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Dayton Contemporary Dance Company (USA)

Dayton Contemporary Dance Company (USA)

Dayton Contemporary Dance Company

Jeraldyne Blunden Founder
Debbie Blunden-Diggs Artistic Director
Ro Nita Hawes Saunders Chief Executive Officer
Crystal Michelle Associate Artistic Director
Michelle VanHuss Director of Touring & University Initiatives:
Audrey Ingram Company Manager
Matthew J. Evans Technical Director

Dancers Devin Baker, Qarrianne Blayr, Michael Green, Robert Pulido, Nile Alicia Ruff, Quentin Apollo Vaughn Sledge, Matthew J. Talley, Countess V. Winfrey

Shed (2013)

CHOREOGRAPHY: Kiesha Lalama
LIGHTING DESIGN: John Rensel
COSTUMES: L"Amour
MUSIC: John de Kadt, Highlight Tribe, and Whicked Hayo

DANCERS: Devin Baker, Qarrianne Blayr, Michael Green, Robert Pulido, Nile Alicia Ruff, Quentin Apollo Vaughn Sledge, Matthew J. Talley, and Countess V. Winfrey

Section One: Escape
Section Two: Discover
Section Three: Empower

Shed your fears. Live your passion. Believe, and you will Become. The idea behind Shed is the shedding of inhibitions, fears, and the impositions of society and environment.

Rainbow "Round My Shoulder (1959, DCDC premiere 1987)

CHOREOGRAPHY: Donald McKayle
LIGHTING DESIGN: John Rensel
COSTUMES: Original costumes by Domingo A. Rodriguez, recreated for DCDC by Ayn Wood
MUSIC: Traditional music arranged by Robert DeCormier and Milton Okun from the Collection of John and Allen Lomax

DANCERS: Devin Baker, Qarrianne Blayr (May 19), Michael Green, Robert Pulido, Quentin
Apollo Vaughn Sledge, Matthew J. Talley, and Countess V. Winfrey (May 20)

Men on the Chain Gang: Devin Baker, Michael Green, Robert Pulido, Quentin Apollo Vaughn
Sledge, Matthew J. Talley
Solo I: Quentin Apollo Vaughn Sledge
Solo II: Devin Baker (May 19), Michael Green (May 20)
Sweetheart, Mother, Wife: Qarrianne Blayr (May 19), Countess V. Winfrey (May 20)

Donald McKayle"s masterwork is acclaimed as a modern dance classic. A searing dramatic
narrative, it is set on a chain gang in the American South where prisoners work, breaking rock from "can see to can"t see." Their aspirations for freedom come in the guise of a woman-first as a vision, then as a remembered sweetheart, mother, and wife. The songs that accompany their arduous labor tell a bitter, sardonic, and tragic story.

INTERMISSION

American Mo" (2015)

CHOREOGRAPHY: Crystal Michelle
LIGHTING DESIGN: John Rensel
COSTUMES: Ayn Wood
MUSIC: Duke Ellington

DANCERS: Devin Baker, Qarrianne Blayr, Michael Green, Robert Pulido, Nile Alicia Ruff, Quentin Apollo Vaughn Sledge, Matthew J. Talley, and Countess V. Winfrey

American Mo" is a celebration of triumph over adversity. Dancers express freedom, courage and joy to Duke Ellington"s "Three Kings," composed in honor of Dr. Martin Luther King, Jr.

This I Know For Sure . . . (2017)

CHOREOGRAPHY: Ray Mercer
LIGHTING DESIGN: Matthew Evans
COSTUMES: Elena Comendador
MUSIC: Bongi Duma, Lorde, Olafur Arnalds, Peter Gregson, and Ludovico Einaudi

DANCERS: Devin Baker, Qarrianne Blayr, Michael Green, Robert Pulido, Nile Alicia Ruff, Quentin Apollo Vaughn Sledge, Matthew J. Talley, and Countess V. Winfrey

I. "Genesis: The Preamble"
II. "Trois"
III. "He, Him, Himself"
IV. "A Pair of Connections"
V. "Just Him"
VI. "Omega: The Postscript"

This I know for sure. Art is not absolute. It has different feelings, textures, intentions, and vantage points and I think that"s what makes art so beautifully divine. When we allow ourselves to see the difference within ourselves and the differences in others, I think that"s what makes art so amazingly beautiful and poignant. This I know for sure.

Hero of Our Time (Ballet by Ilya Demutsky)

Hero of Our Time (Ballet by Ilya Demutsky)

Ballet in two acts
Composer: Ilya Demutsky
Choreographer: Yuri Possokhov
Director, Designer and Author of Libretto: Kirill Serebrennikov
Costume Designers: Elena Zaitseva, Kirill Serebrennikov
Music Durector: Anton Grishanin
The world premiere took place on 22 July 2015.
The first and the second parts are performed without intermission.
Running time: 2 hours 15 minutes.

Synopsis

Can it be that wickedness is so attractive?..
Pechorin"s diary

BELA

1.
Prologue
Pechorin alone.
When I saw Bela in my own house; when, for the first time, I held her on my knee and kissed her black locks, I, fool that I was, thought that she was an angel sent to me by sympathetic fate... Again I was mistaken; the love of a savage is little better than that of your lady of quality, the barbaric ignorance and simplicity of the one weary you as much as the coquetry of the other. I am not saying that I do not love her still; I am grateful to her for a few fairly sweet moments; I would give my life for her - only I am bored with her... Whether I am a fool or a villain I know not; but this is certain, I am also most deserving of pity - perhaps more than she...
Bela"s funerals.
Muezzin"s exequial cant and a voice of a Russian wailer are heard.
How tiresome... I went away to order a coffin. Should I have erected a cross? No, a cross would not have done!..
...After all, she was not a Christian.

2.
Celebration.
Mountaneers, Pechorin, Kazbich.

Bela appears.
"What was it she sang - do you remember?"
"It went like this, I fancy: "Handsome, they say, are our young horsemen, and the tunics they wear are garnished with silver; but handsomer still is the young Russian officer, and the lace on his tunic is wrought of gold. Like a poplar amongst them he stands, but in gardens of ours such trees will grow not nor bloom!"
"Well, now, what do you think of her?"
"Charming! What is her name?"
"Her name is Bela."
"Bela."
"It is a bad thing to interfere in other people"s quarrels. Wouldn"t it be better for us to clear off without loss of time?"
"Wait, though, and see how it will end!"
"Oh, as to that, it will be sure enough to end badly; it is always so with these Asiatics. Once let them get drunk on buza, and there"s certain to be bloodshed."
Pechorin abducts Bela.

3.
Bela at Pechorin"s.
She sits in the corner, muffled in her veil, and neither speaks nor looks up - timid as a wild chamois! I have hired the wife of our dukhan-keeper: she will look after Bela and accustom her to the idea that she belongs to me - for she shall belong to no one else!
No one!
Pechorin seduces Bela.
"Listen, my Peri, surely you know that you will have to be mine sooner or later - why, then, do you but torture me? Is it that you are in love with some Chechene? If so, I will let you go home at once. Or is it that I am utterly hateful to you? Or that your faith prohibits you from giving me a little of your love? Believe me, Allah is one and the same for all races; and, if he permits me to love you, why, then, should he prohibit you from requiting me by returning my love? Listen, my dear, good Bela! You see how I love you. I am ready to give up everything to make you cheerful once more. I want you to be happy, and, if you are going to be sad again, I shall die. Tell me, you will be more cheerful?"

Bela is happy.

Pechorin returns. He has lost interest in his abductee.
Bela"s heart is broken.

4.
Mountaneers. Kazbich. Bela"s death.
"I don"t want to die!.. It burns..."
"Where?"
"Here in my breast... Piercing... As a red-hot blade... Water, water!..
"Where is father?! Grisha... I want back to the mountains, back home...
"Grishaaa... Why don"t you love your janechka anymore?.. Is it because I am not a Christian? How terrible, Grisha... how terrible... our souls will not meet in the other world... in Paradise another woman will be your companion..."
"Do you want to be baptized?"
"No... I will die in the faith in which I was born... It is better now... Go to bed, Grisha... Kiss me, Grisha... I beg of you..."
Pechorin and the dead Bela. He is uncertain whether he should bury her as a Christian or as a Muslim.
The mountains of Caucasus are not moved by human pain.

