Esmeralda (Ballet by Cesare Pugni) - Bolshoi Theatre

Ballet in three acts.
Libretto by Jules Perrot after Victor Hugo
Choreography by Marius Petipa
Staging and new choreographic version: Yuri Burlaka,
Vasily Medvedev
Conductor: Pavel Klinichev
Designer: Alyona Pikalova
Costume Designer: Yelena Zaytseva
Lighting Designer: Damir Ismagilov
Premiered on December 25, 2009.
Presented with two intervals.

SYNOPSIS

The action takes place in Paris, at the end of the 15th century

Act I
Scene 1
The Cour des Miracles
A Small Square
Sunset. Tradesmen, members of the bourgeoisie and the common folk make haste to leave the market square which, as darkness falls, turns into the Cour des Miracles - a kingdom of tramps, gypsies and beggars. Gringoire, who has ended up here by force of circumstance, falls into the hands of thieves. Not finding any money on the impoverished poet, the tramps sentence him to death. However, according to their law, a victim's life will be saved if a woman agrees to marry him. No one though wants to, and Gringoire is to be hanged. At this moment, the charming Esmeralda arrives. Learning what is up, she immediately consents to save the unhappy man, by becoming his wife. Gringoire is in his seventh heaven. They are wedded for four years, the number of shards from the jug Gringoire has broken in accordance with the custom of the tramps, and general merrymaking starts.
The cunning archdeacon Claude Frollo, who burns with desire for Esmeralda, incites Clopin to abduct her and orders the hunchback Quasimodo to take part in the operation. The villains are stopped by a patrol. Captain Phoebus orders the arrest of Quasimodo and that assistance be given to the beautiful Gypsy-girl. Esmeralda is charmed by his nobility and good-looks and profoundly grateful to him. Phoebus gives her his scarf as a memento. He frees Quasimodo at the request of the kind-hearted girl and tries to flirt with her, but Esmeralda slips away.

Scene 2
The Newlyweds
Esmeralda's chamber
A pensive Esmeralda admires the scarf Phoebus has given her. Picking out the letters of the alphabet which form his name, she dances before this word which is dear to her heart. Enter Gringoire; he tries to embrace her, asserting his rights as husband, but Esmeralda tells him that she only wished to save him from death, and that she will never be his wife. The unhappy 'husband' accepts his fate and agrees to partner her in the dances which she starts teaching him. Esmeralda shows Gringoire to his chamber and remains alone.
She dreams of Phoeoebus. Upstage a door slowly opens, and the sinister figure of Claude Frollo appears. A horrified Esmeralda orders Frollo to leave but, throwing himself on his knees, he begs her to accept his passionate love. Esmeralda scornfully rejects him and, pointing to the name of Phoeoebus, says: "Here is the man whom I love!". Undeterred, Frollo continues to make advances and Esmeralda pulls out a dagger. Quasimodo stays the Gypsy-girl's hand but, mindful of the kindness she has shown him, he helps her to escape. "Woe to you and a curse on him!", Frollo threatens and he picks up the dagger dropped by Esmeralda.

Act II
Scene 3
Fleur-de-Lys
A splendid mansion, brightly illuminated for the celebration
Preparations are underway for the betrothal of Phoeoebus and Fleur-de-Lys. Fleur-de-Lys's companions gather flowers into garlands and do their embroidery. Enter Phoebus. He is oblivious to everything, the memory of his meeting with Esmeralda gives him no peace. Noticing he is not wearing the scarf she gave him, Fleur-de-Lys is about to reproach Phoebus when he presents her with a ring, and her suspicions vanish. She shows her ring to her mother. Aloise de Gondelaurier announces that she too has prepared a present to mark the happy occasion and gives a sign that the allegorical ballet, Diane and Acteon, should start.
Enter Esmeralda, accompanied by Gringoire and her friends. She tells Fleur-de-Lys's fortune, and then dances for the guests who admire her gracefulness. At the height of the festivities, when all the Gypsy-girls start dancing, Esmeralda catches sight of Phoebus and realizes he must be Fleur-de-Lys' betrothed. Devasted, she decides to leave and puts on the scarf. Seeing her present on the Gypsy-girl, Fleur-de-Lys is unable to restrain her tears and flings Phoebus's ring on the ground. General confusion. Esmeralda leaves and Phoebus hurries after her - the person to whom his heart belongs.

Act III
Scene 4
Love and Jealousy
A chamber in an inn
Clopin leads in Claude Frollo and shows him a hiding place, from which he will be able to observe the meeting between Esmeralda and Phoebus. Unable to stand the lovers' sweet nothings and kisses, Frollo throws himself at his rival, Esmeralda's dagger in his hand. Phoebus falls lifeless to the ground.
A crowd gathers and Frollo, not showing any agitation, mixes with it. He informs the judge that the dagger belongs to Esmeralda and the judge accuses her of murder. Esmeralda protests, swearing her innocence. "I will save you, if you will be mine", Claude Frollo whispers to the desperate girl, but the latter indignantly pushes him aside. The judge breaks his staff over Esmeralda's head and throws a veil over her, which signifies the death sentence. Frollo is triumphant.

Scene 5
The Festival of Fools
Square. To the right is the prison. Upstage is the Cathedral of Notre-Dame
A procession appears headed by Claude Frollo - they are taking Esmeralda to prison. A curious crowd follows them, they are all eager to know what will happen next. A panic-stricken Gringoire runs in. Falling over by the prison window, he sees with horror that the unhappy girl is being tortured.
The square is invaded by a crowd of beggars and tramps who are celebrating the Festival of Fools. Having been elected their king for one day Quasimodo, dressed in royal robes, holds court on a stretcher. An indignant Frollo, tears off Quasimodo's blasphemous attire.
Esmeralda is brought out of prison and led to execution. She bids farewell to everyone and asks Gringoire to bury her with Phoebus' scarf. Claude Frollo again offers to save her in exchange for her love. "May God be your judge", is Esmeralda's answer to him. She is ready to die and prays zealously. At this moment, Phoebus appears, who has recovered from his wounds. He reveals the real culprit to an astonished crowd - it was Claude Frollo who had tried to kill him, and the condemned Esmeralda is innocent. Esmeralda throws herself into the arms of her lover. The enraged archdeacon whips out the dagger - but Quasimodo, forcing it from his hand, makes short work of him by throwing him off the bridge. Esmeralda and Phoebus agree to be true to each other for evermore.

 

Esmeralda (Ballet by Cesare Pugni) - Bolshoi Theatre

Ballet in three acts.
Libretto by Jules Perrot after Victor Hugo
Choreography by Marius Petipa
Staging and new choreographic version: Yuri Burlaka,
Vasily Medvedev
Conductor: Pavel Klinichev
Designer: Alyona Pikalova
Costume Designer: Yelena Zaytseva
Lighting Designer: Damir Ismagilov
Premiered on December 25, 2009.
Presented with two intervals.

SYNOPSIS

The action takes place in Paris, at the end of the 15th century

Act I
Scene 1
The Cour des Miracles
A Small Square
Sunset. Tradesmen, members of the bourgeoisie and the common folk make haste to leave the market square which, as darkness falls, turns into the Cour des Miracles - a kingdom of tramps, gypsies and beggars. Gringoire, who has ended up here by force of circumstance, falls into the hands of thieves. Not finding any money on the impoverished poet, the tramps sentence him to death. However, according to their law, a victim's life will be saved if a woman agrees to marry him. No one though wants to, and Gringoire is to be hanged. At this moment, the charming Esmeralda arrives. Learning what is up, she immediately consents to save the unhappy man, by becoming his wife. Gringoire is in his seventh heaven. They are wedded for four years, the number of shards from the jug Gringoire has broken in accordance with the custom of the tramps, and general merrymaking starts.
The cunning archdeacon Claude Frollo, who burns with desire for Esmeralda, incites Clopin to abduct her and orders the hunchback Quasimodo to take part in the operation. The villains are stopped by a patrol. Captain Phoebus orders the arrest of Quasimodo and that assistance be given to the beautiful Gypsy-girl. Esmeralda is charmed by his nobility and good-looks and profoundly grateful to him. Phoebus gives her his scarf as a memento. He frees Quasimodo at the request of the kind-hearted girl and tries to flirt with her, but Esmeralda slips away.

Scene 2
The Newlyweds
Esmeralda's chamber
A pensive Esmeralda admires the scarf Phoebus has given her. Picking out the letters of the alphabet which form his name, she dances before this word which is dear to her heart. Enter Gringoire; he tries to embrace her, asserting his rights as husband, but Esmeralda tells him that she only wished to save him from death, and that she will never be his wife. The unhappy 'husband' accepts his fate and agrees to partner her in the dances which she starts teaching him. Esmeralda shows Gringoire to his chamber and remains alone.
She dreams of Phoeoebus. Upstage a door slowly opens, and the sinister figure of Claude Frollo appears. A horrified Esmeralda orders Frollo to leave but, throwing himself on his knees, he begs her to accept his passionate love. Esmeralda scornfully rejects him and, pointing to the name of Phoeoebus, says: "Here is the man whom I love!". Undeterred, Frollo continues to make advances and Esmeralda pulls out a dagger. Quasimodo stays the Gypsy-girl's hand but, mindful of the kindness she has shown him, he helps her to escape. "Woe to you and a curse on him!", Frollo threatens and he picks up the dagger dropped by Esmeralda.

