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La Bayadere (Ballet by Ludvig Minkus)

La Bayadere (Ballet by Ludvig Minkus)

Ballet in three acts.
Libretto by Marius Petipa and Sergei Khudekov
Choreography: Marius Petipa
New scenic version: Yuri Grigorovich
Scenes from productions by Vakhtang Chabukiani, Nikolai Zubkovsky, Konstantin Sergeyev used
Sets and costumes after sketches by designers of the first production (1877) revived by Valery Firsov,
Nikolai Sharonov (sets) and Nikolai Sviridchikov (costumes)
Supervisor of scenery and costumes revival: Valery Levental
Music Director: Alexander Kopylov

SYNOPSIS

Act I
Young warriors led by Solor are hunting a tiger. Before entering the forest Solor asks a fakir, named Magedavia, to tell Nikia, a bayadere, that he will wait for her near the temple.
The High Brahmin and priests are solemnly leaving the temple. The feast of worshipping fire begins. Fakirs and votaries of the temple, bayaderes, are performing sacred dances. Beautiful Nikia is among them. She adorns the festival.
Having forgotten about his ordination and vow of celibacy, the High Brahmin tells Nikia that he loves her and promises to place at her feet all the riches of India. Nikia rejects his wooing. She will never love him.
Nikia and other bayaderes give the fakirs water from the sacred pool. Imperceptibly Magedavia tells Nikia that Solor will come to see her. The bayadere is happy.
It is getting dark. Nikia comes to meet her beloved. Their secret rendezvous is guarded by the fakir. But the High Brahmin manages to overhear the conversation of the sweethearts.
Solor proposes that they elope. The bayadere agrees, but first she wants him to vow fidelity to her at the sacred fire. Solor takes the oath. The High Brahmin is infuriated. He appeals to the gods and demands punishment. His revenge will be terrible.
Next morning the rajah Dugmanta, head of the principality, tells his daughter Gamzatti that she will see her fiance that day.
The rajah sends for the fiance. It is the brave warrior Solor. The rajah shows Solor his beautiful daughter and proclaims them bride and groom. The warrior is struck by Gamzatti s beauty. But he remembers the bayadere, his vow to her, and is thrown into confusion.
It is time to hold the ceremony of consecrating Gamzatti's betrothal. Nikia is invited to the palace for the ceremony.
The High Brahmin arrives. He wants to tell the rajah a secret. Dugmanta sends everybody away. Gamzatti feels that the High Brahmin s arrival is somehow connected with her forthcoming marriage and eavesdrops on the Brahmin s conversation with her father.
The High Brahmin tells the rajah about Solor s love for Nikia. Dugmanta is infuriated but doesn t change his mind to give his daughter in marriage to Solor. The bayadere, who made Solor take the oath, must die.The High Brahmin who had wanted to get rid of his rival, didn t expect such a turn of events.
He threatens the rajah with punishment of the Gods for the bayadere s death. But the rajah is unrelenting.
Gamzatti orders her slave to bring Nikia. She sees that the bayadere is very beautiful and can be a dangerous rival. The rajah s daughter tells the bayadere about her forthcoming marriage and invites her to dance at the feast. She deliberately shows her the portrait of her fiance Solor. Nikia protests: Solor loves only her and he made a vow of eternal fidelity. The rajah s daughter demands that Nikia should give up Solor. But the bayadere would rather die than part with Solor. Gamzatti offers her jewels. Nikia throws them away with scorn. Nothing will make her part with her beloved. She raises her dagger in a rage. The slave stops her. But Gamzatti will never give her fiance back.

Act II
A sumptuous feast is being held on the occasion of Solor and Gamzatti s engagement. The bayadere Nikia is supposed to entertain the guests with dances. She can t hide her grief. Her eyes are fixed on her beloved Solor.
The fakir presents Nikia with a basket of flowers on behalf of Solor. The bayadere s dance is filled with happiness. But suddenly a snake crawls out of the flowers and bites her fatally.
Nikia realizes that the rajah s daughter is to blame for her death. The High Brahmin promises to save her life if she will love him. But the bayadere is faithful to her love for Solor. Nikia dies. Solor leaves the feast in despair.

Act III
Solor is inconsolable. He is gnawed by remorse. He enjoins the fakir to distract him from his grievous thoughts. Fascinated by the sacred dance, Solor sinks into the world of dreams.
Shadows appear to him out of the darkness. They are descending from mountains in a long file. Solor sees fair Nikia among them...
Solor comes out of his dazed state and hurries to the temple. He prays to the gods to forgive him. But it s too late. The infuriated gods punish Solor for his betrayal of love. Lightning and thunder destroy the temple. There is no more reality for Solor. He follows the shadow of fair Nikia...

Lady of the Camellias (Ballet by John Neumeier)

Lady of the Camellias (Ballet by John Neumeier)

Ballet by John Neumeier in three acts with a prologue.
After the novel of the same name by Alexandre Dumas.
Choreography, Staging & Light: John Neumeier.
Sets and Costumes: Jurgen Rose.
Music Director: Pavel Sorokin.
Premiered on March 20, 2014.

SYNOPSIS

The ballet takes place during an auction. The story evolves as a series of memories recalled from various points of view - Armand"s, his Father"s, and Marguerite"s.
(All actions during the auction are indicated in light.)

Prologue
Marguerite Gautier, once the most desirable courtesan in Paris, has died. The complete furnishings of her luxurious apartment are to be disposed of by auction. Carrying Marguerite"s diary, Nanina, her loyal servant, bids the place farewell. Among those inspecting the items is Monsieur Duval, whose son Armand rushes in frantically. Overcome by memories, he collapses.
excerpt from Largo, Irom the Sonala in В minor, Op. 58

Act I
Piano Concerto No. 2 in F minor, Op. 21
As Monsieur Duval comforts him, Armand tells his story.
It begins in the Theatre-des-Varietes, during a performance of the ballet "Manon Lescaut", in which the famous rococo courtesan deceives Des Grieux with numerous admirers. In the audience, Marguerite Gautier is disgusted by Manon"s frivolous in fidelity. Armand Duval, who has long admired Marguerite, is introduced to her by Gaston Rieux. Marguerite makes fun of Armand"s awkward sincerity. As he follows the ballet, Armand fears that his own future may reflect Des Grieux"s sorrowful fate.
After the performance Marguerite invites Armand to her apartment along with his friend Gaston, the courtesan Prudence and her own escort, the wearisome young Count N. Annoyed by the jealous Count, Marguerite suffers a coughing attack. Armand follows her to her bedroom, offers his assistance, then confesses his love. Marguerite is moved by his sincere passion. However, aware of her fatal illness and needing the comfort of luxury, she insists that their affair must remain secret.
While Marguerite continues to lead her hectic life, hastening from one ball to another, from one admirer to the next, from an old Duke to the young Count, Armand is always there - waiting. When Marguerite departs for the idyllic country house the Duke had put at her disposal - he follows her.

