National musical drama in five acts, six scenes
(1960 Production)
Music by Modest Musorgsky
Orchestrated by Dmitry Shostakovich
Libretto by the composer
Performed in Russian
The performance will have synchronised
English supertitles
World premiere: 21 February 1886, Amateur Musical-Dramatic Club in Kononov Auditorium, St Petersburg
First performance at the Mariinsky Theatre: 7 November 1911, St Petersburg
Revival of the 1960 production: 1 May 2000, Mariinsky Theatre, St Petersburg
Running time: 4 hours 40 minutes
The Performance has two intermissions

Credits
Musical Director: Valery Gergiev
Stage Director: Leonid Baratov (1960)
Set Designer: Fyodor Fyodorovsky
New stage version: Yuri Alexandrov (2000)
Revival Designer: Vyacheslav Okunev
Revival Costume Designer: Tatiana Noginova
Lighting Designer: Vladimir Lukasevich
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Marina Mishuk

SYNOPSIS

Act I
St Basil s Square, Moscow, below the walls of the Kremlin
A patrol of Streltsy gathers in the early light and boasts of their exploits during the previous nightґs fighting against their great enemies, the boyars. As a reminder of these events a monument has been set up in the square, recording on it the names of those executed in the riots.
After they leave, a public scrivener sets up his shop as the boyar Shaklovity, a protege of the Tsarevna Sophia, arrives to dictate an anonymous letter to Tsar Peter. In it he denounces the Khovansky family for their part in plots to seize power. They are also members of a schismatic religious sect, the Old Believers, which lends them its support. People making their way across the square stop at the monument and make the unwilling scrivener read what is written on it. When they hear about the sedition and overweening power assumed by the Streltsy they lament the state of their homeland.
Streltsy appear on the square and Prince Ivan Khovansky enters. Acknowledging their acclamations he begins a tour of the city.
When the crowd disperses, Khovanskyґs son Prince Andrei tries to force his affections on Emma, a young girl from the German Lutheran settlement. This scene is stopped by the arrival of Andreiґs former mistress, Marfa, an Old Believer. She saves Emma from Andreiґs unwanted attentions and reproaches him with his unfaithfulness.
Prince Ivan now returns with the Streltsy. He is attracted to Emma himself and orders his men to take her to his palace. Father and son quarrel bitterly over the girl and Andrei would rather kill her than give her up. As Marfa leads Emma away the Khovanskys grudgingly yield to the will of their powerful religious ally.

Act II
Scene 1: Prince Golitsynґs Palace
Prince Vasily Golitsyn is reading a love letter from the Tsarevna Sophia. Even though she has appointed him her chancellor he is plotting with the Khovanskys against her. But his thirst for power is mixed with doubts about the future.
Meanwhile Golitsyn has summoned Marfa secretly to his rooms because he has heard of her skills in prophecy. She divines his fortune in a bowl of water and foretells what he fears most from his political manoeuvring - betrayal, disgrace, exile and poverty. Golitsyn dismisses her, and when she has gone orders his servant Varsonofiev to have her followed and drowned. Golitsyn is left alone and in despair he muses on the fate of Russia.
Ivan Khovansky then arrives, bitterly accusing Golitsyn of weakening the power of the nobles, and their meeting drifts towards violence. Only the appearance of Dosifei, who has been invited to join them, prevents bloodshed. He urges them to return to the Old Faith, and it is only now that we learn how he too was once a high-ranking prince who has given up temporal power to find a better way of serving Russiaґs needs. But despite their intention to agree on concerted action they are unable to reach an understanding.
Marfa then runs in and tells Dosifei that someone has tried to kill her - on Golitsynґs orders. She was saved only by the intervention of some soldiers of the young Tsar Peter. Both Dosifei and the princes are alarmed by the news of Peterґs close proximity.
The boyar Shaklovity appears and informs them that a denunciation of the Khovanskys has been posted in the village of Ismailovsky, where Tsar Peter has been living. Incensed by what he calls "Khovanshchina" Peter has ordered an investigation. As Shaklovity is speaking, a detachment of the Tsarґs troops passes below the window.

Scene 2: The Streltsy Quarter outside the Khovanskysґ house Marfa has come to the Khovanskysґ house, unable to overcome her love for Andrei despite the acute pain of his betrayal. Musing to herself she pours out her feelings, while knowing that she has no power left after what has happened. She leaves with her emotions unresolved.
Shaklovity enters alone. Clever, yet untrustworthy, he is fully aware of the magnitude and the gravity of the divisions Russia is now facing. He withdraws as a group of drunken Streltsy arrives. Raucously they boast about their prowess in fighting and drinking, while their womenfolk rebuke them. Peace is restored with a song. But the scrivener runs in and announces that Peterґs troops have attacked Streltsy houses nearby. Those present are stunned by the news and call Prince Ivan Khovansky to come out and lead a counter-attack. Khovansky reluctantly appears but is subdued. He realises that nothing can be done and tells the Streltsy to submit to the will of the Tsar.

Act III
Scene 1: Inside Ivan Khovanskyґs house
Refusing to call out the Streltsy against Peter, Ivan Khovansky has withdrawn to his estates. He is troubled and orders his servants to entertain him with cheerful songs.
Varsonofiev, as Golitsynґs envoy, warns him of Sophiaґs displeasure and advises him that his life may be in danger. Khovansky ignores the warning and has Varsonofiev flogged. He summons Persian slave girls to dance for him. Suddenly Shaklovity appears and in the name of the Tsarevna Sophia invites Khovansky to a meeting of the Grand Council. Khovansky is immensely flattered and sends for his finest robes. As he is about to leave, one of Shaklovityґs henchmen stabs him to death.

Scene 2: St Basilґs Square
Other members of the conspiracy are falling from power too. Sophia has been ousted and Golitsyn is being sent into exile.
The terrible news reaches Marfa and Dosifei that Tsar Peter has ordered his troops against the Old Believers. Realising that their position is hopeless, Dosifei decides that they must choose martyrdom rather than surrender, but that Prince Andrei must die with them.
Marfa tells Andrei that his father has already been assassinated but Andrei will not believe it. Ignorant of the total collapse of the conspiracy he is convinced that his faithful Streltsy will answer his summons to fight. He blows a horn but in reply the cathedral bells begin to toll. To their ringing a group of Streltsy are led to execution. Andrei begs Marfa to save him and they leave together.
The young boyar Streshnev then appears as Tsar Peterґs envoy to announce that the Streltsy have been pardoned.

Act IV
The Monastery of the Old Believers in the forest
The Old Believers assemble for the last time, hoping to hide from Peterґs troops, but their monastery is now surrounded.
Dosifei calls on them to choose death in the flames of their church rather than surrender.
Trumpet calls in the forest indicate how close the Tsarґs troops are. Following the steady file of other Old Believers, Marfa leads Andrei into the church. They set fire to the building and the monastery blazes as troops appear.

Ballet in three acts
Music by Aram Khachaturian
Choreography by Leonid Yakobson
Libretto by Nikolai Volkov
Conductor Karen Durgaryan
Sets by Valentina Khodasevich
Revival Designers: Batozhan Dashitsyrenov & Sergei Grachev
Lighting Designer: Nikolai Naumov
Costume Designer: Irina Korovina
Coach: Vyacheslav Khomyakov

SYNOPSIS

Act I
The triumph of Rome
The Roman general Crassus is returning victorious from a battle in Thracia. The rejoicing crowd welcomes the legionnaires. Captive slaves are placed in Crassus golden chariot. Spartacus, his wife Phrygia and Harmodius are among them.
The Roman aristocrats, patricians and senators bow to the general. Crassus meets Aegina the courtesan.

The slave market
Lentulus Batiatus, the owner of a gladiatorial school, comes to the market. Spartacus and Harmodius, chained together, draw his attention. Lentulus Batiatus buys them both. Sad is the hour when Phrygia and Spartacus are separated.
Aegina is brought in on a richly decorated sedan. The courtesan examines the slaves and her gaze falls on Harmodius, but he has already been sold. Aegina buys Phrygia.

The circus
Excited at what is to come, the crowd awaits the start of the show. Crassus and Aeginas box is in the middle of the amphitheatre. The Gaul, Numidian and African fight in the first battle of the gladiators. The Gaul dies and the injured Numidian begs to be allowed to live, but the crowd demands his life. The corpses are carried off. Retiarius and Mirmillon - the "Fisherman" and the "Fish" begin to fight. Dying, Retiarius curses Rome. Then two detachments of gladiators enter: the Samnites and the Thracians. The frenzied battle comes to the boil. The detachment led by Spartacus is victorious. The crowd clap in delight.

Act II
Saturnalia
Spartacus appears, hiding from the night patrol. Phrygia tells of her live as a slave. Spartacus agrees on a secret meeting with his gladiator friends. Aegina observes this. Wanting to expose their secret, she beckons Harmodius to her.
The people are praising the god Saturn. Crassus is brought out of the palace. One of the slaves carrying the sedan stumbles. a libertine kills him at Crassu order. Spartacus calls on his comrades-in-arms to revolt. They swear their loyalty to the battle for freedom.

