valery Gergiev
Choreographer: Alexei Ratmansky
Set and Costume Design: Maxim Isaev
Lighting Design: Damir Ismagilov

SYNOPSIS

Act I
1. A house on the edge of a field. An Old Man is at home. Gavrilo and Danilo are at home. Ivan the Fool is at home. It is crowded in the house. The Old Man goes out to cut the rye wheat. Gavrilo and Danilo are glad. Gavrilo and Danilo make merry. Gavrilo and Danilo arrange an outdoor party. Gavrilo and Danilo dance with the Wet-Nurses. The Old Man returns from the field. The Old Man drives the Wet-Nurses away.
The Old Man tells his sons of a terrible villain. This villain comes at night. The villain cannot be seen by anyone. The villain tramples on and ruins the wheat. The villain must be caught and destroyed. The Old Man himself is week and infirm. The Old Man sends his sons out to guard the field.
Gavrilo and Danilo set out on patrol. They don't take Ivan. They think Ivan is too young. They think Ivan is clumsy. They think Ivan is a fool. Ivan asks to go to the field with his brothers. Ivan also wants to catch the villain. Ivan knows that he can confront the villain. Ivan is afraid of nothing. Ivan sets out into the field alone.
2. It is night. Ivan is guarding the field. A Young Mare trots into the field. The Young Mare is beautiful. The Young Mare is wild. The Young Mare tramples and ruins the wheat. The Young Mare enjoys itself. Ivan grabs the Young Mare by the tail. Ivan climbs onto the Young Mare. Ivan is dexterous. Ivan sits on the Young Mare back to front. Ivan finds this amusing. The Young Mare is embittered. The Young Mare attempts to throw off Ivan. But to no avail! The Young Mare makes Ivan a gift of some Horses and a Humpbacked Horse. If only Ivan will free her! The Horses are indeed beautiful. The Horses are large and powerful. The Humpbacked Horse is little. The Humpbacked Horse is weak. The Humpbacked Horse is most peculiar. What can he do?
The Fire Birds land in the field. The Fire Birds dance. The Fire Birds play. The Fire Birds fly past. The Fire Birds are free. Ivan runs after the Fire Birds.
Gavrilo and Danilo arrive in the field. Gavrilo and Danilo notice the Horses. The brothers like the Horses. Gavrilo and Danilo abduct the Horses. Gavrilo and Danilo are cunning.
Ivan returns with a feather from the Fire Bird. Ivan likes the feather. Ivan is easy and relaxed. Ivan notices the Horses have disappeared. Ivan is upset. Ivan cries bitterly. The Humpbacked Horse comforts Ivan. The Humpbacked Horse proposes that Ivan pursues the abductors. The Humpbacked Horse promises to help Ivan. The Humpbacked Horse can, in fact, do a great deal.
3. A square in the Capital City. The people are on the square. The people are enjoying themselves. The people perform a round dance. The people dance a quadrille. Gavrilo and Danilo are on the square. Gavrilo and Danilo plan to sell the Horses. Gavrilo and Danilo want money.
The Tsar enters the square. The Tsar loves to walk amongst his people. The people love to see their Tsar. The Tsar loves to look all around. The Tsar sees the Horses. The Tsar likes the Horses. The Tsar is ready to buy them.
Ivan and the Humpbacked Horse rush onto the square. Ivan recognises the Horses. Ivan recognises his brothers. Ivan upbraids his brothers. Ivan takes the Horses from his brothers. They are his Horses. The Tsar has become attached to the Horses. The Tsar bargains for the Horses with Ivan. Ivan is prepared to let the Horses go. The question of price remains. The Tsar takes off the Gentleman of the Bedchamber's hat: there is a wonderful price. Ivan is delighted with the hat. The hat really suits Ivan. The Guardsman is furious with Ivan.
4. In the royal chambers. The Tsar's rooms. The Wet-Nurses are feeding the Tsar. The Tsar is eating. The Tsar is sate and falls asleep. At the entrance to the room, Ivan lies down to sleep. The Gentleman of the Bedchamber observes Ivan. The Gentleman of the Bedchamber steals the Fire Bird's feather from Ivan. The Gentleman of the Bedchamber sneaks into the Tsar's chambers. The Gentleman of the Bedchamber wakens the Tsar and shows him the feather. Where has Ivan acquired riches such as this?
The Tsar loves the feather. The Tsar has a vision. The Tsar sees the Fire Birds. The Tsar sees a Tsarevna. The vision fades. But the Tsar is already in love with the Tsarevna. The Tsar needs the Tsarevna. That is an order! The Gentleman of the Bedchamber wakens Ivan and gives him the Tsar's order.
Ivan is in despair. Ivan doesn't know where to seek out the Tsarevna. The Little Horse comforts Ivan. The Little Horse knows what to do. Ivan and the Little Horse depart for the Tsarevna.