Act II
Marguerite"s summer straw hat promps Armand to resume his story...
Surrounded by reveling friends and ardent admirers, Marguerite continues her turbu?lent life in the country.
Valse No. 1 in A-llat major, Op. 34
3 ecossaises, Op. 72
Valse No. 3 in F major, Op, 34
With the inevitable confrontation between Armand and the Duke, Marguerite"s moment of decision arrives. She publicly acknowledges her love for Armand. Armand and Marguerite are alone at last.
Largo, from the Sonata in В minor, Op. 58
Armand"s father recalls with regret his part in the story.
Ashamed that his son is living with a prostitute, Monsieur Duval visits Marguerite in the country. He insists that her relationship with his son will ruin Armand. Shocked, Marguerite protests, but the image of Manon and her admirers appear in memory, a mirror image of her own past, confirming the truth of Monsieur Duval"s accusations. He demands that she leave Armand. Out of deep and sincere love Marguerite com?plies.
Prelude No. 2 in A minor, No. 17 in A-flat major, No. 15 in D-flat major, from 24 Preludes, Op. 28
excerpt Irom Largo, from the Sonata in В minor, Op. 58
Armand tells his father how he found the house deserted.
He waited in vain until Nanina brought him a letter saying that Marguerite had returned to her former life. unbelieving, Armand runs to Paris, finding Marguerite in the arms of the Duke.
Prelude No. 2 in A minor, No. 24 in D minor, from 24 Preludes, Op. 28

Act III
Armand explains to his father how they met later on the Champs-Elysees.
Marguerite was accompanied by the beautiful young courtesan Olympia. To have his revenge on the woman who had so deeply wounded him, Armand flirts with and seduces Olympia.
Grande fantaisle sur des airs polonais pour le piano avec orchestre in A major, Op. 13, Largo ma non troppo, Andantmo, Vivace
Deathly ill, Marguerite visits Armand, begging him not to hurt her by flaunting his affair with Olympia. Their passion ignites once more. Falling asleep, a vision of her alter ego Manon beckons Marguerite back to her former life. Waking, she remembers her promise to his father and silently leaves Armand for the second time.
Ballade No. 1 in G minor, Op. 23 Andante spianato in e-flat major. Op. 22
At a grand ball, Armand publicly humiliates Marguerite by handing her money as pay?ment for past services. Marguerite collapses.
Grande polonaise brillanfe in e-flat major, Op. 22
Armand has reached the end of his story. He will never see Marguerite again. Deeply moved, his father leaves, as Nanina returns and gives Armand Marguerite"s diary.
Reading, Armand seems to accompany Marguerite on her last visit to the theatre. Again she views a scene from the ballet "Manon Lescaut". This time it is one in which Manon, impoverished like herself, dies in the arms of her faithful lover Des Grieux.
Second movement, Romance, from the Piano Concerto No. 1 in e minor. Op. 11
Ill and despairing, Marguerite leaves the theatre, but the characters from the ballet follow her into a feverish dream. As the phantom lovers blend with her own memo?ries, her identification with Manon seems complete. Deserted and longing to see Armand again, Marguerite confides her last thoughts to the diary, which she gives to Nanina for Armand.
excerpt from Largo, from the Sonata in В minor, Op. 58
Marguerite dies alone.
Armand silently closes her diary.

Don Quixote (Ballet by Marius Petipa, Alexander Gorsky. Ludwig Minkus)

Don Quixote (Ballet by Marius Petipa, Alexander Gorsky. Ludwig Minkus)

Ludwig Minkus
Libretto by Marius Petipa after the novel of the same name by Miguel de Cervantes
Choreography: Marius Petipa, Alexander Gorsky
New choreographic version: Alexei Fadeyechev
Music Director: Pavel Sorokin
Designer: Valery Leventhal
Costume Designer: Elena Zaitseva
Lighting Designer: Damir Ismagilov
Executive Designer: Olga Medvedeva
Use is made in the production of choreography by Rostislav Zakharov (Dance with Guitars and Jig to music by V. Soloviev-Sedoy); by Kasiyan Goleizovsky (Gipsy Dance to music by V. Zhelobinsky); by Anatoly Simachev (Fandango to music by E. Napravnik).
Will be premiered February 2, 2016.

SYNOPSIS

Prologue
Don Quixote, having read his fill of romances about knights and chivalry, decides to set off on his travels in order to achieve great feats, which willbring glory to his name. As his sword-bearer, he chooses the loyal Sancho Panza, a man of sober outlook who is not prone to dreams.

Act I
In Barcelona there is festive anima?tion in the air. Kitri, daughter of the innkeeper, is flirting with Basilio, the barber, who is in love with her.Finding them together Lorenzo, Kitri s father, chases Basilio away: the barber is no fit match for his daughter. Lorenzo intends Kitri to marry Gamache, a rich noble?man. Kitri refuses outright tosubmit to her father s will.

At the height of the merry-making, Don Quixote appears in the square, accompanied by his sword bearer, Sancho Panza. Catching sight of the innkeeper, Don Quixote mistakes him for the owner of aknight s castle and greets him with respect. Lorenzo responds in like terms and invites Don Quixote into the inn. Sancho Panza is left in the square. But when some young people start to mock Sancho,Don Quixote immediately hurries to his sword-bearer s rescue.

Seeing Kitri, Don Quixote thinks she is the beautiful Dulcinea whom he has seen in his dreams and chosen as the lady of his heart . But Kitri disappears. She has run off with Basilio. Lorenzo,Gamache and Don Quixote set out to look for her.

Act II
Scene 1

Kitri and Basilio are hiding in a tavern. Here they are found by Lorenzo, Gamache and Don Quixote. Lorenzowishes to make an immediate announce?ment of the betrothal of Kitri and Gamache. But Basilio, by agreement with Kitri, pretends to take his life. Kitri sobs over the body of her sweetheart. DonQuixote overcоme by noble indignation accuses Lorenzo of hardheartedness and, threatening him with his sword forces him to agree to his daughter s marriage with the barber Basilio jumps to his feet.There is no point in him pretending to be dead am longer.