The Gladiators revolt
The gladiators languish in a gloomy prison. They are fettered in humiliating chains. Better death n the battlefield that in the circus for a crowd that want blood.
The chains are broken. But the guardhouse is already giving the alarm. The gladiators start fighting the guards.
Spartacus opens the gates and leads the rebels out.

ACT III
Spartacus camp
Spartacus warriors experience victory after victory. Now the Romans are lowering their banners to the leader of the rebel slaves. Aegina is in the rearguard of Spartacus forces, among the captive centurions and hetaerae. She looks for Harmodius brings him to the generals tent where the hetaerae are dancing.
Spartacus appears unexpectedly. To the dismay of the generals he orders the camp be cleared of the hetaerae immediately. But Aegina remains. Spartacus orders her too to go. Harmodius protests. a quarrel begins. The conflict grows. a group of captive generals and their detachments leave the camp. Attracted by Aegina, Harmodius leaves with them. Spartacus' faithful comrades-in-arms remain with him.

Crassus feast
A feast is underway at Crassus villa. Aegina tells Crassus that she has brought Harmodius, who has quarrelled with Spartacus, and she tells of the dissent among the rebel slaves. Crassus gives the order to destroy the camp of the in¬surgents who have left Spartacus. Phrygia sends a slave to Spartacus to warn him, but all is in vain.
At his feast, Crassus orders Harmodius be brought in. The purple curtains are flung open and Harmodius sees the gladiators who betrayed Spartacus, their bodies crucified. Harmodius realises Aegins treachery and tries to kill her, but the legionnaires stab the youth.
Crassus and Aegina vanish without trace. Spartacus warriors arrive at the villa.

Spartacus death
Phrygia is tormented by a premonition of disaster. Before the decisive battle she bids farewell to Spartacus. Surrounded by Crassus legions, Spartacus and his warriors perish in the cruel battle, true to their oath to freedom to the end. The retreat is sounded. The Roman warriors depart. At night Phrygia seeks out Spartacus body and mourns the fallen husband.

Opera in tree acts.
Music by Gaetano Donizetti.
Libretto by Salvadore Cammarano after Sir Walter Scottґs
novel The Bride of Lammermoor
Conductor: Valery Gergiev
Premier in world - September, 26 1832 in theatre "San-Carlo", Napoli
Present with two intervals.

Fantasy ballet in three acts (four scenes)
Music by Pyotr Tchaikovsky
Choreography by Marius Petipa and Lev Ivanov (1895)
revised choreography and stage direction: Konstantin Sergeyev (1950)
Libretto by Vladimir Begichev and Vasily Geltzer
World premiere: 20 February 1877, Bolshoi Theatre, Moscow (choreography by Julius Reisinger)
Premiere in St Petersburg: 15 January 1895, Mariinsky Theatre (choreography by Lev Ivanov and Marius Petipa)
Premiere of Konstantin Sergeyevґs version: 8 March 1950, Kirov Theatre, Leningrad
Running time 3 hours 10 minutes
The Performance has two intermissions

Credits
Set design by Igor Ivanov
Costume design by Galina Solovyova

SYNOPSIS

Act I
Scene 1
Prince Siegfried and his friends are celebrating his coming of age at a private party. The guests drink to his health and the jester entertains them with his antics.
The Prince is warned that his mother, the Princess Regent, is approaching. She is displeased with her sonґs behaviour and he presents her with a bouquet of roses to pacify her. After the Princess has gone, the partying begins anew.
Twilight falls. The guests depart and the Prince is left alone in the park. High above, Siegfried catches sight of a flock of white swans and the sight stirs the hunterґs urge in him. Seizing his bow, the Prince makes his way off into the heart of the forest.

Scene 2
A Lake in the Forest in the Middle of the Night. White swans are swimming near the shore; they are beautiful young maidens who have been transformed by the evil magician Rothbart. Only at night can they assume human form and the only power on earth which can break this evil spell is devoted love. Siegfried appears. He sees one of the white birds come to shore and draws his bow to shoot it. The bird suddenly turns into a beautiful woman - it is Odette, Queen of the swan-maidens. Odetteґs beauty enthrals the Prince and he tries to capture her. She, however, is afraid of the evil magician and, as she avoids Siegfried, she disappears in the midst of the swan-maidens.
Siegfried runs after Odette and vows eternal love and fidelity to her. Odetteґs heart responds in the same way to Siegfriedґs passionate love. Dawn breaks. Odette bids Siegfried a tender farewell and the white swans glide slowly away across the lake.

Act II
Scene 3
A Ball at the Castle. Siegfried must choose a bride from among the well-bred maidens who have been invited, but he remains indifferent to them all because he has given his heart to Odette. Only at his motherґs insistence does he dance with any of the prospective brides.
He must, however, choose one of them, and as a token of his love, he must give his chosen bride a bouquet. As he faces this dilemma, however, a fanfare of trumpets heralds the arrival of new guests: the magician Rothbart and Odile, his daughter. The Prince is struck by her resemblance to Odette. Rothbart wants the Prince to fall in love with Odile so that he will break his vow of eternal love and fidelity; Odette will then remain in the sorcererґs power forever. It is for this reason that he has given his own daughter Odette's form and features. Odile seduces Siegfried, who is fascinated by her charm. He announces to his mother that the beautiful Odile is his choice. The wicked magician is jubilant.
Suddenly Siegfried sees a vision of the true swan-maiden outside the castle window and realises that he has been deceived into breaking his vow. In despair, he rushes to the lake to find his beloved Odette.

Act III
Scene 4
The Lakeside, at Night. The swan-maidens stand dejected and sad. Odette has told them what has happened. Siegfried rushes in. He begs Odette to forgive him and he professes his undying love for her, but the enraged sorcerer summons the black swans and commands them to separate Odette and Siegfried.
Siegfried grapples with the magician. Fearless in the encounter, he breaks Rothbartґs wing. The enchanter collapses, his power gone, and he dies.
Love has broken the evil spell. The sun rises and shines radiantly on the Prince and Odette, and on the maidens whom Siegfried has rescued.

Fantasy ballet in three acts (four scenes)
Music by Pyotr Tchaikovsky
Choreography by Marius Petipa and Lev Ivanov (1895)
revised choreography and stage direction: Konstantin Sergeyev (1950)
Libretto by Vladimir Begichev and Vasily Geltzer
World premiere: 20 February 1877, Bolshoi Theatre, Moscow (choreography by Julius Reisinger)
Premiere in St Petersburg: 15 January 1895, Mariinsky Theatre (choreography by Lev Ivanov and Marius Petipa)
Premiere of Konstantin Sergeyevґs version: 8 March 1950, Kirov Theatre, Leningrad
Running time 3 hours 10 minutes
The Performance has two intermissions

Credits
Set design by Igor Ivanov
Costume design by Galina Solovyova

SYNOPSIS

Act I
Scene 1
Prince Siegfried and his friends are celebrating his coming of age at a private party. The guests drink to his health and the jester entertains them with his antics.
The Prince is warned that his mother, the Princess Regent, is approaching. She is displeased with her sonґs behaviour and he presents her with a bouquet of roses to pacify her. After the Princess has gone, the partying begins anew.
Twilight falls. The guests depart and the Prince is left alone in the park. High above, Siegfried catches sight of a flock of white swans and the sight stirs the hunterґs urge in him. Seizing his bow, the Prince makes his way off into the heart of the forest.

Scene 2
A Lake in the Forest in the Middle of the Night. White swans are swimming near the shore; they are beautiful young maidens who have been transformed by the evil magician Rothbart. Only at night can they assume human form and the only power on earth which can break this evil spell is devoted love. Siegfried appears. He sees one of the white birds come to shore and draws his bow to shoot it. The bird suddenly turns into a beautiful woman - it is Odette, Queen of the swan-maidens. Odetteґs beauty enthrals the Prince and he tries to capture her. She, however, is afraid of the evil magician and, as she avoids Siegfried, she disappears in the midst of the swan-maidens.
Siegfried runs after Odette and vows eternal love and fidelity to her. Odetteґs heart responds in the same way to Siegfriedґs passionate love. Dawn breaks. Odette bids Siegfried a tender farewell and the white swans glide slowly away across the lake.

Act II
Scene 3
A Ball at the Castle. Siegfried must choose a bride from among the well-bred maidens who have been invited, but he remains indifferent to them all because he has given his heart to Odette. Only at his motherґs insistence does he dance with any of the prospective brides.
He must, however, choose one of them, and as a token of his love, he must give his chosen bride a bouquet. As he faces this dilemma, however, a fanfare of trumpets heralds the arrival of new guests: the magician Rothbart and Odile, his daughter. The Prince is struck by her resemblance to Odette. Rothbart wants the Prince to fall in love with Odile so that he will break his vow of eternal love and fidelity; Odette will then remain in the sorcererґs power forever. It is for this reason that he has given his own daughter Odette's form and features. Odile seduces Siegfried, who is fascinated by her charm. He announces to his mother that the beautiful Odile is his choice. The wicked magician is jubilant.
Suddenly Siegfried sees a vision of the true swan-maiden outside the castle window and realises that he has been deceived into breaking his vow. In despair, he rushes to the lake to find his beloved Odette.

