Peter Sellars, Teodor Currentzis, Ekaterina Scherbachenko and Dominique Blanc tell us about the work carried out until reaching the premiere of this production: An extraordinary double programme with two works which “represent an ideal of beauty, poetry and hope”.
Iolanta and Perséphone tell stories of transformation; two dramas laden with symbolism which take a path from light to darkness and back again, where there is always a shadow of one’s self behind each person. Peter Sellars tells the story using a single setting with very intense, abstract visual images where everything changes, as in Russian symbolist drama.
Coproduction with Televisión Española (TVE)
Lyrical opera in one act, in Russian language
Music by Piotr Ilich Chaikovski (1840-1893)
Libretto by Modest Chaikovski, based on King René's Daughter by Henrik Hertz
Premiered at the Mariinsky Theatre of Saint Petersburg on December 18, 1892
Melodramma in three parts, in French language
Music by Igor Stravinski (1882-1971)
Poem by André Gide
Premiered at the Paris Opera on April 30, 1934
New production of the Teatro Real, in coproduction with the Bolshoi Theatre of Moscow
Principal Chorus and Orchestra of the Teatro Real
Pequeños Cantores of the JORCAM
Conductor | Teodor Currentzis
Stage director | Peter Sellars
Set designer | George Tsypin
Costume designer | Martin Pakledinaz
Co-costume designer | Helene Siebrits
Lighting designer | James F. Ingalls
Chorus master | Andrés Máspero
Choreography in collaboration with the dancers
King René | Dmitry Ulianov
Robert | Alexej Markov
Vaudémont | Pavel Cernoch
Ibn-Hakia | Willard White
Alméric | Vasily Efimov
Bertrand | Pavel Kudinov
Iolanta | Ekaterina Scherbachenko
Marta | Ekaterina Semenchuk
Brigitta | Irina Churilova
Laura | Letitia Singleton
Eumolpe | Paul Groves
Perséphone | Dominique Blanc
- Perséphone | Sam Sathya
- Déméter | Chumvan Sodhachivy
- Pluton | Khon Chansithyka
- Mercure, Démophoon, Triptolème | Nam Narim Amrita Performing Arts, Cambodia
An extraordinary double programme with two works which “represent an ideal of beauty, poetry and hope”. Iolanta and Perséphone tell stories of transformation; two dramas laden with symbolism which take a path from light to darkness and back again, where there is always a shadow of one’s self behind each person. Peter Sellars tells the story using a single setting with very intense, abstract visual images where everything changes, as in Russian symbolist drama.
The Pittsburgh-born stage director presents at the Teatro Real his version of the Henry Purcell score with texts from the novel La niña blanca y los pájaros sin pies (The White Girl and the Birds without Feet) by the Nicaraguan writer Rosario Aguilar, and songs and hymns by Purcell with texts by Katherine Phillips, George Herbert, and other authors.
The production, with colourful set designing by Gronk and conducted by Teodor Currentzis leading his ensemble MusicAeterna, gives a voice to the women, both indigenous and colonisers, who were part of the Conquest of the Americas yet never appear in the chronicles and official accounts of the era.
Sellars skilfully adapts the evocative, allegorical world of magic described by the English composer as the perfect framework in which to give full rein to the deepest and most obscure human emotions, all from the female viewpoint which was always ignored.
In celebration of the venue of the Ballets Russes in Paris in 1909, a wonderful Stravinsky night at the Mariinsky (ex-Kirov) with the original Nijinsky version of the Rite of Spring for the first time on DVD and the Firebird both conducted by Valery Gergiev.
The Firebird is a Russian folk tale in two scenes commissionned at the young Stravinsky by Diaghilev and premiered at the Paris Opera House in 1910. The ballet was an immediate success. The Ballets Russes enabled the choreographer Fokine could bring his enterprise the right amount of novelty needed to captivate but not clash with the audience.
The premiere of The Rite of Spring at the Théâtre des Champs-Élysées, Paris, on May 1913 caused a veritable scandal. The audience was shocked by the primitive violence of the ballet. It was so radically rejected that the ballet was taken off after eight perfomrances. Although long forgotten, thanks to the relentless work of Millicent Hodson, Nijinsky’s original choreography was recreated.
With the collaboration of Naxos
White swan by day, human by night, the beautiful Odette awaits an oath of true love to break the curse. The great legend of the enigmatic swan/woman is one of the most romantic classical ballets, appropriately set in the era of courtly romance and characterised by elegance, style and harmony.
With Tchaikovsky’s famous, lyrical score, Swan Lake depicts the tragic love between Princess Odette and Prince Siegfried, and will no doubt be performed to perfection by the unparalleled virtuosity of Russia’s great Bolshoi Ballet. This universal and enchanting masterpiece of love, deception and drama is a must.
With wonderful ballerina Svetlana Zakharova, one of the most beautiful Odette / Odile of the time, Denis Rodkin, Artemy Belyakov and Bolshoi Ballet.
With the collaboration of Naxos