Commercial ticket booking and delivery service. Russia, Moscow

Benois de la Danse-2018

Benois de la Danse-2018

5 June 2018 - Carity gala of the nominees to Benois de la danse-2018 and the award ceremony
6 June 2018 - Charity gala "Winners of Benois de la danse of the last years"

The stars of the following companies will participate in the programmes:
Bolshoi Theatre of Russia,
Mariinsky Theatre,
Australian Ballet,
English National Ballet,
Hamburg Ballet,
Het National Ballet,
Hungarian State Opera Ballet,
Kazan Opera Ballet,
Korean National Ballet,
Mikhaylovsky Theatre Ballet (St. Petersburg),
National Ballet of Canada,
Netherland Dance Theatre,
Paris Opera Ballet,
Rome Opera Ballet,
Royal Ballet London,
Royal Ballet of Flanders,
San Francisco Ballet,
State Ballet Berlin,
The Washington Ballet,
Deborah Colker Company (Brazil)
Eastmen, Sidi Larbi Sherkaoui Company (Belgium),
Victor Ullate Ballet (Spain)

Juri Grigorovich - President of the jury
Eleonora Abbagnato (France)
Samuel Wuersten
Nicolas Le Riche (France)
David Mcallister (Australia)
Tamara Rojo (Great Britain)
Boris Eifman (Russia)
Nona Esteves (Brazil)

Anna Karenina (Ballet by John Neumeier)

Anna Karenina (Ballet by John Neumeier)

Ballet by John Neumeier in two acts based on the novel of the same name by Leo Tolstoy
to music by Pyotr Tchaikovsky Alfred Shnitke, Cat Stevens / Yusuf Islam
Choreographer, Set and Costume Designer, Lighting Concept Author and Author of Libretto: John Neumeier
Costumes for Anna Karenina: Albert Kriemler (A-K-R-I-S)
Music Director: Anton Grishanin
The Hamburg Ballet, The National Ballet of Canada and the Bolshoi Theatre coproduction
Рremiered on 23 March 2018.


Act I

While Alexei Karenin holds a political rally for his re-election in St. Petersburg, Count Alexei Vronsky trains in Moscow with his regiment for a Lacrosse match. Anna Karenina gives her husband support - together with her son Seryozha.
Pyotr Tchaikovsky. Festival Overture on the Danish National Anthem op. 15

At home, after the rally, Anna is overcome by a feeling of solitude.
Pyotr Tchaikovsky. Suite No. 1 op. 43, Introduzione

Her brother Stiva telephones from Moscow, asking her to intervene in a serious marriage complication. Dolly, his wife, discovered him with Miss Hull, the children"s governess. Anna travels to Moscow, where she accidently meets Alexei Vronsky - a portentous encounter. However, a worker"s terrible accident seems a bad omen to her. Dolly and Stiva quarrel. Anna comforts Dolly and the children.
Alfred Schnittke. Two Short Pieces for organ op. 149, No. 1
Pyotr Tchaikovsky. Suite No. 1, Fuga

In the country, the aristocratic landowner Levin dreams of Kitty - Dolly"s sister.
Cat Stevens (Yusuf Islam). Moonshadow

In Moscow, Kitty, with her young friends, celebrates her engagement to Count Vronsky. Anna accompanies Dolly and Stiva to the party and again encounters Count Vronsky. Flirtation.
Pyotr Tchaikovsky. Suite No. 1, Divertimento - Intermezzo

Anna plays with her son Seryozha.
Pyotr Tchaikovsky. Suite No. 1, Marche Miniature

Her thoughts of Vronsky become passionate.
Alfred Schnittke. Music to Commissar film, op. 46, "Attack" - "Love"

Alexei Karenin, Anna and Seryozha attend Count Vronsky"s Lacrosse match. Before the game, Anna tells Vronsky that she has concieved his child. Distracted during the game, Vronsky is injured. Anna"s desperate reaction to the accident makes their relationship clear and public.
Pyotr Tchaikovsky. Suite No. 1, Scherzo
Alfred Schnittke. Film Suite Story of an Unknown Actor, Title Song
Alfred Schnittke. Music to Glass Harmonica animated film, "Faces" - "Flights" - "Pyramids"