Act II
Scene 3
Fleur-de-Lys
A splendid mansion, brightly illuminated for the celebration
Preparations are underway for the betrothal of Phoeoebus and Fleur-de-Lys. Fleur-de-Lys's companions gather flowers into garlands and do their embroidery. Enter Phoebus. He is oblivious to everything, the memory of his meeting with Esmeralda gives him no peace. Noticing he is not wearing the scarf she gave him, Fleur-de-Lys is about to reproach Phoebus when he presents her with a ring, and her suspicions vanish. She shows her ring to her mother. Aloise de Gondelaurier announces that she too has prepared a present to mark the happy occasion and gives a sign that the allegorical ballet, Diane and Acteon, should start.
Enter Esmeralda, accompanied by Gringoire and her friends. She tells Fleur-de-Lys's fortune, and then dances for the guests who admire her gracefulness. At the height of the festivities, when all the Gypsy-girls start dancing, Esmeralda catches sight of Phoebus and realizes he must be Fleur-de-Lys' betrothed. Devasted, she decides to leave and puts on the scarf. Seeing her present on the Gypsy-girl, Fleur-de-Lys is unable to restrain her tears and flings Phoebus's ring on the ground. General confusion. Esmeralda leaves and Phoebus hurries after her - the person to whom his heart belongs.

Act III
Scene 4
Love and Jealousy
A chamber in an inn
Clopin leads in Claude Frollo and shows him a hiding place, from which he will be able to observe the meeting between Esmeralda and Phoebus. Unable to stand the lovers' sweet nothings and kisses, Frollo throws himself at his rival, Esmeralda's dagger in his hand. Phoebus falls lifeless to the ground.
A crowd gathers and Frollo, not showing any agitation, mixes with it. He informs the judge that the dagger belongs to Esmeralda and the judge accuses her of murder. Esmeralda protests, swearing her innocence. "I will save you, if you will be mine", Claude Frollo whispers to the desperate girl, but the latter indignantly pushes him aside. The judge breaks his staff over Esmeralda's head and throws a veil over her, which signifies the death sentence. Frollo is triumphant.

Scene 5
The Festival of Fools
Square. To the right is the prison. Upstage is the Cathedral of Notre-Dame
A procession appears headed by Claude Frollo - they are taking Esmeralda to prison. A curious crowd follows them, they are all eager to know what will happen next. A panic-stricken Gringoire runs in. Falling over by the prison window, he sees with horror that the unhappy girl is being tortured.
The square is invaded by a crowd of beggars and tramps who are celebrating the Festival of Fools. Having been elected their king for one day Quasimodo, dressed in royal robes, holds court on a stretcher. An indignant Frollo, tears off Quasimodo's blasphemous attire.
Esmeralda is brought out of prison and led to execution. She bids farewell to everyone and asks Gringoire to bury her with Phoebus' scarf. Claude Frollo again offers to save her in exchange for her love. "May God be your judge", is Esmeralda's answer to him. She is ready to die and prays zealously. At this moment, Phoebus appears, who has recovered from his wounds. He reveals the real culprit to an astonished crowd - it was Claude Frollo who had tried to kill him, and the condemned Esmeralda is innocent. Esmeralda throws herself into the arms of her lover. The enraged archdeacon whips out the dagger - but Quasimodo, forcing it from his hand, makes short work of him by throwing him off the bridge. Esmeralda and Phoebus agree to be true to each other for evermore.

 

Les Presages. La Dame de Pique (One act ballets by Pyotr Tchaikovsky) - Bolshoi Theatre

Les Presages
Ballet in one act
Choreography: Leonide Massine
Designer: Igor Chapurin
Crystals by Swarovsky
Choreographer: Lorca Massine
Music Director: Alexander Titov
Assistants Choreographer: Cameron Basden, Anna Krzyskow
Premiered on April 14, 2005.
(The world premiere took place on April 13, 1933, at Opera de Monte Carlo. The ballet was staged for Rene Blum and Colonel de Basil Ballets Russes de Monte Carlo.)
Running time: 45 minutes.

La Dame de Pique
Ballet in one act by Roland Petit
to music by Pyotr Tchaikovsky (Sixth symphony), musical version by Roland Petit
Libretto by Roland Petit after the story of the same name by Alexander Pushkin
Choreographer: Roland Petit
Set Designer: Jean-Michel Vilmotte
Costume Designer: Luise Spinatelli
Music Director: Vladimir Andropov
Lighting Designer: Marion Hewlett
Make up Designer: Alexander Shevchuk
The world premiere took place at the Bolshoi Theatre on October 26, 2001.
Running time: 50 minutes.

SYNOPSIS

Scene 1
Prologue
Hermann is obsessed with his thoughts of the game. To him, it seems the cards of all suits gather around him and come to him from the gaming table. He, himself, is not playing, but is watching the game.
The ghost appears - an elderly woman in black. She lays down one card, then another, then a third. Bank notes flow to the stage. She wins and disappears without taking the winnings.
Hermann remains alone. At his feet are the winning cards - white, without the signs of the suit.

Scene 2
Gambling Hall
Hermann is in the gambling hall. Trying not to miss a thing, he watches the gamblers.

Scene 3
Ballroom
The gamblers join the others dancing at the ball.
Hermann seems indifferent walking about the ballroom. He wants to learn how to win at cards in order to provide for his future.
The Countess appears. Strangely enough, she reminds Hermann of the ghost of the elderly woman that he saw earlier in the gambling hall. She is followed by a young lady - her ward, Liza. Everybody talks about the Countess and greets her. Hermann also tries to get closer to her. He is aware that she knows the secret of the "lucky" cards.
Hermann envisions himself talking to the Countess. Everyone leaves; the Countess follows her young escort. Hermann watches them depart. It seems to the girl that he has fallen in love with her.
She comes back to collect the handbag she left behind. Hermann talks to her, and asks for a secret date, and she gives him a key to her room.

Scene 4
The Countess' room
Hermann sneaks into the Countess' house and finds himself in her room. She comes enters, accompanied by her maids and her ward. She takes off her jewelry, dress, corset and wig. She changes her clothes behind the screen, returns and sends her maids away.
Hermann, who has been waiting for the Countess to be alone, emerges from his cover. He wants to know "the secret of the three cards". The Countess remains speechless, but Hermann insists, he even tries to embrace her - he would "become her lover, should it be necessary", as Pushkin wrote. Finally, he threatens her with a pistol. The Countess drops dead from fear, Hermann runs away. Liza comes. The Countess is dead at her feet.

Scene 5
Hermann's room
Back in his room, Hermann gives way to despair. He failed to find out the secret of the three cards and his life is forever ruined. He holds the pistol, which was the reason for the Countess' death...
But suddenly, she - or her ghost - appears and tells Hermann about the three winning cards: three, seven and queen - hearts, diamonds, clubs, but for the queen of spades. Hermann throws on his coat and runs out.

Scene 6
Big gambling hall
"The Big game" is in full swing. Hermann comes and joins the others in the game... A three wins, a seven wins... but a queen is up - he grows pale - the Queen of Spades. All is over. Hermann falls dead at the old Countess' feet.

 

Les Presages. La Dame de Pique (One act ballets by Pyotr Tchaikovsky) - Bolshoi Theatre

Les Presages
Ballet in one act
Choreography: Leonide Massine
Designer: Igor Chapurin
Crystals by Swarovsky
Choreographer: Lorca Massine
Music Director: Alexander Titov
Assistants Choreographer: Cameron Basden, Anna Krzyskow
Premiered on April 14, 2005.
(The world premiere took place on April 13, 1933, at Opera de Monte Carlo. The ballet was staged for Rene Blum and Colonel de Basil Ballets Russes de Monte Carlo.)
Running time: 45 minutes.

La Dame de Pique
Ballet in one act by Roland Petit
to music by Pyotr Tchaikovsky (Sixth symphony), musical version by Roland Petit
Libretto by Roland Petit after the story of the same name by Alexander Pushkin
Choreographer: Roland Petit
Set Designer: Jean-Michel Vilmotte
Costume Designer: Luise Spinatelli
Music Director: Vladimir Andropov
Lighting Designer: Marion Hewlett
Make up Designer: Alexander Shevchuk
The world premiere took place at the Bolshoi Theatre on October 26, 2001.
Running time: 50 minutes.

SYNOPSIS

Scene 1
Prologue
Hermann is obsessed with his thoughts of the game. To him, it seems the cards of all suits gather around him and come to him from the gaming table. He, himself, is not playing, but is watching the game.
The ghost appears - an elderly woman in black. She lays down one card, then another, then a third. Bank notes flow to the stage. She wins and disappears without taking the winnings.
Hermann remains alone. At his feet are the winning cards - white, without the signs of the suit.

Scene 2
Gambling Hall
Hermann is in the gambling hall. Trying not to miss a thing, he watches the gamblers.

Scene 3
Ballroom
The gamblers join the others dancing at the ball.
Hermann seems indifferent walking about the ballroom. He wants to learn how to win at cards in order to provide for his future.
The Countess appears. Strangely enough, she reminds Hermann of the ghost of the elderly woman that he saw earlier in the gambling hall. She is followed by a young lady - her ward, Liza. Everybody talks about the Countess and greets her. Hermann also tries to get closer to her. He is aware that she knows the secret of the "lucky" cards.
Hermann envisions himself talking to the Countess. Everyone leaves; the Countess follows her young escort. Hermann watches them depart. It seems to the girl that he has fallen in love with her.
She comes back to collect the handbag she left behind. Hermann talks to her, and asks for a secret date, and she gives him a key to her room.

Scene 4
The Countess' room
Hermann sneaks into the Countess' house and finds himself in her room. She comes enters, accompanied by her maids and her ward. She takes off her jewelry, dress, corset and wig. She changes her clothes behind the screen, returns and sends her maids away.
Hermann, who has been waiting for the Countess to be alone, emerges from his cover. He wants to know "the secret of the three cards". The Countess remains speechless, but Hermann insists, he even tries to embrace her - he would "become her lover, should it be necessary", as Pushkin wrote. Finally, he threatens her with a pistol. The Countess drops dead from fear, Hermann runs away. Liza comes. The Countess is dead at her feet.