Scene 2
In the glade by the windmills is a sprawling gipsy encampment. Here too is a puppet theatre. Don Quixote and Sancho soon appear on the scene. The ownerof the puppet theatre invites Don Quixote to watch a show. Don Quixote follows the performance with rapt attention and, forgetting it is theatre, rushes on to the stage, sword in hand, to defendthose who need his protection. He breaks down the stage, sends the puppets flying and, catching sight of the windmills, mistakes them for evil magicians whom he has to get the better of. Grabbing amill sail, he is first lifted into the air and then falls to the ground.

Scene 3
The wounded Don Quixote and Sancho Panza find themselves in a forest. To Don Quixote, the forest seems to be full of monsters and giants. Sancho Panzasettles Don Quixote down to sleep, while he runs off for help. In his dreams, Don Quixote sees Dulcinea, the lady of his heart , surrounded by Dryads and fairies Sancho Panza comes back with theDuke and Duchess who have been hunting in the forest. He begs them to help the dreaming Don Quixote. The Duke and Duchess invite the wandering knight to visit them m their castle.

Act III
The Duke s castle. All is ready for the reception of Don Quixote.
Having heard from Sancho Panza the happy story of Kitri and Basilio s love, the Duke and Duchess have kindly agreed to allow them to hold their wedding in the castle. Don Quixote and Sancho Panza areinvited to occupy the seats of honor. A solemn procession files past. Catching sight of Kitri, Don Quixote again mis?takes her for the lady of his reveries . But the Duke and Sancho Panza manage topersuade him that she is the very same innkeeper s daughter whom he helped to unite with Basilio, her sweetheart.
The festivities continue. All thank the va?liant knight and his faithful sword-bearer.

Jewels (Ballet by George Balancine)

Jewels (Ballet by George Balancine)

Ballet by George Balancine in three parts.
Will be premiered at the Bolshoi Theatre on May 5, 2012.

Emeralds
to music by Gabriel Faure

Rubies
to music by Igor Stravinsky
The score has been made available by Boosey & Hawkes Music Publishers Limited

Diamonds
to music by Pyotr Tchaikovsky

Teachers-Repetiteurs: Sandra Jennings, Merrill Ashley, Paul Boos
Set Designer: Alyona Pikalova
Costume Designer: Elena Zaitseva
Music Director: Pavel Sorokin

Candide (Operetta in two acts. Theatrical concert performance)

Candide (Operetta in two acts. Theatrical concert performance)

Leonard Bernstein
Operetta in two acts
Theatrical concert performance
Sang in English with Russian dialogs (translation by Ekaterina Baburina).
The score has been made available by Boosey & Hawkes Music Publishers Limited.
In commemoration of the composer centennary

Book by Hugh Wheeler after Voltaire, Lyrics by Richard Wilbur,
with additional lyrics by Stephen Sondheim, John La Touche, Lillian Hellman, Dorothy Parker
and Leonard Bernstein.

Orchestrations by Leonard Bernstein and Hershy Kay.
Musical continuity and additional orchestrations by John Mauceri,

with a narration for concert version by Leonard Bernstein and John Wells, adapted from the satire by Voltaire and the book by Hugh Wheeler; edited and supplemented by Erik Haagensen.

Music Director: Tugan Sokhiev
Stage Director: Alexei Frandetti
Set Designer: Timofei Ryabushinsky
Costume Designer: Victoria Sevryukova
Chief Chorus Master: Valery Borisov

Carmen (Opera by Georges Bizet)

Carmen (Opera by Georges Bizet)

Opera by Georges Bizet in four acts
Music Director: Tugan Sokhiev
Stage Director: Alexei Borodin
Designer: Stanislav Benediktov
Lighting Designer: Damir Ismagilov
Premiered on 15 July 2015

Synopsis

Act I
A bustling square in the city of Seville. Dragoon guards are watching over the crowd. Micaela comes in search of Don Jose whose mother is sending him a letter through her. As Jose is not to be found, Micaela leaves. Jose arrives with his company to relieve the guards. Female workers of the tobacco make their way from work through the square. Carmen the gypsy is among them. All the men are fascinated by her, but she refuses to love them back: she is drawn to the indifferent one, Don Jose. As she leaves, she throws at him a cassia flower. Micaela returns. She and Jose reminisce about their native land. When Micaela goes away, Jose reads his mother"s letter. He is decided to do as she says and marry Micaela.
Suddenly the peace is disturbed: Carmen has started a quarrel with her fellow worker. Two fighting women are set apart, and Jose is to escort Carmen to jail. Carmen promises him her love if he helps her escape. Jose surrenders to her charm.

Act II
Gypsy girls entertain the soldiers at Lillas Pastia"s. escamillo the toreador praises his dangerous trade, and is in his turn praised by the enrapt crowd. escamillo is captivated by Carmen, but she is not interested in him.
The smugglers Danca?re and Remendado arrive. They tempt Carmen and her friends, Frasquita and Mercedes, to assist them in a fat job. Carmen refuses: she is in love and awaits the soldier who was confined because of her. It is Jose, and he does not hesistate to keep their appointment once he is free. Carmen is happy to see him and eager to dance for him alone. A bugle call summons Jose back to the barracks. He intends to go, and Carmen annoyed with his obedience to command.
Suddenly Zuniga, Jose"s senior, arrives at the inn. He goes after Carmen, but the smugglers interfere. Zuniga is overpowered, and Jose has to join the smugglers.

Act III
Smugglers" camp. Jose is jealous of his lover and ashamed of being a deserter.
Carmen reads the cards and is foretold death.
The smugglers, including Frasquita and Mercedes, are in for a job, and Carmen decides to join them to help cajole the customs officers.
escamillo comes to the camp. He wants to see Carmen and declares his love for her. Jose is ready to kill his rival, but Carmen stops their combat. As he leaves, escamillo invites everyone to a bullfight.
Micaela arrives. She was looking for Jose to inform him of his mother"s mortal ilness. Jose has to go with her and leave Carmen.

Act IV
A square in front of an arena where a bullfight is about to start. Carmen and escamillo arrive together, they are happily in love. Frasquita and Mercedes warn Carmen to beware of Jose, but Carmen is intrepid.
She stays behind the crowd and meets Jose face to face. Jose implores Carmen to go with him and love him again, but she is adamant: her heart belongs to another.
Desperate and enraged, Jose kills Carmen.