Kitty has had a nervous breakdown. Levin visits her in the sanatorium.
Cat Stevens: Sad Lisa
Pyotr Tchaikovsky. The Snow Maiden op. 12, No. 10, Melodrama

Stiva continues his indiscretions - now with dancers from the Bolshoi Theatre.
Pyotr Tchaikovsky. Suite No. 1, Gavotte

Dolly is determined to abandon her family, but her children change her mind.
Pyotr Tchaikovsky. String Quartet No. 1, Andante cantabile
Anna gives birth to Vronsky"s child - who is also called Anna.
Alfred Schnittke. Commissar, "Trek Of The Damned"

Near death, Anna attempts to reconcile Vronsky with her husband.
Kitty marries Levin. Anna abandons her family to be with Count Vronsky. Karenin is left alone with the child Anna.
Pyotr Tchaikovsky: Manfred Symphony, 4th movement

Act II

Happy in Italy with Count Vronsky, thoughts of her son Seryozha haunt Anna. A recurring dream of the ominous worker killed during their first encounter, trouble both Vronsky and Anna. A shadow seems to fall over their relationship.
Pyotr Tchaikovsky. Souvenir de Florence, Adagio Cantabile e con moto
Alfred Schnittke Glass Harmonica, "Faces" - "Flights" - "Pyramids"

Anna returns to St. Petersburg for Seryozha"s birthday.
Pyotr Tchaikovsky. String Quartet No. 1 op. 11, Andante cantabile

Karenin is comforted by Lidia Ivanovna.
Pyotr Tchaikovsky. Suite No. 4 op. 61, Preghiera

Levin and Kitty enjoy a morning in the country.
Cat Stevens (Yusuf Islam). Morning Has Broken
Pyotr Tchaikovsky. The Snow Maiden op. 12, No. 10, Melodrama

The relationship between Anna and Vronsky continues to deteriorate. Frustrated by her isolation, Anna decides to visit the opera for a performance of Eugene Onegin. She is insulted by Moscow society and observes Count Vronsky with the young princess Sorokina. Only Dollysupports Anna.
Alfred Schnittke. (K) ein Sommernachtstraum
Pyotr Tchaikovsky. Eugen Onegin, Letter Scene (Fragment)

Doubting Vronsky"s complete and unconditional love, Anna, in desperation, takes her own life.
Alfred Schnittke. The Ascent, On the Sled - Remorse

Vronsky mourns her death. In Moscow, in St. Petersburg, in the country - and in the theatre - life goes on.
Alfred Schnittke: Glass Harmonica, The Awakening
Cat Stevens (Yusuf Islam). One Day at a Time

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


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.

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...

Boris Godunov (Opera by Modest Mussorgsky)

Boris Godunov (Opera by Modest Mussorgsky)

Opera in four acts.
Libretto by Modest Mussorgsky, based on Alexander Pushkin"s play of the same name.
Version and orchestration by Nikolai Rimsky-Korsakov.
Orchestration of "At St. Basil Cathedral" scene by Mikhail Ippolitov-Ivanov.
1948 production
Music Director: Nikolai Golovanov.
Stage Director: Leonid Baratov.
Designer: Fyodor Fedorovsky.
Choreographer: Leonid Lavrovsky.
2011 revival
Conductors: Vassily Sinaisky, Pavel Sorokin.
Director: Igor Ushakov.
Designer of scenery revival: Alyona Pikalova.
Designer of costumes revival: Elena Zaytseva.
Choreography revival: Ekaterina Mironova.
Lighting Designer: Sergei Shevchenko.
Chorus Master: Valery Borisov.
Premiered on October 16, 1948.
Sung in Russian.
Presented with three intervals.
Running time: 4 hours 07 minutes.