Act III
Scene 4
The Lakeside, at Night. The swan-maidens stand dejected and sad. Odette has told them what has happened. Siegfried rushes in. He begs Odette to forgive him and he professes his undying love for her, but the enraged sorcerer summons the black swans and commands them to separate Odette and Siegfried.
Siegfried grapples with the magician. Fearless in the encounter, he breaks Rothbartґs wing. The enchanter collapses, his power gone, and he dies.
Love has broken the evil spell. The sun rises and shines radiantly on the Prince and Odette, and on the maidens whom Siegfried has rescued.

The programme includes:

Johann Bach.
Two Chorale Preludes

Alessandro Marcello - Johann Bach.
Adagio

George Handel.
The aria "Dignare" from the cantata Te Deum

Beethoven.
An den Brusten der Natur

Schubert.
Litany Der Tod und das Mаdchen, An die Musik, Der Doppelgаnger, Serenade, Ave Maria

Saint-Saеns.
Les Accordailles

Debussy.
La Fille aux cheveux de lin

Varlamov.
Mountain Peaks

Rimsky-Korsakov.
Octave, The Song of the Viking Guest from the opera Sadko

Musorgsky.
Shchelkalovs monologue from the opera Boris Godunov

Rachmaninoff.
Lilacs, Dont Sing, My Beauty

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...

Opera in three acts, six scenes (1950 Production)
Music by Pyotr Tchaikovsky
Libretto by Pyotr Tchaikovsky and Viktor Burenin based on the epic poem Poltava by Alexander Pushkin
Performed in Russian
The performance will have synchronised English supertitles
opera in three acts, six scenes (1950 Production)
World Premiere: 15 February 1884, Bolshoi Theatre, Moscow
Premiere of this production: 15 May 2009, Mariinsky Theatre, St Petersburg
Running time: 4 hours 05 minutes
The performance has two intervals

Credits
Musical Director: Valery Gergiev
Stage Director: Ilya Shlepyanov (1950)
Set Designer: Alexander Konstantinovsky
Revival Director: Yuri Laptev
Lighting Designer: Damir Ismagilov
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva

SYNOPSIS

The action is set in the Ukraine in the early 18th century.

Act I
Scene 1
Kochubei's house and garden.
The girls come to Maria, Kochubei's daughter, and tell her to come and have her beloved's fortune told. She refuses: her father has a guest, the hetman Mazepa. Her heart if filled with deep love for him.
A childhood friend, Andrei the Cossack, knowing of Maria's fateful passion, declares his unrequited love for her and begs her to leave Mazepa. Maria, understanding the full recklessness of her feelings, nonetheless is powerless to resist them. Kochubei enters the garden, with his wife Lyubov, Mazepa and his other guests.
Kochubei's servants amuse Mazepa with singing and dancing.
Mazepa asks Kochubei for Maria's hand. Kochubei and Lyubov are enraged at the old hetman's proposal - he is Maria's godfather. The hetman turns to Maria and offers her a choice between him and her parents. She, after tortuous hesitation, gives her hand to Mazepa. The hetman carries Maria away.

Scene 2
A room in Kochubei's house.
Maria's mother mourns the loss of her daughter, who has now left her father's home. She urges her husband to take revenge on Mazepa. Kochubei proposes his plan of vengeance: he has found out about the links between the hetman and Sweden's King Charles XII, and of Mazepa's proposed betrayal of Peter I, and he resolves to present the captured hetman to the Russian Emperor.
Andrei is ready to deliver a denunciation before the Emperor. Kochubei's acquaintances are filled with hatred for the hetman Mazepa.

Act II
Scene 3
A cellar in Mazepa's palace in Belotserkovsk.
The mendacious hetman, having been warned of his denunciation before Peter I, has succeeded in slandering Kochubei to the Emperor. Bound in chains and having been tortured, both Iskra and Kochubei await interrogation.
Orlik enters - he is the hetman's faithful retainer. He demands that Kochubei give up the treasure he allegedly has buried in the village of Dikanka.
Kochubei has nothing: his honour has been despoiled by Mazepa, and his beloved daughter Maria taken from him by the very same Mazepa.
Kochubei desires one thing only - revenge.

Scene 4
A room in Mazepa's palace.
The hetman is receiving in secret the ambassadors of the Swedish King. Orlik enters, and receives the order to execute Kochubei.
Maria appears. In a talk with Mazepa, she upbraids him for his coldness towards her. Jealous suspicions torment her soul. Unwillingly, the hetman must lay bare before his daughter the true reason for his coldness, and he reveals the secret plan against the Russian Tsar. Mazepa wants to know whom Maria would choose: her father or her husband, if she was forced to make that choice? In disarray, she speaks of the boundless nature of her love, she does not understand the question of a choice between father and husband. Mazepa leaves.
Maria's mother appears, having secretly gained access to the palace; she tells her daughter of the failed plot against the hetman, and is stunned that her daughter does not know about the death that awaits her father. Maria and Lyubov hurry to stop the execution.

Scene 5
The road leading to Kochubei's place of execution.
The people await the appearance of the sentenced men, while a drunken Cossack sings and dances in the crowd. The executioner appears, followed by Mazepa and Orlik, then Kochubei and his friend Iskra are brought in. The sentenced men bid farewell to one another, the people and life, and they mount the scaffold.
Maria and Lyubov run in. But they are too late. The sentence has been executed.

Act III
Scene 6
The Battle of Poltava - symphonic scene.

Scene 7
Kochubei's former home and garden.
The height of the battle, Russian warriors and pursuing the Swedes; Andre is among them. He is stopped by familiar places, and he recalls times of happiness gone by. Mazepa appears with Orlik. They have fled after the loss of the Swedes at Poltava. Andrei, recognising Mazepa, attacks him with a sword, but Mazepa forestalls him and wounds him fatally.
Maria appears, having lost her mind; she recognises nothing around her. Drowning in grief, the daughter laments her murdered father.
Orlik and Mazepa hide. Not recognising the dying Andrei, Maria lulls him with a cradle song.

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.

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.

Opera in two acts
Music by Gioachino Rossini
Libretto by Cesare Sterbini after Pierre-Augustin Caron de Beaumarchais' comedy Le Barbier de Sйville, ou Prйcaution inutile
Performed in Russian
World premiere: 20 February 1816, Teatro Argentina, Rome
Premiere of this production: 26 March 2009, Concert Hall of the Mariinsky Theatre, St Petersburg
Running time 3 hours 25 minutes
The Performance has two intermissions

Credits
Musical Director: Justus Frantz
Production Director: Alexei Stepanyuk
Production Designer: Vyacheslav Okunev
Lighting Designer: Yevgeny Ganzburg
Musical Preparation: Irina Soboleva
Lead Chorus Master: Leonid Tepliakov

SYNOPSIS

Count Almaviva is in love with the beautiful Rosina, and she is prepared to answer his amorous overtones, but she has a guardian - Dr Bartolo, who wishes to marry his ward because of her vast dowry. Mistrustful of Rosina, he hastens on with the wedding.
The Count asks his old friend Figaro, whom he has met by chance near Bartolo's home and who has told him details of the relationship between Rosina and her guardian, for assistance in gaining access to the doctor's house in order to see the young girl in secret. Figaro advises the Count to disguise himself as a soldier and pretend to be drunk and demand lodgings from the doctor to sleep it off. Figaro himself comes to the doctor in the guise of a patient.
Meanwhile, Don Basilio, Rosina's singing teacher, finding out about Count Almaviva's fervent passions, hurries to warn the doctor and advises him to defame his rival in the eyes of Rosina. The appearance of a drunken soldier (Almaviva in disguise) enrages Bartolo. In the ensuing chaos, the doctor notices that the "soldier" is trying to pass a note to Rosina unobserved. A furious skirmish flares up once again with new energy. Figaro calls for the police, thanks to whose arrival the Count succeeds in escaping from a highly undesirable situation.
Having suffered initial failure, Almaviva takes new measures to meet with Rosina. This time he appears as music teacher Don Alonso, apparently sent instead of Don Basilio who has fallen ill. This time the Count succeeds in declaring his love to Rosina and, despite the fact that because of Dr Bartolo's schemes Rosina has all but lost faith in the sincerity of the emotions of her ardent admirer, the lovers nonetheless succeed in making peace and agree to flee. Their plans are almost ruined by the appearance of Don Basilio and his notary, who have come to draw up the marriage licence between the doctor and Rosina. But Bartolo is not at home. Seizing the opportunity, Count Almaviva bribes Don Basilio, and he agrees to be a witness to the marriage contract concluded between Count Almaviva and Rosina.
Even the appearance of the indignant Dr Bartolo can no longer ruin the joy of the lovers.