TAMAN

1.
Pechorin arrives at Taman.
Taman is the nastiest little hole of all the seaports of Russia. I was all but starved there, to say nothing of having a narrow escape of being drowned. I arrived late at night by the post-car... The sentry, a Cossack from the Black Sea, hearing the jingle of the bell, cried out, sleepily, in his barbarous voice, "Who goes there?" An under-officer of Cossacks and a headborough came out. I explained that I was an officer bound for the active-service detachment on Government business, and I proceeded to demand official quarters. The headborough conducted us round the town. Whatever hut we drove up to we found to be occupied. The weather was cold; I had not slept for three nights; I was tired out, and I began to lose my temper.
"Take me somewhere or other, you scoundrel!" I cried; "to the devil himself, so long as there"s a place to put up at!"
"There is one other lodging," answered the headborough, scratching his head. "Only you won"t like it, sir. It is uncanny!"

2.
A mysterious house at the sea shore. The wind is blowing.
Pechorin, the Old Woman, the Blind Boy.
"You are the master"s son?"
"No."
"Who are you, then?
"An orphan - a poor boy."
"Has the mistress any children?"
"No, her daughter ran away and crossed the sea with a Tartar."
"Not a single icon to be seen on the wall - a bad sign!"
Undine appears.
Pechorin falls in love with the strange beauty.
Certainly never before had I seen a woman like her. She was by no means beautiful; but, as in other matters, I have my own prepossessions on the subject of beauty. There was a good deal of breeding in her... Breeding in women, as in horses, is a great thing...
Breeding is chiefly to be detected in the gait, in the hands and feet; the nose, in particular, is of the greatest significance. In Russia a straight nose is rarer than a small foot.
Undine disappears.
Alone, Pechorin falls asleep.

3.
Pechorin"s dream. March of uncanny creatures.
I confess that I have a violent prejudice against all blind, one-eyed, deaf, dumb, legless, armless, hunchbacked, and such-like people. I have observed that there is always a certain strange connection between a man"s exterior and his soul; as, if when the body loses a limb, the soul also loses some power of feeling.
Undine reappears. Seagulls cry.
Pechorin and Undine"s love duet.
"Tell me, my beauty, what were you doing on the roof to-day?"
"I was looking to see from what direction the wind was blowing."
"What did you want to know for?"
"Whence the wind blows comes happiness."
"Well? Were you invoking happiness with your song?"
"Where there is singing there is also happiness."
"But what if your song were to bring you sorrow?"
"Well, what then? Where things won"t be better, they will be worse; and from bad to good again is not far."
"And who taught you that song?"
"Nobody taught me; it comes into my head and I sing; whoever is to hear it, he will hear it, and whoever ought not to hear it, he will not understand it."
Undune lures Pechorin at sea.
"To-night, when everyone is asleep, go out to the shore."
"Follow me! Let us get into the boat."
"What is the meaning of this?"
"It means, it means that I love you!.."
"What do you want?.."
Undine tries to drown Pechorin. They struggle.
Pechorin manages to survive.

4.
Pechorin searches for Undine in vain.
Pechorin, the Old Woman, the Blind Boy.
"How come that you have a daughter?"
"I am deaf. I don"t hear you."
"You don"t have a daughter, do you?"
"I am deaf as a post."
"Now, then, you little blind devil. Tell me, where were you roaming with the bundle last night, eh?"
"Where did I go? I did not go anywhere... With the bundle?.. What bundle?"

5.
Seashore at night. Smugglers.
Arrival of Yanko, leader of smugglers and Undine"s lover.
Yanko, Undine, the Blind Boy.
"Yanko, all is lost! He saw us.. He will tell on us...
"Listen, you blind one... She is coming with me. It is impossible for her to remain here. Tell the old woman that it is time for her to die; she has been here a long time, and the line must be drawn somewhere. As for us, she will never see us any more."
"And I?.."
"What use have I for you?"
"Come on, Yanko..."
Undine and Yanko get away.
The Blind Boy and Pechorin remain alone.

Thank Heaven an opportunity of getting away presented itself in the morning, and I left Taman. What became of the old woman and the poor blind boy I know not. And, besides, what are the joys and sorrows of mankind to me - me, a travelling officer, and one, moreover, with an order for post-horses on Government business?

PRINCESS MARY

1.
Prologue - Pechorin"s solo
Yesterday I arrived at Pyatigorsk. I have engaged lodgings at the extreme end of the town, the highest part, at the foot of Mount Mashuk: during a storm the clouds will descend on to the roof of my dwelling. This morning at five o"clock, when I opened my window, the room was filled with the fragrance of the flowers growing in the modest little front-garden. Branches of bloom-laden bird-cherry trees peep in at my window, and now and again the breeze bestrews my writing-table with their white petals... Blithe is life in such a land! A feeling akin to rapture is diffused through all my veins. The air is pure and fresh, like the kiss of a child; the sun is bright, the sky is blue - what more could one possibly wish for? What need, in such a place as this, of passions, desires, regrets?..

2.
Watering-place society.
Medical treatment, exercises, water well.

Grushnitski arrives with the wounded soldiers.
Grushnitski and Pechorin meet.
"You are embittered against the whole human race?"
"And I have cause to be..."
"Oh, really?"

Mary"s arrival.
Pechorin understands that Grushnitski is in love with Mary.

I have never known a waist more voluptuous and supple! Her fresh breath touched my face; at times a lock of hair, becoming separated from its companions in the eddy of the waltz, glided over my burning cheek... She was out of breath, her eyes were dulled, her half-open lips were scarcely able to whisper the indispensable: "Merci, monsieur."

Vera"s appearance.

Has destiny brought us together again in the Caucasus, or has she come hither on purpose, knowing that she would meet me?.. There is not a man in the world over whom the past has acquired such a power as over me...

Pechorin and Vera.
"Vera!"
"I knew that you were here."
"We have not seen each other for a long time."
"A long time, and we have both changed in many ways."
"Consequently you love me no longer?.."
"I am married!.."
"Again? A few years ago, however, that reason also existed, but, nevertheless..."
"Perhaps you love your second husband?.. Or is he very jealous? What then? He is young, handsome and, I suppose, rich - which is the chief thing - and you are afraid?.."
"Tell me, do you find it very amusing to torture me? I ought to hate you. Since we have known each other, you have given me naught but suffering..."
"Perhaps, it is for that very reason that you have loved me; joys are forgotten, but sorrows never..."

Mary helps Grushnitski who has pretended he is wounded in order to attract her attention.
Pechorin mockers Grushnitski, and he becomes furious.

"Did you see? She is an angel, simply an angel!"
"Why?"
"Did you not see, then?"
"No. I saw her picking up your tumbler. If there had been an attendant there he would have done the same thing - and quicker too, in the hope of receiving a tip. It is quite easy, however, to understand that she pitied you; you made such a terrible grimace when you walked on the wounded foot."
"And can it be that seeing her, as you did, at that moment when her soul was shining in her eyes, you were not in the least affected?"
"No."

Pechorin and Mary remain alone with each other.
"I have heard, Princess, that although quite unacquainted with you, I have already had the misfortune to incur your displeasure... that you have considered me insolent. Can that possibly be true?"
"Would you like to confirm me in that opinion now?".
"If I had the audacity to insult you in any way, then allow me to have the still greater audacity to beg your pardon... And, indeed, I should very much like to prove to you that you are mistaken in regard to me..."

Mary falls under Pechorin"s spell.
Grushnitski is jealous.

3.
Gentlemen"s club. Grushnitski complains about Pechorin"s actions. He thinks Pechorin is going to conquer Mary for himself.

A ball commences.
Polonaise. Waltz. Polka.
Pechorin dances with Mary.
"I did not expect this from you."
"What?"
"You are going to dance the mazurka with her? She admitted it..."
"Well, what then? It is not a secret, is it?"
"Of course not... I ought to have expected such a thing from that chit - that flirt... I will have my revenge, though!"
"You should lay the blame on your cloak, or your epaulettes, but why accuse her? What fault is it of hers that she does not like you any longer?.."
"But why give me hopes?"
"Why did you hope? To desire and to strive after something - that I can understand! But who ever hopes?"
"You have won the wager, but not quite."
Quarrel between Grushnitski and Pechorin. Grushnitski challenges Pechorin.