Scene 1

A crowd throngs by the high walls of the Novodevichy Monastery in Moscow. The boyar, Boris Godunov, has withdrawn to the monastery after the death of Tsar Fyodor, who did not leave an heir. That Boris will be elected to the throne is a foregone conclu sion, but he makes a show of refusing the crown so that he is not suspected of wishing to seize power. At the order of a police offi cer, the people beg Godunov to accept election to the throne:
"Do not abandon us, Father,
Do not leave us helpness!"
But Shchelkalov, secretary of the Duma, announces that Boris is implacable.

Scene 2
Square in front of the Cathedral of the As sumption in the Kremlin. A majestic pealing of bells - Boris has given his consent and is being crowned. But Tsar Boris is not happy, he is weighed down by anxiety:
"My soul is heavy,
Some instinctive fear
With ominous foreboding
Rivets my heart..."
In the Kremlin the bells are pealing and the people break out again into acclamation.

Act I
Scene 1

Late at night. A cell in the Chudov Monaste ry. By the light of an icon-lamp, the wise monk Pimen is writing a truthful chronicle of the history of the Russian state. In his chronicle, Pimen reveals the secret of the murder, by Boris Godunov, of Tsarevitch Dimitri who had stood between him and the throne. Grigory, a young novice, sharing Pimen"s cell, wakes up. He listens to the holy man"s tale and a storm of anxieties, passions and vainglorious ambitions breaks into the peace of the night. The idea comes to Grigo ry of calling himself the Tsarevitch and of doing battle with Boris for the throne.
"Boris! Boris! All tremble before you,
No one dares to remind you
Of the fate of the hapless infant...
But meanwhile a hermit in a dark cell
Is writing a terrible denunciation against you.
And you shall not escape human judgment,
As you shall not escape the judgment of heaven!"

Scene 2
An inn near the Lithuanian frontier. Three va gabond monks, Varlaam, Missail and Grigory, have dropped in on the sprightly, merry mistress of the establishment. Varlaam, a drunkard and glutton, sings a song about the capture of Kazan. Grigory, questions the mi stress of the inn on the best route to Lithuania. A police officer comes into the inn: on the Tsar"s orders he is searching for the run away monk, Grigory Otrepiev. After an un successful attempt to deflect the suspicion from himself, Grigory leaps through the win dow and makes good his escape.

Act II
Scene 3

The Tsar"s private apartment in the Kremlin. Tsarevitch Fyodor is looking at the "Book of the Big Drawing", the first map of Russia. Ksenia, Boris" daughter, is grieving before a portrait of her dead fiancй, the heir to the Danish throne. In an attempt to cheer her up, her old nurse tells her a funny story. Boris comes in and talks tenderly to his children, he is pleased to see his son gleaning wis dom from a book. But even here, with his children, Boris is tormented by anguish. Russia has been visited by a terrible famine. "Peop le affected with the plague wander about like wild animals", and the common people bla me the Tsar for all their troubles: "in the squ ares they curse the name of Boris". Some thing approaching a groan breaks out from deep down inside the Tsar:
"All around is darkness and impenetrable gloom,
O, for a fleeting glimpse of a ray of joy!..
Some secret anxiety,
One inconstantly expecting disaster!.."
The boyar, Shuisky, comes in, a cunning courtier and leader of a group of boyars with seditious intentions. He brings bad news: a pretender has raised his head in Lithuania, having taken the name of the Tsarevitch Dimi tri. He has the support of the King of Poland, the Polish nobles and the Pope. Boris requires Shuisky to tell him the truth: is he certain that the babe who was killed in the town of Uglich was the Tsarevitch Dimitri? Shuisky, enjoying the Tsar"s torment, descri bes the deep wound on the Tsarevitch"s neck, and the angelic smile on his lips...
"It seemed, that in his cradle
He was peacefully sleeping..."
Shuisky departs, having aroused with new force the fears and agitation which grip Bo ris: the latter now thinks he sees an appari tion of the murdered Dimitri.