Scene 5
Hermann's room
Back in his room, Hermann gives way to despair. He failed to find out the secret of the three cards and his life is forever ruined. He holds the pistol, which was the reason for the Countess' death...
But suddenly, she - or her ghost - appears and tells Hermann about the three winning cards: three, seven and queen - hearts, diamonds, clubs, but for the queen of spades. Hermann throws on his coat and runs out.

Scene 6
Big gambling hall
"The Big game" is in full swing. Hermann comes and joins the others in the game... A three wins, a seven wins... but a queen is up - he grows pale - the Queen of Spades. All is over. Hermann falls dead at the old Countess' feet.

 

La Fille mal Gardee (Ballet by Peter Ludwig Hertel) - Bolshoi Theatre

Ballet in two acts.
Libretto by Jean Dauberval
Choreographer: Yuri Grigorovich
Scenes in choreography by Jean Dauberval, Jules Perrot,
Marius Petipa, Alexander Gorsky used
Sets and Costumes: Jean Pierre Cassigneul (France)
Music Director: Igor Dronov
Lighting Designer: Mikhail Sokolov
Assistant choreographer: Andrei Melanin
Extracts from music by Riccardo Drigo, Louis Herold,
Cesare Pugni, Georges Bizet used.
Scenery reconstruction supervised by Mikhail Sapozhnikov.
Premiered on November 6, 2009.

SYNOPSIS

Act I
Scene 1
Early morning. Colas, a young peasant, turns up by the home of the rich farmer Marcelina. He is in love with Lise, Marcelina's niece, and wants to see her. But this is not so easy! Even when she hires peasants to help with the harvesting, Marcelina does not allow Lise to go off with them to the fields, but finds her a job to do in the yard. It is therefore not surprising that the first rendez-vous between the two lovers is at the oil-press. But again Marcelina appears on the scene and chases off the unwanted suitor. But here is an eligible bridegroom - Nikez. Though he is simpleminded, his father - Michaud is very well-off, and Marcelina persuades Lise to come and be introduced to her rich guests. The only hurdle in the way of the match is Colas.

Scene 2
Harvest-time. Though busy with the harvesting, Marcelina continues to dream of a match between Lise and Nikez, for all the latter's dumbwitted escapades. But the betrothal ceremony, in the form of a game with ribbons, again ends in favor of Lise and Colas.
...The dancing is brought to an end by a storm. All run off to take shelter from the rain.

Act II
Scene 3
The storm has blown over. Marcelina and Lise return home and sit down at their spinning-wheels. Peasants deliver the hay sheaves they have managed to save from the rain. Marcelina goes off with them, leaving Lise locked up indoors. Lise dreams of her beloved. Suddenly she notices Colas who, unbeknown to her, has hidden himself in the room. An indignant Lise tells him to leave. But, the door is locked and Colas is trapped inside. Lise soon gets over her anger and, as a sign of reconciliation, she and Colas exchange kerchiefs. Hearing a noise at the door, a panic-stricken Lise hides Colas in the larder. Marcelina comes in and, noticing the new kerchief round Lise's neck, locks her into the larder as punishment, never suspecting that Colas is in there too.
...Enter Michaud, already quite at home. He is followed by a notary for the signing of the wedding contract and even by a brass orchestra, hired for the occasion. Making no effort to conceal her joy, Marcelina hands Nikez the key to the larder. The door opens and... out come a bashful Lise and Colas. Michaud is mortally off ended. The wedding contract is torn up. The lovers fall at Marcelina's feet who has no option but to give them her blessing.

 

Tosca (Opera by Giacomo Puccini) - Bolshoi Theatre

Opera in three acts
Libretto by Giuseppe Giacosa and Luigi Illica based on Victorien Sardou's play of the same name
Music Director: Mark Ermler
Stage Director: Boris Pokrovsky
Designer: Valery Levental

SYNOPSIS

Act I
Cesare Angelotti, an escaped political prisoner, runs into the church of Sant'Andrea della Valle to hide in the Attavanti family chapel. At the sound of the Angelus, the Sacristan enters to pray. He is interrupted by Mario Cavaradossi, who has come to work on his portrait of Mary Magdalene - inspired by the Marchesa Attavanti, Angelotti's sister. Mario contrasts the beauty of the blond Marchesa with that of the woman he loves, the raven-haired singer Floria Tosca ("Recondita armonia").
Angelotti ventures out and is recognized by Mario, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. She jealously questions Mario, then prays and reminds him of their rendezvous that evening ("Non la sospiri la nostra casetta"). Recognizing the Marchesa's likeness in the painting, she explodes with renewed suspicions, but he reassures her ("Qual'occhio al mondo"). When she has left, Mario summons Angelotti as a cannon signals that the police have discovered the escape; the two flee to Mario's villa.
Napoleon's army is supposed to have suffered defeat, and the Sacristan returns with choirboys who are about to sing a Te Deum. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca comes back looking for Mario, she encounters Scarpia, who shows her the Attavanti crest on a fan he has just found. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves as the church resounds with the Te Deum. Scarpia has the diva trailed, scheming to get her in his power ("Va, Tosca!").

Act II
In the Farnese Palace, Scarpia anticipates the pleasure of bending Tosca to his will ("Ha piu forte sapore").
The spy Spoletta arrives, not having found Angelotti; to placate the baron, he brings in Mario, who is interrogated while Tosca is heard singing at a royal gala downstairs. She enters as her lover is being taken to an adjoining room for torture. Unnerved by Scarpia's questioning and Mario's screams, she reveals Angelotti's hiding place.
Mario is carried in; realizing what has happened, he rages at Tosca, but the gendarme Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia's side. Mario shouts his defiance ("Vittoria!").
Tosca yields to Scarpia in exchange for her lover's life. Fighting him off, she protest her fate to God, having dedicated her life to art and love ("Vissi d'arte").
Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, forced to decide, agrees to Scarpia's proposition. The baron pretends to order a mock execution for the prisoner, after which he is to be free. Spoletta leaves.
Scarpia prepares a document of safe-conduct for the lovers. When he embraces her, Tosca stabs him with a knife, wrenches the document from his fingers and, placing candles at his head and a crucifix on his chest slips quietly out.

Act III
The voice of a shepherd is heard as church bells toll the dawn. Mario is led to the roof of Castel Sant'Angelo prison to await execution; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair ("E lucevan le stele").
Suddenly Tosca runs in, filled with the story of her recent adventure. Mario caresses the hands that committed the murder for his sake ("O dolci mani"), and the two hail the future.
As the firing squad appears, the diva coaches Mario on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Mario to hurry, but when he fails to move, she discovers that Scarpia's treachery has transcended the grave: the bullets were real.
Spoletta rushes in to arrest Tosca. She climbs the battlements and, crying that she will meet Scarpia before God, leaps to her death.

 

La Fille mal Gardee (Ballet by Peter Ludwig Hertel) - Bolshoi Theatre

Ballet in two acts.
Libretto by Jean Dauberval
Choreographer: Yuri Grigorovich
Scenes in choreography by Jean Dauberval, Jules Perrot,
Marius Petipa, Alexander Gorsky used
Sets and Costumes: Jean Pierre Cassigneul (France)
Music Director: Igor Dronov
Lighting Designer: Mikhail Sokolov
Assistant choreographer: Andrei Melanin
Extracts from music by Riccardo Drigo, Louis Herold,
Cesare Pugni, Georges Bizet used.
Scenery reconstruction supervised by Mikhail Sapozhnikov.
Premiered on November 6, 2009.

SYNOPSIS

Act I
Scene 1
Early morning. Colas, a young peasant, turns up by the home of the rich farmer Marcelina. He is in love with Lise, Marcelina's niece, and wants to see her. But this is not so easy! Even when she hires peasants to help with the harvesting, Marcelina does not allow Lise to go off with them to the fields, but finds her a job to do in the yard. It is therefore not surprising that the first rendez-vous between the two lovers is at the oil-press. But again Marcelina appears on the scene and chases off the unwanted suitor. But here is an eligible bridegroom - Nikez. Though he is simpleminded, his father - Michaud is very well-off, and Marcelina persuades Lise to come and be introduced to her rich guests. The only hurdle in the way of the match is Colas.

Scene 2
Harvest-time. Though busy with the harvesting, Marcelina continues to dream of a match between Lise and Nikez, for all the latter's dumbwitted escapades. But the betrothal ceremony, in the form of a game with ribbons, again ends in favor of Lise and Colas.
...The dancing is brought to an end by a storm. All run off to take shelter from the rain.

Act II
Scene 3
The storm has blown over. Marcelina and Lise return home and sit down at their spinning-wheels. Peasants deliver the hay sheaves they have managed to save from the rain. Marcelina goes off with them, leaving Lise locked up indoors. Lise dreams of her beloved. Suddenly she notices Colas who, unbeknown to her, has hidden himself in the room. An indignant Lise tells him to leave. But, the door is locked and Colas is trapped inside. Lise soon gets over her anger and, as a sign of reconciliation, she and Colas exchange kerchiefs. Hearing a noise at the door, a panic-stricken Lise hides Colas in the larder. Marcelina comes in and, noticing the new kerchief round Lise's neck, locks her into the larder as punishment, never suspecting that Colas is in there too.
...Enter Michaud, already quite at home. He is followed by a notary for the signing of the wedding contract and even by a brass orchestra, hired for the occasion. Making no effort to conceal her joy, Marcelina hands Nikez the key to the larder. The door opens and... out come a bashful Lise and Colas. Michaud is mortally off ended. The wedding contract is torn up. The lovers fall at Marcelina's feet who has no option but to give them her blessing.