4.
Vera"s letter.
Pechorin and Vera.

Vera (soprano):
I am writing to you in the full assurance that we shall never see each other again. A few years ago on parting with you I thought the same...
it has been Heaven"s will to try me a second time...
...I have not been able to endure the trial, my frail heart has again submitted to the well-known voice...
...you will not despise me for that - will you?
will you?
will you?
...We are parting for ever.
...you may be sure
that I shall never
love another

never

upon you
my soul has exhausted
all its treasure,
its tears
its hopes

...in your nature
there is
something peculiar
there is
something proud and mysterious...
in your voice
there is an invincible power

no one
can so constantly wish to be loved
in no one
is wickedness ever so attractive
no one"s
glance promises so much bliss...
bliss...
bliss...

no one
can better make use of his advantages
and no one
can be
so truly unhappy
so truly unhappy
so truly unhappy
as you...

5.
Pechorin and Grushnitski before the duel.
Each is contemplating his own thoughts.
Seconds appear. The duel is prepared.
Pechorin and Grushnitski swap their pistols.
The duel.
"Grushnitski! There is still time: recant your slander, and I will forgive you everything. You have not succeeded in making a fool of me; my self-esteem is satisfied. Remember - we were once friends..."
"Fire! I despise myself and I hate you. If you do not kill me I will lie in wait for you some night and cut your throat. There is not room on the earth for both of us..."
Fire.
Grushnitski is killed.

Vera appears.
Vera (soprano):
I almost fainted at the thought that you had to fight a duel to-day... it seemed to me that I should go mad...

...I am sure
that you remain alive

it is impossible
that you should die, and I not with you

it is impossible
that you should die, and I not with you

impossible...

|impossible...

impossible...

6.
Pechorin realizes that he has killed his friend.
Pangs of conscience.
Vera (soprano):
I have been sitting at the window
three hours now,
awaiting your return...
But you are alive, you cannot have died!..

Good-bye, good-bye!..
If I could be sure
that you will always remember me -
I no longer say love
- no,
only remember...
only remember...
only remember...
Mary appears.
Pechorin tells her that he doesn"t love her.
"Princess, you know that I have been making fun of you?.. You must despise me. Consequently, you cannot love me..."
"Oh, God!"
Mary is disgraced.

Pechorin, Mary, Vera.
"You do not love Mary, do you? You will not marry her? Listen, you must offer me that sacrifice. I have lost everything in the world for you..."

7.
Epilogue.
Pechorin. Pechorin. Pechorin.
And now... I often ask myself, as my thoughts wander back to the past: why did I not wish to tread that way, thrown open by destiny, where soft joys and ease of soul were awaiting me?.. No, I could never have become habituated to such a fate! I am like a sailor born and bred on the deck of a pirate brig: his soul has grown accustomed to storms and battles; but, once let him be cast upon the shore, and he chafes, he pines away, however invitingly the shady groves allure, however brightly shines the peaceful sun. The livelong day he paces the sandy shore, hearkens to the monotonous murmur of the onrushing waves, and gazes into the misty distance: lo! yonder, upon the pale line dividing the blue deep from the grey clouds, is there not glancing the longed-for sail, at first like the wing of a seagull, but little by little severing itself from the foam of the billows and, with even course, drawing nigh to the desert harbour?..

Yana s Nine Brothers (Sofia Opera and Ballet (Bulgaria) presents)

Yana s Nine Brothers (Sofia Opera and Ballet (Bulgaria) presents)

Lyubomir Pipkov
Opera in four acts
Sofia Opera and Ballet (Bulgaria) presents
Music Director: Grigor Palikarov
Stage Director: Plamen Kartaloff
Set Designer: Numen/ForUse (Sven Jonke, Christoph Katzler und Nikola Radeljkovic) and Ivana Jonke
Costume Designer: Tsvetanka Petkova-Stoynova
Choreographer: Riolina Topalova
Chorus Master: Violeta Dimitrova
Lighting Designer: Andrej Hajdinjak
Will be premiered on March 22, 2018 at the Sofia Opera and Ballet (Bulgaria)

The Idiot (Opera by Mieczysaw Weinberg)

The Idiot (Opera by Mieczysaw Weinberg)

Mieczystaw Weinberg
Opera in two acts
Libretto by Alexander Medvedev based on the novel of the same name by Fyodor Dostoevsky
Music Director: Michat Klauza
Stage Director: Evgeny Arie
Set Designer: Semyon Pastukh
Costume Designer: Galina Solovyova
Lighting Designer: Damir Ismagilov
Chief Chorus Master: Valery Borisov
Premiered on February 12, 2017.

Synopsis

Act One
Scene One

Prince Lev Nikolaevich Myshkin returns to St. Petersburg after years of treatment in Switzerland. On the train he meets Parfyon Rogozhin and Lebedev. Rogozhin has just inherited a fortune of two million from his father who died a sudden death. Not long before that Rogozhin had to flee from father's wrath after having spent ten thousand on a gift to Nastassya Filippovna whom he fell in love with at first sight.
Meanwhile Nastassya Filippovna is anxiously waiting for her fate to be sealed on that very night.

Scene Two
General Yepanchin and Totsky talk over the future of Nastassya Filippovna, Totsky's mistress. They want to marry her off to Ganya Ivolgin, which will allow Totsky to marry Yepanchin's daughter Aglaya. Ganya is getting a generous compensation for marrying a fallen woman: Totsky will give her a large dowry.
Prince Myshkin comes to meet his only relatives in St. Petersburg, the Yepanchins. The General does not welcome a guest with no money and no plans for the future. Ganya comes in to show the portrait of Nastassya Filippovna that she gave to him. The Prince is astonished.
General Yepanchin leaves his guest with his wife and three daughters: Aglaya, Alexandra and Adelaida.
Rogozhin is desperate to thwart Nastassya Filippovna's wedding and commands the moneylenders to get him a hundred thousand roubles by night.
The Yepanchins are fascinated by Myshkin's stories about his life in Switzerland. Ganya asks the Prince to pass a note to Aglaya. In his note he promises to break his betrothal for just one word from her.
In response Aglaya asks the Prince to tell Ganya that she does not condescend to bargain and to give him back his note. Ganya is outraged.

Scene Three
The Prince in lodging at the Ivolgins. He soliloquizes affectionately: «I don't believe, I won't believe that evil is fine for a man!» The family is gathered in the living room. Ganya's sister Varya is aghast that her brother is going to marry a dissolute woman whom he does not even love. Nastassya Filippovna arrives and is startled to find that the man she initially takes for a footman is Prince Myshkin. A drunken gang led by Rogozhin invades the place. Rogozhin tries to buy off Ganya, then Nastassya Filippovna herself in order to prevent the wedding. The bargain is interrupted by a scandalous scene: Ganya attempts to strike the repulsed Varya but is stopped by the Prince.

Scene Four
Yepanchin, Lebedev, Totsky and Ganya are Nastassya Filippovna's guests. The Prince arrives unexpectedly, uninvited. The hostess leaves it up to him to decide whether she should marry Ganya or not, and the Prince tells her she should refuse. «So be it» concludes Nastassya Filippovna. It is clear to her that Ganya was driven by greed alone. Rogozhin arrives. He has brought the hundred thousand roubles. The Prince proposes Nastassya Filippovna his hand in marriage saying that her life is not ruined, that she is not guilty but is the one who suffered. Nastassya Filippovna cannot accept his hand, she thinks she will ruin the prince. Taking Rogozhin's money, she throws it into the fire and commands Ganya to take it out. He faints. Rogozhin and Nastassya Filippovna ride away together.

Scene Five
The Prince arrives at Rogozhin's place. Rogozhin is certain that though Nastassya Filippovna lives with him she loves the Prince alone. Myshkin assures him that he is no rival and feels nothing but pity for her. They exchange crosses to become sworn brothers.
Rogozhin attacks the Prince, but the Prince falls insensible, and the murdered retreats.

Act II
Scene Six

The Princes recovers from his seizure in lebedev's summer house in Pavlovsk. The Yepanchins come to visit him. Aglaya sings a ballad about the Poor Knight, but the assumption that she might marry Myshkin makes her furious. Yepanchina laments the fate of a mother of grown-up daughters.

Scene Seven
Aglaya arranges a rendezvous with the Prince in the park. She wants to run away from home and asks him for assistance. But she is tormented by the thought of the Prince having lived with Nastassya Filippovna. This strange woman is harassing Aglaya with letters, persuading her to marry the Prince. Confused, Aglaya runs away. Nastassya Filippovna appears. She has decided to marry Rogozhin and her only wish is to know if Myshkin is happy.