Scene 4

A ball in the garden of Mnishek, the Governor of Sandomir. The Polish nobles are preparing to march on Moscow. They mean to place their protйgй on the Russian throne: Grigory, the runaway monk from the Chudov monaste ry, who has taken the name of the murdered Tsarevitch Dimitri. In this they will be helped by the ambitious plans of the Governor"s daugh ter, the beautiful Marina, who dreams of beco ming the wife of the future king of Russia. The long-awaited (by the Pretender) rendez vous between Marina and Dimitri who is in love with her takes place. However, Marina s abrupt and calculating speech, and her de termination, which she makes no attempt to conceal, to sit on the Russian throne discon cert the Pretender for a brief moment. Reali zing this, Marina wins him over by false pro testations of her love for him. The Jesuit, Rangoni, celebrates his victory.

Scene 5
An early winter"s morning. A square in front of the Cathedral of St. Basil the Blessed in Moscow. A crowd of starving people are discussing the Pretender s victories over the forces of Boris. A Simpleton comes running into the Square. Urchins surround him and take a kopek from him . The Tsar comes out of the Cathedral. "Bread, bread! Give the starving bread! Give us bread, father, for the sake of Christ!" cries the crowd. Goaded by the urchins, the Simple ton addresses the Tsar: "Order them to be killed, as you killed the little Tsarevitch". Boris tells the boyars not to seize the Simpleton:
"Let him be! Pray for me, simple person..."
But the Simpleton replies:
"No, Boris! It can not be done!
How can one pray for a Tsar Herod?
Our Lady does not allow it..."

Act IV
Scene 6

A clearing in the forest near Kromy. Night-time. The peasants, who are in revolt, lead in a Kromy boyar whom they have taken pris oner. They make fun of the boyar, reminding him of all their grudges:
"You trained us the right way,
In storms and bad weather, and when roads were impassable,
You exploited us,
And whipped us with a slender lash..."
The arrival of the monks, Varlaam and Missail, who denounce the sins of Boris, the regicide, stirs up the crowd s anger even more. They break out into a threatening song:
"A dashing young force is on the rampage,
The Cossack blood is all aflame!
A great subversive power has risen from the depths..."
Jesuit priests, the Pretender"s emissaries, appear. But the arrival of these foreigners arouses the crowd"s indignation. The peas ants drag the Jesuits into the forest to be hanged.
The Pretender, rides into the clearing, sur rounded by troops, Polish gentry and Jesu its. He frees the Kromy boyar. By promising his favor and protection, the Pretender per suades the peasants to march on Moscow. The sky lights up with the glow of a fire. The alarm bell is rung. The Simpleton appears, looking round him in fear. His prophetic words of the new troubles that await the Russian people are spoken in anguish and pain:
"Flow, flow, bitter tears,
Cry, cry, Russian Orthodox soul!
Soon the enemy will come and darkness will fall,
Black, impenetrable darkness..."

Scene 7
The Granovitaya Chamber, in the Kremlin. A session of the Duma is in progress. The boyars are discussing what punishment sho uld be meted out to the Pretender should he be caught. Shuisky appears. He describes the scene in the Tsar"s private apartment, when Boris drove off the apparition of the murdered Tsarevitch Dimitri. At this point, Boris comes running in, shouting: "Away, away, child!" Catching sight of the boyars, he regains his self-control and asks them for advice and help. At this, Shuisky suggests to the Tsar that he listen to a holy man who has come to tell them of a great secret. Boris ag rees. Pimen is brought in. Pimen"s tale of the miraculous cure of a sick man at the gra ve of the murdered Tsarevitch Dimitri, in Uglich, is more than Boris can take and he falls senseless to the floor. Regaining conscious ness, the dying Tsar gives his son advice on how to protect his kingdom:
"Don not trust the slander of the seditious boyars,
Keep a vigilant watch over their secret dealings with Lithuania,
Punish treason without mercy, without charity punish it,
Listen carefully to what the people say -
for their judgement is not hypocritical..."
To the pealing of the funeral bell and the chanting of a choir of monks, the Tsar dies. The shocked Tsarevitch Fyodor, having paid his last respects to his father, rises to his feet...And immediately, Shuisky who, unse en, had crept ahead of him, blocks his way to the throne.