Act II
5. The Fire Birds live on the edge of the world. Among them is the Tsarevna. Ivan and the Horse have come to the edge of the World. To the Tsarevna and to the Fire Birds... Ivan wants to capture the Fire Birds. The Fire Birds fly away. Ivan sees the Tsarevna and cannot take his eyes off her. A miracle, what a beauty! The Tsarevna allows Ivan to catch her. She allows herself to be carried to the Capital City. The Tsarevna likes Ivan. Oh, well!
6. The Tsar and the Boyars are in the royal chambers. They are waiting for the Tsarevna. The Tsar is anxious. He is like a cat on hot bricks. The Tsar falls asleep. The Boyars, devoted servants, fall asleep too. One of the Boyars is still awake. He sees Ivan returning with the Little Horse and the Tsarevna. The Boyar wakens the Tsar. The Tsar wakes up and sends everyone away.
The Tsar declares to the Tsarevna that he plans to marry her. Ivan is distressed. Ivan loves the Tsarevna. The Boyars bring the engagement ring. The Tsarevna agrees to marry, but the ring is not right. For the wedding the Tsarevna needs a stone that lies on the seabed. The Tsar is confounded. How can he get the stone? The Gentleman of the Bedchamber is at his side. How about Ivan? The Gentleman of the Bedchamber sends Ivan to the seabed. Ivan is grieved. The Gentleman of the Bedchamber is pleased. He awaits Ivan's death.
7. The seabed. There, the Sea People are living their marine lives. Ivan and the Little Horse reach the seabed. Ivan looks for the ring. The ring is nowhere to be found, nowhere! What he can do he does not know! No! Ivan then asks for help from the Princess of the Sea. The Princess of the Sea will help Ivan, yes! The Sea People bring the ring to Ivan, oh yes!
8. A square in the Capital City. The Tsarevna is invited to dance by the Tsar. The Tsar and Tsarevna dance. The Tsar tires quickly. The Tsar is old. Ivan appears with his Little Horse and the stone. The Tsarevna is pleased that Ivan is unharmed. The Gentleman of the Bedchamber is angry. The Gentleman of the Bedchamber takes the ring from Ivan. The Gentleman of the Bedchamber drives Ivan away. Ivan is not required any longer.
The Tsar is ready to marry. But the Tsarevna is not. She does not fancy the Tsar for a husband. For a husband she needs a man as handsome as a picture. If the Tsar wishes to marry, then he must become such a fine fellow. But how? He must jump into a cauldron of boiling water, that's how!
The cauldron is brought in. The Tsar is in terror. How can he jump into boiling water? The Gentleman of the Bedchamber proposes the cauldron be tried out using Ivan. Ivan is pushed into the cauldron. The faithful Little Horse works a spell. Ivan is transformed into a handsome fellow indeed. Ivan becomes a Tsarevich. The people rejoice. The people are anxious. They all want to be young and beautiful; they all want to be tsars and tsarevnas.
The Tsar orders all be kept back from the cauldron. The Tsar himself is immersed in boiling water. The Tsar perishes. The people mourn. The people bury the Tsar. The people find life hard without a Tsar. The people need a Tsar.
Ivan Tsarevich and the Tsarevna are delighted. Preparations for the wedding are made. Then the people too are happy. The people will have their new Tsar. Handsome and young...