Swan Lake (Ballet by Pyotr Tchaikovsky)

Swan Lake (Ballet by Pyotr Tchaikovsky)

Ballet in two acts
Libretto by Yuri Grigorovich after scenario by Vladimir Begichev and Vasily Geltser
Choreographer: Yuri Grigorovich (2001 version)
Scenes in choreography by Marius Petipa, Lev Ivanov,?Alexander Gorsky used
Designer: Simon Virsaladze
Music Director: Pavel Sorokin
Lighting Designer: Mikhail Sokolov

SYNOPSIS

Act l
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.

Manon Lescaut (Opera by Giacomo Puccini)

Manon Lescaut (Opera by Giacomo Puccini)

Giacomo Puccini
Opera in four acts
Libretto by Domenico Oliva, Marco Praga, Giuseppe Giacosa, Luigi Illica, Ruggero Leoncavallo, and Giulio Ricordi based on the novel L"histoire du chevalier des Grieux et de Manon Lescaut by Abbe Prtevost
Music Director: Jader Bignamini
Director: Adolf Shapiro
Designer: Maria Tregubova
Lighting Designer: Damir Ismagilov
Chief Chorus Master: Valery Borisov
Choreographer: Tatiana Baganova
Premiered on October 16, 2016

SYNOPSIS

Act I
A public square in Amiens

Students enjoy the summer evening in the town square. One of them, Edmondo, sings a madrigal of youthful pleasure, hoping to attract the young women. They ask a brooding Des Grieux to join them, and to prove he is not cynical about love, he gallantly flirts with a group of girls with mock courtesy. As they all celebrate in the street, a carriage arrives at the inn carrying Geronte, Lescaut and his sister Manon. Des Grieux is struck by Manon"s beauty and shyly approaches her. She is called inside by her brother, but has been won over by Des Grieux"s words, and they make plans to meet later.
Geronte discusses Manon"s future with Lescaut. The family wants her to take the veil, but Lescaut has other ideas for her future, namely a match with the older Geronte (along with whatever benefits he may glean from the rich treasury official). The two men agree to meet for dinner, and Lescaut then joins a card game with the students. Edmondo overhears Geronte making plans to take Manon to Paris. He tells Des Grieux and agrees to help prevent this from happening.
Manon and Des Grieux meet as agreed and express their mutual attraction. He warns of Geronte"s plan to abduct her, so they run away together. Geronte is affronted, but Lescaut advises him to be patient, for he knows his sister"s expensive tastes will soon exhaust a student"s income.

Act II
An elegant room in Geronte"s house in Paris

As Lescaut predicted, Manon is now Geronte"s mistress and prepares for the day, aided by a hairdresser. When Lescaut arrives, she asks about Des Grieux, recalling their once-passionate affair. When speaking to Des Grieux, Lescaut has been vague about Manon"s whereabouts, but encouraged him to become a gambler so that he may acquire enough wealth to keep her in the style she requires.
Geronte has arranged a reception with musicians, who sing a madrigal in Manon"s honor. A dancing master teaches the minuet, but in spite of all the finery, Manon is bored with her new life. Realizing that she is unhappy, Lescaut privately decides to fetch Des Grieux. The guests depart for a stroll down the esplanade, and Manon promises to join them later.
Des Grieux appears at the door. He berates her lack of fidelity, but in begging forgiveness, she softens his resolve. Geronte returns and is thunderstruck to find them in each other"s arms. Manon counters his deriding remarks by holding a mirror to his face, reminding him of his advanced age. Threatening revenge, he leaves the couple alone.
Lescaut soon enters, breathless. Geronte has summoned the authorities, denouncing Manon"s lack of morality. Before fleeing with Des Grieux, she gathers her expensive jewelry, but that delay proves costly - the guards arrive and arrest her for thievery.

Act III
A square near the harbor in Le Havre

Manon is being held in the barracks, awaiting deportation to America with a group of prostitutes. Lescaut has bribed one of her jailors, and he and Lescaut wait for the changing of the guard to effect her escape. She is made aware of the plan while sharing a brief moment with Des Grieux. A shot betrays their scheme. Manon and the other prisoners are then led one-by-one to a ship while the onlooking townspeople make wicked comments as each one passes by. Des Grieux begs the captain to be hired as a deckhand, and he agrees to take the infatuated young man on the voyage to the New World.

Act IV
A wilderness on the edges of the Louisiana Territory

After troubles with the colonial governor, the two lovers are forced to make an escape. Manon is destitute and very weak. She sends Des Grieux ahead to look for water and shelter. When he returns it is too late. She dies believing that time will cleanse her of any sin, and he is left with nothing but memories of their too brief time together.

Nureyev (Ballet in two acts)

Nureyev (Ballet in two acts)

Ballet in two acts
Ilya Demutsky
Libretto by Kirill Serebrennikov and Yuri Possokhov
Choreographer: Yuri Possokhov
Director and Designer: Kirill Serebrennikov
Lighting Designer: Alexander Sivaev
Costume Designers: Elena Zaitseva
Music Director: Anton Grishanin
The world premiere took place on December 9, 2017.

SYNOPSIS

Act I

The Auction
After Rudolf Nureyev"s death his property is being auctioned in New York and Paris. Each of the items on display contains a part of the great dancer"s life.

Rossi Street
Nureyev"s studying at the Vaganova Ballet School in Leningrad, his graduation concert, his early career at the Kirov Theatre. Nureyev"s success goes hand in hand with constant denunciations, both at home and during tours abroad.

A Leap to Freedom
Paris. After his legendary "leap to freedom" Nureyev is left alone. His childhood memories entwine with the uncertainty that awaits him.
Nureyev meets the Parisians and tries to imitate their behaviour - to move like free people do.
He is fascinated by the dances of men in drag in the Bois de Boulogne.

A Letter to Rudi. The pupil
Nureyev"s pupils and colleagues - Charles Jude, Manuel Legris, Laurent Hilaire - remember him as an artist, as their friend, as an important part of their lives and the entire human history.

The Portrait. Rudimania
Nureyev"s photo session with the famous Richard Avedon in the latter"s studio. Avedon gets the dancer to behave as natural as possible.
Nureyev is admired by all and stalked by paparazzi. The high society is enraptured by his provocative behavior.

