Opera in four acts
Music by Giuseppe Verdi
Libretto by Francesco Maria Piave based on the drama
Don Бlvaro, o La fuerza del sino by Бngel de Saavedra
Performed in Italian
The performance will have synchronised
Russian supertitles
World premiere: 22 November 1862, Imperial (Bolshoi) Theatre, St Petersburg
Premiere of this production: 7 July 1998, Mariinsky Theatre, St Petersburg
Running time: 4 hours
The performance has two intervals

Credits
Musical Director: Valery Gergiev
Stage Director: Elijah Moshinsky
Sets by Andreas Roller for the premiere in 1862
Set Reconstruction: Andrei Voitenko
Costume Designer: Peter J. Hall
Lighting Designer: Howard Harisson
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Alla Brosterman

SYNOPSIS

Act I
In the castle of the Marchese di Culatravu in Seville. The Marchese is bidding Leonora, his daughter, good night. After he departs, Leonora admits to Curra, her cliambermaid, that she has promised to elope with Alvaro that very night, only is now undecided. She knows that her father, the Marchese, will never give his consent to their marriage, for Alvaro is the sole survivor of a family of pro-lnca noblemen exterminated for struggling against the Spanish colonial overlords. Alvaro appears in the room, entering through the balcony. With great difficulty, he persuades Leonora to run away with him. They are interrupted by the appearance of her father, who is armed and accompanied by two servants. Alvaro is prepared to die at the hands of the outraged Marchese, but instead of killing him, the Marchese orders his servants to sei/e Alvaro. Forced to defend himself, Alvaro draws a pistol. Unable to use the gun against the father of the one he loves, however, he throws it to the ground. The pistol falls to the floor and discharges on im pact. The Marchese is mortally wounded and dies cursing his daughter. Leonora faints and Alvaro runs away.

Act II
Several months later. Leonora is disguised as a man, a muleteer's assistant. She finds herself in the village of llornachuelos, where peasant festivities are under way, and recognises one of the guests as her brother Carlo. Carlo is seeking to avenge the honour of his family under the guise of Pereda, a student in search of his sister and her lover. Pre/iosilla, a gypsy girl, tells the fortunes of those who are present and predicts imminent war with Austria. She calls on everyone to go to Italy and join the army. At the sight of Pereda, Prexiosilla casts doubts on his identity and foretells him a terrible fate. Leonora prays to be delivered from her brother's vengeful fury. Carlo tries but fails to learn from Trabuco,a muleteer,the identity of the silent companion who is staying away from the festivities. The elderly Alcalde suggests that the student reveal who he really is. Carlo is allusive and refers to himself as a friend of the Marchese's son. To Leonora's dismay, he tells the story of the killing of the Marehese di Calatrava and his son's thirst for revenge. Toward evening, the events continue near the Monastery of Our Lady of the Angels. Leonora is tired ajid still dressed as a man. She sings of her desperation and her hope of finding peace of mind in the monastery, where she intends to spend what is left of her life in penance for her sins. The Father Superior (Padre Guardiano) agrees to allow Leonora to remain in a nearby cave. He pronounces a general curse on anyone visiting the cave or speaking to the anchorite, who is only allowed to eat whatever he himself takes to feed her. As a last resort, the hermit may call for help by ringing a bell.