Ballet-feerie in three acts with a prologue and apotheosis
Music by Pyotr Tchaikovsky
Choreography by Marius Petipa (1890)
Libretto by Ivan Vsevolozhsky and Marius Petipa, after tales by Charles Perrault
World premiere: 3 January 1890, Mariinsky Theatre, St Petersburg
Premiere of the revival: 30 April 1999, Mariinsky Theatre, St Petersburg
Running time 4 hours 15 minutes
The Performance has three intermissions

Credits (revival of the 1890 production)
Set design: Heinrich Levogt, Mikhail Bocharov, Ivan Andreev, Konstantin Ivanov and Matvei Shishkov
Costumes: Ivan Vsevolozhsky
The revival team:
Musical Director: Valery Gergiev
Conductor: Gianandrea Noseda
Choreography staged: Sergei Vikharev
Set design reproduced: Andrei Voitenko
Assistant Set designers: Boris Kaminsky and Andrei Sevbo
Costumes reproduced: Elena Zaitseva
Lighting design: Vladimir Lukasevich
Archive research and co-ordination: Pavel Gershenzon
Marius Petipaґs choreographic text was restored using Nikolai Sergeyevґs notation from the Harvard Theatre Collection.
The sets and costumes were restored from sketches and photographic materials from the collection of the St Petersburg State Museum of Theatre and Music and the St Petersburg State Theatre Library.

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 Carabosseґs 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 Auroraґs 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 Dйsirй 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 Auroraґs 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 Beautyґs Castle
Aurora is sleeping on a wide bed under a canopy, surrounded by the slumbering court. Prince Dйsirй and the Lilac Fairy enter and the Prince rushes to Auroraґs 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 Auroraґs beauty and charm, Dйsirй asks the King for her hand in marriage.

Act III
Scene 1: The Esplanade of King Florestanґs Castle
The wedding of Prince Dйsirй 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 Dйsirй are congratulated by the Diamond, Sapphire, Gold and Silver Fairies. Finally it is the turn of Dйsirй and Aurora themselves to dance.

Ballet-feerie in three acts with a prologue and apotheosis
Music by Pyotr Tchaikovsky
Choreography by Marius Petipa (1890)
Libretto by Ivan Vsevolozhsky and Marius Petipa, after tales by Charles Perrault
World premiere: 3 January 1890, Mariinsky Theatre, St Petersburg
Premiere of the revival: 30 April 1999, Mariinsky Theatre, St Petersburg
Running time 4 hours 15 minutes
The Performance has three intermissions

Credits (revival of the 1890 production)
Set design: Heinrich Levogt, Mikhail Bocharov, Ivan Andreev, Konstantin Ivanov and Matvei Shishkov
Costumes: Ivan Vsevolozhsky
The revival team:
Musical Director: Valery Gergiev
Conductor: Gianandrea Noseda
Choreography staged: Sergei Vikharev
Set design reproduced: Andrei Voitenko
Assistant Set designers: Boris Kaminsky and Andrei Sevbo
Costumes reproduced: Elena Zaitseva
Lighting design: Vladimir Lukasevich
Archive research and co-ordination: Pavel Gershenzon
Marius Petipaґs choreographic text was restored using Nikolai Sergeyevґs notation from the Harvard Theatre Collection.
The sets and costumes were restored from sketches and photographic materials from the collection of the St Petersburg State Museum of Theatre and Music and the St Petersburg State Theatre Library.

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 Carabosseґs 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 Auroraґs 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 Dйsirй 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 Auroraґs 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 Beautyґs Castle
Aurora is sleeping on a wide bed under a canopy, surrounded by the slumbering court. Prince Dйsirй and the Lilac Fairy enter and the Prince rushes to Auroraґs 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 Auroraґs beauty and charm, Dйsirй asks the King for her hand in marriage.

Act III
Scene 1: The Esplanade of King Florestanґs Castle
The wedding of Prince Dйsirй 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 Dйsirй are congratulated by the Diamond, Sapphire, Gold and Silver Fairies. Finally it is the turn of Dйsirй and Aurora themselves to dance.