Lyric opera in three acts, seven scenes
Music by Pyotr Tchaikovsky
Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky after the poetic novel of the same name by Alexander Pushkin
Production by Yuri Temirkanov
Performed in Russian
The performance will have synchronised English supertitles
World premiere: 17 March 1879, Maly Theatre, Moscow
Premiere of this production: 13 November 1982, Kirov Theatre of Opera and Ballet, Leningrad
Running time: 3 hours 50 minutes
The Performance has two intermissions

Credits
Stage Director: Yuri Temirkanov
Set Designer: Igor Ivanov
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva

SYNOPSIS

Act I
Scene 1
The Larin family estate. Mrs Larina's daughters can be heard singing in the distance - Tatiana, always thoughtful and dreaming, and Olga, playful and flirtatious. Their young voices remind their mother and the nurse Filippevna of a now dim and distant youth.
Evening falls. Long drawn-out singing can be heard; the harvest complete, the peasants bring their mistress a decorated sheaf of wheat according to tradition. Unexpectedly guests appear - it is the young poet Lensky, Olga's fiancй and the Larins' neighbour, and Onegin, his friend and man of the world. He has recently arrived from St Petersburg and is already bored with the country. The arrival of the guests creates confusion. Everyone looks at the new arrival with interest.
Onegin is surprised at Lensky's choice of bride: "If I were a poet like you I should choose another." Tatiana is deeply perturbed by her meeting with Onegin.
Once alone with Olga, Lensky declares his love for her.

Scene 2
Tatiana's bedroom. It is night. Tatiana is overflowing with the new emotion that has so unexpectedly gripped her. In vain, Filippevna the nurse attempts to dispel Tatiana's pensiveness by telling her about days gone by. All her thoughts are of Onegin; he has stirred the heart of this provincial girl. Tatiana asks her nurse to leave her. Absorbed by this new passion, Tatiana writes to Onegin. "You appeared to me in a dream, unseen, and were kind to me..."
Gradually dawn begins to break. A shepherd's horn blows. Tatiana begs her nurse to deliver Onegin the letter.

Scene 3
In the Larins' garden girls are gathering berries. In confusion, Tatiana enters, trembling in anticipation of the reply to her own confession of love.
She is gripped by agonising regret: "Oh, why did I heed my wretched soul, unable to control myself, why did I write that letter?" But it is too late! Onegin is already here, in the garden. His words form, cold and passionless. He is touched by Tatiana's sincerity, but cannot return the feeling. Civilly returning Tatiana her letter, Onegin reproaches her lack of care: "Learn to control yourself; not everyone would understand you like I; inexperience leads to disaster."

Act II
Scene 1
A ball is being held at the Larins' house. Many guests have come to celebrate Tatiana's name-day party. Triquet, a Frenchman, sings some couplets in Tatiana's honour. Onegin is driven to utter boredom with the provincial ball and its gossip and idle chatter. He vents his patience on Lensky: "Why did I come to this ridiculous ball? Why? I shan't forgive Vladimir for this!" Onegin begins to pay court to Olga. Lensky is indignant at his friend's behaviour and his fiancйe's coquettish and frivolous manner. During a mazurka, a quarrel develops. Insulted and in a pique of rage and despair, Lensky challenges Onegin to a duel. The guests try in vain to reconcile the two friends.

Scene 2
A cold frosty morning, and Lensky has come to the place where the duel will take place. "What does the coming day hold for me? I can't imagine what will be..." Sad and pained, he thinks of the forthcoming duel. Zaretsky, Lensky's second, is awaiting Onegin. Onegin finally arrives; the preparations for the duel are made, but the former friends tarry. Both understand the absurdity of what has happened: "Should we not laugh before our hands are stained with blood, and part as friends?" But no! The seconds show the two adversaries to their places. Zaretsky gives the signal to start. There is a shot. Lensky falls. Running to his friend, Onegin is horrified to see he is dead.

Act III
Scene 1
Guests are assembling for a ball at a mansion in St Petersburg; Onegin, home from his travels in Europe, is there too. Neither changes of scene nor high society have lifted his anguish. Prince Gremin and his wife arrive and Onegin recognises her to be Tatiana. The Prince cordially tells him of his happy marriage and introduces Tatiana. Onegin is staggered - surely this noble and refined society lady is not the same girl to whom he once read a moral admonition? Onegin uneasily admits to himself "Alas, there's no doubt, I'm in love, in love like a boy, a passionate youth!"

Scene 2
The final encounter between Onegin and Tatiana. His words are full of confession and repentance. But the past cannot be revisited. Calling on Onegin's honour and pride Tatiana asks him to leave her: "To another by fate have I been given, I will never leave him." Onegin's entreaties are all in vain. Ultimately he understands that he has lost Tatiana forever. He is left alone: "Ignominy! Anguish! Oh, my pitiable fate!"

Opera in three acts, seven scenes
Music by Pyotr Tchaikovsky
Libretto by Modest Tchaikovsky, after the novel by Alexander Pushkin
Production by Yuri Temirkanov
Performed in Russian
The performance will have synchronised English supertitles
World premiere: 19 December 1890, Mariinsky Theatre, St Petersburg
Premiere of this production: 25 December 1984, Kirov Theatre of Opera and Ballet
Running time 4 hours 15 minutes
The Performance has two intermissions

Credits
Stage Director: Yuri Temirkanov
Set Designer: Igor Ivanov
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva

SYNOPSIS

The action takes place in St Petersburg at the close of the 18th century

Act I
Scene One
The Summer Garden in springtime. Two officers, Chekalinsky and Surin, are concerned about the fortunes of their friend Herman, who visits gambling halls every evening, despite the fact that he does not play because he is so poor. Herman turns up, accompanied by Count Tomsky, to whom he explains the reason for his strange behaviour: he is in love with a girl to whom he has not yet been introduced, and wants to win a large sum of money in order to marry her ("I do not know her name"). Chekalinsky and Surin congratulate the Grand Duke Eletsky on his forthcoming marriage. An old countess is walking in the garden with the very girl whom Herman loves. Upon finding out that she is the Grand Dukeґs fiancйe, he is deeply shaken. The women are frightened by his appearance ("Iґm frightened"). Tomsky tells the story of the old Countessґ past in Paris. Count St Germain showed her three winning cards. The officers laugh at Herman, and advise him to tempt fate while Herman vows to fight for his love.

Scene Two
Lisaґs room. She is singing with her friend Polina ("Oh, what an evening"). Left alone, Lisa reveals her feelings: the Grand Duke loves her, but she cannot forget the passionate gaze of the stranger in the garden ("Where are these tears from?" "Oh, listen, oh, night"). As if he had heard her calling, Herman appears on the balcony. He threatens to kill himself because Lisa is promised to another, and tells her that no one loves her as passionately as he does ("Forgive me, heavenly creature"). The Countess enters, and Lisa hides the love-struck Herman. Like a man possessed, Herman starts to search for the three cards. Having been with Lisa, he realises he is happy only when he is with her.

Act II
Scene Three
A masquerade at the home of a high official. Yeletsky assures Lisa of his love ("I love thee"). Herman continues to be haunted by thoughts of the three cards. A musical intermezzo-pastorale begins ("My dear little friend"). After it ends, Lisa gives Herman a key to a secret door by which he can enter her room.

Scene Four
The Countessґ bedroom. It is night. Above the fireplace there is a portrait of the Countess in her youth dressed up as the Queen of Spades. Herman carefully enters the room. He vows to wrest the secret out of the old woman, even if Hell awaits him. Footsteps are heard, and Herman hides. Servants enter, and then the Countess, who starts getting ready for bed. Having sent the servants away, the Countess falls asleep in her chair. Suddenly, Herman appears before her ("Donґt be frightened! For Godґs sake, donґt be frightened!"). On his knees, he begs her to name the three cards. The Countess, having risen from her chair, is silent. Then Herman points his pistol at her. The old woman falls. Herman sees that she is dead.

Act III
Scene Five
Hermanґs room at the barracks. Lisa has written to him to say that she is ready to forgive him, but Hermanґs thoughts are elsewhere. He remembers the Countessґ funeral ("All the same thoughts, the same nightmare"). The ghost of the Countess appears before him. Out of love for Lisa, she names the three magic cards for him: a Three, a Seven and an Ace.

Scene Six
On the banks of the Winter Canal, Lisa waits for Herman ("Ah! Iґm worn out, Iґm tired"). From his words she understands that he is responsible for the Countessґ death, and that he has gone out of his mind. She wants to take him away with her, but he pushes her aside and runs away (the duet "Oh, yes, the sufferings are over"). Lisa throws herself into the river.

Scene Seven
A gambling hall. Tomsky is surprised to find Eletsky, who is looking for Herman in order to exact revenge from him. The newly arrived Herman enters the game. Herman celebrates his victory ("What is our life, but a game!"). His winning streak strikes fear into everyoneґs hearts. Yeletsky enters the game. Herman bets all of his winnings on the third card, but instead of an Ace, his hand comes up with the Queen of Spades. A shocked Herman sees the ghost of the Countess. She waits for his death. Herman dies his last thought of Lisa.