Erik
Dance and mutual passion unite Nureyev and Erik.

Act II

Grand Gala
Worldwide triumph. Partners change, roles change, music changes - only the great and inimitable Nureyev stays the same.
He isn"t going to let anyone take his place.

A Letter to Rudi. The diva
The great ballerinas, Nureyev"s partners - Alla Osipenko and Natalia Makarova - address him through time and eternity that lie between them.

Le Roi Soleil
Nureyev reigns like the Sun King, enjoying the exquisite singing and sensual paintings.

The Island
Beneath the gorgeous outfit of the Sun King there is a lonely Pierrot devoured by disease.

The Shadows
Nureyev is not only a dancer and a choreographer: he becomes a conductor too.
He stages La Bayad?re, his last production. But he is surrounded not only by the legendary Shadows.
The music stops. Nureyev keeps conducting the silence.

The Queen of Spades (Opera by Pyotr Tchaikovsky)

The Queen of Spades (Opera by Pyotr Tchaikovsky)

Pyotr Ilyich Tchaikovsky
Opera in three acts
Libretto by Modest Tchaikovsky after the novel of the same name by Alexander Pushkin
Music Director: Tugan Sokhiev
Stage Director: Rimas Tuminas
Director, Choreographer: Anzelika Cholina
Set Designer: Adomas Jacovskis
Costume Designer: Maria Danilova
Lightning Designer: Damir Ismagilov
Chief Chorus Master: Valery Borisov
Presented with one interval.
Sung in Russian with English surtitles.
Premiered on February 15, 2018.

SYNOPSIS

Act I
Scene 1

Petersburg. Strolling in the Summer Garden, Surin tells Chekalinsky about the previous night's gambling: as usual, Нerman had spent the whole night by the gaming table, gloomily following the game, but not taking part in it.
Нerman and Count Tomsky come into the garden. Нerman admits he is in love with a girl whose name he does not know even. He is afraid she is above him in station and therefore will prove beyond his reach.
Prince Yeletsky informs his friends that he is to get married. Нerman asks him about his betrothed. "There she is", Yeletsky replies, pointing to Liza who is in the company of the old Countess, known as The Queen of Spades. Gherman is in despair: for Liza is the very girl with whom he is in love.
"Happy day, I bless you!" Yeletsky says. "Unhappy day, I curse you!" Нerman exclaims.
Tomsky tells his friends that in her youth the Countess was a great beauty. A passionate gamblег, in Paris she had once lost everything at the gaming table. Count Saint-German had told the 'Moscow Venus' the secret of three cards which had helped her win her fortune back. The Countess had been warned she would die at the hands of a man who, "impelled by despair", would come to her to demand the secret of the three cards.
Tomsky's story made a great impression on Нerman. The Summer Garden empties, a storm is about to break. All take shelter except Нerman who stands as if in a trance. He swears that if Liza does not become his, he will take his life.

Scene 2
Liza's room at the Countess' house. Some girls of her own age have come to see Liza. Their merrymaking is interrupted by a stern housekeeper: the Countess is annoyed - it is already late and she cannot sleep because of the noise the girls are making. Left alone, Liza confides her secret to the night: she is in love with Herman.
Herman appears at the balcony doors. He declares his love to Liza. There is a loud knocking at the door. The old Countess has come to Liza's room herself to find out what the noise is about. Hiding, Herman remembers the legend of the three cards. Overcome by a burning desire to find out the secret of the winning cards, he immediately forgets his love for Liza. The Countess leaves the room and Gherman comes to his senses. He again tells Liza he loves her. She begs him to leave but, won over by the strength of his passion, she admits to reciprocating his feelings.

Act II
Scene 3

A ball given by a rich dignitary. Yeletsky notices that Liza is out of spirits and keeps questioning her as to the cause of her malaise. Liza avoids giving an explanation. The entreaties of her fiance to whom she is indifferent, leave her cold.
Liza gives Herman the key to a secret door into the Countess' house: they must see each other. The way to Liza's room lies through the old woman's bedroom. It seems to Gherman that fate itself is helping him discover the secret of the three winning cards.

Scene 4
The Countess' bedroom. Here everything is reminiscent of the distant youth of the 'Moscow Venus' and Herman forgets why he has come. Possessed by the wish to find out the secret of the three cards, he decides to remain in the bedroom and make the Countess reveal it to him.
On her return from the ball, the Countess, having dismissed her maids and hangers on, remembers her youth and the marvelous balls in Paris. Herman suddenly appears and asks the Countess to reveal her secret to him. The old woman remains silent. Herman, threatening her with a pistol, repeats his request. The Countess dies....
Hearing the noise, Liza runs into the bedroom. Catching sight of the dead Countess, she exclaims in despair: "So it was the cards, not me you were after!"

Act III
Scene 5

Herman's quarters in the barracks. Herman is reading a letter from Liza in which she asks him to meet her on the embankment and give an explanation of his conduct. Herman is tormented by thoughts of the dead Countess. Against a background of the wailing wind and raging snowstorm outside, the old woman's ghost appears to Herman, who has gone out of his mind. She tells Herman he must marry Liza and that the secret of the three cards - Three, Seven and Ace - will be his.

Scene 6
The embankment of the Winter Canal. Dusk is falling fast. Liza is waiting for Herman hoping that he will dispel her suspicions that his murder of the Countess was premeditated. She waits a long time. Liza begins to lose hope and is ready to believe in Herman's villainy. But then Herman appears and for a brief moment it seems to them both that happiness may be possible, that all their sufferings are over. But, possessed by the thought of the three cards, Herman, half out of his mind, pushes Liza aside and runs off. Liza throws herself in the canal.

Scene 7
At the gambling house, the game is in full swing. Herman puts all his money on the three, the card named to him by the ghost, and wins. He doubles his stake. The second card, the seven, also brings him luck.
Herman, in very overwrought state, challenges anyone to stake once more. Yeletsky offers to play with him. But Gherman's third card turns out to be the Queen of Spades, not the ace. His card is trumped. Herman sees the ghost of the Countess. Gibbering with fear and rage he shoots himself.