 

Tosca (Opera by Giacomo Puccini) - Bolshoi Theatre

Opera in three acts
Libretto by Giuseppe Giacosa and Luigi Illica based on Victorien Sardou's play of the same name
Music Director: Mark Ermler
Stage Director: Boris Pokrovsky
Designer: Valery Levental

SYNOPSIS

Act I
Cesare Angelotti, an escaped political prisoner, runs into the church of Sant'Andrea della Valle to hide in the Attavanti family chapel. At the sound of the Angelus, the Sacristan enters to pray. He is interrupted by Mario Cavaradossi, who has come to work on his portrait of Mary Magdalene - inspired by the Marchesa Attavanti, Angelotti's sister. Mario contrasts the beauty of the blond Marchesa with that of the woman he loves, the raven-haired singer Floria Tosca ("Recondita armonia").
Angelotti ventures out and is recognized by Mario, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. She jealously questions Mario, then prays and reminds him of their rendezvous that evening ("Non la sospiri la nostra casetta"). Recognizing the Marchesa's likeness in the painting, she explodes with renewed suspicions, but he reassures her ("Qual'occhio al mondo"). When she has left, Mario summons Angelotti as a cannon signals that the police have discovered the escape; the two flee to Mario's villa.
Napoleon's army is supposed to have suffered defeat, and the Sacristan returns with choirboys who are about to sing a Te Deum. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca comes back looking for Mario, she encounters Scarpia, who shows her the Attavanti crest on a fan he has just found. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves as the church resounds with the Te Deum. Scarpia has the diva trailed, scheming to get her in his power ("Va, Tosca!").

Act II
In the Farnese Palace, Scarpia anticipates the pleasure of bending Tosca to his will ("Ha piu forte sapore").
The spy Spoletta arrives, not having found Angelotti; to placate the baron, he brings in Mario, who is interrogated while Tosca is heard singing at a royal gala downstairs. She enters as her lover is being taken to an adjoining room for torture. Unnerved by Scarpia's questioning and Mario's screams, she reveals Angelotti's hiding place.
Mario is carried in; realizing what has happened, he rages at Tosca, but the gendarme Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia's side. Mario shouts his defiance ("Vittoria!").
Tosca yields to Scarpia in exchange for her lover's life. Fighting him off, she protest her fate to God, having dedicated her life to art and love ("Vissi d'arte").
Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, forced to decide, agrees to Scarpia's proposition. The baron pretends to order a mock execution for the prisoner, after which he is to be free. Spoletta leaves.
Scarpia prepares a document of safe-conduct for the lovers. When he embraces her, Tosca stabs him with a knife, wrenches the document from his fingers and, placing candles at his head and a crucifix on his chest slips quietly out.

Act III
The voice of a shepherd is heard as church bells toll the dawn. Mario is led to the roof of Castel Sant'Angelo prison to await execution; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair ("E lucevan le stele").
Suddenly Tosca runs in, filled with the story of her recent adventure. Mario caresses the hands that committed the murder for his sake ("O dolci mani"), and the two hail the future.
As the firing squad appears, the diva coaches Mario on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Mario to hurry, but when he fails to move, she discovers that Scarpia's treachery has transcended the grave: the bullets were real.
Spoletta rushes in to arrest Tosca. She climbs the battlements and, crying that she will meet Scarpia before God, leaps to her death.

 

Eugene Onegin (Opera by Pyotr Tchaikovsky) - Bolshoi Theatre

Lyric Scenes
Performed with one interval
Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky based on Alexander Pushkin's novel in verses of the same name
Music Director: Alexander Vedernikov
Stage Director: Dmitri Tcherniakov
Set Designer: Dmitri Tcherniakov
Costume Designer: Maria Danilova
Lighting Designer: Gleb Filshtinsky
Chorus Master: Valery Borisov

SYNOPSIS

Scene 1
Madame Larina. Her daughters: Tatiana, Olga. Nurse. Vladimir Lensky. Eugene Onegin. Neighbors, guests.
The Larins' home.
Lensky, a neighbor of the Larins and Olga's bridegroom, unexpectedly brings his friend Onegin, recently arrived from the capital, to visit them. The unknown guest causes a kerfuffle in the daily routine of the Larin household: no one hides their interest in him. Onegin doubts in the wisdom of his friend's choice. The meeting with Onegin has made a deep impression on Tatiana.

Scene 2
Tatiana. Nurse.
Night-time.
Noticing Tatiana's agitation, her nurse tries to distract her and calm her down. Left alone, Tatiana writes a letter to Onegin. She sees him as her chosen one. At dawn, Tatiana asks her nurse to deliver the letter to Onegin.

Scene 3
Tatiana. Eugene Onegin.
Day-time.
Tatiana anxiously awaits an answer to her declaration of love. Onegin arrives. He is touched by Tatiana's sincerity, but cannot reciprocate her feelings.

Scene 4
Madame Larina. Tatiana. Olga. Vladimir Lensky. Eugene Onegin. Nurse. Zaretsky. Neighbors, guests.
Tatiana's Name-day.
Lensky has persuaded Onegin to pay another visit to the Larins. But he is irritated by everything. Deciding to punish Lensky for bringing him, he demonstratively flirts with Olga. Olga's prompt response to Onegin's advances, afflicts Lensky. He picks a quarrel with Onegin and challenges him to a duel.

Scene 5
Vladimir Lensky. Eugene Onegin. Zaretsky. Guillot.
Morning.
Lensky awaits Onegin. He thinks with pain and anguish about his life. Onegin, who arrives late, is reluctant to take the conflict to its conclusion. Both men feel privately that they have acted rashly. But it is too late, there is no going back. A shot is fired, Lensky is fatally wounded.

Scene 6
Eugene Onegin. Tatiana. Prince Gremin. Guests.
Several years later.
After a long absence, Onegin has returned to life in the capital and meets Tatiana. She is married and social life in the capital now revolves round her. The transformation in Tatiana and the fact she is now out of reach arouse mad passion in Onegin.

Scene 7
Tatiana. Eugene Onegin.
Onegin manages to obtain a meeting with Tatiana. His words ring with repentance and regret. Demanding that his passion be reciprocated, he extorts from Tatiana the admission that she still loves him.But her decision to stay with her husband is final. Onegin is distraught.

 

Eugene Onegin (Opera by Pyotr Tchaikovsky) - Bolshoi Theatre

Lyric Scenes
Performed with one interval
Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky based on Alexander Pushkin's novel in verses of the same name
Music Director: Alexander Vedernikov
Stage Director: Dmitri Tcherniakov
Set Designer: Dmitri Tcherniakov
Costume Designer: Maria Danilova
Lighting Designer: Gleb Filshtinsky
Chorus Master: Valery Borisov

SYNOPSIS

Scene 1
Madame Larina. Her daughters: Tatiana, Olga. Nurse. Vladimir Lensky. Eugene Onegin. Neighbors, guests.
The Larins' home.
Lensky, a neighbor of the Larins and Olga's bridegroom, unexpectedly brings his friend Onegin, recently arrived from the capital, to visit them. The unknown guest causes a kerfuffle in the daily routine of the Larin household: no one hides their interest in him. Onegin doubts in the wisdom of his friend's choice. The meeting with Onegin has made a deep impression on Tatiana.

Scene 2
Tatiana. Nurse.
Night-time.
Noticing Tatiana's agitation, her nurse tries to distract her and calm her down. Left alone, Tatiana writes a letter to Onegin. She sees him as her chosen one. At dawn, Tatiana asks her nurse to deliver the letter to Onegin.

Scene 3
Tatiana. Eugene Onegin.
Day-time.
Tatiana anxiously awaits an answer to her declaration of love. Onegin arrives. He is touched by Tatiana's sincerity, but cannot reciprocate her feelings.

Scene 4
Madame Larina. Tatiana. Olga. Vladimir Lensky. Eugene Onegin. Nurse. Zaretsky. Neighbors, guests.
Tatiana's Name-day.
Lensky has persuaded Onegin to pay another visit to the Larins. But he is irritated by everything. Deciding to punish Lensky for bringing him, he demonstratively flirts with Olga. Olga's prompt response to Onegin's advances, afflicts Lensky. He picks a quarrel with Onegin and challenges him to a duel.

Scene 5
Vladimir Lensky. Eugene Onegin. Zaretsky. Guillot.
Morning.
Lensky awaits Onegin. He thinks with pain and anguish about his life. Onegin, who arrives late, is reluctant to take the conflict to its conclusion. Both men feel privately that they have acted rashly. But it is too late, there is no going back. A shot is fired, Lensky is fatally wounded.

Scene 6
Eugene Onegin. Tatiana. Prince Gremin. Guests.
Several years later.
After a long absence, Onegin has returned to life in the capital and meets Tatiana. She is married and social life in the capital now revolves round her. The transformation in Tatiana and the fact she is now out of reach arouse mad passion in Onegin.

Scene 7
Tatiana. Eugene Onegin.
Onegin manages to obtain a meeting with Tatiana. His words ring with repentance and regret. Demanding that his passion be reciprocated, he extorts from Tatiana the admission that she still loves him.But her decision to stay with her husband is final. Onegin is distraught.

 

The Legend of the Invisible City of Kitezh and the Maiden Fevronia (Opera by Nikolai Rimsky-Korsakov) - Bolshoi Theatre

Opera in four acts
Libretto by Vladimir Belsky
Music Director: Alexander Vedernikov
Stage Director: Eimuntas Nekrosius
Set Designer: Marius Nekrosius
Costume Designer: Nadezhda Gultiaeva
Chorus Master: Valery Borisov
Lighting Designer: Sergei Shevchenko
Co-production with Teatro Lirico di Cagliari.
Premiered in Cagliari on April 24, 2008.
Premiered at the Bolshoi Theatre on October 10, 2008.
Sung in Russian.
Presented with two intervals.
Running time: 4 hours.

