Mariinsky Theatre 5 June 2022 - Daphnis et Chloé | GoComGo.com

Daphnis et Chloé

Mariinsky Theatre, Concert Hall, Saint Petersburg, Russia
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Important Info
Type: Ballet
City: Saint Petersburg, Russia
Starts at: 15:00
Acts: 1
Duration: 50min

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Festival

Stars of the White Nights Festival 2022

The Mariinsky`s Stars of the White Nights International Music Festival directed by Valery Gergiev was held from May 24 to July 17, in St Petersburg for the thirtieth time.

Overview

The plot about Daphnis and Chloé is hundreds of years old. The story of the amour of the young shepherds was told in Ancient Greece, when pastorales were written from nature and their creators, it would appear, sincerely believed that their heroes were assisted by nymphs, while the gods and the wise forces of the nature never permitted any injustice. The production team are not imagining how this could have been in the golden age of the childhood of mankind, and they are not telling to us this fable that has survived through actual people, rather they are contemplating whether modern man has retained that idyllic condition of union with the surrounding world amid civilisation's current franticness. The choreographer and the designer have opted to compare images of modern-day office-dwellers with the imagery of untouched nature, releasing the flow of the chronology from the chaos of the industrial world in favour of a harmonious life more in keeping with the laws of nature. Through this labyrinth of searching for freedom from the regulatory framework imposed by society, choreographer Vladimir Varnava leads his heroes not by means of the classical pas typical for Mariinsky Theatre dancers, but instead barefooted. And, accompanied by Ravel's spellbinding music, they invite us to immerse ourselves meditatively in the world of the production, where the imagination and openness to sensations and associations are "must-haves" for the audience.
Olga Makarova

History
Premiere of this production: 08 June 1912, Théâtre du Châtelet Paris

Daphnis et Chloé is a ballet in one act with three parts (scenes) by Maurice Ravel described as a "symphonie chorégraphique" (choreographic symphony). The scenario was adapted by Michel Fokine from a romance by the Greek writer Longus thought to date from around the 2nd century AD. Scott Goddard published a contemporary commentary that discussed the changes to the story that Fokine made to prepare a workable ballet scenario. The story concerns the love between the goatherd Daphnis and the shepherdess Chloé.

Synopsis

Part I
On the island of Lesbos, in a meadow at the edge of a sacred wood stands a grotto hewn out of rock, at the entrance of which is an antique sculpture of three Nymphs. Somewhat toward the background, to the left, a large rock vaguely resembles the form of the god Pan. In the background sheep are grazing. It is a bright spring afternoon. When the curtain rises, the stage is empty. Youths and girls enter, carrying gifts for the Nymphs in baskets. Gradually the stage fills. The group bows before the altar of the Nymphs. The girls drape the pedestals with garlands. In the far background, Daphnis is seen following his flock. Chloé joins him. They proceed toward the altar and disappear at a bend. Daphnis and Chloé enter at the foreground and bow before the Nymphs.

The girls entice Daphnis and dance around him. Chloé feels the first twinges of jealousy. At that moment she is swept into the dance of the youths. The cowherd Dorcon proves to be especially bold. Daphnis in turn seems upset. At the end of the dance, Dorcon tries to kiss Chloé. She innocently offers her cheek, but with an abrupt motion Daphnis pushes aside the cowherd and approaches Chloé affectionately. The youths intervene. They position themselves in front of Chloé and gently lead Daphnis away. One of them proposes a dance contest between Daphnis and Dorcon. A kiss from Chloé will be the victor’s prize. The group sarcastically imitates the clumsy movements of the cowherd, who ends his dance in the midst of general laughter. Everyone invites Daphnis to accept his reward. Dorcon comes forward as well, but he is chased off by the group, accompanied by loud laughter.

