BALLET DEL TEATRO MARIINSKY DE SAN PETERSBURGO
Artists
Ballet del Teatro Mariinsky de San Petersburgo
Yuri Fateev, artistic director
Programme
Chopiniana
Music: Fryderyk Chopin
Choreography: Michel Fokine (1908)
Revised version by Agrippina Vaganova (1931)
Scenario: Michel Fokine
Set design based on original sketches by Orest Allegri
Piano: Alexandra Zhilina
World premiere: 8 March 1908, Mariinsky Theatre
Running time: 35 minutes
In the Night
Music: Fryderyk Chopin
Choreography: Jerome Robbins (1970)
Stage: Ben Huys
Costumes: Anthony Dowell
Lighting: Jennifer Tipton
Piano: Liudmila Sveshnikova
Recreated by Nicole Pearce
World premiere: 29 January 1970, New York City Ballet, New York
Premiere at the Mariinsky Theatre: 18 March 1992
Premiere of the revival: 5 May 2009
Performed by permission of The Robbins Rights Trust
Running time: 25 minutes
INTERMISSION
Marguerite and Armand
Music: Franz Liszt (Piano Sonata in B Minor). Orchestrated by Dudley Simpson
Choreography: Frederick Ashton
Production Coach at the Mariinsky Theatre: Grant Coyle
Set Designs and Costumes: Cecil Beaton
Original Lighting Concept: John B. Read
Piano: Vladimir Rumyantsev
World premiere: 12 March 1963, The Royal Ballet, Royal Opera House, Covent Garden, London
Premiere at the Mariinsky Theatre: July 2014
Running time: 30 minutes
Exceptional 20th century choreographers reinterpret the romantic ballet
In the Mariinsky Ballet’s second programme, Chopin and Liszt are the basis upon which three key 20th century choreographers reinterpret romantic ballet. Namely, Michel Fokine, with whom Diaghilev created his Ballets Russes; Jerome Robbins, symbol together with Balanchine of North America’s neoclassical dance since the New York City Ballet, and Frederick Ashton, the Royal Ballet’s great founder. With Chopiniana, Fokine takes us into an oneiric world, leaded by the character of the poet and his muses, the sylphides, dressed in long white tutus. In his already classic In the Night, Robbins acquires his inspiration from Chopin as well, endowing three couple of dancers with a singular personality through his intimate nocturnes. Ashton, on his side, adapts the novel La Dame aux Camélias for his famous and passionate ballet Marguerite and Armand, based on Franz Liszt’s Piano sonata in B minor. He created the ballet for the couple of stars of the time, Margot Fonteyn and Rudolf Nureyev, who in the night of the premiere in 1963, had to take a bow twenty one times due to the applause of the audience attending Covent Garden.
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