About Moscow Festival Ballet
The Moscow Festival Ballet was founded in 1989 when legendary principal dancer of the Bolshoi Ballet Sergei Radchenko sought to realize his vision of a company which would bring together the highest classical elements of the great Bolshoi and Kirov Ballet companies in an independent new company within the framework of Russian classic ballet.
Leading dancers from across the Russia have forged under Radchenko’s direction an exciting new company staging new productions of timeless classics such as Giselle, Don Quixote, Paquita and Carmen.
Since its inception, the Moscow Festival Ballet has completed two tours of Europe, with extraordinary receptions in Italy, France, Spain, Germany and the Netherlands. Two tours of the United Kingdom, including capacity audiences at London's famed Coliseum, have resulted in re- engagements during the 1995-96, 1996-97, 1997-98, 1998-99 and 1999-2000 seasons.
The company has also performed with great success in Turkey at the Istanbul Festival and in Greece at the Athens Festival, and recently completed a two-month tour of Japan, Korea, Singapore and Hong Kong. Under the direction of Sergei Radchenko, the Moscow Festival Ballet continues to expand its repertoire. In addition to commissioning new works from within Russia and abroad, the company specializes in Twentieth Century full-length ballets such as Cinderella, Romeo and Juliet, Legend of Love, Stone Flower and The Golden Age. Mr. Radchenko has researched the original choreography and stage productions of several of Marius Petipa's classic ballets, including new productions in the year 2000 of Don Quixote and Paquita, and a recreation of Jules Perrot's and Jean Coralli's Giselle.
Romeo & Juliet (First Half)
After William Shakespear's Tragedy - Full-length Ballet
Music by Pyotr Ilyich Tchaikowski
Choreography by Elena Radchenko based on sketches of Marius Petipa
Sets and costumes by Elena and Sergey Radchenko Libretto by Elena and Sergei Radchenko
The Capulets are hosting a magnificent celebration. By their house a crowd of guests is dancing in the square. The Montagues, who are the Capulets enemies and rivals, are naturally not invited.
There are Mercutio and Benvolio with friends. They try to persuade their friend Romeo, Lord Montague’s son, to put on a mask with them and sneak into the feast. Romeo agrees. In the course of the merriment and dancing, Romeo meets Juliet, who unmasks him. They instantly fall in love with each other.
Lady Capulet’s nephew, Tybalt, is a desperate rake and squabbler. On seeing the strangers at the celebration, he starts a fight with Mercutio. However Mercutio makes fun of Tybalt and cheers everybody up. Mercutio, Romeo’s best friend, gets villainously killed by Tybalt in a brawl. Romeo confronts and accidently slays Tybalt, who dies before the Capulets’ eyes.
They are in grief and ask for revenge. Romeo runs away. He hurries to a rendezvous with his beloved Juliet. Risking his life, Romeo gets into Juliet’s bedroom.
The loving couple meet. They carry on a dialogue. They vow fidelity until death parts them and become a husband and a wife. Suddenly a nurse appears and warns that Juliet’s parents and Paris are coming. They have chosen him as a rich fiancée for their daughter. The parents have a stern conversation with Juliet, who doesn’t want to marry Paris. The father is outraged. He tells Juliet that she will marry Paris tomorrow. The three of them leave the bedroom.
Juliet is stricken with the news. She asks Friar Laurence to give her a hypnotic drug so that she looks dead and the wedding with Paris can be cancelled. Juliet takes the drug to fall asleep, but Romeo does not know anything about it. Learning about Juliet’s death, he runs into her bedroom to die next to her. Romeo sees Juliet and believes that she is dead.. He cannot imagine life without her so he has some poison prepared and he takes it. Before his death Romeo has visions and then everything plunges into darkness. Having woken up, Juliet sees her dead Romeo. He hasn’t left even a drop of poison for her. Juliet then stabs herself with Romeo’s dagger hoping to see her beloved and unite in the next world.
“For never was a story of more woe than this of Juliet and her Romeo”
Carmen (Second Half)
Full-length Ballet in One Act
Music by Rodion Shchedrin (b.1932) after Georges Bizet (1838-1875) Choreography by Alberto Alonso (1967)
First production 1967, Moscow
Based on a story by Prosper Merimee
The impetus and cause for the creation of Carmen was the cherished dream of the celebrated Russian ballerina Maya Plisetskaya to depict the highly strung and riveting character of Carmen in a ballet. Initially banned by the Soviet hierarchy as "disrespectful" to the opera for precisely these qualities, the ballet has since become Shchedrin's best- known work and has remained popular in the West as what reviewer James Sanderson of allmusic.com calls "an iconoclastic but highly entertaining retelling of Bizet's opera."
Soldier Don Jose falls in love with Carmen, a cigarette vendor, but she later abandons him for the toreador Escamillo. Don José suffers from an unhealthy passion for Carmen; he can no longer endure this situation and he urges her to come back to him. Carmen, who loves her freedom above all things and who does not accept being controlled by anyone, denies him the opportunity. Fate, an ambiguous character who takes on the shape of a bull, sketches the tragic conclusion of this exhilarating love story.
The program says, "Carmen is a beautiful woman who is free, true to herself, and completely honest. Don José lies, and thus he loses her. The Bull represents Fate. Therefore Carmen and the Bull die at the same time because she and her Fate are one." The final pas de deux, a danced contest between Carmen and Don José, is a simulated bullfight in which the ballerina assumes the combined roles of heroine and Fate in the form of a bull.
How to Purchase Tickets
Tickets go on sale August 7, 2017 at 10 a.m.
Tickets - Reserved Seating:
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Dates/times subject to change.