Die Walkure (Sofia Opera and Ballet (Bulgary) presents)

Die Walkure (Sofia Opera and Ballet (Bulgary) presents)

Richard Wagner
The first day of the tetralogy Der Ring des Nibelungen in three acts
Sofia Opera and Ballet (Bulgary) presents
Music Director: Erich Wachter
Stage Director: Plamen Kartaloff
Designer: Nikolay Panayotov
Chorus Master: Violeta Dimitrova
Multimedia Director: Vera Petrova
Lighting Designers: Andrey Haydinyak, Emil Dinkov
Premiered in June 2010
at the Sofia Opera and Ballet (Bulgary)

World Ballet Stars Gala

Gala Performance in Honor of Svetlana Adyrkhaeva

Gotterdammerung (Sofia Opera and Ballet (Bulgary) presents)

Gotterdammerung (Sofia Opera and Ballet (Bulgary) presents)

Richard Wagner
The third day of the tetralogy Der Ring des Nibelungen in three acts with a prologue
Sofia Opera and Ballet (Bulgary) presents
Music Director: Erich Wachter
Stage Director: Plamen Kartaloff
Designer: Nikolay Panayotov
Chorus Master: Violeta Dimitrova
Multimedia Director: Vera Petrova
Lighting Designers: Andrey Haydinyak, Emil Dinkov
Premiered in 2013 at the Sofia Opera and Ballet (Bulgary)

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.


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.)

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

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.

La Fille du Pharaon (Ballet by Cesare Pugni)

La Fille du Pharaon (Ballet by Cesare Pugni)

Ballet in three acts.
Libretto by Jean-Henry Saint-Georges and Maurice Petipa after the story Le roman de la momie by Theophile Gautier, version by Pierre Lacotte.
Author of the score s version - Yuri Poteyenko.
Choreographer - Pierre Lacotte (after the ballet of the same name by Marius Petipa).
Designer - Pierre Lacotte.
Music Director - Alexander Sotnikov.
Premiered on May 5, 2000.
Presented with two intervals.
Running time: 2 hours 55 minutes.


Act I
Scene 1

A young Englishman, Lord Wilson, is traveling through Egypt with his servant, John Bull. At the foot of a pyramid they meet a caravan of Arab merchants who kindly invite them into their tent.
Suddenly, a very powerful storm gets up and the travelers and merchants hurry to take shelter in the nearest pyramid.

Scene 2
The caretaker of the pyramid requests his uninvited guests not to make a noise and points to a tomb right at the back of the pyramid; in it lies Aspicia, the daughter of one of Egypt s most powerful Pharaohs.
Settling down in a corner of the pyramid, the Arab merchants light up their opium pipes. Lord Wilson also asks for a chibouk... He falls asleep and soon all are wreathed in a light cloud of smoke.
Fantastic dreams now take form: the walls of the sepulchre disappear and the mummies come to life and leave their sarcophagi. After them comes Aspicia, their mistress, and daughter of the mighty Pharaoh. Bending over the Englishman, she lays her hand on his heart. At that very minute, a magical metamorphosis takes place: Lord Wilson and his servant become Egyptians. The former is called Taor, the latter - Passiphonte.
Enchanted by Aspicia s beauty, Taor tries to follow her but the princess disappears in a limpid haze.