Scene eight
The Yepanchins are perplexed by the news of the Prince being Aglaya's suitor. When asked directly about his intention to ask for her hand, the Price says he asks for it. Lebedev informs the Prince that Aglaya has arranged a meeting with Nastassya Filippovna.

Scene Nine
The Prince and Aglaya are at Nastassya Filippovna's. The rivals throw the Prince into a dilemma, and, unable to set pity aside, he chooses Nastassya Filippovna. But their wedding never takes place: she runs away with Rogozhin on her way to church.

Scene Ten
Coming to Rogozhin's place the Prince learns that Nastassya Filippovna is dead by Rogozhin's hand.

Iolanta (Symphonic suite Nutcracker is performed as part of production. Opera in two acts)

Iolanta (Symphonic suite Nutcracker is performed as part of production. Opera in two acts)

Pyotr Tchaikovsky
Symphonic Suite, Opera in one act
Libretto by Modest Tchaikovsky after "King Rene s Daughter" by Heinrich Hertz
Music Director: Vladimir Fedoseyev
Stage Director: Sergey Zhenovach
Designer: Alexander Borovsky
Lighting Designer: Damir Ismagilov
Chief Chorus Master: Valery Borisov
In commemoration of Tchaikovsky s 175th anniversary
Will be premiered on October 28, 2015.

Synopsis

Iolanta, the blind daughter of the King of Provence, is telling her nurse, Martha, that she is full of some unknown longing. Iolanta s friends, Brigitte and Laura, try to cheer her up by singing songs and bringing her flowers. Martha also tries to comfort Iolanta by singing her favorite lullaby. This sends Iolanta to sleep.

enter Almeric, King Rene s sword-bearer. He informs the castle porter, Bertrand, that very soon the King will be arriving with a famous Physician who, it is hoped, will cure Iolanta s blindness. The trumpets sound, announcing the arrival of the King. King Rene enters accompanied by the Moorish Physician, Ibn-Hakia. The King explains that Iolanta has been betrothed from infancy to Robert, Duke of Burgundy, and is soon to marry him, but the Duke does not know that his future wife is blind. Indeed, Iolanta herself is totally unaware of her misfortune. Iolanta has been brought up by her father in this remote castle. He surrounded her with loyal retainers and forbade them on pain of death to tell her the truth. Ibn-Hakia says that the only hope for Iolanta is to inform her of her disability and then, so long as she passionately wishes to recover her sight, she will do so. King Rene is full of doubts and fear for his daughter s future.

Robert, Duke of Burgundy, and his friend Count Vaudemont, appear. They are impressed to find a beautiful garden in such a wild, remote spot. They are, however, puzzled to see a notice which threatens with death anyone entering it without permission. Robert is downhearted for he is soon to be united in matrimony with some Iolanta whom he has never met, while his heart already belongs to another.

A girl appears on the terrace. Vaudemont is struck by her beauty. Hearing unfamiliar voices, the girl, who is in fact Iolanta, suggests to the strangers that they rest under the shade of the trees and hurries off to fetch them some wine. Robert does not trust the stranger and decides to leave. Vaudemont enchanted by Iolanta s beauty and stays behind. When Iolanta returns he tells her of the great impression she has made on him and asks her to pick him a red rose in memory of their meeting. Iolanta hands him a rose, but it is a white one. Vaudemont repeats his request and again he is given a white rose. He begins to suspect something is wrong with the girl. To make sure, he picks a bunch of roses and asks Iolanta to tell him how many flowers there are in the bunch. Iolanta explains that to count them she needs to touch each flower. Vaudemont realizes that Iolanta is blind and tells her so. He starts to describe to her the wonders of God s world which she is destined never to see, but Iolanta argues that eyesight is not necessary to appreciate the beauty of the world.

Voices are heard: the King enters, followed by Physician Ibn-Hakia and servants. Rene is horrified when he learns that Vaudemont has told Iolanta of her disability and finally suggests that she should try Ibn-Hakia s course of treatment. Iolanta remains indifferent to the idea which makes the Physician lose all hope. Noticing that Iolanta is very much taken by Vaudemont, King Rene tells Vaudemont that he will be executed unless his daughter recovers her sight. Iolanta then begs the Physician to cure her.

A fanfare of trumpets announces the arrival of the Duke of Burgundy who, with a group of armed knights, is hurrying to the rescue of his friend. Robert is amazed to see King Rene. Vaudemont confesses to Robert that he is in love with Iolanta, the latter s betrothed, and asks him to tell the King that he, Robert, has given his heart to someone else. Rene consents to the marriage of Iolanta and Count Vaudemont. Shouts of joy are heard, and Iolanta, who has recovered her sight, appears at the castle door. Overjoyed, King Rene hurries to embrace his daughter and then leads Vaudemont up to her. everyone gives passionate thanks to God for her recovery.

The Story of Kai and Gerda (Opera by Sergei Banevich)

The Story of Kai and Gerda (Opera by Sergei Banevich)

Romantic opera for children in two acts
Music Director: Anton Grishanin
Stage Director: Dmitry Belyanushkin
Set Designer: Valery Leventhal
Lighting Designer: Damir Ismagilov
Choreographer: Natalia Fiksel
Premiered on 28 November 2014
1996 music version

SYNOPSIS

Prologue
A rocky landscape.
The trolls are piecing together the shards of what they call the Mirror of Evil.


Act I
Introduction

The Lamplighter, our guide through this story, tells us that once upon a time an orphaned boy named Kai found a loving home in the good old town of Odense, where the Grandmother took care about him and little Gerda became his friend.

Scene 1.
Odense.

The townsfolk of Odense are looking forward for Spring to drive away winter s chill and snow.
Kai and Gerda are carried away with their exciting game. The Grandmother is calling them home, but they don t hear.
The trolls arrive. They can t bear the merry mood of the townsfolk, and above all they hate Kai s cheerful laughter. The trolls want to spoil the festivity, but the townsfolk drive them away. The trolls plot to revenge.

Scene 2.
Kai and Gerda s house.

Kai is daydreaming over a book. He wishes he could travel to faraway lands, for the old house has grown too small for him.
Gerda sets up the fire in the fireplace and lights the room with candles. Kai swears to her that he will ever be faithful and will never leave her alone.
The Grandmother comes. Kai jokingly tells Gerda the story of the Snow Queen. Gerda laughs, but then notices a shadow outside the window. Someone has been prying on them!
Now Kai understands that he has terrified Gerda, and he starts a game of blind Tom to make it up to her. As they play, they take no notice of a troll approaching.
The troll pricks an icy pointer at Kai s heart. Kai begins mocking Gerda and the Grandmother and sneering at them. Suddenly he sees frostwork turn into writings and hears the voice of the Snow Queen. She wants to take Kai with her, but Gerda refuses to let him go.

Intermezzo
The Lamplighter laments the human hearts in which Winter has settled.
The trolls talk over their trick and look forward to the coming of the Snow Queen.

Scene 3.
Odense town square.

A company of strolling performers entertains the townsfolk. Gerda is doing her best to make Kai smile, but he is disdainful and arrogant and insults the townsfolk and the Lamplighter.
The Snow Queen appears and summons Kai to her icy palace. Kai heeds her calling and follows her into the snow whirl.
Gerda sets out to find her beloved.


Act II

Scene 4.
A forest at dusk.

Gerda is making her way through the thicket.
Suddenly the forest gets into motion: the robbers have found the chill in the hollows of the tree trunks. The robbers are tired and hungry and not at all content with having ventured so far away.
The Old Robber-Woman returns with booty. The robbers give praises to her and to their trade.
Gerda falls into the robbers ambush. She possesses nothing that they can rob her of, so they intend to kill her, but the Old Robber-Woman orders to keep her captive until morning.
The Little Robber-Girl appears, the daughter of the Old Robber-Woman. Gerda s story about Kai touches her heart and fills her with desire to help, but she does not know how.
The Little Robber-Girl s captured Reindeer breaks in their conversation: he saw the Snow Queen taking Kai away and knows where to find him.
The Little Robber-Girl sets Gerda and the Reindeer free.
Gerda rides the Reindeer straight to Lapland.

Intermezzo
The Lamplighter contemplates about the saddest and the most wicked thing in the world, lovelessness.

Scene 5.
The Palace of the Snow Queen.

Captive children, whose hearts are frozen by the Snow Queen, are trying to compose the word Eternity with of pieces of ice.
Kai is among the children, and his efforts to compose the word are of no avail.
The Snow Queen arrives and finds that Kai s heart is beginning to thaw. She freezes him again and leaves, and he carries on with his occupation.