Ballet in three acts and four scenes
Music by Farid Yarullin
Choreography by Leonid Yakobson
Libretto by Ahmed Faizi and Leonid Yakobson after motifs from Tatar folk tales
Full revival of the 1950 production
World premiere of the ballet Shurale: Tatar State Opera House, Kazan, 12 March 1945
World premiere of the second version of the ballet Shurale (under the title Ali-Batyr): Kirov Theatre of Opera and Ballet, Leningrad, 28 May 1950
Running time 2 hours 45 minutes
The Performance has two intermissions

Credits
Musical Director and Conductor - Valery Gergiev
Designers: Alexander Ptushko, Lev Milchin & Ivan Ivanov-Vano
Ballet Coaches - Tatiana Terekhova, Radjepmyrat Abdyev, Nina Ukhova, Alexander Matveyev & Annelina Kashirina
Principal Coach - Vyacheslav Khomyakov
Revival Designer - Batozhan Dashitsyrenov
Lighting Designer - Alexander Naumov
Costume Revival Designer and Technician - Tatiana Mashkova
Musical Preparation - Lyudmila Sveshnikova

SYNOPSIS

Act I
In a dense forest, the evil master of the woods Shurale is inside the trunk of a tree.
Ali-Batyr, a young hunter, appears in the forest clearing. Seeing a bird fly past, he seizes his bow and arrow and sets off after the bird. Shurale emerges from his lair. All the wood spirits that he rules awake. Genies, witches and evil spirits entertain their master with dances.
As the sun begins to rise, the evil spirits hide. A flock of birds comes down on the clearing. They spread their wings and transform into young maidens. The girls frolic through the forest. The last to abandon her wings, the beautiful Syuimbike follows them into the woods. Shurale, keeping an eye on her from behind a tree, steals the wings and drags them back to his lair.
The girls emerge from the woods. They perform merry round dances in the clearing. Unexpectedly, Shurale jumps out at them from behind the tree. Startled and frightened, the girls pick up their wings and, transformed into birds, take to the skies. Only Syuimbike is left to wander around, having been unable to find her wings. Shurale orders the evil spirits to surround the girl. She is a prisoner and terrified. Shurale is prepared to celebrate his victory, but Batyr and rushes out from the forest and hurries to Syuimbike's assistance. The furious Shurale wishes to strangle Batyr, but the youth knocks the monster down to the ground with one powerful blow.
In vain, Syuimbike and her saviour look for the wings everywhere. Tired of the fruitless search, in torment Syuimbike drops to the ground and falls asleep. Batyr carefully picks up the sleeping bird-maiden and leaves with her.
The defeated Shurale threatens Batyr with a pitiless revenge for having kidnapped the bird-maiden from him.

Act II
Batyr's courtyard. All the fellow-villagers have come to a banquet in honour of Batyr and the beautiful Syuimbike. The guests make merry and the children romp around. The bride alone is sad. Syuimbike is unable to forget her lost wings. Batyr tries to distract the girl from her gloomy thoughts. But neither the Dzhigits' dances nor the maidens' round dances bring any cheer to Syuimbike.
The celebration ends. The guests depart. Unnoticed by anyone, Shurale slips into the courtyard. Seizing a suitable moment, he throws Syuimbike her wings. In delight, the girl hugs them to her breast and wants to fly off, but in indecision she stops: she would be saddened to abandon her saviour. But the desire to take to the skies is stronger. Syuimbike takes to the air in flight.
Immediately she is surrounded by a flock of carrion crows sent by Shurale. The bird makes a bid for freedom, but the carrion-crows force her to fly towards the lair of their master.
Batyr enters the courtyard. He sees the poor bird flying away in the sky, beating her wings inside the circle of black crows. Seizing an incandescent torch, Batyr follows in pursuit.

Act III
Shurale's lair. Here the bird-maiden is languishing in captivity. But Shurale cannot break Syuimbike's iron will and the girl rebuffs his advances. In fury, Shurale wishes to give her to the evil wood spirits to be torn to pieces.
At this instant, Batyr runs onto the clearing with a flaming torch in his hand. At Shurale's demand, all the witches, genies and Shurale's minions attack the youth. Batyr then sets light to Shurale's lair. The evil spirits and Shurale perish in the fiery flames.
Batyr and Syuimbike are alone amidst the storming inferno. Batyr hands the maiden her wings - the only way to salvation. But Syuimbike does not wish to abandon her beloved. She throws her wings into the flames - let them both perish in fire. Then the forest fire suddenly dies away. Free of the evil spirits, the forest is miraculously transformed. Batyr's parents and the two matchmakers appear. They wish happiness to the groom and his bride.

Opera in two acts
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
Performed in Russian
World premiere: 30 September 1791, Freihaustheater auf der Wieden, Vienna
Premiere of this production: 31 December 2007, Concert Hall of the Mariinsky Theatre, St Petersburg
Running time 3 hours
The performance has one interval

Credits
Musical Director: Valery Gergiev
Stage Director: Alain Maratrat
Set Designer: Pierre-Alain Bertola
Costume Designer: Mireille Dessingy
Lighting Designer: Yevgeny Ganzburg
Musical Preparation: Larisa Gergieva
Principal Chorus Master: Pavel Petrenko
Translation of arias, duets, ensembles and chorus by Susanna Tsiryuk;
translation of dialogues by Maria Levin

SYNOPSIS

Overture
Sarastro the wise man is reading a wonderful book called The Magic Flute to some children: "In a far-off land Prince Tamino is living a dull and weary existence when his father the King pointedly tells him it is time for him to do something with his life. The knights blindfold Tamino, give him a bow and arrows and send him on his way..."

Act I
Prince Tamino is attacked by a huge and terrifying serpent and he loses consciousness. The Three Ladies appear and they kill the snake. Tamino is saved from death, while his saviours argue as to who will protect the youth. Failing to come to an agreement they leave to tell their sovereign, the Queen of the Night. Tamino awakes and sees a strange man - Papageno the bird catcher. He catches birds for the Queen of the Night. The Prince assumes that Papageno had attacked him and Papageno does not deny it. But Papageno will be punished for lying: the Three Ladies return and place a mask on him with a gag. Tamino is given a portrait of an incredibly beautiful girl. Tamino falls in love with her immediately. The Ladies tell him that Pamina has been abducted by the powerful and cruel Sarastro. The Queen of the Night appears amid thunder and lightning. She begs Tamino to save her daughter and as a reward promises to bless their union. The Three Ladies remove Papagenoґs mask and make him swear that he will never lie again. They give Tamino a magic flute that will help him overcome any obstacles on the way, and to Papageno they give bells that can delight the heart. Together with the Three Boys, Tamino and Papageno set out on their way. At Sarastroґs palace three slaves are mocking the Moore Monostatos for having let his captive escape. Suddenly Monostatos appears with the fugitive, and he sends everyone away so he can be alone with Pamina. Meanwhile, Papageno sneaks into Paminaґs room, and when Monostatos comes in to kiss her they unexpectedly meet and flee from each other.
Distractedly, Pamina calls for her mother, but then she awakes and remembers what has happened and is left in despair.
Meanwhile Papageno returns to Pamina and explains that he has been sent by her mother, the Queen of the Night. Papageno tells the girl of Prince Taminoґs love for her - Pamina is perturbed by the very word "love". Together they flee. On the way Papageno complains that he has no beloved.
The Three Boys lead Tamino to Sarastroґs temple. A priest comes out of the temple of wisdom to meet him. He informs Tamino that the Queen of the Night has deceived him: Sarastro is no deceitful magician, but a wise and just ruler who has abducted Pamina at the decree of the gods. This is all that the priest can tell Tamino. The Prince will know the whole story only after the blessing in the temple.
The youth asks the gods to tell him if Pamina is alive. Mysterious voices reply that she is safe and sound. The delighted Tamino plays the magic flute in reverence to the gods. Papagenoґs reed-pipe sounds in response. Papageno and Pamina also hear the flute being played by Tamino and hurry to him, but they are stopped by the Moore Monostatos who has followed them. Papagenoґs magic bells save the fugitives. Hypnotised by the music the Moore falls asleep. But Sarastro himself appears before Pamina and Papageno. Pamina, who has decided to tell only the truth, admits to the sorcerer that she tried to flee, and complains at Monostatosґ solicitation. Sarastro feels pity for her. He knows that she is in love with Tamino. And Monostatos, who has since managed to seize Prince Tamino, receives sixty lashes instead of a reward. But at Sarastroґs command Tamino and Pamina must be separated as the Prince and his companion Papageno must face further trials.
The priest and the orator blindfold Tamino and Papageno and lead them into the temple.