Act III
A Spanish army camp near Velletrijtaly. Several years have passed and Alvaro is serving in the Spanish army as a captain. Under the alias of Don Federico Herrero, he has won fame for his outstanding valour. Alvaro reflects on his misfortunes while thinking of Leonora, whose soul he assumes to be in heaven. The sound of a quarrel brings him running to the rescue of an unknown officer whose life is being threatened by gamblers. The officer is none other than Carlo, still on Alvaro's trail. Carlo introduces himself as Don Felice de Bornos. The two do not recognise each other and, in exchange for having saved his life,Carlo solemnly swears friendship to Alvaro.
The battle now flares up again. Alvaro is badly wounded and is rescued by his new friend. The surgeon who is about to extract the bullet is uncertain as to the outcome of the operation. To encourage his friend on the brink of death, Carlo promises to have him appointed a Knight of Calatrava. This name leads to an angry outburst from Alvaro. Alvaro entrusts Carlo with the key to his purse, where his friend will find a letter to be destroyed in the event of Alvaro's death.
Carlo is surprised and disturbed at his friend's angry reaction to the name of Calatrava. Resisting the urge to read the letter. Carlo opens the purse and finds a portrait of Leonora. Alvaro's identity is revealed. Carlo is glad that the operations has been successful, as his enemy is alive and he now has thechance of revenge.
A military camp near Velletri. The night watch passes by. Morning is approaching. The camp stirs. The soldiers are drinking and having fun gambling, among them the gypsy girl Preziosilla who forecasts success for all. Travelling salesmen offer their wares, beggars and their children plead for alms, the recruits bemoan their bitter fate and Fra Melitone threatens the sinners with God's wrath. All are united by Preziosilla's call to fight for their native land.
Alvaro makes a complete recovery and is amazed to learn that Carlo has challenged him to a duel. At this point, Alvaro learns that Leonora is still alive. When he hears that Carlo intends to kill his sister, he immediately takes up the challenge. Believing that he has killed his friend in the duel, Alvaro throws himself into battle, hoping to die.

Act IV
Some five years later, outside the Monastery of Our Lady of the Angels. Fra Melitone is distributing food to the poor. The beggars lament the absence of Padre Rafaello, who can no longer serve them due to the severity of his penitence and his troubled spirit. Carlo, who was left unconscious during the duel, appears and asks to speak to Padre Rafaello. Summoned by the gatekeeper, Padre Rafaello turns out to be none other than Alvaro. Carlo accuses Alvaro of cowardice and Alvaro is goaded into taking up arms again. They choose as the sight of their duel the spot right in front of the cave where Leonora is living in refuge. Carlo is mortally wounded in the duel. Seeking a confessor for the dying man, Alvaro decides to turn to the mystery hermit. Leonora rings the bell to obtain help from the monastery. She then recognizes Alvaro and the identity of his opponent. Leonora runs out to her dying brother, who stabs her when she tries to embrace him. The monks running in answer to the bell arrive to find Alvaro in the act of suicide, cursing all humanity.

Opera buffa in four acts
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte, after the comedy by Beaumarchais
Translated by Pyotr Ilyich Tchaikovsky
Production by Alexander Petrov
Performed in Russian
World premiere: 1 May 1786, Burgtheater, Vienna
Premiere of this production: 1 May 2009, Concert Hall of the Mariinsky Theatre, St Petersburg
Running time 3 hours 15 minutes
The Performance has one intermission

Credits
Musical Director: Valery Gergiev
Stage Director: Alexander Petrov
Set and Costume Designer: Elena Orlova
Lighting Designer: Yevgeny Ganzburg
Musical Preparation: Marina Mishuk
Principal Chorus Master: Andrei Petrenko
Choreographer: Alexander Lyubashin