Gerda arrives. She sings the song that she and Kai used to sing together, and Kai s heart gets warm again. The flame of Kai and Gerda s love brings the Snow Queen down.

Epilogue
Kai and Gerda hurry to Odense, where they are met by the townsfolk, the Little Robber-Girl and their dear old Grandmother. Everyone is impatient to welcome in the long-awaited spring.

The Stone Guest (Opera by Alexander Dargomyzhsky)

The Stone Guest (Opera by Alexander Dargomyzhsky)

Opera in three acts
Alexander Dargomyzhsky
Libretto by the composer after Alexander Pushkin"s play of the same name
Music Director: Anton Grishanin
Stage Director: Dmitry Belyanushkin
Set Designer: Victor Shilkrot
Costume Designer: Irena Belousova
Lighting Designer: Evgeny Vinogradov
Premiered on 11 March 2016
Presented with one interval

Synopsis

Act I

Scene One
Don Juan, banished from Madrid for killing the Commander de Solva, has secretly returned. Accompanied by his servant Leporello, he hides near a monastery outside Madrid. Remembering his past affairs, he plans to get in the city to continue his adventures. The Monk tells him that Dona Anna, the widow of the Commander, visits the cemetery every day. Don Juan sees Dona Anna and feels an urge to get to know her.

Scene Two
Laura is having a party; many of the guests are people she never met before. She entertains them with singing. One of the songs is based on a poem by Don Juan, Laura"s former lover. The quick-tempered Don Carlos gets enraged, which almost ruins the conspiring guests" plan. Laura resumes her singing, but it it clear to her that the guests did not come to hear her songs. Laura makes everyone but Don Carlos leave. Him she seduces and thus learns that there is a conspiracy against Don Juan. Presently Don Juan appears.
Don Carlos insists that the inevitable duel should take place on the spot. Don Juan kills Don Carlos. Laura shows Don Juan a list of conspirators. Their privacy is violated by the conspirators"s assault, but Don Juan manages to escape.

Act II

Don Juan hides in the monastery disguised as a hermit. Dona Anna comes there every day to visit her husband"s grave. Don Juan introduces himself to her as Don Diego. Dona Anna agrees to receive him at her place the next day. Leporello tries to warn his master by hinting that the Commander"s death was not forgiven and that the trap is set. Don Juan challenges his fate: he invites the Commander, an embodiment of the tyranny and total control, to join him on his next day"s rendezvous. Leporello begs forgiveness for his betrayal, because it is clear for him now that Don Juan knows it was he who brought the conspirators to Laura"s.

Act III

A room at Dona Anna"s. She spent a night with Don Juan, but now he has to leave her. Unable to conceal the truth any longer, he confesses that he killed her husband and that he loves her with all his heart. Dona Anna cannot hate him; instead she realizes that she loves him in return. Don Juan aspires for a new rendezvous, but the men of "the stone guest" have already tracked him down. not surrendering, Don Juan extends his hand to them as a token of love and freedom. They kill him.

Carmen Suite. The Cage. Forgotten Land (One act ballets)

Carmen Suite. The Cage. Forgotten Land (One act ballets)

Carmen Suite
to music by Georges Bizet and Rodion Shchedrin
Ballet in one act
Adults only
Libretto Alberto Alonso based on the story Carmen by Prospero Merime
Choreographer: Alberto Alonso
Designer: Boris Messerer
Music Director: Pavel Sorokin
Assistant to Choreographer: Sonia Calero Alonso
Lighting designer: Alexander Rubtsov
For the first time entered the repertory of the Bolshoi Theatre on April 20, 1967.
Revived on November 18, 2005.

Running time: 50 minutes.

The Cage
to music by Igor Stravinsky
Ballet in one act
Choreography by Jerome Robbins © The Robbins Rights Trust 
Costume Designer: Ruth Sobotka 
Sets by Jean Rosenthal 
Music Director: Igor Dronov 
Lighting Designer: Jennifer Tipton 
Ballet Masters: Jean-Pierre Frohlich, Glenn Keenan 
Sets and Lighting Technical Coordination: Perry Silvey 
Costume Production Designer:Holly Hynes
Premiered on March 19, 2017. 
Running time: 14 minutes.

Forgotten Land
To music of Sinfonia da requiem by Benjamin Britten
Ballet in one act
Choreography: Jiri Kylian
Set and Costume Design: John F. Macfarlane
Lighting Designer: Hans-Joachim Haas
Lighting Designer (adaptation): Kees Tjebbes
Music Director: Anton Grishanin
Will be premiered on November 2, 2017. 
Will run with one-act ballets Etudes and The Cage.

The world premiere took place in Stuttgart on April 4, 1981.

Carmen Suite. The Cage. Etudes (One act ballets)

Carmen Suite. The Cage. Etudes (One act ballets)

Carmen Suite
to music by Georges Bizet and Rodion Shchedrin
Ballet in one act
Adults only
Libretto Alberto Alonso based on the story Carmen by Prospero Merime
Choreographer: Alberto Alonso
Designer: Boris Messerer
Music Director: Pavel Sorokin
Assistant to Choreographer: Sonia Calero Alonso
Lighting designer: Alexander Rubtsov
For the first time entered the repertory of the Bolshoi Theatre on April 20, 1967.
Revived on November 18, 2005.

Running time: 50 minutes.

The Cage
to music by Igor Stravinsky
Ballet in one act
Choreography by Jerome Robbins © The Robbins Rights Trust
Costume Designer: Ruth Sobotka
Sets by Jean Rosenthal
Music Director: Igor Dronov
Lighting Designer: Jennifer Tipton
Ballet Masters: Jean-Pierre Frohlich, Glenn Keenan
Sets and Lighting Technical Coordination: Perry Silvey
Costume Production Designer:Holly Hynes
Premiered on March 19, 2017.
Running time: 14 minutes.

Etudes
to music by Carl Czerny arranged and orchestrated by Knudage Riisager
Ballet in one act
Choreography by Harald Lander
Sceneries, costumes and lighting by Harald Lander
Ballet Masters: Lise Lander, Johnny Eliasen
Music Director: Igor Dronov
Premiered on March 19, 2017.

Coppelia (Ballet by Leo Delibes)

Coppelia (Ballet by Leo Delibes)

Ballet in three acts
Libretto by Charles Nuitter and Arthur Saint-Leon after the stories by Ernst Theodore Amadeus Hoffmann
Choreography: Marius Petipa and Enrico Cecchetti
Revival and new choreographic version: Sergei Vikharev
Designer: Boris Kaminsky
Costume Designer: Tatiana Noginova
Music Director: Igor Dronov
Lighting Designer: Damir Ismagilov