Scene 3
Taor, and his servant Passiphonte, hurry off to the forest in search of Aspicia. They find her by a miracle, sleeping on a moss-covered rock. Nearby are her attendants, who are worn out by the intense heat.
Taor cautiously walks up to the Princess and places his hand on her heart. Aspicia wakes up and recognizes the handsome youth. Oblivious to everything around them, they gaze at each other.
In the distance, hunting horns can be heard. Aspicia asks Taor to hide. Ramze, her slave, who has noticed the stranger, tries to persuade her mistress to leave. The hunters appear and warn Aspicia that there is a lion in the forest: Aspicia goes off with the hunters in pursuit of the lion. The lion is surrounded but, suddenly, he breaks out of the ring of hunters and makes for the Princess. Taor who, from his hiding place, is following the scene with horror, seizes a bow, left behind by one of the hunters, and neatly lodges an arrow right in the lion s heart. Aspicia is saved. She loses consciousness but Taor catches her before she falls and carries her off to a place of safety.
A fanfare of trumpets announces that the Pharaoh and his suite are approaching. Seeing his daughter in the arms of a stranger, the Pharaoh gives orders that the latter should be arrested. Coming to, Aspicia tells her father that Taor has saved her life and should be rewarded. The Pharaoh s rage turns to gratitude. He orders that the youth be freed and invites him to his palace.

Act II
Scene 4

Taor visits Aspicia in her sumptuous apartments and declares to her his love. The Pharaoh enters, surrounded by a brilliant suite of dignitaries and palace officials. They are followed by the King of Nubia who has come to ask for the hand of the Pharaoh s daughter. The Egyptian potentate agrees to give his daughter in marriage to the King of Nubia and the two men sign a treaty of friendship.
Hearing of this, Taor is out of his mind with despair. Aspicia tries to calm him down and promises she will never belong to anyone except him.
The Pharaoh commands that the festivities to mark his daughter s wedding should start. Full of sadness, Taor reminds Aspicia that soon she is to marry the King of Nubia. They decide to run away.
At the height of the festivities, Taor is handed the key to a secret door through which the couple make their escape from the palace.
The Pharaoh is furious when he hears of his daughter s disappearance, and orders that the runaway couple should be apprehended. Noticing the secret door, the King of Nubia sets off, together with his bodyguards, in pursuit of Taor and Aspicia.

Scene 5

Taor and Aspicia are hiding in a fisherman s hut on the banks of the Nile. At nightfall, the fishermen get ready to go fishing and invite their guests to come too. Aspicia, who is tired, decides not to go. Taor advises her to rest and goes off with the fishermen.
No sooner has he departed, than the King of Nubia, accompanied by his bodyguards, enters the hut. Aspicia is only too well aware that her marriage to the King of Nubia will separate her forever from the man she loves. Therefore, to avoid being caught, she runs over to the window and throws herself into the Nile.
Meanwhile, Taor and Passiphonte come back into the hut. The King of Nubia orders that they should be seized and threatens them with revenge for having abducted Aspicia.

Scene 6
The mighty God of the River Nile, the ruler of the underworld, gives Aspicia a warm welcome and recognizes her to be the daughter of the great Egyptian Pharaoh. But the young Princess has only one request - she wants to see Taor again. The God of the Nile fulfils her wish. In answer to his command Taor appears now at the top of a cliff, now in the limpid waters of waterfall. Longing to be reunited with her love one, Aspicia begs the ruler of the Nile to return her to dry land. The Nile God does as she bids.

Scene 7
The Pharaoh s palace. The ruler of Egypt is in despair. He demands that Taor be brought into his presence and threatens to kill him if the latter does not tell him where Aspicia is hiding. But Taor has no idea where the Princess is.
So the Pharaoh commands that the youth be condemned to death: he is to be bitten by a sacred snake. But at this very moment, the sounds of a joyful march can be heard in the distance: the fishermen have found Aspicia and are bringing her back to the palace.
The Princess throws herself into her father s arms and tells him of her adventures, of her love for Taor and of how the King of Nubia threatened her and forced her to jump into the river. The Pharaoh tears up the treaty of friendship with the King of Nubia, and orders the latter to leave. Aspicia begs her father to give Taor his freedom, but the Pharaoh will not hear of it: he cannot forgive Taor for abducting his daughter. So then Aspicia declares that she is ready to die together with her loved one. And, going up to the sacred snake, she holds out her hand so that it will bite her. The Pharaoh rushes over to his daughter and holds her back. Touched by Aspicia s selflessness and the depth of her feeling, he forgives Taor and gives his blessing to the young couple. At the height of the general rejoicing, the stage is enveloped in clouds.

