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Classical Ballet BALLET EVENING. Swan Lake (II act). Symphony in C (Ballet in one act). In the Upper Room (Ballet in one act)
World famous Bolshoi Ballet and Opera theatre (established 1776) - Small Stage


Schedule for BALLET EVENING. Swan Lake (II act). Symphony in C (Ballet in one act). In the Upper Room (Ballet in one act) 2022

Composer: Peter Tchaikovsky
Composer: Georges Bizet
Choreography: Yuri Grigorovich
Set Designer: Simon Virsaladze
Choreography: Marius Petipa
Music Director: Pavel Sorokin
Light Designer: Mikhail Sokolov
Composer: Philip Glass

Orchestra: Bolshoi Theatre Symphony Orchestra

Swan Lake

Scenes in choreography by Marius Petipa, Lev Ivanov, Alexander Gorsky used

Libretto by Yuri Grigorovich after scenario by Vladimir Begichev and Vasily Geltser

Presented with one interval.




Synopsis

Act I

Scene 1
In an old German castle, the birthday of Prince Siegfried is being celebrated; today he comes of age. He is congratulated by his mother, the Princess Mother, friends and courtiers. In a majestic ceremony, Siegfried is made a knight. From this day on a sense of duty, valor will be the guiding principles in his life.

The last toasts are pronounced in his honor, young girls, his contemporaries, try to attract his attention, but Siegfried is overcome by emotions of a different order. He dreams of a pure, ideal love. The festivities draw to an end, the guests depart, leaving the prince alone with his thoughts in the gathering dusk. Night falls. Siegfried is conscious of the presence of a shadow at his side, it is as if some mysterious force is beckoning to him. It is the Evil Genius, or Fate itself, who has come to reveal some perturbing secrets to the Prince. Submitting to the powerful pull of his invisible companion’s presence and full of anxious foreboding, Siegfried succumbs to the ideal world of his dreams…

Scene 2
Lured by the Evil Genius, Siegfried finds himself on the banks of a mysterious lake. In the shimmering patches of moonlight on the water, visions of bewitched swan maidens rise up before him. Siegfried catches sight of Odette, the most beautiful of the maidens. He is spell-bound, deeply struck by her beauty. At long last, he has found his romantic ideal of love. He swears to Odette that he will love her forever and be faithful to her.

Act II

Scene 3
Prospective brides-to-be are arriving at the Princess Mother’s castle. The Prince must chose one of them to be his wife. But Siegfried can think of nothing but Odette and his meeting of her. He dances in an offhand way with the well-born maidens. Not one of them can compare to his ideal.

Suddenly, a mysterious knight arrives at the ball accompanied by a ravishingly beautiful young girl and a suite of black swans. It is the Evil Genius and Odile, Odette’s double. Struck by their resemblance, Siegfried hurries towards Odile. The Evil Genius is putting the Prince’s sentiments to the test. Siegfried is enchanted by the perfidious Odile who manages to disarm him of all his doubts. He announces Odile to be his chosen bride. At this very moment, the throne room is plunged in darkness and a vision of the beautiful Odette appears before the assembled company.
Siegfried realizes that he has become a plaything in the hands of Fate. Hoping to atone for his betrayal, he rushes in despair after the receding image of the white swan.

Scene 4
Night-time. A deep gloom overhangs the lake. Odette brings the tragic news; the Prince has broken his vow of faithfulness to her. Siegfried’s conscience is deeply troubled; he hurries towards Odette begging for her forgiveness. Odette forgives the youth but she is no longer mistress of her own fate.

The Evil Genius summons up a storm which disperses, plays havoc with, the heroes of our tale, making it impossible for them to unite. Made weak by his single combat with Fate, Siegfried tries in vain to hold on to the vanish image. As dawn breaks, he finds himself alone on the empty banks of the lake of his dreams.

  • Characters and performers

    Additional information


    Symphony in C

    Ballet by in one act
    to music by Georges Bizet

    The Symphony of a Palace

    Le Palais de cristal, one of the most famous ballets of the 20th century, was presented in June, 1947, at the Paris Opera, and in March, 1948, it was performed in New York, by Balanchine’s own company, as Symphony in C, the title under which it is danced to this day by companies around the globe.