Il Viaggio a Reims (Opera by Gioacchino Rossini)

Il Viaggio a Reims (Opera by Gioacchino Rossini)

Gioacchino Rossini
Opera intwo acts
Presented with one interval.
Libretto by Luigi Balocchi based on the novel "Corinne, ou L Italie" by Germaine de Sta?l
Music Director: Tugan Sokhiev
Stage Director: Damiano Michieletto
Set Designer: Paolo Fantin
Costume Designer: Carla Teti
Lighting Designer: Alessandro Carletti
Chief Chorus Master: Valery Borisov
Premiere of the production took place at the Dutch National Opera on January 20, 2015.
The staging is a co-production with Royal Danish Opera, Copenhagen and Opera Australia, Sidney.
Will be premiered at the Bolshoi Theatre on December 12, 2018.

Raymonda (Ballet by Alexander Glazunov)

Raymonda (Ballet by Alexander Glazunov)

Ballet in three acts.
Libretto by Yuri Grigorovich after scenario by Lidia Pashkova, based on medieval knight`s legends
Choreographer: Yuri Grigorovich (version of 2003)
Scenes in choreography by Marius Petipa and Alexander Gorsky used
Designer: Simon Virsaladze
Music Director: Pavel Sorokin
Lighting Designer: Mikhail Sokolov
Assistant Choreographer: Natalia Bessmertnova
Premiered on May 10, 2003.
Presented with two intervals.
Running time: 3 hours 5 minutes.

SYNOPSIS

Act I
Raymonda, the niece of the Countess Sybil de Daurice, а French noblewoman, is betrothed to Jean de Brienne.
De Brienne arrives at the castle. Не has come to bid farewell to Raymonda before leaving to go on а crusade led by the King of Hungary, Andrei II.
Raymonda says goodbye tо her beloved and the knight leaves the castle.
Night-time. Raymonda is carring into the enchanted garden of dreams. In her dreams Raymonda sees Jean de Brienne. The happy lovers are together again.
Suddenly Jean de Brienne disappears.
In his place Raymonda sees an Eastern knight whom she does not know. Не confronts her with а passionate declaration of his love. Raymonda is deeply perturbed and falls unconscious to the ground. The mirage vanishes.
Dawn breaks. Raymonda decides that the vision she had in the night is an omen.

Act II
Festivities are underway at the Dayrice castle.
Among the guests is the Saracen knight, Abderakhman, accompanied by а magnificent suite. Raymonda recognizes him to be the mysterious stranger of her dream. She is terrified. Abderakhman offers Raymonda power and riches in return for her hand and heart. Raymonda rejects Abderakhman. Enraged, Abderakhman tries to abduct her.
Suddenly knights appear. They have returned from the crusade. Jean de Brienne is among them.
King Andrei П suggests that Jean de Brienne and Abderakhman settle their diffеrences in single combat. Jean de Brienne gets the better of Abderakhman. The lovers are united.

Act III
King Andrei II blesses the marriage of Raymonda аnd Jеаn de Brienne. In honour of the King of Hungary, the wedding festivities are concluded by а big Hungarian dance.

Spartacus (Ballet by Aram Khachaturyan)

Spartacus (Ballet by Aram Khachaturyan)

Ballet in 3 parts.
Libretto by Yuri Grigorovich after the novel of the same name by Raffaello Giovagnolli, ideas from the scenario by Nikolai Volkov used
Choreographer: Yuri Grigorovich
Designer: Simon Virsaladze
Music Director: Gennadi Rozhdestvensky
Premiered on April 9, 1968.
Presented with two intervals.
Running time: 3 hours 20 minutes.

SYNOPSIS

Act I
Scene 1
Invasion.

The military machine of imperial Rome, led by Crassus, wages a cruel campaign of conquest, destroying everything in its path. Among the chained prisoners, who are doomed to slavery, are Spartacus and Phrygia.

Spartacus'c Monologue.
Spartacus is in despair. Born a free man, he is now a slave in chains.

Scene 2
The Slave Market.

Slave dealers separate the men and women prisoners for sale to rich Romans. Spartacus is parted from Phrygia.

Phrygia's Monologue.
Phrygia is overcome with grief. She thinks with horror of the terrifying ordeals that lie ahead of her.

Scene 3
Orgy at Crassus's Palace.

Mimes and courtesans entertain the guests, making fun of Phrygia, Crassus's new slave. Aegina draws Crassus into a frenzied, bacchanalian dance. Drunk with wine and passion, Crassus demands a spectacle. Two gladiators are to fight to death in helmets with closed visors, i.e., without seeing each other. The victor's helmet is removed. It is Spartacus.

Spartacus'c Monologue.
Against his will, Spartacus has been forced to murder a fellow man. His despair develops into anger and protest. He will no longer tolerate captivity. He has but one choice of action - to win back his freedom.

Scene 4
The Gladiators' Barracks.

Spartacus incites the gladiators to revolt. They swear an oath of loyalty to him and, of one accord, break out of the barracks to freedom.

Act II
Scene 5
The Appian Way.

Having broken out of their captivity and finding themselves on Appian Way, surrounded by shepherds, Spartacus's followers call the latter to join the uprising. Shepherds and populace proclaim Spartacus as their leader.

Spartacus's Monologue.
The thought of Phrygia's fate as a slave gives Spartacus no peace. He is haunted by memories of his loved one whom he thinks of day and night.

Scene 6
Crasuss's Villa.

His search for Phrygia leads Spartacus to Crassus's villa. The two lovers are overjoyed at their reunion. But, due to the arrival of a procession of patricians, led by Aegina, they are forced to hide.

Aegina's Monologue. Aegina has long dreamed of seducing and gaining power over Crassus. Her goal is to win him and thereby gain legal admittance to the world of the Roman nobility.

Scene 7
Feast at Crasuss's Villa.

Crassus celebrates his victories. The patricians sing his praises. The festivities are cut short by an alarming piece of news: Spartacus and his min have all but surrounded the villa/ The panic-stricken guests disperse. Crassus and Aegina are also forced to flee. Spartacus breaks into the villa.

Spartacus's Monologue.
Victory! It elates him and fills him with faith that the uprising will be successful. Victory!

Scene 8
Spartacus's Victory
. Spartacus's men have taken Crassus prisoner and want to kill him, but Spartacus is not bent on revenge and suggests that they should engage in single-handed combat. Crassus accepts the challenge and suffers defeat: Spartacus knocks the sword out of his hand. Crassus makes ready demonstratively to meet his death, but Spartacus, with a gesture of contempt, lets him go. That all shall know of Crassus's dishonor is punishment enough. The jubilant insurgents praise the victory of Spartacus.

Act III
Scene 9
Crasuss Takes His Revenge.

