Mariinsky Theatre tickets 2 May 2025 - The Nutcracker | GoComGo.com

The Nutcracker

Mariinsky Theatre, Mariinsky II, Saint Petersburg, Russia
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Friday 2 May 2025
2 PM 7 PM
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 14:00
Acts: 2
Intervals: 1
Duration: 2h 10min

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Cast
Performers
Ballet company: Mariinsky Ballett
Creators
Composer: Pyotr Tchaikovsky
Lighting Designer: Andrei Ponizovsky
Author: Ernst Theodor Amadeus Hoffmann
Choreography: Kirill Simonov
Sets & costumes designer: Mihail Chemiakin
Production Designer: Mihail Chemiakin
Lighting Designer: Vladimir Lukasevich
Lighting Designer: Yegor Kartashov
Librettist: Yury Grigorovich
Overview

The world of this Nutcracker was created by the designer Mihail Chemiakin. Chemiakin not only produced the sketches for the costumes and sets, he also conceived the images of the characters, dictating to the choreographer the nature of the movements, and all of the miraculous transformations in this theatrical tale are the fruits of his imagination. 

In the colourful phantasmagoria of Chemiakin's production, adorned with masks with long noses – neither people nor mice – the dramatism and unease of Tchaikovsky's score is enhanced. In this ballet, inspired by Hoffmann's incredible imagination, there is no room for peaceful domestic comfort or the typical harmony of classical dance – in the pre-festive chaos in the kitchen rats are discovered, tasting the cheeses and sausages that have been prepared for Christmas dinner, while flies and bees swarm around the sweet shop. The designer has presented "the circumstances of enduring, comfortable and 'tasty' bourgeois life" with the meticulousness of an eager documentary-maker – not a single detail of the kitchen, be it the perforated spoons or ladles, wreaths of garlic or ribs hanging among other carcass parts, have escaped the designer's attention. Neither is the audience left bored for a single second – when looking at the touching details of the props, sets and costumes children will be charmed with the readily recognisable everyday items, while adults will smile at their - at times - unexpected use in a children's tale. "The task of the new production of The Nutcracker," Chemiakin says, "was to restore the spirit of Hoffmann to the tale with its elements of grotesque humour, peculiarities and transformations; to combine the graphic elements with Tchaikovsky's musical dramatism. And in a way to revive the original libretto by Petipa, which over the years had become contracted and semi-forgotten. As a rule, the velvety mice in numerous productions have been unable to instil either fear or sympathy in children today. Already in the 1920s the mice had been replaced by rats (in particular, with Fyodor Lopukhov, Hoffmann's Mouse Queen and her son were transformed into rats), as their behaviour in both the tale and the ballet more closely resembles the behaviour of rats, those strange and mysterious creatures. In my production I decided to 'humanise' them. They are a royal family, a rat aristocracy, the military and the common people."
Olga Makarova

Simonov himself calls this performance rather his fantasy on the assigned topic than a reconstruction itself. For a hundred years the libretto and choreography of "The Nutcracker" has repeatedly changed and information about the first staging by Lev Ivanov almost did not survive.

History
Premiere of this production: 06 December 1892, Imperial Mariinsky Theatre in Saint Petersburg

The Nutcracker (Russian: Shchelkunchik, Balet-feyeriya About this soundlisten is a two-act ballet, originally choreographed by Marius Petipa and Lev Ivanov with a score by Pyotr Ilyich Tchaikovsky (Op. 71). The libretto is adapted from E. T. A. Hoffmann's story "The Nutcracker and the Mouse King".

Although the original production was not a success, the 20-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker. The ballet's score has been used in several film adaptations of Hoffmann's story.

Tchaikovsky's score has become one of his most famous compositions. Among other things, the score is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda.

Synopsis

Act I
Scene 1. Counsellor Stahlbaum´s Kitchen
The ballet begins in the kitchen of Counsellor Stahlbaum´s house, where preparations for the holiday dinner are underway. Before the stunned kitchen maids sausage-people, a human soup tureen, and a platter with a boar´s head stride in on human legs. All these metamorphoses dissipate when these apparitions turn out to be cooks carrying delicacies on their shoulders.
As the scene continues, the world of the kitchen acquires an even more Hoffmannesque character. A cook attempting to cut a slice of cheese is surprised to discover a naughty little rat inside the cheese. The startled rat dashes out between the cook´s legs and heads for the kitchen, creating panic and havoc among the kitchen staff who then, to their horror, realize that one of the sous-chefs is also a rat in disguise.
Counsellor and Mrs. Stahlbaum come to the kitchen with their children Masha and Fritz, who hope for a taste. The favorite child, Fritz, gets a sweet, while Masha is rudely pushed aside.
The staff and members of the Stahlbaum family leave the kitchen and rat hooligans of all ages emerge from every nook and cranny and set to feasting. In the heat of the festivities the Rat Cardinal Kryselieu and Masha´s godfather Drosselmeyer appear, Drosselmeyer with his young nephew the Nutcracker.

Intermedia. The Dressing Room
Counsellor Stahlbaum and his wife come to their dressing room to dress for the Christmas party, followed by their children.
As the adults preen in front of their respective mirrors – the Counsellor´s convex mirror reflects everything wider, while Mrs. Stahlbaum´s concave mirror stretches the reflection vertically – servants propose garment after garment. The parents find nothing to their liking, and settle on the house-coats they are already wearing. The spoiled Fritz gets a Napoleonic hat to wear, while Masha, through whose eyes we see the closet, enormous, foreboding, dark, is once again pushed aside.