Scene 8
In place of the palace, a pyramid now appears again. Lord Wilson wakes up and looks round him in astonishment. In the far corner of the pyramid, he notices the tomb of the Pharaoh s daughter. His face lights up with a radiant smile as he remembers the wonderful dream he has just had.

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.

to music by Gabriel Faure

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

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

Siegfried (Sofia Opera and Ballet (Bulgaria) presents)

Siegfried (Sofia Opera and Ballet (Bulgaria) presents)

Richard Wagner
The second day of the tetralogy Der Ring des Nibelungen in three acts
Sofia Opera and Ballet (Bulgaria) presents
Music Director: Erich W?chter
Stage Director: Plamen Kartaloff
Designer: Nikolay Panayotov
Chorus Master: Violeta Dimitrova
Multimedia Director: Vera Petrova
Lighting Designers: Andrey Haydinyak, Emil Dinkov
Premiered in May 2012
at the Sofia Opera and Ballet (Bulgaria)

Das Rheingold (Sofia Opera and Ballet (Bulgaria) presents)

Das Rheingold (Sofia Opera and Ballet (Bulgaria) presents)

Richard Wagner
The prologue (preliminary evening) to the tetralogy Der Ring des Nibelungen in four scenes
Sofia Opera and Ballet (Bulgaria) presents
Music Director: Erich W?chter
Stage Director: Plamen Kartaloff
Designer: Nikolay Panayotov
Chorus Master: Violeta Dimitrova
Multimedia Director: Vera Petrova
Lighting Designers: Andrey Haydinyak, Emil Dinkov
Premiered on May 22, 2010 at the Sofia Opera and Ballet (Bulgaria)

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


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.

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.

Moscow State Academy of Choreography Performance

A Legend of love (Ballet by Arif Melikov)

A Legend of love (Ballet by Arif Melikov)

Ballet in three acts
Libretto by Nazym Hikmet and Yuri Grigorovich
Choreographer: Yuri Grigorovich
Designer: Simon Virsaladze
Music Director: Alexander Kopylov
Assistant Choreographer: Natalia Bessmertnova
Lighting Designer: Mikhail Sokolov
Premiered on April 15, 1965.
Presented with two intervals.
Running time: 3 hours.


Act I
Scene 1
The royal apartments of Queen Mekhmene Banu are plunged in mourning - her young sister, Shireen, is dying. The Vizier and the courtiers are full of anxiety. Mekhmene Banu is in despair. A Stranger, who appears out of the blue, says he will cure the Princess but, in return, Mekhmene Banu must sacrifice her beauty. In order to save the life of her sister whom she loves deeply, Mekhmene Banu accepts the Stranger s cruel terms. Shireen is brought back to life.

Scene 2
In the palace garden, the young court painter, Ferkhad, suddenly comes across Queen Mekhmene Banu and Princess Shireen who are taking a walk, surrounded by courtiers and the palace guard. The two sisters exchange gazes with Ferkhad and love for the young painter is born in their hearts. The procession moves off. Ferkhad is entranced by the beauty of the young Shireen. In the hope of seeing Ferkhad, Shireen secretly returns to the garden The two young people are greatly attracted to each other.

Act II
Scene 3
Mekhmene Banu is overcome by passion for Ferkhad. Nothing can distract her thoughts from the handsome youth. She realizes in despair that now she has lost her beauty, she will be unable to win his love.

Scene 4
The young Shireen dreams of happiness with her loved one: the thought that they may soon meet gives her great joy and also fills her with anxiety. Ferkhad makes his way into Shireen s chamber and the lovers elope from the palace. Torn by jealousy, Mekhmene Banu orders that the lovers be seized. The fugitives are caught. The lovers pleas that they be granted their happiness are in vain. Mekhmene Banu sets Ferkhad an impossible task: in order to win Shireen, he must first bore a hole through the iron mountain which blocks the way to a water source. For the sake of his love, Ferkhad is willing to attempt the impossible. He bids farewell to Shireen.