SYNOPSIS

Act I
In the forests beyond the Volga
Surrounded by wild animals, beautiful Fevronia is singing the praises of Nature. Suddenly a young man appears: he has parted from his hunting company and has been injured by a bear. Although bewitched at the sight of the maiden, he is afraid it might be some evil spirit living in the woods. All doubts and fears are dispelled when Fevronia greets him warmly, gives him bread and honey and offer to dress his wound.
While medicating him with wild herbs, the maiden tells him about her happy life in the woods in company with her brother, a honey searcher. More and more fascinated by Fevronia beauty, purity and simplicity the hunter asks her to marry him. She hesitates a little, afraid that she might not be a good match for the man she holds to be a prince's huntsman, but finally consents with joy. On hearing his retinue's horns, the hunter says a loving goodbye to her betrothed.
Only at that moment Fevronia learns from the head of the retinue, much to her surprise, that her beloved is no less than Vsevolod, the crown prince of Kitezh.

Act II
At Maly Kitezh, on the Volga
In Maly Kitezh market place, the common people are waiting for the wedding procession to pass. A bear leader shows off his trained bear, while a minstrel starts singing a song full of dark presentiments. The affluent people of the city make some scornfully sarcastic remarks about the lowest birth of the bride, and hand some money over to Grishka Kuterma, a vagabond, so as he can get drunk: in this way, he will able to greet the future princess as she deserves. As the procession is approaching, the drunkard improvises some derisive verses addressed to Fevronia, among the sniggers of the affluent and the indignation of the common people.
The decked out carts arrive, escorted by horsemen throwing ribbons, money and cakes into the crowd. The populace cheer the new princess, barring the way to Kuterma, who is trying to make his way forward. Filled with pity, Fevronia asks to let him pass, even though Fyodor Poyarok tries in all ways to discourage her. Kuterma addresses her insolently, but she invites him sweetly and humbly to pray and redeem himself. Infuriated, the people manage to push the drunkard off the square, then join the procession striking up the wedding-songs.
All of a sudden, a column of smoke rises and a loud noise of racing wagons can be heard: headed by Bedyay and Burunday, the Tatars are approaching. Terrified, the crowd run in every direction in search of a hiding place, while the warriors, armed with maces and curved swords, kill anyone they manage to capture. Fevronia, too, is taken prisoner but Burunday, struck by her beauty, gives orders that her life should be spared. The barbarians want to sack Veliky Kitezh, but they do not know how to get there and nobody would reveal them the way, not even on the rack. Even Kuterma struggles hard, but the fear of torture gets him to speak. While the triumphant Tatars head for the capital city, Fevronia prays the Lord to make the city of Kitezh and its righteous people invisible.

Act III
Scene 1
In Veliky Kitezh
Blinded by the torturers, Fyodor is sent as a messenger to announce that the Tatars are arriving to destroy the capital city. The man tells the people of Veliky Kitezh, who have gathered behind the cathedral walls together with Price Yuri and his son Vsevolod, about the sad end of Maly Kitezh and praises the brave and loyal behaviour of its inhabitants. To the young prince's dismay, Poyarok reports what he has heard about Fevronia: taken prisoner, she was not able do endure torture and betrayed Kitezh, by showing the way to the Tatars. While everybody invokes in despair the heavenly protection, prince Vsevolod go out of the city to meet the enemy. Soon afterwards the church bells of Kitezh start knelling on their own accord, while a golden mist descends from the sky, shrouding the city.

Scene 2
On the lake Svetly Yar
Vsevolod has been defeated and killed in the battle of Kerzenets. Kuterma leads the Tatars on the banks of Lake Svetly Yar: but on the opposite shore, where the city of Kitezh should be, there is only a dense mist. As no sign of the city can be seen, the Tatars accuse Kuterma of duping them and tie him to a tree, then they empty whole barrels of wine to celebrate their victory. An altercation occurs between the barbarian leaders over the possession of Fevronia: after killing Bedyay, Burunday draws the maiden towards him, but he is drunk and falls asleep.
While Fevronia grieves over her bridegroom in despair, Kuterma implores her to untie him. She has not to fear punishment from the Tatars, he says, because death should be better for her now: even if there were any survivors left in Kitezh, they would blame her for betraying them, because this is the rumour he has spread. Fevronia is shocked, but once again she shows mercy on him: after silently pulling out Burunday's knife, she cuts the bonds that tie the wicked man and releases him.
Kuterma rushes towards the lake and is petrified on seeing that the vanished city has left its reflection upon the water. Shocked by this vision and obsessed by the constant pealing of bells, he yells wildly and runs away, forcing Fevronia to go with him. His shouting rouse the Tatars. Frightened, they witness the prodigious vision and take a headlong flight.

Act IV
Scene 1
In the forests of Kerzenets
It is night. Ragged and tired out, Fevronia is still the butt of Kuterma's malicious and cynical ravings. The maiden prays the Lord that he might at least allow a few tears of tenderness to poor Grishka and gets the man to say a moving prayer with her. But after that Kuterma is assailed by dreadful visions and runs off.
Exhausted, Fevronia lies down on the grass: suddenly a thousand candles light up on the trees and flowers never seen before bloom all around, among the chirping of the spring birds. Feeling solaced, the young woman is not afraid to listen the voice of Alkonost, a bird of paradise, which announces her death.
From the depths of the glade the ghost of Prince Vsevolod, shrouded by a golden cloud, appears. At the height of joy for being together again, the lovers hear the voice of another bird of paradise, Sirin, promising them eternal life. Then the young couple starts walking towards the invisible city, accompanied by die birds' mystical song.

Scene 2
In the invisible city
While the city of Kitezh and its inhabitants appear, Alkonost and Sirin announce the end of time and the beginning of eternal life.
Everybody bows before the crown prince and his bride, striking up the same wedding-song that was brutally interrupted by the Tartars' apparition. Yuri, the Prince father, blesses Fevronia, who is moved and amazed. But the thought of poor Grishka lost in the forest worries the good maiden: Fyodor Poyarok, who has now recovered his sight, takes it upon himself to write a letter to Kuterma for her, so as he might become a messenger of God's great miracles throughout Russia. Finally, the doors of the cathedral, shining with light, are flung wide open before the young couple.

 

The Legend of the Invisible City of Kitezh and the Maiden Fevronia (Opera by Nikolai Rimsky-Korsakov) - Bolshoi Theatre

Opera in four acts
Libretto by Vladimir Belsky
Music Director: Alexander Vedernikov
Stage Director: Eimuntas Nekrosius
Set Designer: Marius Nekrosius
Costume Designer: Nadezhda Gultiaeva
Chorus Master: Valery Borisov
Lighting Designer: Sergei Shevchenko
Co-production with Teatro Lirico di Cagliari.
Premiered in Cagliari on April 24, 2008.
Premiered at the Bolshoi Theatre on October 10, 2008.
Sung in Russian.
Presented with two intervals.
Running time: 4 hours.

SYNOPSIS

Act I
In the forests beyond the Volga
Surrounded by wild animals, beautiful Fevronia is singing the praises of Nature. Suddenly a young man appears: he has parted from his hunting company and has been injured by a bear. Although bewitched at the sight of the maiden, he is afraid it might be some evil spirit living in the woods. All doubts and fears are dispelled when Fevronia greets him warmly, gives him bread and honey and offer to dress his wound.
While medicating him with wild herbs, the maiden tells him about her happy life in the woods in company with her brother, a honey searcher. More and more fascinated by Fevronia beauty, purity and simplicity the hunter asks her to marry him. She hesitates a little, afraid that she might not be a good match for the man she holds to be a prince's huntsman, but finally consents with joy. On hearing his retinue's horns, the hunter says a loving goodbye to her betrothed.
Only at that moment Fevronia learns from the head of the retinue, much to her surprise, that her beloved is no less than Vsevolod, the crown prince of Kitezh.

Act II
At Maly Kitezh, on the Volga
In Maly Kitezh market place, the common people are waiting for the wedding procession to pass. A bear leader shows off his trained bear, while a minstrel starts singing a song full of dark presentiments. The affluent people of the city make some scornfully sarcastic remarks about the lowest birth of the bride, and hand some money over to Grishka Kuterma, a vagabond, so as he can get drunk: in this way, he will able to greet the future princess as she deserves. As the procession is approaching, the drunkard improvises some derisive verses addressed to Fevronia, among the sniggers of the affluent and the indignation of the common people.
The decked out carts arrive, escorted by horsemen throwing ribbons, money and cakes into the crowd. The populace cheer the new princess, barring the way to Kuterma, who is trying to make his way forward. Filled with pity, Fevronia asks to let him pass, even though Fyodor Poyarok tries in all ways to discourage her. Kuterma addresses her insolently, but she invites him sweetly and humbly to pray and redeem himself. Infuriated, the people manage to push the drunkard off the square, then join the procession striking up the wedding-songs.
All of a sudden, a column of smoke rises and a loud noise of racing wagons can be heard: headed by Bedyay and Burunday, the Tatars are approaching. Terrified, the crowd run in every direction in search of a hiding place, while the warriors, armed with maces and curved swords, kill anyone they manage to capture. Fevronia, too, is taken prisoner but Burunday, struck by her beauty, gives orders that her life should be spared. The barbarians want to sack Veliky Kitezh, but they do not know how to get there and nobody would reveal them the way, not even on the rack. Even Kuterma struggles hard, but the fear of torture gets him to speak. While the triumphant Tatars head for the capital city, Fevronia prays the Lord to make the city of Kitezh and its righteous people invisible.

Act III
Scene 1
In Veliky Kitezh
Blinded by the torturers, Fyodor is sent as a messenger to announce that the Tatars are arriving to destroy the capital city. The man tells the people of Veliky Kitezh, who have gathered behind the cathedral walls together with Price Yuri and his son Vsevolod, about the sad end of Maly Kitezh and praises the brave and loyal behaviour of its inhabitants. To the young prince's dismay, Poyarok reports what he has heard about Fevronia: taken prisoner, she was not able do endure torture and betrayed Kitezh, by showing the way to the Tatars. While everybody invokes in despair the heavenly protection, prince Vsevolod go out of the city to meet the enemy. Soon afterwards the church bells of Kitezh start knelling on their own accord, while a golden mist descends from the sky, shrouding the city.