SYNOPSIS

Act I
A public Square in a small town, on the borders of Galicia, with wooden houses painted with bright colors. One house stands out in contrast to the others, with grating before the windows and the door securely fastened. This is the residence of Coppelius.
Swanilda is approaching the house of Coppelius, raises her eyes to a large window, behind which Coppelia, the daughter of old Coppelius, is seen, sitting with a book in her hands apparently absorbed in her reading. Every morning she is seen at the same window and in the same attitude, and then disappears. She never goes out from this mysterious residence. She appears to be pretty, and many young men in the town have passed long hours beneath her window, beseeching for one look.
Swanilda suspects that her fiance, Frantz, is not indifferent to the beauty of Coppelia. She tries to attract her attention, but Coppelia has her eyes always fixed on her book, of which she does not even turn the leaves.
Swanilda cannot contain her feelings of anger. She starts to knock at the door, but she perceives Frantz approaching, and remains in hiding to see what he is going to do.
Frantz, who at first was going toward Swanilda house, suddenly stops. Coppelia is at the window. He bows to her. At the same time she turns her head and appears to return Frantz s salute. Frantz has scarcely time to throw a kiss to Coppelia before old Coppelius has opened his window, and seems to be amused at what has been going on.
Swanilda is furious against Coppelius and against Frantz. However, she remains quiet and pretends to have seen nothing. She runs after a butterfly. Frantz runs with her, and catching it, pins it in the collar of his coat. Swanilda reproaches him for his cruelty: "What has this poor insect done to you?" After many reproaches, the young maid brings herself to tell him, that she knows all. He has deceived her. He loves Coppelia. Frantz tries in vain to defend himself.
The Burgomaster announces that on the next day a grand fete will take place - the Lord of the manor has given a bell to the Town. They crowd round the Burgomaster. The noise is being made in Coppelius house. Odd looking lights are shining at the windows. Some of the girls shrink with fear from this mysterious abode. But it is nothing but the clash of the hammer on the anvil, and the light is the reflection from the forge. Coppelius is an old fool who is always working. At what? No one knows and who cares? He must be left alone and not be stopped from amusing himself. The Burgomaster approaches Swanilda. He tells her that tomorrow the lord of the manor will give a dowry and marriage to several couples. She is betrothed to Frantz; shall they not be united to-morrow? Ah! but there is time yet, and the young girl looking spitefully at Frantz, tells the Burgomaster that she will tell him a story. It is the story of a straw which reveals all secrets.
Swanilda takes the straw from a bundle, and placing it to her ear, pretends to listen; then she tells Frantz to listen also. Does it not tell him that he does not love Swanilda? Frantz answers that he hears nothing. Swanilda tries it with one of Frantz s friends, who pretends to hear very distinctly what the straw says. Frantz tries to protest, but Swanilda breaking the straw before his eyes, tells him that everything is broken between them. Frantz goes away, while Swanilda dances in the midst of her companions. Glasses are placed on the tables, and they drink the health of the lord of the manor and the Burgomaster.
Coppelius leaves his house and securely fastens the door. He has not gone many steps, before he is surrounded by a crowd of young fellows; some of whom want to take him away with them, while the others want to make him dance. The old man goes off swearing.
Swanilda is bidding adieu to her friends, when one of them sees a key, which Coppelius must have dropped.
The girls suggest to Swanilda to visit the mysterious house. At first Swanilda hesitates, but she wants to meet this rival. "Well, then, let us enter, " she says. The girls enter the house of Coppelius.
Frantz is seen coming up, carrying a ladder. He has determined to see what chance he has with Coppelia. The opportunity is most favorable and Coppelius is far off! But it is not so, for just as Frantz is steadying the ladder against the balcony, he sees Coppelius returning and looking for the lost key. He sees Frantz just about to climb the ladder. Frantz runs away.

Act II
A large room is full of all kinds of instruments and tools. There are several automata on pedestals. There are figures of an old man, dressed in Persian costume, a Negro in threatening attitude, a little Moorish cymbal-player, a Chinaman with a tympanon before him.
The girls cautiously enter Coppelius house. Who are those people standing still in the dark shadows? They are face to face with the strange figures which a moment before had so frightened them. Swanilda draws aside the heavy curtains. There she sees Coppelia seated with her book in her hand. Swanilda salutes the strange girl who remains motionless. She speaks to her, but gets no answer. She touches the young girl s arm and then starts back through fear. Can it be a living creature? She puts her hand to the heart, but it does not beat. This young lady is an automaton, and the handy-work of Coppelius! Swanilda doesn t worry herself any more about her rival, but looks forward to the fun of telling Frantz all about her discovery. The girls run laughing, around the studio. They have nothing to fear now.
One of them in passing by the Tympanon player, touches it by accident. It begins playing a tune. The girls are at first bewildered, but soon begin dancing. They then find the spring, which sets the little Moorish figure in motion.
Suddenly Coppelius returns in a furious rage. He draws together the curtains which conceal Coppelia; stops the automata and runs after the girls. They slip through his hands and disappear down the back stairs. Swanilda is hiding behind the curtains. She is caught! but no; crouching in a corner she remains unseen when Coppelius looks behind the curtain. He examines Coppelia and finds that no harm has been done. He breathes more freely.
But what is that noise? He sees the top of a ladder in the window and then Frantz appears. Coppelius does not show himself. Frantz is going toward the spot where he has seen Coppelia, when two stout hands seize him. Frantz nearly dead with fright, implores Coppelius to forgive him. He tries to escape, but the old man holds him tightly. "What are you up to here?" he asks. Frantz confesses that he is in love. "I am not so bad as people say. Sit down and let us take a drink together and have a chat, " answers Coppelius. He gets an old flagon of wine and two goblets. He takes a sip with Frantz, and then, when Frantz is not looking, he throws away the wine.
Frantz finds that the wine has a peculiar taste. He tosses it down, however, and Coppelius makes him drink more and more. Frantz tries to get near the window where he has seen Coppelia. But his legs give way, he falls heavily on the bench and is asleep.
Coppelius gets a magic book and studies its pages. Then he rolls the pedestal which holds Coppelia, bringing it nearer to sleeping Frantz. Placing his hands over the heart and forehead of the young man, he tries to take away his soul to give life to the young girl. Coppelia rises up, she begins her mechanical motions but then she descends the first step of the pedestal and then the second. She walks! She lives!
Coppelius is almost beside himself with joy. His work has surpassed all that human hand has ever created! She soon begins to dance slowly, and than all at once darts off so quickly that Coppelius can scarcely follow her. She smiles; a color comes to her cheeks and she is full of life!
She sees the vial and places it to her lips. Coppelius is just in time to snatch the flagon from her hands. She perceives the magic book and asks Coppelius what it means. "There are impenetrable secrets, " he answers, and closes the book. She examines the automata. "I have made them all, " Coppelius says. She stops in front of Frantz. "And that one?" she asks. "It is like the rest, " he answers. She sees a dagger and pricks her own finger with the point of it and then amuses herself by thrusting it at the little Moor. Coppelius roars with laughter... but she approaches Frantz... The old man stops her and she turns against him and chases him around the studio. At last he disarms her. He throws a cloak over her shoulders, and it seems to awaken in her a world of new ideas. She dances a Spanish dance. Then she finds a Scotch scarf-pin and taking it in her hands, she dances a jig. She jumps and runs around, throwing everything within her reach to the ground and breaking it! She is decidedly too lively! What shall Coppelius do!
In the midst of all the noise, Frantz wakes up. Coppelius now seizes Coppelia and replacing her by main force on the pedestal, draws the curtains. He then goes up to Frantz and orders him to leave. "Go along!" he cries, "you are good for nothing."
Then he stops and listens. Did he not hear the tune which generally accompanies the movement of the automata? He jumps up and while he is staring at Coppelia, who has started her old movements, Swanilda skips out unobserved from behind the curtain. She sets the other two automata going. "Are these two also moving by themselves?" Coppelius exclaims. All at once he sees Swanilda disappearing with Frantz. He has a vague notion that some game has been played on him and falls heavily in the midst of the automata which keep moving as if to mock at their master s grief and despair.

Act III
A lawn in front of the baronial castle. At the back, the bell, the gift of the lord of the manor, is hung from poles, decorated with garlands and banners. A car covered with allegorical designs and on which are grouped the various actors for the fete, has just stopped in front of the bell.
The priests have pronounced a benediction over the bell. The betrothed couples who are to be given a dowry, and are to be united on this festal day go and bow before the baron. Frantz and Swanilda complete their mutual reconciliation. Frantz has disabused himself of his temporary infatuation and thinks no more of Coppelia. He knows what a joke has been played upon him. Swanilda forgives him and giving him her hand, advances with him before the lord of the manor.
All at once there is a stir among the crowd. Coppelius comes to implore and even to demand justice; they have ridiculed him and have broken everything in his house, his masterpieces made with the greatest labor and patience, have been smashed. Who is going to pay him? Swanilda, who has just received her dowry, quickly offers it to Coppelius. But the lord of the manor stops Swanilda. She may keep her dowry. He throws a purse to him and whilst Coppelius departs with his money, he gives the signal for the festivities to begin.
The Bell-ringer alights first from the car. He summons the Morning Hours. They appear, quickly followed by Aurora. The bell rings! It is the Hour of Prayer. Aurora vanishes, chased by the Hours of Day. These are the working hours, and the young girls and reapers begin their work. The bell rings again! It announces a wedding.
Derived from: Delibes Ballet of Coppelia. Paris Opera Libretto. Under the Direction of Mr. Heinrich Conried. The Original Italian, French or German Libretto with a Correct English Translation. New York : F. Rullman.

Onegin (Ballet by John Cranko)

Onegin (Ballet by John Cranko)

To music by Pyotr Tchaikovsky
Ballet by John Cranko in three acts
Choreographer: John Cranko
Sets and Costumes: Jurgen Rose
Ballet Master: Reid Anderson
Lighting Designer: Steen Bjarke
Music Director: Pavel Sorokin
Assistants to Ballet Master: Agneta Valcu, Victor Valcu
Premiered at the Boldhoi Theatre on July 12, 2013.