Act II
Tamino and Papageno are left alone in pitch darkness. Thunder can be heard. Seeking a way out, the two friends meet the orator and priest carrying torches. They promise happiness to Tamino and Papageno (who will find his life partner here) on the condition that both enter the kingdom of wisdom and love. To do so they must pass a test of silence. The Three Ladies appear, trying to make Tamino and Papageno speak. Papageno is about to speak, but Tamino stops him. The priest and orator return, and the Three Ladies disappear amid a peal of thunder which makes Papageno quake. The orator congratulates Tamino on passing his first test.
Monostatos steals upon Pamina, who is asleep in the summer house in the garden, in order to kiss her. But the sudden appearance of the Queen of the Night forces him to hide. The Queen of the Night gives her daughter a dagger and tells her she must kill Sarastro, threatening to denounce her if she does not obey. After the Queen of the Night disappears, Monostatos, who has heard everything, once again tries to solicit Paminaґs love. On receiving a vehement rejection he tries to kill her. She is saved by the sudden appearance of Sarastro. The magician drives out Monostatos, who leaves to seek the protection of the Queen of the Night, while Sarastro tells Pamina her mother is waiting in despair and she herself will find happiness with Tamino.
The priest and the orator prepare Tamino and Papageno for their second test - separation. They order them to be silent, but the babbling Papageno cannot keep quiet and complains of thirst. As a punishment an old woman appears. She gives Papageno some water; she says she is eighteen years old and is in love with him. In horror Papageno throws water in the old womanґs face and she flees to the peal of thunder.
The Three Boys bring Tamino and Papageno food and give them their musical instruments. In silence Tamino takes the flute and Papageno starts to eat. Even when Pamina comes Tamino remains silent. Pamina tries to find out what has happened from Papageno, but he too remains silent. Stunned, the girl falls into despair and wants to kill herself.
However, the trials must continue no matter what. Papageno and Tamino have to go but Papageno cannot tear himself away from the food. Tamino tries to gain his attention by forceful means but in the end he abandons his attempts and leaves. The abandoned Papageno is surrounded by lions. Frightened to death he calls Tamino, who by playing the flute saves the luckless bird-catcher. Papageno from now on promises to listen to Taminoґs every word.
As a result of the trials Papageno finds himself imprisoned. He is lonely, afraid and hungry. He cries in despair. He tells the orator that he prefers earthly pleasures to heavenly ones. His wish is miraculously fulfilled and he is given a glass of wine. But Papageno is still not happy: he needs someone to love. Once again the old woman appears before Papageno. Marrying her is the only way to gain his freedom. Papageno agrees - and at that moment the old woman transforms into the beautiful young Papagena. Papageno rushes to her, but the orator stands between them and Papageno falls to the ground.
Pamina, having lost her faith in Taminoґs love, wishes to stab herself with the dagger given to her by her mother, but the Three Boys prevent her from destroying herself, convinced that Tamino loves her. They help her find her beloved and Pamina tells Tamino the secret behind the magic flute. They are left to face the trial of fire and water. Embracing each other, to the sounds of the magic flute Tamino and Pamina travel this arduous and dangerous path. Their trails are at an end.
Papageno, too, longs for his beloved, and in despair he thinks of killing himself. The Three Boys come to his aid. Taking their advice, he uses the magic bells to bring back Papagena. Both are happy.
Then the Queen of the Night and Monostatos, to whom she has promised her daughter, and the Three Ladies prepare to attack Sarastroґs temple and destroy it. But Sarastro discovers the plot and the Queen of the Night and her suite all disappear into darkness. Light, wisdom and love are triumphant.

Ballet in three acts and four scenes
Music by Farid Yarullin
Choreography by Leonid Yakobson
Libretto by Ahmed Faizi and Leonid Yakobson after motifs from Tatar folk tales
Full revival of the 1950 production
World premiere of the ballet Shurale: Tatar State Opera House, Kazan, 12 March 1945
World premiere of the second version of the ballet Shurale (under the title Ali-Batyr): Kirov Theatre of Opera and Ballet, Leningrad, 28 May 1950
Running time 2 hours 45 minutes
The Performance has two intermissions

Credits
Musical Director and Conductor - Valery Gergiev
Designers: Alexander Ptushko, Lev Milchin & Ivan Ivanov-Vano
Ballet Coaches - Tatiana Terekhova, Radjepmyrat Abdyev, Nina Ukhova, Alexander Matveyev & Annelina Kashirina
Principal Coach - Vyacheslav Khomyakov
Revival Designer - Batozhan Dashitsyrenov
Lighting Designer - Alexander Naumov
Costume Revival Designer and Technician - Tatiana Mashkova
Musical Preparation - Lyudmila Sveshnikova

SYNOPSIS

Act I
In a dense forest, the evil master of the woods Shurale is inside the trunk of a tree.
Ali-Batyr, a young hunter, appears in the forest clearing. Seeing a bird fly past, he seizes his bow and arrow and sets off after the bird. Shurale emerges from his lair. All the wood spirits that he rules awake. Genies, witches and evil spirits entertain their master with dances.
As the sun begins to rise, the evil spirits hide. A flock of birds comes down on the clearing. They spread their wings and transform into young maidens. The girls frolic through the forest. The last to abandon her wings, the beautiful Syuimbike follows them into the woods. Shurale, keeping an eye on her from behind a tree, steals the wings and drags them back to his lair.
The girls emerge from the woods. They perform merry round dances in the clearing. Unexpectedly, Shurale jumps out at them from behind the tree. Startled and frightened, the girls pick up their wings and, transformed into birds, take to the skies. Only Syuimbike is left to wander around, having been unable to find her wings. Shurale orders the evil spirits to surround the girl. She is a prisoner and terrified. Shurale is prepared to celebrate his victory, but Batyr and rushes out from the forest and hurries to Syuimbike's assistance. The furious Shurale wishes to strangle Batyr, but the youth knocks the monster down to the ground with one powerful blow.
In vain, Syuimbike and her saviour look for the wings everywhere. Tired of the fruitless search, in torment Syuimbike drops to the ground and falls asleep. Batyr carefully picks up the sleeping bird-maiden and leaves with her.
The defeated Shurale threatens Batyr with a pitiless revenge for having kidnapped the bird-maiden from him.

Act II
Batyr's courtyard. All the fellow-villagers have come to a banquet in honour of Batyr and the beautiful Syuimbike. The guests make merry and the children romp around. The bride alone is sad. Syuimbike is unable to forget her lost wings. Batyr tries to distract the girl from her gloomy thoughts. But neither the Dzhigits' dances nor the maidens' round dances bring any cheer to Syuimbike.
The celebration ends. The guests depart. Unnoticed by anyone, Shurale slips into the courtyard. Seizing a suitable moment, he throws Syuimbike her wings. In delight, the girl hugs them to her breast and wants to fly off, but in indecision she stops: she would be saddened to abandon her saviour. But the desire to take to the skies is stronger. Syuimbike takes to the air in flight.
Immediately she is surrounded by a flock of carrion crows sent by Shurale. The bird makes a bid for freedom, but the carrion-crows force her to fly towards the lair of their master.
Batyr enters the courtyard. He sees the poor bird flying away in the sky, beating her wings inside the circle of black crows. Seizing an incandescent torch, Batyr follows in pursuit.

Act III
Shurale's lair. Here the bird-maiden is languishing in captivity. But Shurale cannot break Syuimbike's iron will and the girl rebuffs his advances. In fury, Shurale wishes to give her to the evil wood spirits to be torn to pieces.
At this instant, Batyr runs onto the clearing with a flaming torch in his hand. At Shurale's demand, all the witches, genies and Shurale's minions attack the youth. Batyr then sets light to Shurale's lair. The evil spirits and Shurale perish in the fiery flames.
Batyr and Syuimbike are alone amidst the storming inferno. Batyr hands the maiden her wings - the only way to salvation. But Syuimbike does not wish to abandon her beloved. She throws her wings into the flames - let them both perish in fire. Then the forest fire suddenly dies away. Free of the evil spirits, the forest is miraculously transformed. Batyr's parents and the two matchmakers appear. They wish happiness to the groom and his bride.

Opera in two acts
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
Performed in Russian
World premiere: 30 September 1791, Freihaustheater auf der Wieden, Vienna
Premiere of this production: 31 December 2007, Concert Hall of the Mariinsky Theatre, St Petersburg
Running time 3 hours
The performance has one interval

Credits
Musical Director: Valery Gergiev
Stage Director: Alain Maratrat
Set Designer: Pierre-Alain Bertola
Costume Designer: Mireille Dessingy
Lighting Designer: Yevgeny Ganzburg
Musical Preparation: Larisa Gergieva
Principal Chorus Master: Pavel Petrenko
Translation of arias, duets, ensembles and chorus by Susanna Tsiryuk;
translation of dialogues by Maria Levin

SYNOPSIS

Overture
Sarastro the wise man is reading a wonderful book called The Magic Flute to some children: "In a far-off land Prince Tamino is living a dull and weary existence when his father the King pointedly tells him it is time for him to do something with his life. The knights blindfold Tamino, give him a bow and arrows and send him on his way..."