Scene 2
On the lake Svetly Yar
Vsevolod has been defeated and killed in the battle of Kerzenets. Kuterma leads the Tatars on the banks of Lake Svetly Yar: but on the opposite shore, where the city of Kitezh should be, there is only a dense mist. As no sign of the city can be seen, the Tatars accuse Kuterma of duping them and tie him to a tree, then they empty whole barrels of wine to celebrate their victory. An altercation occurs between the barbarian leaders over the possession of Fevronia: after killing Bedyay, Burunday draws the maiden towards him, but he is drunk and falls asleep.
While Fevronia grieves over her bridegroom in despair, Kuterma implores her to untie him. She has not to fear punishment from the Tatars, he says, because death should be better for her now: even if there were any survivors left in Kitezh, they would blame her for betraying them, because this is the rumour he has spread. Fevronia is shocked, but once again she shows mercy on him: after silently pulling out Burunday's knife, she cuts the bonds that tie the wicked man and releases him.
Kuterma rushes towards the lake and is petrified on seeing that the vanished city has left its reflection upon the water. Shocked by this vision and obsessed by the constant pealing of bells, he yells wildly and runs away, forcing Fevronia to go with him. His shouting rouse the Tatars. Frightened, they witness the prodigious vision and take a headlong flight.

Act IV
Scene 1
In the forests of Kerzenets
It is night. Ragged and tired out, Fevronia is still the butt of Kuterma's malicious and cynical ravings. The maiden prays the Lord that he might at least allow a few tears of tenderness to poor Grishka and gets the man to say a moving prayer with her. But after that Kuterma is assailed by dreadful visions and runs off.
Exhausted, Fevronia lies down on the grass: suddenly a thousand candles light up on the trees and flowers never seen before bloom all around, among the chirping of the spring birds. Feeling solaced, the young woman is not afraid to listen the voice of Alkonost, a bird of paradise, which announces her death.
From the depths of the glade the ghost of Prince Vsevolod, shrouded by a golden cloud, appears. At the height of joy for being together again, the lovers hear the voice of another bird of paradise, Sirin, promising them eternal life. Then the young couple starts walking towards the invisible city, accompanied by die birds' mystical song.

Scene 2
In the invisible city
While the city of Kitezh and its inhabitants appear, Alkonost and Sirin announce the end of time and the beginning of eternal life.
Everybody bows before the crown prince and his bride, striking up the same wedding-song that was brutally interrupted by the Tartars' apparition. Yuri, the Prince father, blesses Fevronia, who is moved and amazed. But the thought of poor Grishka lost in the forest worries the good maiden: Fyodor Poyarok, who has now recovered his sight, takes it upon himself to write a letter to Kuterma for her, so as he might become a messenger of God's great miracles throughout Russia. Finally, the doors of the cathedral, shining with light, are flung wide open before the young couple.

 

Chipollino (Ballet by Karen Khachaturyan) - Bolshoi Theatre

Ballet in two acts
Libretto by Gennadi Rykhlov in Genrikh Mayorov's version after the fairy-tale by Gianni Rodari
Choreographer: Genrikh Mayorov
Designer: Valery Levental
Music Director: Alexander Kopylov

SYNOPSIS

Act I
There is a square of a fairy-tale town. Standing in the square are what seem to be baskets of vegetables and boxes of fruit. But appearances can be deceptive, and, in fact, these are big and small houses which are lived in by vegetables and fruit who are extraordinari ly reminiscent of real people.
The Radish and Onion families meet in the square. Mother Cipolla and Father Cipollone are ticking off their irrepressible son, Cipollino, who is fed up with having to look after his sister, Cipolette. Nearby cobbler Grape is mending shoes. Grandfather Pumpkin is searching for bricks so he can build him self a house. Professor Pear is playing the violin, and all the inhabitants of this fairy-tale town are dancing. Suddenly, Signor Tomato rushes into the square and announces that very soon Prince Lemon himself, who wishes to address his people, is due to arrive in the square. The Prince has issued a new law; everyone must now pay for their share of the sunshine, the rain, and the wind.
The Prince's subjects are indignant. In the general crush, Cipollino accidentally steps on Prince Lemon's foot. The Prince's bodyguards take umbrage. His Royal Highness has been insulted! The ‘rebel' must be punished. But he has disappeared, so the police arrest old Cipollone.
It is not only the Onion family who is grieving. Grandfather Pumpkin is having a tough time because he will never succeed in building himself a house on his own. So the inhabitants of the town, led by Cipollino, give him a helping hand. No sooner is the building work completed, than Signor Tomato appears once again. He almost bursts with anger when he sees the house. It has been built on the land belonging to the Countesses Cherry. Only the Countesses Cherry may make use of this land.
Prince Lemon's bodyguard pull down Grandfather Pumpkin's house. The poor old man is in despair. Cipollino decides to take revenge on his enemies.

Act II
Cipollino, together with his friend, Little Radish, go to the palace in order to look for the dungeon in which old Cipollone has been incarcerated by Prince Lemon. On the way they meet Count Cherry who finds life in the palace very dismal and lonely, and they become friends. During their search for Cipollone, the friends fall into the hands of Signor Tomato, but they manage to escape his clutches and, during a ball given by the Countesses Cherry in honor of Prince Lemon, set free old Chipollone.

Act III
Prince Lemon's bodyguards and the police are searching everywhere for the runaways. Cipollino manages to hide his father, and then Little Radish, but he himself is taken prisoner by the guards and thrown into the dungeon.
All is quiet in the palace. Count Cherry and the beautiful Magnolia are seeking for Cipollino. Magnolia sends the guards to sleep with her heady per fume, meanwhile. Count Cherry ties them up and sets Cipollino free.
Prince Lemon descends to the dungeon in order to punish the good-for-nothing rebel but he finds that his guards have been tied up and that the dungeon is empty. The Prince is furious and orders that the town be bombarded with cannon fire. But Cipollino and his friends stuff Prince Lemon himself into the cannon.
Once the smoke from the shot has evaporated, nei ther Prince Lemon nor the cannon, nor the bodyguards are anywhere to be seen.
From now on, for ever and ever, everyone in the fairy-tale town will live together peacefully. And under the blue sky and bathed in sunshine, a new town will grow up. A town of friends!

 

La Silphide (Ballet by Herman Severin Levenskiold) - Bolshoi Theatre

Ballet in two acts
Libretto by Adolphe Nourrit and Philippo Taglioni
Choreography by August Bournonville
Production and New Choreography: Johan Kobborg
Designer: Peter Farmer
Music Director: Pavel Klinichev
Lighting Designer: Damir Ismagilov
This version of the ballet premiered on February 20, 2008.
Presented with one interval.
Running time: 2 hours.

SYNOPSIS

Act I
A Scottish manor-house
It is the morning of James's marriage to Effie and he is asleep in his armchair. A winged figure, a Sylphide, is kneeling by his side. She kisses him on his forehead and he wakes up confused. Entranced by the vision of the Sylph, he attempts to capture her, but she escapes him; as she reaches the fireplace, she vanishes up the chimney. Troubled, he wakes his companions but none of them have seen her. Gurn, James's rival, arrives and learns that James is infatuated with someone other than Effie.
The preparations for the wedding are in full swing. James hardly notices Effie; instead she is wooed by Gurn whom she ignores. James joins in the preparations but gradually realizes that, as Effie dreams more and more of the wedding, his own dreams go far beyond the walls of the manor-house.
An old woman, Madge, has slipped unnoticed into the hall to warm herself by the fire. James, sensing that she is a sinister presence, takes an immediate dislike to her and cannot bear to see her sitting where he last saw the Sylph. He orders her to leave but Effie calms him and persuades him to let Madge tell the fortunes of some of the guests. Madge prophesies that Effie will marry Gurn, and James, furious at this, threatens Madge, who curses him. Effie runs off to dress for the wedding leaving James alone and in turmoil.
The Sylph once again shows herself to James, declares her love for him and tells him that they belong together, Gurn enters and, believing that he may have caught James talking to another woman, attempts to reveal the situation to Effie but fails
As the wedding festivities begin, the Sylph reappears and, unable to resist her enticements, James follows her into the forest. Effie is left broken-hearted.

Act II
A glade in the forest
Deep in the forest, shrouded in mist, Madge is planning her revenge. She makes a veil, irresistible to all in a magic cauldron. As the fog lifts, James enters with the Sylph, who shows him her realm. She brings him berries and water but evades his embrace. To lift his spirits she calls on her sisters and the forest fills with sylphs, who dance for James. Try as he might, he is unable to catch the Sylph in his arms
Effie and James's companions reach the glade looking for him. Gurn finds James's hat, but Madge convinces him to say nothing. He proposes to Effie and, encouraged by Madge, she accepts. Everyone leaves to prepare for the wedding of Effie and Gurn.
Meanwhile, James is desperately looking for the Sylph, and Madge convinces him that the veil she has made will enable him to catch her. The Sylph appears and, seeing the veil is totally captivated by it. She allows James to place it around her shoulders and as he does so, he kisses her. His embrace is fatal and the Sylph's wings fall to the ground. In despair James sees what should have been his own wedding party in the distance. As Madge forces him to see what he has lost, he realizes that in trying to possess the unobtainable he has lost everything.

 

Die Zauberflote (Opera by Wolfgang Amadeus Mozart) - Bolshoi Theatre

Opera in two acts
Libretto by Emanuel Shikaneder
Music Director: Steuart Bedford
Stage Director: Graham Vick
Designer: Paul Brown
Lighting Designer: Giuseppe Di Iorio
Chorus Master: Valery Borisov
Premiered on October 7, 2005.
Presented with one interval.
Running time: 3 hours 10 minutes.