Scene 5
The populace are tormented by thirst. As each day passes there is less and less water. And without water there can be no life. In order to attain water the mountain has to be destroyed.

Scene 6
Ferkhad, who is in the mountains, dreams that he has gained access to the water and before him he sees his beloved Shireen.

Scene 7
Mekhmene Banu is tormented by her passion and love for Ferkhad. She dreams she is beautiful again and that Ferkhad loves her. Shireen breaks into Mekhmene Banu s reveries. She implores her sister to recall Ferkhad.

Scene 8
A great hope has brought the populace to the mountains. If Ferkhad manages to accomplish the impossible, their lives will be saved. Queen Mekhmene Banu and Shireen appear surrounded by their suite. Overcome by happiness at their meeting, the lovers throw themselves into each other s arms. The Queen is prepared to give Ferkhad the hand of Shireen, but the former feels that he cannot go back on his duty. Mekhmene Banu and Shireen are full of respect for the great altruism of Ferkhad who is ready to sacrifice his personal happiness for the sake of his people.

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.


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.

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 Ilyich Tchaikovsky)

The Queen of Spades (Opera by Pyotr Ilyich 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
Set Designer: Adomas Jacovskis
Costume Designer: Maria Danilova
Director, Choreographer: Anzelica Cholina
Lightning Designer: Damir Ismagilov
Chief Chorus Master: Valery Borisov
Will be premiered on February 15, 2018.

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!"

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.

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.


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.

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.

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.


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.

Bolshoi Theatre afisha

Die Walkure (Sofia Opera and Ballet (Bulgary) presents)

Richard WagnerThe first day of the tetralogy Der Ring des Nibelungen in three acts Sofia Opera and Ballet (Bulgary) presentsMusic Director: Erich Wachter Stage...

La Silphide (Ballet by Herman Severin Levenskiold)

Ballet in two actsLibretto by Adolphe Nourrit and Philippo TaglioniChoreography by August BournonvilleProduction and New Choreography: Johan KobborgDesigner:...

The Idiot (Opera by Mieczysaw Weinberg)

Mieczystaw WeinbergOpera in two actsLibretto by Alexander Medvedev based on the novel of the same name by Fyodor Dostoevsky Music Director: Michat Klauza Stage...

The Stone Guest (Opera by Alexander Dargomyzhsky)

Opera in three actsAlexander DargomyzhskyLibretto by the composer after Alexander Pushkin"s play of the same name Music Director: Anton Grishanin Stage...

La Fille du Pharaon (Ballet by Cesare Pugni)

Ballet in three acts.Libretto by Jean-Henry Saint-Georges and Maurice Petipa after the story Le roman de la momie by Theophile Gautier, version by Pierre...

Le Nozze di Figaro (Opera by Wolfgang Amadeus Mozart)

Opera in four actsMusic Director: William LaceyStage Director: Evgeny PisarevSet Designer: Zinovy MargolinLighting Designer: Damir IsmagilovWill be premiered...

Online tickets

The ticket prices are quoted in Russian rubles and include our reservation fees, delivery (within Moscow), handling, credit card transaction charges (100 RUR is about 1,5 Euro).


Important! This website can not be considered as an official website of the Bolshoi Theatre. Our agency is not and has never been an official representative of the Bolshoi Theatre and we offer tickets with extra service charges. is an independent, privately-owned company engaged in the service of finding and providing tickets for admission to all concerts, sporting, and theatre events in Moscow. It was established in 1998. Now we are one of the leading ticket agents in Moscow.

We are specializing in providing tickets to the Bolshoi including hard-to-find tickets or sold-out events. Tickets are sold at market prices, which usually exceed the face value of the tickets. These prices reflect the cost of obtaining premium and the degree of difficulty to find hard-to-get tickets, sometimes on the secondary market.

Latest news

The Bolshoi announces new season

Vladimir Urin and Tugan Sokhiev attended a press conference at which they presented new season

Bolshoi ballet in Brazil

The Bolshoi Theatre’s only school abroad is in Brazil. It was opened in 2000 in the city of Joinville.