Scene 2. The Christmas Party
The Stahlbaum´s guests gather for Christmas dinner. Masha´s godfather Drosselmeyer arrives. He presents his automatic dolls to the assembled company: The Recruit and his Canteen Girl and two Cossacks. Drosselmeyer gives Grandfather Stahlbaum an enormous pipe, Fritz a miniature bridge for toy soldiers.
Masha is left with the toy no one wants, the Nutcracker. She is charmed by the Nutcracker´s agility cracking nuts, and she senses that he is not just a toy. The guests retire to the table at the back of the room for dinner.
Grandfather and his Bonapartist friend observe the festivities from their chairs, then Grandfather decides to lead a dance. He dances vigorously and becomes so carried away that he loses one of his shoes in the process.

Intermedia I. The Wine Cellar: The Guests Depart
After the party, the guests file out through the wine cellar into the snowy night. The last to leave is Drosselmeyer, holding aloft a platter with the boar´s head from dinner, licked clean to the bone.

Intermedia II. The Transformation
After the guests have left and the household has retired for the night, Masha slips back to the parlor to see the Nutcracker. In the darkness she sees rats in ball gowns. Frightened, she faints. The rats disappear. The parlor clock strikes midnight. The transformation begins.

Scene 3. The Battle
When Masha awakens from her fainting spell, she sees that the parlor has become enormously large, so large that she is the size of a toy. She hears fanfares. Drosselmeyer swings on the pendulum of the grandfather clock. Masha watches in terror as the rat army rallies before the Rat Emperor. The army is commanded by a Rat Napoleon, quite reminiscent of her spoiled brother Fritz. The Nutcracker´s soldiers appear, and the battle begins. The Rat Emperor forgets his pride and slips out of his mantle, which, as it turns out, is nothing but a false carcass.
In his haste to escape danger, the Emperor leaves the royal mantle and six of his terrifying heads behind and dashes for cover in Drosselmeyer´s wig, along with the Queen and their two small children. The Crown Prince remains in the fray, battling the Nutcracker.
The battle rages. Masha is so alarmed by the fighting that she hides in Grandfather´s shoe.
The Nutcracker fights with the Crown Prince one on one.
Masha manages to deal the Crown Prince a blow to the head with her own shoe, taking advantage of the height of her perch.
The Crown Prince is stunned for a moment, and the Nutcracker deals him a final blow with his sword. The wounded Prince accepts defeat, gallantly saluting Masha. The Rat Emperor gives Masha a royal mantle. Masha and the Nutcracker mount the shoe and ascend into the branches of the tree.

PANORAMA
Masha and the Nutcracker travel in Grandfather´s shoe through the night sky, above the rooftops of the sleeping town. The only lighted window is in the sweets shop Confiturenburg.

Scene 4. The Snowstorm
Snow begins to fall. Masha and the Nutcracker are forced to make a stop in their journey. They alight in an abandoned churchyard where strange cocoons hang from the trees. Snowflakes, led by their Queen, surround Masha. Masha dances with them. The dance gets faster and faster, becoming a real blizzard that could cost Masha her life. The Nutcracker rescues her, and Drosselmeyer stops the storm.


Act II

Scene 1. Confiturenburg, The Sweets Shop
Masha and the Nutcracker finally arrive in Confiturenburg, seen through the window of the sweets shop. It is filled with candies and pastries and with sweets-loving flies and bees; doctors ready to pull rotten teeth or cure a sick stomach wander about. Masha and the Nutcracker are greeted by the Sugar Plum Fairy and the Nutcracker´s four sisters. Suddenly the Fly-Person attacks the Nutcracker, who successfully fights him off.
The inhabitants of Confiturenburg present dances for Masha and the Nutcracker. Masha is stunned by the extraordinary spectacle. In a burst of feeling she runs to the Nutcracker and kisses him. Her kiss breaks the spell and the Nutcracker is transformed into a Prince. Their wedding waltz begins.

Intermedia. Outside the Shop
On the wintry street outside Confiturenburg stands a distraught Drosselmeyer. The window is boarded up, and light comes through the cracks between the planks. Drosselmeyer tries desperately to see what is happening within.

Act I
Herr Stahlbaum
His wife
His children, including:
Clara, his daughter, sometimes known as Marie or Masha
Fritz, his son
Louise, his daughter
Children Guests
Parents dressed as incroyables
Herr Drosselmeyer
His nephew (in some versions) who resembles the Nutcracker Prince and is played by the same dancer
Dolls (spring-activated, sometimes all three dancers instead):
Harlequin and Columbine, appearing out of a cabbage (1st gift)
Vivandière and a Soldier (2nd gift)
Nutcracker (3rd gift, at first a normal-sized toy, then full-sized and "speaking", then a Prince)
Owl (on clock, changing into Drosselmeyer)
Mice
Sentinel (speaking role)
The Bunny
Soldiers (of the Nutcracker)
Mouse King
Snowflakes (sometimes Snow Crystals, sometimes accompanying a Snow Queen and King)

Act II
Angels
Sugar Plum Fairy
Clara
Nutcracker Prince
12 Pages
Eminent members of the court
Spanish dancers (Chocolate)
Arabian dancers (Coffee)
Chinese dancers (Tea)
Russian dancers (Candy Canes)
Danish shepherdesses / French mirliton players (Marzipan)
Mother Ginger
Polichinelles (Mother Ginger's Children)
Dewdrop
Flowers
Sugar Plum Fairy's Cavalier

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 14:00
Acts: 2
Intervals: 1
Duration: 2h 10min
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