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Arts Calendar / April 3 / Ballet
19:00 La Esmeralda
Ballet production, 170 min (with two intermissions). Music: Cesare Pugni, Reinhold Glière, Sergei Vasilenko. Libretto: Vasiliy Tikhomirov and Vladimir Burmeister. Choreography: Vladimir Burmeister. The première of "La Esmeralda" choreographed by Vladimir Burmeister took place on 14th October 1950. The main parts were performed by Violetta Bovt (Esmeralda), Alexey Chichinadze (Phoebus), Alexander Klein (Claude Frollo), Eleonora Kuznetsova (Fleur-de-Lys), Viktor Terentyev (Quasimodo). The staging preceded by a long preparatory work. Vladimir Burmeister and Vasily Tikhomirov created a new version of the libretto. Vladimir Edelman, conductor of the new production, prepared a performing edition. For the première was used the version by Reinhold Glière, who re-orchestrated Cesare Pugni's piano score. Several numbers, including the overture, were written by Sergei Vasilenko especially for the new production of the Music Theatre. Shortly after the premiere, the ballet was shown on tour in Leningrad, Sochi and Voroshilovgrad. "La Esmeralda" was included in the program of foreign tours (China, Latin America). In Paris, "La Esmeralda" was a great success with both the public and critics. The performance became a milestone for the Music Theatre. For many decades it has been a part of the Music Theatre repertoire. A vivid plot, memorable music, excellence of choreographer – all this makes "La Esmeralda" a wonderful monument of choreographic art.
Stanislavsky and Nemirovich-Danchenko Music Theater 
19:00 Swan Lake
Fantastic ballet in two acts to music by Pyotr Tchaikovsky. Libretto by: Vasily Geltzer, Vladimir Begichev. Choreographers: Lev Ivanov, Marius Petipa. Choreographic Version by: Valentin Grischenko. Tchaikovsky’s first ballet masterpiece, Swan Lake, was in fact born twice. Its first birthday happened in 1877, when the ballet was staged at the Bolshoi Theatre to Begichev and Geltzer’s script. The second birthday took place after Tchaikovsky’s death: in winter 1894 the Mariinsky Theatre premiered the ballet adapted by the great choreographer Marius Petipa and his disciple Lev Ivanov. They revealed the profound drama potential of the piece and it was their version that made Swan Lake one of the most popular ballets. The Russian Classical Ballet offers the Petipa version adapted by Valentin Grischenko. The Petipa Russian Classical Ballet was founded in 2007. “Talent and loyalty to the classical traditions of Russian ballet” is the artistic motto of the company. Its main goal is twofold: on the one hand the company seeks to preserve the classical traditions of Russian ballet and, on the other hand, it looks for new, more contemporary forms of the choreographic art and explores new directions and possibilities of choreography. The basis of the company's repertoire includes masterpieces of classical ballet such as Adam’s Giselle, Prokoev’s Romeo and Juliet and Cinderella, Minkus’ Don Quixote, Bizet-Shchedrin’s Suite Carmen to mention but a few. A special page of the repertoire is Tchaikovsky’s three ballets – Swan Lake, the Nutcracker and The Sleeping Beauty
Novaya Opera Theatre 
19:00 The Sleeping Beauty
12:00, 19:00. Ballet in three acts with a prologue to music by Pyotr Ilyich Tchaikovsky. 170 min (with two intervals). Nacho Duato’s libretto based on the script by Ivan Vsevolozhsky and Charles Perrault’s tale of the same name. Musical Director and Conductor: Dmitri Jurowski. Choreographer: Nacho Duato. Tchaikovsky’s The Sleeping Beauty ballet rendered by a Spanish choreographer Nacho Duato is a unique approach for a classic work of our contemporary master, an outstanding smart and kind man. In this production Nacho Duato managed to create a charming magic mood in the dance language. «I wanted to speak to the audiences through their hearts – told the choreographer – you know these tales for kids – you take one card, it’s a wood, you pick another one, it’s a castle... It’s a tale, a fairy-tale for kids! This is especially important nowadays, when so many horrible things are happening”. The fairy-tale plot of this ballet is not as simple as it seems at first glance. This is a story of the main character growing up, finding love. Aurora’s part is the central one, it is essential to the ballet’s key theme, its storyline. The moment Aurora pricks her finger is very important. She bids farewell to her childhood and enters adulthood, where she finds love.
Bolshoi Theater 
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