STORY

Once upon a time there was a Star-blazing Queen whose power had failed so much that her daughter, Pamina, was abducted by a powerful sorcerer called Sarastro. This magician, head of a Cult of male initiates, held the girl prisoner in the hope of saving his realm from destruction. For Pamina was destined to bring the Chosen One, Tamino.
The Queen is the first to find Tamino. Saving him from a dangerous nightmare she begs the Chosen One to free her daughter from Sarastro's control. Seeing Pamina's picture, Tamino falls in love and accepts his destiny. To help him, the Queen's attendants give him a Flute with magic powers. And since no hero should travel alone, the outsider Papageno, a bird-man with his very own magic Bells, will be his companion. Three Boys will meet them to show the way.
Sarastro's realm appears just as the Queen described it; Pamina's innocence is threatened by her guard Monostatos and only the surprise appearance of a strange bird-man saves her from a fate worse than death.
Meanwhile Tamino continues on his quest, resolute and determined. But an encounter with a wise man shakes his confidence. For the first time he experiences the darkness of doubt. He no longer recognises the world, nor knows what to believe.....
Seeing Pamina makes sense of it all, confirming the love he felt when he first saw her picture. But Sarastro will not release her. Tamino may only take Pamina in his arms once he has undergone Trials in which he must risk his life, and so been initiated into the Cult.
Papageno is excused from the hardest tests, but he too is told that he can only find his ideal woman, Papagena, under certain conditions. The words finally make sense to him when he is about to hang himself. In the face of death he finds his mate.
The Queen's power is fading rapidly; the Stars no longer blaze - she is now only the Queen of Night. In her desperation she steals into the temple and learning that Tamino has joined her enemies, implores her beloved daughter to murder Sarastro. But Pamina cannot kill. Nor do Sarastro's consoling words convince. As Tamino insists on excluding her from the most significant moment of his life, she is driven to suicide, only to be saved by the Three Boys. Reassuring her of Tamino's love, they take her to where he obediently waits to face death.
But even here Sarastro's power is limited. For Tamino learns from the Doorkeepers that the Gods mean Pamina to face the Trial with him; she too is worthy. With the help of the Flute, and as a couple, they triumph as one. Balance is restored.
The Queen is ready to sell her daughter to Monostatos if he will help her put an end to Sarastro's rule. But her power is exhausted. She can only fail.
Sarastro announces the destruction of Night by the new-born rays of the Sun. It is time to re-build.

 

Die Zauberflote (Opera by Wolfgang Amadeus Mozart) - Bolshoi Theatre

Opera in two acts
Libretto by Emanuel Shikaneder
Music Director: Steuart Bedford
Stage Director: Graham Vick
Designer: Paul Brown
Lighting Designer: Giuseppe Di Iorio
Chorus Master: Valery Borisov
Premiered on October 7, 2005.
Presented with one interval.
Running time: 3 hours 10 minutes.

STORY

Once upon a time there was a Star-blazing Queen whose power had failed so much that her daughter, Pamina, was abducted by a powerful sorcerer called Sarastro. This magician, head of a Cult of male initiates, held the girl prisoner in the hope of saving his realm from destruction. For Pamina was destined to bring the Chosen One, Tamino.
The Queen is the first to find Tamino. Saving him from a dangerous nightmare she begs the Chosen One to free her daughter from Sarastro's control. Seeing Pamina's picture, Tamino falls in love and accepts his destiny. To help him, the Queen's attendants give him a Flute with magic powers. And since no hero should travel alone, the outsider Papageno, a bird-man with his very own magic Bells, will be his companion. Three Boys will meet them to show the way.
Sarastro's realm appears just as the Queen described it; Pamina's innocence is threatened by her guard Monostatos and only the surprise appearance of a strange bird-man saves her from a fate worse than death.
Meanwhile Tamino continues on his quest, resolute and determined. But an encounter with a wise man shakes his confidence. For the first time he experiences the darkness of doubt. He no longer recognises the world, nor knows what to believe.....
Seeing Pamina makes sense of it all, confirming the love he felt when he first saw her picture. But Sarastro will not release her. Tamino may only take Pamina in his arms once he has undergone Trials in which he must risk his life, and so been initiated into the Cult.
Papageno is excused from the hardest tests, but he too is told that he can only find his ideal woman, Papagena, under certain conditions. The words finally make sense to him when he is about to hang himself. In the face of death he finds his mate.
The Queen's power is fading rapidly; the Stars no longer blaze - she is now only the Queen of Night. In her desperation she steals into the temple and learning that Tamino has joined her enemies, implores her beloved daughter to murder Sarastro. But Pamina cannot kill. Nor do Sarastro's consoling words convince. As Tamino insists on excluding her from the most significant moment of his life, she is driven to suicide, only to be saved by the Three Boys. Reassuring her of Tamino's love, they take her to where he obediently waits to face death.
But even here Sarastro's power is limited. For Tamino learns from the Doorkeepers that the Gods mean Pamina to face the Trial with him; she too is worthy. With the help of the Flute, and as a couple, they triumph as one. Balance is restored.
The Queen is ready to sell her daughter to Monostatos if he will help her put an end to Sarastro's rule. But her power is exhausted. She can only fail.
Sarastro announces the destruction of Night by the new-born rays of the Sun. It is time to re-build.

 

Die Zauberflote (Opera by Wolfgang Amadeus Mozart) - Bolshoi Theatre

Opera in two acts
Libretto by Emanuel Shikaneder
Music Director: Steuart Bedford
Stage Director: Graham Vick
Designer: Paul Brown
Lighting Designer: Giuseppe Di Iorio
Chorus Master: Valery Borisov
Premiered on October 7, 2005.
Presented with one interval.
Running time: 3 hours 10 minutes.

STORY

Once upon a time there was a Star-blazing Queen whose power had failed so much that her daughter, Pamina, was abducted by a powerful sorcerer called Sarastro. This magician, head of a Cult of male initiates, held the girl prisoner in the hope of saving his realm from destruction. For Pamina was destined to bring the Chosen One, Tamino.
The Queen is the first to find Tamino. Saving him from a dangerous nightmare she begs the Chosen One to free her daughter from Sarastro's control. Seeing Pamina's picture, Tamino falls in love and accepts his destiny. To help him, the Queen's attendants give him a Flute with magic powers. And since no hero should travel alone, the outsider Papageno, a bird-man with his very own magic Bells, will be his companion. Three Boys will meet them to show the way.
Sarastro's realm appears just as the Queen described it; Pamina's innocence is threatened by her guard Monostatos and only the surprise appearance of a strange bird-man saves her from a fate worse than death.
Meanwhile Tamino continues on his quest, resolute and determined. But an encounter with a wise man shakes his confidence. For the first time he experiences the darkness of doubt. He no longer recognises the world, nor knows what to believe.....
Seeing Pamina makes sense of it all, confirming the love he felt when he first saw her picture. But Sarastro will not release her. Tamino may only take Pamina in his arms once he has undergone Trials in which he must risk his life, and so been initiated into the Cult.
Papageno is excused from the hardest tests, but he too is told that he can only find his ideal woman, Papagena, under certain conditions. The words finally make sense to him when he is about to hang himself. In the face of death he finds his mate.
The Queen's power is fading rapidly; the Stars no longer blaze - she is now only the Queen of Night. In her desperation she steals into the temple and learning that Tamino has joined her enemies, implores her beloved daughter to murder Sarastro. But Pamina cannot kill. Nor do Sarastro's consoling words convince. As Tamino insists on excluding her from the most significant moment of his life, she is driven to suicide, only to be saved by the Three Boys. Reassuring her of Tamino's love, they take her to where he obediently waits to face death.
But even here Sarastro's power is limited. For Tamino learns from the Doorkeepers that the Gods mean Pamina to face the Trial with him; she too is worthy. With the help of the Flute, and as a couple, they triumph as one. Balance is restored.
The Queen is ready to sell her daughter to Monostatos if he will help her put an end to Sarastro's rule. But her power is exhausted. She can only fail.
Sarastro announces the destruction of Night by the new-born rays of the Sun. It is time to re-build.

 

La Silphide (Ballet by Herman Severin Levenskiold) - Bolshoi Theatre

Ballet in two acts
Libretto by Adolphe Nourrit and Philippo Taglioni
Choreography by August Bournonville
Production and New Choreography: Johan Kobborg
Designer: Peter Farmer
Music Director: Pavel Klinichev
Lighting Designer: Damir Ismagilov
This version of the ballet premiered on February 20, 2008.
Presented with one interval.
Running time: 2 hours.

SYNOPSIS

Act I
A Scottish manor-house
It is the morning of James's marriage to Effie and he is asleep in his armchair. A winged figure, a Sylphide, is kneeling by his side. She kisses him on his forehead and he wakes up confused. Entranced by the vision of the Sylph, he attempts to capture her, but she escapes him; as she reaches the fireplace, she vanishes up the chimney. Troubled, he wakes his companions but none of them have seen her. Gurn, James's rival, arrives and learns that James is infatuated with someone other than Effie.
The preparations for the wedding are in full swing. James hardly notices Effie; instead she is wooed by Gurn whom she ignores. James joins in the preparations but gradually realizes that, as Effie dreams more and more of the wedding, his own dreams go far beyond the walls of the manor-house.
An old woman, Madge, has slipped unnoticed into the hall to warm herself by the fire. James, sensing that she is a sinister presence, takes an immediate dislike to her and cannot bear to see her sitting where he last saw the Sylph. He orders her to leave but Effie calms him and persuades him to let Madge tell the fortunes of some of the guests. Madge prophesies that Effie will marry Gurn, and James, furious at this, threatens Madge, who curses him. Effie runs off to dress for the wedding leaving James alone and in turmoil.
The Sylph once again shows herself to James, declares her love for him and tells him that they belong together, Gurn enters and, believing that he may have caught James talking to another woman, attempts to reveal the situation to Effie but fails
As the wedding festivities begin, the Sylph reappears and, unable to resist her enticements, James follows her into the forest. Effie is left broken-hearted.