Act I
Prince Tamino is attacked by a huge and terrifying serpent and he loses consciousness. The Three Ladies appear and they kill the snake. Tamino is saved from death, while his saviours argue as to who will protect the youth. Failing to come to an agreement they leave to tell their sovereign, the Queen of the Night. Tamino awakes and sees a strange man - Papageno the bird catcher. He catches birds for the Queen of the Night. The Prince assumes that Papageno had attacked him and Papageno does not deny it. But Papageno will be punished for lying: the Three Ladies return and place a mask on him with a gag. Tamino is given a portrait of an incredibly beautiful girl. Tamino falls in love with her immediately. The Ladies tell him that Pamina has been abducted by the powerful and cruel Sarastro. The Queen of the Night appears amid thunder and lightning. She begs Tamino to save her daughter and as a reward promises to bless their union. The Three Ladies remove Papagenoґs mask and make him swear that he will never lie again. They give Tamino a magic flute that will help him overcome any obstacles on the way, and to Papageno they give bells that can delight the heart. Together with the Three Boys, Tamino and Papageno set out on their way. At Sarastroґs palace three slaves are mocking the Moore Monostatos for having let his captive escape. Suddenly Monostatos appears with the fugitive, and he sends everyone away so he can be alone with Pamina. Meanwhile, Papageno sneaks into Paminaґs room, and when Monostatos comes in to kiss her they unexpectedly meet and flee from each other.
Distractedly, Pamina calls for her mother, but then she awakes and remembers what has happened and is left in despair.
Meanwhile Papageno returns to Pamina and explains that he has been sent by her mother, the Queen of the Night. Papageno tells the girl of Prince Taminoґs love for her - Pamina is perturbed by the very word "love". Together they flee. On the way Papageno complains that he has no beloved.
The Three Boys lead Tamino to Sarastroґs temple. A priest comes out of the temple of wisdom to meet him. He informs Tamino that the Queen of the Night has deceived him: Sarastro is no deceitful magician, but a wise and just ruler who has abducted Pamina at the decree of the gods. This is all that the priest can tell Tamino. The Prince will know the whole story only after the blessing in the temple.
The youth asks the gods to tell him if Pamina is alive. Mysterious voices reply that she is safe and sound. The delighted Tamino plays the magic flute in reverence to the gods. Papagenoґs reed-pipe sounds in response. Papageno and Pamina also hear the flute being played by Tamino and hurry to him, but they are stopped by the Moore Monostatos who has followed them. Papagenoґs magic bells save the fugitives. Hypnotised by the music the Moore falls asleep. But Sarastro himself appears before Pamina and Papageno. Pamina, who has decided to tell only the truth, admits to the sorcerer that she tried to flee, and complains at Monostatosґ solicitation. Sarastro feels pity for her. He knows that she is in love with Tamino. And Monostatos, who has since managed to seize Prince Tamino, receives sixty lashes instead of a reward. But at Sarastroґs command Tamino and Pamina must be separated as the Prince and his companion Papageno must face further trials.
The priest and the orator blindfold Tamino and Papageno and lead them into the temple.

Act II
Tamino and Papageno are left alone in pitch darkness. Thunder can be heard. Seeking a way out, the two friends meet the orator and priest carrying torches. They promise happiness to Tamino and Papageno (who will find his life partner here) on the condition that both enter the kingdom of wisdom and love. To do so they must pass a test of silence. The Three Ladies appear, trying to make Tamino and Papageno speak. Papageno is about to speak, but Tamino stops him. The priest and orator return, and the Three Ladies disappear amid a peal of thunder which makes Papageno quake. The orator congratulates Tamino on passing his first test.
Monostatos steals upon Pamina, who is asleep in the summer house in the garden, in order to kiss her. But the sudden appearance of the Queen of the Night forces him to hide. The Queen of the Night gives her daughter a dagger and tells her she must kill Sarastro, threatening to denounce her if she does not obey. After the Queen of the Night disappears, Monostatos, who has heard everything, once again tries to solicit Paminaґs love. On receiving a vehement rejection he tries to kill her. She is saved by the sudden appearance of Sarastro. The magician drives out Monostatos, who leaves to seek the protection of the Queen of the Night, while Sarastro tells Pamina her mother is waiting in despair and she herself will find happiness with Tamino.
The priest and the orator prepare Tamino and Papageno for their second test - separation. They order them to be silent, but the babbling Papageno cannot keep quiet and complains of thirst. As a punishment an old woman appears. She gives Papageno some water; she says she is eighteen years old and is in love with him. In horror Papageno throws water in the old womanґs face and she flees to the peal of thunder.
The Three Boys bring Tamino and Papageno food and give them their musical instruments. In silence Tamino takes the flute and Papageno starts to eat. Even when Pamina comes Tamino remains silent. Pamina tries to find out what has happened from Papageno, but he too remains silent. Stunned, the girl falls into despair and wants to kill herself.
However, the trials must continue no matter what. Papageno and Tamino have to go but Papageno cannot tear himself away from the food. Tamino tries to gain his attention by forceful means but in the end he abandons his attempts and leaves. The abandoned Papageno is surrounded by lions. Frightened to death he calls Tamino, who by playing the flute saves the luckless bird-catcher. Papageno from now on promises to listen to Taminoґs every word.
As a result of the trials Papageno finds himself imprisoned. He is lonely, afraid and hungry. He cries in despair. He tells the orator that he prefers earthly pleasures to heavenly ones. His wish is miraculously fulfilled and he is given a glass of wine. But Papageno is still not happy: he needs someone to love. Once again the old woman appears before Papageno. Marrying her is the only way to gain his freedom. Papageno agrees - and at that moment the old woman transforms into the beautiful young Papagena. Papageno rushes to her, but the orator stands between them and Papageno falls to the ground.
Pamina, having lost her faith in Taminoґs love, wishes to stab herself with the dagger given to her by her mother, but the Three Boys prevent her from destroying herself, convinced that Tamino loves her. They help her find her beloved and Pamina tells Tamino the secret behind the magic flute. They are left to face the trial of fire and water. Embracing each other, to the sounds of the magic flute Tamino and Pamina travel this arduous and dangerous path. Their trails are at an end.
Papageno, too, longs for his beloved, and in despair he thinks of killing himself. The Three Boys come to his aid. Taking their advice, he uses the magic bells to bring back Papagena. Both are happy.
Then the Queen of the Night and Monostatos, to whom she has promised her daughter, and the Three Ladies prepare to attack Sarastroґs temple and destroy it. But Sarastro discovers the plot and the Queen of the Night and her suite all disappear into darkness. Light, wisdom and love are triumphant.

Opera in five acts
Music by Mikhail Glinka
Libretto by Mikhail Glinka, Konstantin Bakhturin, Alexander Shakhovskoi, Valerian Shirkov, Mikhail Gedeonov, Nestor Kukolnik and Nikolai Markevich after the poem by Alexander Pushkin
Performed in Russian
The performance will have synchronised English supertitles
World Premiere: 27 November (9 December) 1842, Bolshoi Theatre, St Petersburg
Premiere of this production: 1994, Mariinsky Theatre, St Petersburg
Running time 4 hours 30 minutes
The Performance has three intermissions

Credits
Decorations are restored from the 1904 version of the performance by Alexander Golovin and Konstantin Korovin
Choreography by Michel Fokine, 1917 production
Stage Director: Lotfi Mansouri
Set Design: Thierry Bosquet
Lighting Designer: Vladimir Lukasevich
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva

SYNOPSIS

Act I
At the court of Svetozar, Prince of Kiev, celebrations are in progress before the marriage of his daughter, Lyudmila, to Ruslan, a warrior. The Bayan (a minstrel) sings of the trials in store for Ruslan, though he predicts the victory of true love. Nostalgically, Lyudmila bids farewell to her parentґs home, and consoles her unsuccessful suitors, the eastern prince Ratmir and the Varangian warrior Farlaf. Suddenly all darkens: when light is restored, Lyudmila has vanished. Svetozar promises her hand and half his kingdom to the one who rescues her.

Act II
In his cave, Finn, a good magician, reveals to Ruslan that Lyudmilaґs abductor is the dwarf Chernomor (whose strength lies in his enormously long beard) and warns Ruslan against the evil enchantress Naina. The scene changes to a deserted place where Naina instructs a very frightened Farlaf to wait at home; she will help him defeat Ruslan and gain Lyudmila. Finally on a deserted battle field Ruslan reaffirms his resolve, then defeats a gigantic head and draws a sword from beneath; the head explains he is Chernomorґs brother and one of his victims, and that the swordґs magic can defeat the dwarf.

Act III
In Nainaґs enchanted palace her maidens are directing their allure at a travel-weary Ratmir, to the distress of his slave, Gorislava, who loves him. Ruslan appears and is smitten with Gorislava, but Finn intervenes and breaks the seductive spell, uniting Ratmir and Gorislava and all set out to rescue Lyudmila.