    The story of the creation of this Balanchine masterpiece is remarkable and comes close to being improbable. In l947, the Paris Opera Ballet was left without a choreographer. So George Balanchine was invited to transfer to the Opera three ballets from his New York repertoire. Having fulfilled his obligations in this respect, Balanchine became so enamoured of the artistic charm of the Paris dancers that he decided to present them with an unplanned work - and this was to be Le Palais cristal. The metaphorical title, an image of the Paris school of clas­sical dance, was not accidental. In addition to which, Le Palais cristal, is a choreographic portrait of the Paris Opera Ballet: its hierarchical structure (which, in his company, Balanchine did away with) is preserved and secured in the structure of each movement. At the cen­ter are the etoile and the premier danseur, slightly fur­ther off are the two soloist couples, while closer to the backdrop is the corps de ballet. All this is a reflec­tion of the entrenched, spatial and professional laws of the Paris Academic Company. Balanchine had no intention of infringing these laws, he admired them and brought out their artistic wisdom.

    The seventeen-year-old Georges Bizet had written his 1st (Youthful) Symphony as a diploma work in the year - 1855 - that he had completed his studies at the Conservatoire. Having won the Grand Prix de Rome, Bizet went off to Italy and was to write no more symphonies, while the score of Symphony in С gathered dust in the Conservatoire library until 1935, when it was given its first public performance - which, incidentally, was not a great success. Balanchine heard about this from Stravinsky. The former read the score, adapted it for the stage, and only after this did he begin to appreci­ate the musical world of the symphonic Bizet as much as he did that of the operatic Bizet.

    By giving each of the four movements its own contingent of dancers and bringing all the partici­pants together in an exultant finale, Balanchine too achieved an exemplary ’reading’ of the music. Balanchine’s text follows that of Bizet, repeating the flow of the music and the pattern of the musical form in a skilful design and exquisite configurations. Theme, elaboration, recapitulation, general intonation, dynam­ic play and, finally, the very sound of the orchestra, its instrumental color, its agility - all this is translated into the language of choreography with a truly hypnot­ic skill.

    Balanchine has made a ballet about ballet. If one was to attempt to answer the question, what is its signifi­cance, in a single word, this word would be genius. The genius of the ensemble, the structural genius of the grand classical pas, each of the four sections of which - entree, adagio, variations, coda - Balanchine embellished choreographically and developed symphonically, deploying them in space and uniting them in time - into the flow of the dance. Le Palais de cristal is an ode to the dance logic of the grand classi­cal pas and, at the same time, an ode to the dance genius of the classical ballet company.

    Vadim Gaevsky (text from the handbook, abridged)

  • Characters and performers



    In the Upper Room

    Ballet in one act
    to music of Philip Glass
    Choreography by Twyla Tharp (1986)

    "Choreographic abstraction "In the Upper Room"- the embodiment of entire American: victorious confidence in itself and impregnable perseverance, passion for records and capability to assimilate any culture, usual readiness for the hard work and some of separately devil-may-care independence. In the 40- minute mad Marathon of thirteen soloists, dressed as the famous designer Norma Kamali in the striped guard house haute couture, they are obligated to demonstrate the miracles of technology and plastic freedom. Strictly adjusted chaos of composition, artists, who jump out it seems immediately from all sides, stunning puantnaya and buckle classics, jazz sving, Black step, aerobika and acrobatics, mixed in the raciest proportions and intensified by trance electronics Glassa... "

    "For this 40- minute ballet, which consists of nine swift parts, not burdened by subject, are necessary two desperate ballerinas even eleven soloists both floor, prepared for any risk. Storming age-old America, large relies on its fearless young people and not less fearless public".

    Tatiana Kuznetsov "Kommersant" "and "Kommersant-Weekend"





    Schedule for BALLET EVENING. Swan Lake (II act). Symphony in C (Ballet in one act). In the Upper Room (Ballet in one act) 2022


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