Crassus is tormented by his disgrace. Fanning his hurt pride, Aegina calls on him to take his revenge. There is only one way forward - death to the insurgents. Crassus summons his legions. Aegina sees him off to battle.

Aegina's Monologue. Spartacus is Aegina's enemy too. The defeat of Crassus will be her downfall. Aegina devises a perfidious plan - she will sew dissension in Spartacus's encampment.

Scene 10
Spartacus's Encampment. Spartacus and Phrygia are happy to be together. But suddenly his military commanders bring the news that Crassus is on the move with a large army. Spartacus decides to give battle but, overcome by cowardice, some of his warriors desert their leader.

Scene 11
Dissension.

Aegina infiltrates the ranks of the traitors who, though they have abandoned Spartacus, might still be persuaded to go with him. Together with the courtesans she seduces the men with wine and erotic dances and, as a result, they put all caution to the winds. Having lured the traitors into a trap, Aegina hands them over to Crassus.

Spartacus's Monologue.
Crassus is consumed by the wish for revenge. Spartacus shall pay with his death for the humiliation that he, Crassus, was forced to undergo.

Scene 12
The Last Battle.

Spartacus's forces are surrounded by the Roman legions. Spartacus's devoted friends perish in unequal combat. Spartacus fights on fearlessly right up to the bitter end but, closing in on the wounded hero, the Roman soldiers crucify him on their spears.

Requiem.
Phrygia retrieves Spartacus's body from the battle field. She mourns her beloved, her grief is inconsolable. Raising her arms skywards, Phrygia appeals to the heavens that the memory of Spartacus live forever...

La traviata (Opera by Giuseppe Verdi)

La traviata (Opera by Giuseppe Verdi)

Opera in two acts.
Sung in Italian with Russian surtitles.
Libretto by Francesco Maria Piave based on the novel La dame aux Camelias by Alexandre Dumas, fils.
Music Director: Laurent Campellone.
Stage Director: Francesca Zambello.
Associated Director: Julia Pevzner.
Set Designer: Peter John Davison.
Costume Designer: Tanya McCallin.
Lighting Designer: Mark McCullough.
Chorus Master: Valery Borisov.
Choreographer: Ekaterina Mironova.
Premiered on October 7, 2012.
Presented with one interval.

Synopsis

Part One
Alfredo Germont arrives at a party at the home of Violetta Valйry, a renowned courtesan. She is surprised to learn of his devotion to her, and of his concern during her recent illness. Alfredo leads a toast to love; Violetta responds with a toast to pleasure and excitement. Feeling faint, she excuses herself to rest. Alfredo follows and begs her to allow him to love and care for her. She tells him she is not interested in such heroic commitment, but invites him to return the next day. Alone, she wonders if she is capable of experiencing love. Dismissing the idea as nonsense, she determines to live for freedom and pleasure alone.

Violetta flees her extravagant life in Paris to be with Alfredo. After learning that she plans to sell her belongings to maintain their country retreat, Alfredo goes to Paris to pay their debts. While he is away, Giorgio Germont visits Violetta. He tells her that Alfredo, his son, intends to give her all his possessions. She tells the elder Germont that she would never accept and reveals that she is making sacrifices to maintain their life together. Although impressed by her nobility, Germont begs her to leave his son, as her association with the family will ruin his daughter s future prospects. Violetta finally agrees, asking only that, after her death, Germont tell his daughter the truth. Later, when Alfredo receives a letter from Violetta, claiming she no longer loves him, he is devastated.

Part Two
Violetta attends a party with her new protector, Baron Douphol. The men gamble, and Alfredo is the winner. Violetta pulls Alfredo aside and begs him to leave; he refuses and threatens to duel with the Baron. Unable to break her promise to the elder Germont, Violetta insists that she loves the Baron. Furious and hurt, Alfredo calls the guests together and publicly insults Violetta.

Now on her deathbed and tended by Annina, Violetta re-reads a letter from Giorgio Germont. According to the letter, Alfredo went abroad after dueling with the Baron; his father wrote to him there, explaining Violetta s sacrifice. Alfredo arrives, asking forgiveness and pledging eternal love. Violetta expresses hope for their future together, but she is very weak. Alfredo sends Annina for the Doctor. He arrives with Giorgio Germont, who reproaches himself for his earlier behavior toward Violetta. He asks forgiveness and pledges to accept her as a daughter, but he is too late.

The Tzars Bride (Opera by Nikolai Rimsky-Korsakov)

The Tzars Bride (Opera by Nikolai Rimsky-Korsakov)

Opera in four acts
Libretto by Nikolai Rimsky-Korsakov and Ilya Tyumenev
based on Lev Mey s play of the same name
Music Director: Vassily Sinaisky
Stage Director: Julia Pevzner
Set Designer: Alyona Pikalova
Costume Designer: Elena Zaitseva
Lighting Designer: Damir Ismagilov
Chorus Master: Valery Borisov
Choreographer: Ekaterina Mironova
Will be premiered on February 22, 2014.

SYNOPSIS

Act I
The Carousal
Chamber in Oprichnik Grigory Gryaznoy s house. Grigory is plunged in deep thought. He has fallen passionately in love with Marfa, daughter of the merchant Sobakin, but she is already betrothed to the young boyar, Ivan Lykov. In order to put his love out of his mind, Grigory decides to organize a drinking-party. One of his guests is the Tsar s foreign physi?cian, Bomelius; Gryaznoy has an important matter to discuss with him.

His guests start arriving: the oprichniks led by Malyuta Skuratov, Gryaznoy s friend, Ivan Lykov and the long-awaited Yelisey Bomelius. Lykov tells the assembled company of the for?eign parts from whence he has recently returned. Psaltery players and singers entertain the guests with songs and dancing. The guests sing the praises of their sovereign, Ivan the Terrible.

During the revelries, Malyuta mentions Lyubasha. "Who is Lyubasha?" Bomelius asks. "Gryaznoy s mistress, a right bonny lass!" Malyuta replies. Gryaznoy calls Lyubasha and, at Malyuta s request, she sings a song about the bitter fate of a girl who is forced to marry a man she doesn t love. The carousal comes to an end and the guests depart. Gryaznoy detains Bomelius. Lyubasha, sensing that something is wrong, hides and listens to their conversation. Graznoy asks Bomelius for a love potion. The physician promises to provide him with a powder which has the power to arouse love in a girl s heart. After Bomelius has gone, Lyubasha accuses Grigory of having fallen out of love with her. But Grigory doesn t listen. He can think of nothing else but his passion for Marfa. The bells sound for the early morning service. Grigory departs leaving Lyubasha alone with her despair. She cannot live without Grigory s love. Lyubasha vows she will seek out the girl who is the cause other troubles and bewitch her away from Gryaznoy.