SYNOPSIS

Act I
Scene 1

Madame Larina s Garden
Madame Larina, Olga and the nurse are finishing the party dresses and gossiping about Tatiana s upcoming birthday festivities. Madame Larina speculates on the future and reminisces about her own lost beauty and youth.
Lensky, a young poet engaged to Olga, arrives with a friend from St. Petersburg. He introduces Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin, on the other hand, sees in Tatiana only a naive country girl who reads too many romantic novels.

Scene 2
Tatiana s Bedroom
Tatiana, her imagination aflame with impetuous first-love, dreams of Onegin and writes him a passionate love letter, which she gives to her nurse to deliver.

Act II
Scene 1
Tatiana s Birthday
The provincial gentry have come to celebrate Tatiana s birthday. They gossip about Lensky s infatuation with Olga and whisper prophecies of a dawning romance between Tatiana and the newcomer. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil to them; furthermore he is irritated by Tatiana s letter which he regards merely as an outburst of adolescent love. In a quiet moment, he seeks out Tatiana and, telling her that he cannot love her, tears up the letter. Tatiana s distress, instead of awakening pity, merely increases his irritation.
Prince Gremin, a distant relation, appears. He is in love with Tatiana and Madame Larina hopes for a brilliant match but Tatiana, troubled with her own heart, hardly notices her kindly, older relation.
Onegin, in his boredom, decides to provoke Lensky by flirting with Olga who light-heartedly joins in his teasing. But Lensky takes the matter with passionate seriousness. He challenges Onegin to a duel.

Scene 2
The Duel
Tatiana and Olga try to reason with Lensky but his high romantic ideals are shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. Onegin kills his friend and for the first time his cold heart is moved by the horror of his deed. Tatiana realizes that her love was an illusion and that Onegin is self-centred and empty.

Act III
Scene 1
St. Petersburg
Onegin, having travelled the world for many years in an attempt to escape his own futility, returns to St. Petersburg where he is received at a ball in the palace of Prince Gremin. Gremin has recently married and Onegin is astonished to recognize in the stately and elegant young princess, Tatiana, the uninteresting little country girl whom he once turned away. The enormity of his mistake and loss engulfs him. His life now seems even more aimless and empty.

Scene 2
Tatiana s Boudoir
Tatiana reads a letter from Onegin, which reveals his love for her. Suddenly he stands before her, impatient to know her answer. Tatiana sorrowfully tells him that although she still feels her passionate girlhood love for him, she is now a woman and she could never find happiness with him or have respect for him. She orders him to leave her forever.

Romeo and Juliet (Ballet by Sergei Prokofiev)

Romeo and Juliet (Ballet by Sergei Prokofiev)

Ballet in three acts
Libretto by Adrian Piotrovsky, Sergei Radlov, Sergei Prokofiev after the tragedy of the same name by William Shakespeare
Choreography: Alexei Ratmansky
Set and Costume Design: Richard Hudson
Lightning Design: Jennifer Tipton
Conductor: Pavel Klinichev
Premiered on November 22, 2017
The world premiere of this version of the ballet took place in Toronto.

Synopsis

Act I
Scene 1

Morning in the Italian Renaissance city of Verona. Romeo, of the Montague family, greets the awakening day. As the city comes to life, Romeo is joined by two friends, Mercutio and Benvolio, and the market square is soon filled with people. The bitter enmity between the Montague and Capulet families emerges with the arrival of Tybalt, a Capulet. Innocuous teasing escalates into swordplay as Tybalt fights with Benvolio and Mercutio.
Lord and Lady Capulet and Lord and Lady Montague enter. There is a brief lull in the fighting but soon Capulet and Montague take up swords themselves. The Duke of Verona enters with his guards and intervenes, chastening all of the combatants. The crowd parts, revealing the bodies of two dead young men.

Scene 2
In her bedroom, Juliet, the daughter of Lord and Lady Capulet, plays affectionately with her Nurse as she prepares for a ball. Her mother enters and tells her of Paris, an aristocratic suitor, whom they expect Juliet to marry. Her father enters with Paris. Juliet is uncertain about the arrangement but she receives Paris graciously.

Scene 3
A lavish ball at the Capulet home. Juliet is being displayed by her father for the assembled guests. Disguised by masks, Romeo, Mercutio and Benvolio slip unannounced into the ball. When Romeo sees Juliet, he is immediately lovestruck. After Juliet dances with Paris, Romeo approaches her and professes his feelings. Juliet immediately falls in love. Tybalt, Juliet"s cousin, suspects the interloper and unmasks him, revealing his true identity. Enraged at Romeo"s effrontery, the hotheaded Tybalt demands revenge but he is stopped by Lord Capulet. As the guests depart, Tybalt warns Juliet to stay away from Romeo.

Scene 4
Later that night, Romeo waits beneath Juliet"s balcony. When she appears at her window he makes his presence known. Juliet comes down to him and, despite the danger of their situation which has now become all too clear to both, they pledge their love to each other.

Act II
Scene 1

In the market square, Romeo, delirious with love, is gently mocked by Mercutio and Benvolio. Juliet"s Nurse arrives, bearing a letter to Romeo from Juliet, agreeing to secretly marry him. Romeo is overjoyed.

Scene 2
As planned, Romeo and Juliet meet with Friar Laurence, who has offered to marry them despite the risk, in the hope that it might bring peace to the warring families. He performs the ceremony and the two young lovers are wed.

Scene 3
In the market square, Mercutio and Benvolio encounter Tybalt. Mercutio taunts Tybalt. Romeo enters. Tybalt challenges Romeo to a swordfight but Romeo refuses. Mercutio is less reluctant and, after an exchange of insults, he and Tybalt cross swords and fight. Romeo seeks to intervene and stop them but inadvertently abets Mercutio"s death. A griefstricken and guiltridden Romeo takes up a sword and fights Tybalt, killing him. Lord and Lady Capulet enter, distraught to find Tybalt dead. The Duke arrives and as his guards bear away the bodies of Tybalt and Mercutio, he angrily banishes Romeo, who flees.

Act III
Scene 1

Juliet"s bedroom at dawn. Romeo, although banished, has stayed for his wedding night with Juliet. But now, however sorrowfully, Romeo must depart, before they are discovered. After Romeo has gone, Juliet"s parents enter with Paris and tell her that she is to marry him the following day. Juliet protests but her father brutally silences her. In despair, Juliet rushes off to seek help from Friar Laurence.

Scene 2
In his cell, Friar Laurence gives Juliet a vial containing a sleeping draught that will simulate death. He will send word of the plan to Romeo, who will return to rescue her from the family vault when she has awakened.

Scene 3
Juliet returns to her bedroom, where she pretends to bow to her parents" will and marry Paris. Left alone, however, she takes the sleeping draught and falls into a death-like slumber on her bed. In the morning, Lord and Lady Capulet, Paris, the Nurse and several bridesmaids arrive to wake Juliet. The Nurse tries to rouse her but when she doesn"t respond, everyone believes she is dead.

Scene 4
In the Capulet vault, Juliet lies still in her death-like sleep. Romeo enters, but not having received Friar Laurence"s message, believes Juliet is really dead. In despair, he drinks a lethal poison to join her in death. Before he dies, though, he sees Juliet awaken and he realizes the cruel extent of what has happened. When Romeo is dead, Juliet takes his knife and kills herself. The Montagues and Lord Capulet, the Duke, Friar Laurence and others enter to discover the terrible scene. Realizing the part their enmity has played in the tragedy, the Capulets and Montague are reconciled in their sorrow.

Le Nozze di Figaro (Opera by Wolfgang Amadeus Mozart)

Le Nozze di Figaro (Opera by Wolfgang Amadeus Mozart)

Opera in four acts
Music Director: William Lacey
Stage Director: Evgeny Pisarev
Set Designer: Zinovy Margolin
Lighting Designer: Damir Ismagilov
Will be premiered on 25 April 2015

Synopsis

Act I

Figaro and Susanna, servants to the Count and Countess Almaviva, are preparing for their wedding. Figaro is furious when he learns from his bride that the Count has tried to seduce her. He s determined to have his revenge on his master.

Dr. Bartolo appears with his former housekeeper, Marcellina, who is equally determined to marry Figaro. She has a contract: Figaro must marry her or repay the money he borrowed. When Marcellina runs into Susanna, the two rivals exchange insults.