The laughter ceases at the sight of the radiant group formed by the embracing Daphnis and Chloé. The group withdraws, taking along Chloé. Daphnis remains, immobile, as if in ecstasy. Then he lies face down in the grass, his face in his hands. Lyceion enters. She notices the young shepherd, approaches, and raises his head, placing her hands over his eyes. Daphnis thinks this is a game of Chloé’s but he recognizes Lyceion and tries to pull away. As though inadvertently, she drops one of her veils. Daphnis picks it up and places it back on her shoulders. She resumes her dance, which, at first more languorous, becomes steadily more animated until the end. Another veil slips to the ground, and is again retrieved by Daphnis. Vexed, she runs off mocking him, leaving the young shepherd very disturbed. Warlike sounds and war cries are heard, coming nearer. In the middle ground, women run across the stage, pursued by pirates. Daphnis thinks of Chloé, perhaps in danger, and runs off to save her. Chloé hastens on in panic, seeking shelter. She throws herself before the altar of the Nymphs, beseeching their protection.

A group of brigands burst on stage, capture the girl and carry her off. Daphnis enters looking for Chloé. He discovers on the ground a sandal that she lost in the struggle. Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto. As night falls, an unnatural light suffuses the landscape. A little flow shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal, followed by the second and then the third Nymph. They consult together and begin a slow and mysterious dance. They notice Daphnis, bend down and dry his tears. They revive him and lead him toward the large rock, and invoke the god Pan. Gradually the form of the god is outlined. Daphnis prostrates himself in supplication.

Part II
Voices are heard from off stage, at first very distant. A trumpet calls and the voices come nearer. There is a dull glimmer. The setting is the pirate camp on a very rugged seacoast, with the sea as the background. To the right and left is a view of large crags. A trireme is seen near the shore and there are cypresses present. Pirates are seen running to and fro carrying plunder. More and more torches are brought, which illuminate the scene. Bryaxis commands that the captive be brought. Chloé, her hands tied, is led in by two pirates. Bryaxis orders her to dance. Chloé performs a dance of supplication. She tries to flee, but she is brought back violently. Despairing, she resumes her dance. Again she tries to escape but is brought back again. She abandons herself to despair, thinking of Daphnis. Bryaxis tries to carry her off. Although she beseeches, the leader carries her off triumphantly. Suddenly the atmosphere seems charged with strange elements. Various places are lit by invisible hands, and little flames flare up. Fantastic beings crawl or leap here and there, and satyrs appear from every side and surround the brigands. The earth opens and the fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture. Everyone flees in horror.

Part III
Morning at the grotto of the Nymphs. There is no sound but the murmur of rivulets produced by the dew that trickles from the rocks. Daphnis lies, still unconscious, at the entrance of the grotto. Gradually the day breaks. The songs of birds are heard. Far off, a shepherd passes with his flock. Another shepherd crosses in the background. A group of herdsmen enters looking for Daphnis and Chloé. They discover Daphnis and wake him. Anxiously he looks around for Chloé. She appears at last, surrounded by shepherdesses. They throw themselves into each other’s arms. Daphnis notices Chloé’s wreath. His dream was a prophetic vision. The intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloé, it is in memory of the nymph Syrinx, whom the god once loved. Daphnis and Chloé mime the tale of Pan and Syrinx. Chloé plays the young nymph wandering in the meadow. Daphnis as Pan appears and declares his love. The nymph rebuffs him. The god becomes more insistent. She disappears into the reeds. In despair, he picks several stalks to form a flute and plays a melancholy air. Chloé reappears and interprets in her dance the accents of the flute. The dance becomes more and more animated and, in a mad whirling, Chloé falls into Daphnis’s arms. Before the altar of the Nymphs, he pledges his love, offering a sacrifice of two sheep. A group of girls enters dressed as bacchantes, shaking tambourines. Daphnis and Chloé embrace tenderly. A group of youths rushes on stage and the ballet ends with a bacchanale.

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: 15:00
Acts: 1
Duration: 50min
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