Act II
The Love Potion
A street in the Alexandrov sloboda. The parishioners are coming out of the monastery after the evening service. The oprichniks turn up: they are concocting some new mischief against the boyars. The common people try to keep out of their way: they fear both the boyars and the oprichniks, loyal servants to the stern Tsar.

Marfa, accompanied by Dunyasha and Petrovna, the house?keeper, come out of the monastery gates. At the porch of her house, Marfa stands talking to her friend other betrothed, Ivan Lykov. Suddenly someone in a black monk s cassock and skull?cap appears through the monastery gates and walks slowly along the street. Marfa s eyes meet those of the monk. She doesn t rec?ognize Ivan the Terrible but the stranger s intent gaze frightens her. It is only when she catches sight of her father and her betrothed, who are approaching the house, that she calms down and forgets her weird encounter. Sobakin invites Lykin into the house and the girls follow them in. Dusk is falling. A shadow is circling round the Sobakin house. It is Lyubasha. She cautiously steals up to the porch: she wants to have a look at her rival. Having peeped through the lit-up win?dow, Dunyasha clams down: "Is that Marfa? There is no need for me to worry then, Grigory will soon tire other!" But, peep?ing again through the window, Dunyasha realizes she has mis?taken Dunyasha for Marfa. Dunyasha is struck by Marfa s beau?ty. "He won t fall out of love with her in a hurry. I ll soon show her, though!"

Out of her mind with despair, Lyubasha rushes to Bomelius s house. Bomelius appears in answer to her call. Lyubasha begs him to sell her a potion which will destroy human beauty. Bomelius agrees, demanding in return Lyubasha s love. Indignant, Lyubasha wants to leave, but Bomelius threatens to tell Gryaznoy what she has asked him for.

The sound of Marfa s laughter coming from the Sobakins house, makes Lyubasha agree to Bomelius s terms. Bomelius goes off to mix the potion, leaving Lyubasha alone with her oppressive thoughts. At this point, Lykov leaves the Sobakin household accompanied by the master of the house. Learning from their conversation that Grigory is expected at Marfa s home the next day, Lyubasha renews her pleas for a potion: Bomelius has now reappeared. Bomelius tries to drag the des?perate girl into his house, but the sound of the oprichniks singing in the distance stays his hand. Lyubasha is about to rush towards the oprichniks, where she will find Grigory, when she remembers he no longer loves her and comes to a halt. Bomelius hides by the door, waiting for Lyubasha. Lyubasha forces herself to go to the physician. She feels as if she is going to her execution. The oprichniks appear in the street. Led by Malyuta, they are on their way to massacre the seditious boyars. The light goes out in Bomelius house.

Act III
Druzhka
Chamber in Merchant Sobakin s house. Sobakin tells Ivan Lykov and Gryaznoy that Marfa, together with Dunyasha and the boyars daughters, have been summoned to the palace for the Tsar intends to choose himself a bride. This alarms both Lykov and Gryaznoy. Sobakin tries to calm down Lykov. Echoing Sobakin s sentiments, Gryaznoy sug?gests he be druzhka (one of the participants, representing the bride?groom, in the old wedding rites) at Lykov s wedding. But as he congratu?lates Lykov, there is a mocking intonation in his voice. Domna Saburova, Dunyasha s mother, appears. She describes how the ceremony for choosing the Tsar s bride went. The Tsar hardly glanced in Marfa s direction, but he paid Dunyasha a lot of attention, joking and talking with her. Lykov sighs with relief.

Grigory fills two goblets, he intends to drink a toast to the bride and bridegroom. Unnoticed, he pours the powder that Bomelius has given him into Marfa s goblet - the love potion. As soon as Marfa, who has returned from the palace together with Dunyasha, enters the room, Grigory congratulates the couple and gives then each a goblet. In accordance with tradition, Marfa drinks her goblet dry. Everyone congratulates Marfa and Lykov. Saburova strikes up a song in honor of the bride in which the latter s friends join in.

Suddenly, Petrovna rushes into the room and falls at Sobakin s feet. "The boyars are on their way to you bearing a message from the Tsar!" "To me? You are out о your mind, woman!" Sobakin exclaims.

Malyuta appears with the boyars and proclaims the Tsar s will - Marfa is to be his wife.

Act IV
The Bride
The Tsar s chamber where Marfa, the Tsar s bride, is now living preparatory to her wedding. An unknown ailment afflicts her. Bitter fears for his daughter give Sobakin no peace. Domna Saburova tries in vain to allay his anxiety. Gryaznoy appears: "The person responsible has confessed to everything and the Tsar s foreign physician has promised to cure her ailment", he tells Sobakin. Sobakin has no idea who this person is. He makes haste to tell his daughter what he has heard. Marfa, at her wits end, runs into the chamber. She realizes that Lykov has been blamed for her ailment, trying to save him, she pretends to feel quite well again. "I m quite well, I m quite well", she says in an agitated voice. But Gryaznoy replies that the Tsar had ordered the execution of Lykov who, according to Gryaznoy, had confessed to giving Marfa a potion, and that he, Gryaznoy, with his own hands had carried out the sentence. Learning of the death of her beloved, Marfa falls unconscious to the floor.

On coming to, Marfa recognizes no one. Mistaking Gryaznoy for Lykov, she converses tenderly with him, recalling the happy hours they have spent together. Shaken by Marfa s words, Gryaznoy admits that he had slandered Lykov and that he, him?self, and given Marfa the love potion. But Marfa doesn t hear him, all her thoughts are in the past. She again recalls her childhood, spent in Novgorod, and her betrothed. Gryaznoy is in despair. But before giving himself up into the hands of the oprichniks, he wants to "have things out with" Bomelius who deceived him. "You d better have things out with me", says Lyubasha who has appeared on the scene. And she tells Grigory how she had substituted poison for the love potion Bomelius had given Grigory and which Grigory had then given Marfa. Grigory kills Lyubasha by plunging his knife into her heart. Grigory bids farewell to Marfa and gives himself up to the oprichniks and Malyuta. But Marfa sees and hears nothing. All her thoughts are in the past, with Lykov. She dies with his name on her lips.

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