Act II
A glade in the forest
Deep in the forest, shrouded in mist, Madge is planning her revenge. She makes a veil, irresistible to all in a magic cauldron. As the fog lifts, James enters with the Sylph, who shows him her realm. She brings him berries and water but evades his embrace. To lift his spirits she calls on her sisters and the forest fills with sylphs, who dance for James. Try as he might, he is unable to catch the Sylph in his arms
Effie and James's companions reach the glade looking for him. Gurn finds James's hat, but Madge convinces him to say nothing. He proposes to Effie and, encouraged by Madge, she accepts. Everyone leaves to prepare for the wedding of Effie and Gurn.
Meanwhile, James is desperately looking for the Sylph, and Madge convinces him that the veil she has made will enable him to catch her. The Sylph appears and, seeing the veil is totally captivated by it. She allows James to place it around her shoulders and as he does so, he kisses her. His embrace is fatal and the Sylph's wings fall to the ground. In despair James sees what should have been his own wedding party in the distance. As Madge forces him to see what he has lost, he realizes that in trying to possess the unobtainable he has lost everything.

 

La Silphide (Ballet by Herman Severin Levenskiold) - Bolshoi Theatre

Ballet in two acts
Libretto by Adolphe Nourrit and Philippo Taglioni
Choreography by August Bournonville
Production and New Choreography: Johan Kobborg
Designer: Peter Farmer
Music Director: Pavel Klinichev
Lighting Designer: Damir Ismagilov
This version of the ballet premiered on February 20, 2008.
Presented with one interval.
Running time: 2 hours.

SYNOPSIS

Act I
A Scottish manor-house
It is the morning of James's marriage to Effie and he is asleep in his armchair. A winged figure, a Sylphide, is kneeling by his side. She kisses him on his forehead and he wakes up confused. Entranced by the vision of the Sylph, he attempts to capture her, but she escapes him; as she reaches the fireplace, she vanishes up the chimney. Troubled, he wakes his companions but none of them have seen her. Gurn, James's rival, arrives and learns that James is infatuated with someone other than Effie.
The preparations for the wedding are in full swing. James hardly notices Effie; instead she is wooed by Gurn whom she ignores. James joins in the preparations but gradually realizes that, as Effie dreams more and more of the wedding, his own dreams go far beyond the walls of the manor-house.
An old woman, Madge, has slipped unnoticed into the hall to warm herself by the fire. James, sensing that she is a sinister presence, takes an immediate dislike to her and cannot bear to see her sitting where he last saw the Sylph. He orders her to leave but Effie calms him and persuades him to let Madge tell the fortunes of some of the guests. Madge prophesies that Effie will marry Gurn, and James, furious at this, threatens Madge, who curses him. Effie runs off to dress for the wedding leaving James alone and in turmoil.
The Sylph once again shows herself to James, declares her love for him and tells him that they belong together, Gurn enters and, believing that he may have caught James talking to another woman, attempts to reveal the situation to Effie but fails
As the wedding festivities begin, the Sylph reappears and, unable to resist her enticements, James follows her into the forest. Effie is left broken-hearted.

Act II
A glade in the forest
Deep in the forest, shrouded in mist, Madge is planning her revenge. She makes a veil, irresistible to all in a magic cauldron. As the fog lifts, James enters with the Sylph, who shows him her realm. She brings him berries and water but evades his embrace. To lift his spirits she calls on her sisters and the forest fills with sylphs, who dance for James. Try as he might, he is unable to catch the Sylph in his arms
Effie and James's companions reach the glade looking for him. Gurn finds James's hat, but Madge convinces him to say nothing. He proposes to Effie and, encouraged by Madge, she accepts. Everyone leaves to prepare for the wedding of Effie and Gurn.
Meanwhile, James is desperately looking for the Sylph, and Madge convinces him that the veil she has made will enable him to catch her. The Sylph appears and, seeing the veil is totally captivated by it. She allows James to place it around her shoulders and as he does so, he kisses her. His embrace is fatal and the Sylph's wings fall to the ground. In despair James sees what should have been his own wedding party in the distance. As Madge forces him to see what he has lost, he realizes that in trying to possess the unobtainable he has lost everything.

 

La Fille mal Gardee (Ballet by Peter Ludwig Hertel) - Bolshoi Theatre

Ballet in two acts.
Libretto by Jean Dauberval
Choreographer: Yuri Grigorovich
Scenes in choreography by Jean Dauberval, Jules Perrot,
Marius Petipa, Alexander Gorsky used
Sets and Costumes: Jean Pierre Cassigneul (France)
Music Director: Igor Dronov
Lighting Designer: Mikhail Sokolov
Assistant choreographer: Andrei Melanin
Extracts from music by Riccardo Drigo, Louis Herold,
Cesare Pugni, Georges Bizet used.
Scenery reconstruction supervised by Mikhail Sapozhnikov.
Premiered on November 6, 2009.

SYNOPSIS

Act I
Scene 1
Early morning. Colas, a young peasant, turns up by the home of the rich farmer Marcelina. He is in love with Lise, Marcelina's niece, and wants to see her. But this is not so easy! Even when she hires peasants to help with the harvesting, Marcelina does not allow Lise to go off with them to the fields, but finds her a job to do in the yard. It is therefore not surprising that the first rendez-vous between the two lovers is at the oil-press. But again Marcelina appears on the scene and chases off the unwanted suitor. But here is an eligible bridegroom - Nikez. Though he is simpleminded, his father - Michaud is very well-off, and Marcelina persuades Lise to come and be introduced to her rich guests. The only hurdle in the way of the match is Colas.

Scene 2
Harvest-time. Though busy with the harvesting, Marcelina continues to dream of a match between Lise and Nikez, for all the latter's dumbwitted escapades. But the betrothal ceremony, in the form of a game with ribbons, again ends in favor of Lise and Colas.
...The dancing is brought to an end by a storm. All run off to take shelter from the rain.

Act II
Scene 3
The storm has blown over. Marcelina and Lise return home and sit down at their spinning-wheels. Peasants deliver the hay sheaves they have managed to save from the rain. Marcelina goes off with them, leaving Lise locked up indoors. Lise dreams of her beloved. Suddenly she notices Colas who, unbeknown to her, has hidden himself in the room. An indignant Lise tells him to leave. But, the door is locked and Colas is trapped inside. Lise soon gets over her anger and, as a sign of reconciliation, she and Colas exchange kerchiefs. Hearing a noise at the door, a panic-stricken Lise hides Colas in the larder. Marcelina comes in and, noticing the new kerchief round Lise's neck, locks her into the larder as punishment, never suspecting that Colas is in there too.
...Enter Michaud, already quite at home. He is followed by a notary for the signing of the wedding contract and even by a brass orchestra, hired for the occasion. Making no effort to conceal her joy, Marcelina hands Nikez the key to the larder. The door opens and... out come a bashful Lise and Colas. Michaud is mortally off ended. The wedding contract is torn up. The lovers fall at Marcelina's feet who has no option but to give them her blessing.

 

Giselle (Adolphe Adam. Ballet in two acts Production by Yuri Grigorovich) - Bolshoi Theatre

Ballet in two acts Production by Yuri Grigorovich
Libretto by Theophile Gautier and Jean-Henry Saint-Georges
Choreography: Jean Coralli, Jules Perrot, Mauris Petipa
Choreographic version:Yuri Grigorovich
Designer: Simon Virsaladze
Music Director: Alexander Kopylov

SYNOPSIS

Act I
A small, peaceful village, bathed in sunlight. It is inhabited by simple, artless people. Giselle, a young peasant girl, is re joicing in the sun, the blue sky, the singing of the birds and, most of all, in the happiness of pure, trusting love which has lit up her life. She is in love and is confident that she is loved. The gamekeeper, who is in love with Giselle, tries in vain to per suade her that Albrecht, her loved one, is not a peasant at all but a nobleman in disguise and that he is deceiving her.
The gamekeeper manages to steal into the cottage which Albrecht is renting in the village and here he finds a silver sword with a coat of arms on it. Now the gamekeeper knows for sure that Albrecht is concealing his noble origins.
A party of distinguished noblemen, attended by a sumptuous suite, seek rest and refreshment in the village after the hunt. The peasants give their guests a cordial welcome.
Albrecht is embarrassed by this unexpected meeting: he tries to hide the fact he knows them for, in their company, is his betrothed, Bathilde. Meanwhile the gamekeeper shows everyone Albrecht's sword and, unmasking him, tells them of the latter's deceit. Giselle is shocked to the core by the perfidy of her loved one. The pure, crystal-clear world of her faith, hopes and dreams has been destroyed. She goes mad and dies.

Act II
Night-time. The ghostly forms of the Wilis, died brides, appear among the graves of the village church yard which is bathed in moonlight. "Dressed in bridal gowns and garlands of flow ers...The irresistibly beautiful Wilis danced to the light of the moon. And as they felt the time given them for dancing was running out and that they had again to return to their icy graves, their dancing became more and more impassioned and ra­pid..." (Heinrich Heine).
The Wilis catch sight of the gamekeeper who, suffering from pangs of con science, has come to visit Giselle's grave. At the command of Myrtha, the unrelenting Queen of the Wilis, the Wilis encircle the gamekeeper and make him dance until he drops lifeless, to the ground.
Albrecht too, is unable to forget Giselle. And, at dead of night, he co mes to her grave. The Wilis immedi ately encircle the youth. Albrecht is now threatened by the same horrify ing fate as the gamekeeper. But the shadow of Giselle now appears and her eternal and self-sacrificing love protects and saves Albrecht from the anger of the Wilis.
The ghostly, white forms of the Wilis vanish with the first rays of the rising sun. And Giselle's ethereal shadow va nishes too, but Giselle will always be alive in Albrecht's memory - the ever-present regret for a lost love, a love that is stronger than death.