SYNOPSIS

Act I
It is the wedding day of Figaro, Count Almavivaґs faithful servant. He is to marry the mischievous Susanna, personal maid to the Countess.
There is no doubt that the wedding will not pass without incident, because the Count is involved! Even the matter of his wedding gift to the young couple is not without its complications: they have been promised a room linking his apartments with those of the Countess. So convenient - if either of them is needed, they can be on the spot in a moment. Figaro is pleased, but Susanna... Susanna has her suspicions. After all, if the room is so convenient, it means the Count can get to her: Almaviva, she says, wishes to make use of the right to "the first night", the famous "droit de Seigneur" by which landlords may enjoy all the brides on their estates on their wedding night - before the husband may do so.
Figaro cannot believe his ears. After he married the beautiful Rosina, the Count promised to renounce this ancient right. But Figaro is not about to let himself be taken for a ride. Heґs a good servant, but he is not prepared to stand by and be ridden over roughshod.
The marriage is opposed by the ageing duenna Marcellina and her former admirer, Doctor Bartolo. Bartolo can never forget how the cunning Barber of Seville-as Figaro was known at that time-made a fool of him when bringing together Almaviva and Rosina. Now the vengeful old man wishes to get his own back. Marcellina, meanwhile, lent Figaro money in return for a written promise to marry her if he did not repay it. Bartolo hopes to do his worst against the hated Figaro by forcing him to marry Marcellina, even though the duenna still has the power to arouse feelings in him.
Susanna, meanwhile, listens as the young page Cherubino tells of his love for the Countess. But not for her alone. The youth is in love with all the women in the castle and keeps finding himself in all sorts of unfortunate situations. Just recently, the Count found him alone with Barbarina, the young the niece of the gardener Antonio, and gave orders that the boy be expelled from the castle. Only the intervention of the Countess can soothe Almavivaґs anger and Cherubino asks Susanna to put in a good word for him with her mistress. But the Count himself appears at this moment. Hearing his approach, Cherubino hides in fright and thus involuntarily becomes a witness as Almaviva begs of Susanna a meeting. But his Grace too is forced to follow the pageґs example, for in comes the music master, don Basilio, and the Count has no desire to be caught alone with Susanna. He too hides. Don Basilio relates the story of Cherubinoґs love for the Countess and, beside himself; the Count leaps form his hiding place. His anger grows when he sees Cherubino.
Things are not going well for the page, but Susanna comes to his aid. Hinting that Cherubino has witnessed the Countґs outpourings. The girl manages to calm her masterґs anger. Almavivaґs embarrassment increases when he is forced to listen to the assembled peasants who have come to thank their Lord for renouncing his "droit de Seigneur". It is Figaro who has brought them to the castle in an effort to push forward his wedding to Susanna. Almaviva is forced to agree to the wedding and agrees to be a guest at the celebrations. Taking advantage of the Countґs confusion, Cherubino manages to gain his pardon, but only on condition that he join the army immediately. Figaro sets out before the pampered page all the "horrors" of military service.

Act II
The Countessґs Room
Susanna, the Countess and Figaro have decided to teach the Count a lesson. Susanna is to promise him a rendezvous but Cherubino will appear in her place, wearing her dress. Cherubino has the dress on when Almaviva is heard and the page is forced to hide in the neighboring room. But the Count notices that the door of the room is locked. He demands that the Countess give him the key, and when she refuses to give it to him, he goes off to get tools to break the door down, insisting that the Countess accompany him. Susanna immediately takes Cherubinoґs place in the room, the page jumping from the window. The Count returns triumphant - now he can prove that his wife has been unfaithful. The door is broken open and Susanna emerges from the room. Covered in shame. Almaviva is forced to beg his wifeґs pardon. But then the gardener Antonio unexpectedly appears with a broken flowerpot - someone just jumped from the window, he says, and damaged his flowers. Figaro comes to the rescue of the Countess and Susanna, declaring that it was he, again forcing the Count to apologize. Enter Bartolo, Don Basilio and Marcellina, come to lodge the old duennaґs claim for breach of promise. Figaro has no money to pay his debt - and he is to answer before a court.

Act III
A room in the castle
The court (in the person of Count) has made its decision in favor of Marcellina. Figaro is saved, however, when it becomes clear that he is in fact the son of Marcellina and Bartolo, who was stolen as a baby. The joyful parents decide to celebrate their wedding along with that of their newly found son.
During the wedding celebrations Figaro notices that the Count is reading a note. In it Susanna has appointed a meeting with the Count. She has agreed to change dresses with the Countess, and so the woman who will meet the Count in his garden that night will in fact be his wife. The note is sealed with a pin. If the Count agrees to be in the appointed place at the appointed time, he must return the pin to Susanna. Figaro, unaware of his wifeґs plot, becomes suspicious and decides to follow the Countґs movements.

Act IV
The garden of Almavivaґs castle
In the moonlight, Barbarina is looking for a pin she has lost in the grass. In answer to Figaroґs question as to what she is doing, she answers that the Count has ordered her to deliver the pin to Susanna. Taken aback at his brideґs lack of faith, Figaro decides to lie in wait for the Count and Susanna. Susanna appears in the Countessґs dress - which leads to a multitude of misunderstandings. But all comes right in the end. The Count begs his wifeґs forgiveness and the Countess grants it.
A day of commotion and confusion draws to a close in merry celebrations.

Opera in four acts, nine scenes
Music by Dmitry Shostakovich (1932 version)
Libretto by Alexander Preis and the composer
after the short story by Nikolai Leskov
Premiere of this production: 21 June 1996
Performed in Russian, the performance will have synchronis English supertitles
Performance running time: 3 hours 55 minutes
The performance has two intevalsed