Susanna returns to her room and an adolescent boy, Cherubino, rushes in. Finding Susanna alone, he tells her he loves her - and every other woman in the house. The Count appears, again trying to seduce Susanna, and Cherubino hides. The Count then conceals himself as well when Basilio, the music teacher, approaches. Basilio tells Susanna that Cherubino has a crush on the Countess. This causes the Count to step forward in anger. He becomes even more enraged when he discovers Cherubino and realizes that his attempts to seduce Susanna have been overheard.

He chases Cherubino into the great hall where they are met by Figaro, who has assembled the entire household to sing the praises of their master. The Count is forced to bless the marriage of Figaro and Susanna. To spite them and to silence Cherubino, he orders the boy to join the army without delay. Figaro ironically tells Cherubino what to expect in the army - no flirting with girls, no fancy clothes, no money, just shells, cannons, bullets, marching, and mud.

Act II

In her bedroom, Rosina, the Countess, mourns the loss of love in her life. Encouraged by Figaro and Susanna, she agrees to set a trap for her husband: they will send Cherubino, disguised as Susanna, to a rendezvous with the Count that night and at the same time make him believe that the Countess is having an assignation with another man. Cherubino appears and the two women lock the door, then begin to dress him up as a girl. While Susanna steps into an adjoining room, the Count knocks and is annoyed to find the door locked. Cherubino shuts himself in the dressing room and the Countess lets her husband in. When there s a sudden noise from the dressing room, the Count skeptical of his wife s story that Susanna is in there.

Taking his wife with him, he leaves to get tools to force the door. Meanwhile, Susanna, who has re-entered the room unseen and observed everything, helps Cherubino escape through the window before taking his place in the dressing room. When the Count and Countess return, both are astonished to find Susanna in there. All seems well until the gardener, Antonio, appears, complaining that someone has jumped from the window, ruining his flowers. Figaro, who has rushed in to announce that everything is ready for the wedding, improvises quickly, feigning a limp and pretending that it was he who jumped. At that moment Bartolo, Marcellina, and Basilio arrive, putting their case to the Count and waving the contract that obliges Figaro to marry Marcellina. Delighted, the Count declares that Figaro and Susanna s wedding will be postponed.

Act III

Later in the day in the great hall, Susanna leads the Count on with promises of a rendezvous that night. He is overjoyed but then overhears Susanna conspiring with Figaro. In a rage, he declares he will have revenge.

The Countess, alone, recalls her past happiness. She s determined to go through with the conspiracy against her husband, and she and Susanna compose a letter to him confirming the rendezvous with Susanna that evening in the garden under the pine trees.

Marcellina, supported by a lawyer, Don Curzio, demands that Figaro pay his debt or marry her at once. Figaro replies that he can t without the consent of his parents for whom he s been searching for years, having been abducted as a baby. When he reveals a birthmark on his arm Marcellina realizes that he is her long-lost son, fathered by Bartolo. Seeing Figaro and Marcellina embrace, Susanna thinks her fianc? has betrayed her, but she is pacified when things are explained.

Cherubino, now dressed as a girl, appears with his girlfriend, Barbarina, the daughter of Antonio. Antonio, who has found Cherubino s cap in the garden, also arrives and unmasks the young man. The Count is furious to discover that Cherubino has disobeyed him and is still in the house. But his anger is punctured by Barbarina-who reveals that the Count, when he attempted to seduce her, promised her anything she wanted. What she wants now is to marry Cherubino. The Count is forced to agree. A march is heard and the household assembles for Figaro and Susanna s wedding. While dancing with the Count, Susanna hands him the letter, sealed with a pin.

Act IV

At night in the garden, Barbarina is in despair: she has lost the pin that the Count has asked her to take back to Susanna. When Figaro and Marcellina appear, Barbarina tells them about the planned rendezvous between the Count and Susanna. Thinking that his bride is unfaithful, Figaro rants against all women. He hides when Susanna and the Countess arrive, dressed in each other s clothes. Alone, Susanna sings of love. She knows that Figaro is listening and enjoys making him think that she s about to make love to the Count. Then she also conceals herself-in time to see Cherubino try to seduce the disguised Countess. The boy is chased away by the Count who wants to be alone with the woman he believes to be Susanna. Figaro, by now realizing what is going on, joins in the joke and declares his passion for Susanna in her Countess disguise. The Count returns. Finding Figaro with his wife, or so he thinks, he explodes with rage. At that moment, the real Countess steps forward and reveals her identity. Ashamed, the Count asks her pardon. After many moments of agonizing doubt, she forgives him and both couples are reunited.

La Silphide (Ballet by Herman Severin Levenskiold)

La Silphide (Ballet by Herman Severin Levenskiold)

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.

Cosi fan tutte,ossia La scuola degli amanti (Opera by Wolfgang Amadeus Mozart)

Cosi fan tutte,ossia La scuola degli amanti (Opera by Wolfgang Amadeus Mozart)

Opera in two acts
Wolfgang Amadeus Mozart
Libreto by Lorenzo da Ponte
Stage Director: Floris Visser
Designer: Dieuweke van Reij
Lighting Designer: Alex Brok
Premiered on May 24, 2014

Synopsis

Act I
Ferrando is in love with Dorabella and Guglielmo is in love with Fiordiligi, her sister. Don Alfonso outrages the men by stating that the girls will sooner or later be unfaithful to them; he makes a bet with them that he can prove his words within the space of a day, but that Ferrando and Guglielmo must follow his orders completely during that time. Dorabella and Fiordiligi are waiting impatiently and longingly for their lovers. Alfonso, however, arrives instead and imparts the disastrous news that their fiances must leave immediately for the battlefield. The couples swear eternal fidelity and with great difficulty the sisters bid farewell to their lovers. Ferrando and Guglielmo leave for the front.
Dorabella cannot restrain her despair. The servant girl Despina reacts matter-of-factly and advises the sisters to look for new lovers. Alfonso decides to involve Despina partially in his plans. He introduces her to two exotic foreigners whom he says are in love with Fiordiligi and Dorabella: Despina"s job is to help them obtain their desires. The men"s disguise is complete, for Despina does not recognise them. The sisters are horrified that strange men have gained access to their house. Fiordiligi is offended to the core by their shameless courting and proclaims the steadfastness of her and Dorabella"s fidelity.
Alfonso has to trust in Despina"s talents for the success of his next plan. She advises the foreigners to pretend to kill themselves for unrequited love. As a miracle-working doctor Despina then seems to save the lives of the two men with a magnet; their complete recovery, she says, can only be completed by a kiss from the two sisters. The women react with horrified indignation to such a suggestion.

Act II
Despina advises the sisters how to carry out a no-strings-attached flirtation with the two strangers; the two women are now prepared to allow themselves a little amusement with the men. Dorabella chooses the disguised Guglielmo and Fiordiligi the disguised Ferrando.
The men serenade the women, begging forgiveness for their forward behavior and promising to mend their ways. Alfonso and Despina arrange matters so that the new couples come closer together.
Dorabella is only too ready to exchange her locket with Ferrando"s picture for a medallion in the shape of a heart offered by the disguised Guglielmo. Their new relationship is thus confirmed.
The disguised Ferrando has, however, been rejected with disgust by Fiordiligi. Alone, she nevertheless has to admit to herself that she has fallen in love with the newcomer. Filled with remorse, she begs forgiveness for her infidelity to Guglielmo.
Guglielmo finds it extremely difficult to defend his seduction of Ferrando"s fiancee to Ferrando himself.
Dorabella is ready to begin a new life with her new lover.
Fiordiligi is offended by her sister"s behaviour. However, she intends to flee her newly discovered love and decides to go to Guglielmo. She is trying on clothing left behind by Ferrando when the disguised Ferrando himself appears; Fiordiligi can resist him no longer. Don Alfonso explains the lesson that must be learnt from their experiences to the disillusioned men: such is women"s nature. Despina arrives with the message that the sisters are ready to marry the strangers and that the notary is standing by. A double wedding ceremony is improvised and both women have just signed the marriage contracts when Ferrando"s and Guglielmo"s return is announced. The supposed bridegrooms hide in an adjoining room - only to readopt their original characters and to give the sisters the fright of their lives at their supposed return. Don Alfonso shows them the marriage contracts. The boys react furiously, but the sisters beg for forgiveness. Ferrando and Guglielmo would love to believe them, but do not want to experience something like this ever again. Don Alfonso has won his bet: young people cannot arrive at adulthood emotionally unscathed.

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