Act IV
Confined in Chernomorґs enchanted garden, Lyudmila voices her despair and defiance, rejecting her captorґs blandishments. At Ruslanґs approach Chernomor casts a spell over her and goes out to fight with Ruslan. Chernomorґs followers observe the offstage encounter, in which Ruslan catches hold of Chernomorґs beard, then cuts it off. Triumphantly he returns onstage with it, but is in despair when he finds Lyudmila in an enchanted sleep. He decides to take her back to Kiev.

Act V
Ratmir sings of his love for Gorislava. Farlaf steals Lyudmila and speeds to Kiev. Meanwhile Finn gives Ratmir a magic ring that will waken Lyudmila. In Kiev Farlaf cannot rouse her but when Ruslan arrives with Ratmir he breaks the spell with the aid of the ring. General rejoicing.

Opera in five acts
Music by Sergei Prokofiev
Libretto by the composer, after the historical novel by Valery Briusov
Co-production with Covent Garden
Performed in Russian
The performance will have synchronised English supertitles
World premiere: 15 September 1955, La Fenice, Venice
Premiere at the Mariinsky Theatre: 29 December 1991, St Petersburg
Running time 2 hours 35 minutes
The performance has one interval

Credits
Musical Director: Valery Gergiev
Director: David Freeman
Set Designer: David Roger
Lighting Designers: Stiv Khitson, Vladimir Lukasevich
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Natalia Domskaja

Ballet in three acts
Music by Aram Khachaturian
Choreography by Leonid Yakobson
Libretto by Nikolai Volkov
Conductor Karen Durgaryan
Sets by Valentina Khodasevich
Revival Designers: Batozhan Dashitsyrenov & Sergei Grachev
Lighting Designer: Nikolai Naumov
Costume Designer: Irina Korovina
Coach: Vyacheslav Khomyakov

SYNOPSIS

Act I
The triumph of Rome
The Roman general Crassus is returning victorious from a battle in Thracia. The rejoicing crowd welcomes the legionnaires. Captive slaves are placed in Crassus golden chariot. Spartacus, his wife Phrygia and Harmodius are among them.
The Roman aristocrats, patricians and senators bow to the general. Crassus meets Aegina the courtesan.

The slave market
Lentulus Batiatus, the owner of a gladiatorial school, comes to the market. Spartacus and Harmodius, chained together, draw his attention. Lentulus Batiatus buys them both. Sad is the hour when Phrygia and Spartacus are separated.
Aegina is brought in on a richly decorated sedan. The courtesan examines the slaves and her gaze falls on Harmodius, but he has already been sold. Aegina buys Phrygia.

The circus
Excited at what is to come, the crowd awaits the start of the show. Crassus and Aeginas box is in the middle of the amphitheatre. The Gaul, Numidian and African fight in the first battle of the gladiators. The Gaul dies and the injured Numidian begs to be allowed to live, but the crowd demands his life. The corpses are carried off. Retiarius and Mirmillon - the "Fisherman" and the "Fish" begin to fight. Dying, Retiarius curses Rome. Then two detachments of gladiators enter: the Samnites and the Thracians. The frenzied battle comes to the boil. The detachment led by Spartacus is victorious. The crowd clap in delight.

Act II
Saturnalia
Spartacus appears, hiding from the night patrol. Phrygia tells of her live as a slave. Spartacus agrees on a secret meeting with his gladiator friends. Aegina observes this. Wanting to expose their secret, she beckons Harmodius to her.
The people are praising the god Saturn. Crassus is brought out of the palace. One of the slaves carrying the sedan stumbles. a libertine kills him at Crassu order. Spartacus calls on his comrades-in-arms to revolt. They swear their loyalty to the battle for freedom.

The Gladiators revolt
The gladiators languish in a gloomy prison. They are fettered in humiliating chains. Better death n the battlefield that in the circus for a crowd that want blood.
The chains are broken. But the guardhouse is already giving the alarm. The gladiators start fighting the guards.
Spartacus opens the gates and leads the rebels out.

ACT III
Spartacus camp
Spartacus warriors experience victory after victory. Now the Romans are lowering their banners to the leader of the rebel slaves. Aegina is in the rearguard of Spartacus forces, among the captive centurions and hetaerae. She looks for Harmodius brings him to the generals tent where the hetaerae are dancing.
Spartacus appears unexpectedly. To the dismay of the generals he orders the camp be cleared of the hetaerae immediately. But Aegina remains. Spartacus orders her too to go. Harmodius protests. a quarrel begins. The conflict grows. a group of captive generals and their detachments leave the camp. Attracted by Aegina, Harmodius leaves with them. Spartacus' faithful comrades-in-arms remain with him.

Crassus feast
A feast is underway at Crassus villa. Aegina tells Crassus that she has brought Harmodius, who has quarrelled with Spartacus, and she tells of the dissent among the rebel slaves. Crassus gives the order to destroy the camp of the in¬surgents who have left Spartacus. Phrygia sends a slave to Spartacus to warn him, but all is in vain.
At his feast, Crassus orders Harmodius be brought in. The purple curtains are flung open and Harmodius sees the gladiators who betrayed Spartacus, their bodies crucified. Harmodius realises Aegins treachery and tries to kill her, but the legionnaires stab the youth.
Crassus and Aegina vanish without trace. Spartacus warriors arrive at the villa.

Spartacus death
Phrygia is tormented by a premonition of disaster. Before the decisive battle she bids farewell to Spartacus. Surrounded by Crassus legions, Spartacus and his warriors perish in the cruel battle, true to their oath to freedom to the end. The retreat is sounded. The Roman warriors depart. At night Phrygia seeks out Spartacus body and mourns the fallen husband.

Opera in a three acts
Music by Leos Janacek
Libretto by the composer after Gabriela Preissovas play
Performed in Czech
Musical Director: Valery Gergiev
Stage Director: Vasily Barkhatov
Set Designer: Zinovy Margolin
Costume Designer: Maria Danilova
Lighting Designer: Gleb Filshtinsky
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Marina Mishuk
Conductor: Mikhail Agrest
World premiere: 21 January 1904, National Theatre, Brno
Premiere at the Mariinsky Theatre: 4 April 2007, Mariinsky Theatre, St Petersburg
The performance will have synchronised Russian supertitles
The performance has two intervals

SYNOPSIS

Act I
Jenufa, the stepdaughter of the sextoness, is sitting not far from the mill. She is waiting for her beloved, Steva. The young girl sends a prayer to God that the youth has not been conscripted into the army: she is pregnant with his child. The wedding must take place as soon as possible, and her stepmother must know nothing of her sinful plight.
Led by the drunken Steva, the village boys return from the town. Jenufas beloved has been saved from military conscription and he, bawling drunken songs, is breaching the peace and provoking all who are near him. Angered by the good-for-nothings behaviour, the sextoness resolves to delay the marriage to Jenufa by one year. The lad will obtain his girl only on condition that he ceases his dissolute life. Jenufa is in despair. Steva, sneering superciliously, promises to love his girl "with cheeks as rosy red as apples". Old Mrs Buryja, Stevas grandmother, calls on him to return home.
Laca, Stevas half-brother, tries to open the young girls eyes to her darlings wanton ways. Jenufa doesnt believe Laca and teases him... Seized with jealousy, the lad, who has felt an unrequited love for Jenufa, slashes his beloveds face with a knife. Then, insane with terror at what he has done, grievous and repentant, he runs away.

Act II
The sextoness peasant hut. Jenufa has given birth to a son. So that no-one in the village discovers what has happened, the girl has been kept locked up for six months.
The sextoness is administering a sleeping draught to Jenufa so that she can contemplate how to get rid of the child when the young girl is sleeping. Steva appears. The sextoness tries to convince him to marry the girl. But the lad declines to give a reply. He has become cold to the girl with whom he was in love until recently and, moreover, he has given his word to marry Karolka, the daughter of the village mayor. Without even looking at his child, he walks out.
Laca appears. He asks the sextoness for her stepdaughters hand in marriage. Fearful that the lad will change his decision, the sextoness resolves to commit a dreadful crime - to drown Jenufas child. Awaking, Jenufa learns from her stepmother that the infant has died during her illness. Grief-stricken by the death of her child and her beloveds treachery, the unhappy girl agrees to become wife to the devoted Laca.

Act III
The final preparations are underway at the peasant hut for Jenufas marriage to Laca. The village girls have gathered and are singing a merry song. The guests are all happy. Only the mistress of the house is saddened, troubled by her guilty conscience and unable to be at ease. Unexpectedly, there is a cry from outside on the street - a dead child has been found under the ice of the mill-pond. Jenufa recognises the child to be her own son from the swaddling clothes in which it is dressed. The enraged peasants are intent on stoning this evil mother to death - she is a child killer! No longer able to bear the strain of concealing the terrible truth, the sextoness admits to her crime. She is placed under arrest. The young Karolka, discovering that the childs father is Steva, turns her back on her fiance forever: now she knows how despicably low he really is.
The guests depart, only Laca remains with Jenufa. Truly sincere in his feelings and unwavering in his attachment, he will remain faithful to his beloved to the end of his days.