Mariinsky Ballet & Orchestra
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CAL PERFORMANCES PRESENTS PROGRAM Wednesday, October 10, 2012, 8pm PROGRAM Thursday, October 11, 2012, 8pm Friday, October 12, 2012, 8pm Saturday, October 13, 2012, 2pm & 8pm Swan Lake Sunday, October 14, 2012, 3pm Ballet in Four Acts Zellerbach Hall Act I Mariinsky Ballet & Orchestra of the Mariinsky Theatre Act II St. Petersburg, Russia INTERMISSION Valery Gergiev, Artistic & General Director Yury Fateev, Interim Ballet Director Act III Mikhail Agrest, Conductor INTERMISSION The Company Act IV Principals Music Pyotr Il’yich Tchaikovsky Ekaterina Kondaurova, Anastasia Kolegova, Oksana Skoryk Libretto Vladimir Begichev & Vasili Geltzer Yevgeny Ivanchenko, Danila Korsuntsev, Vladimir Schklyarov Choreography Marius Petipa & Lev Ivanov Alexander Sergeev, Maxim Zyuzin Revised Choreography & Stage Direction Konstantin Sergeyev Soloists Set Designer Igor Ivanov Olga Gromova, Maria Shirinkina, Olga Akmatova, Elena Bazhenova, Tatiana Bazhitova, Costume Designer Galina Solovieva Nadezhda Batoeva, Olga Belik, Victoria Brileva, Daria Grigoryeva, Ksenia Dubrovina, Valeria Zhuravleva, Ekaterina Ivannikova, Svetlana Ivanova, Keenan Kampa, Lidia Karpukhina, World Premiere Mariinsky Theatre, St. Petersburg, Victoria Krasnokutskaya, Liubov Kozharskaya, Lilia Lishchuk, Anna Lavrinenko, January 15, 1895 Anastasia Mikheikina, Olga Minina, Anastasia Nikitina, Ksenia Ostreykovskaya, Irina Prokofieva, Premiere of Sergeyev’s Version Mariinsky Theatre, St. Petersburg, Ksenia Romashova, Yulia Stepanova, Alisa Sodoleva, Irina Tolchilshchikova, Tatiana Tiliguzova, March 8, 1950 Tatiana Urvantseva, Margarita Frolova, Yuliana Chereshkevich, Elena Chmil, Nadezhda Gonchar Coryphées Aleksandr Beloborodov, Vadim Belyaev, Dmitry Vedeneev, Eduard Gusev, Oleg Demchenko, Mikhail Degtyarev, Boris Zhurilov, Denis Zainetdinov, Konstantin Ivkin, Karen Ioannisyan, Alexey Kuzmin, Soslan Kulaev, Kirill Leontiev, Maxim Lynda, Viktor Lytvynenko, Anatoly Marchenko, Alexey Nedviga, Alexander Neff, Xander Parish, Ilya Petrov, Konstantin Zverev, Alexey Popov, Alexander Romanchikov, Andrey Soloviev, Andrey Yakovlev, Vasily Tkachenko, Alexander Fedorov, Denis Firsov, Kamil Yangurazov These performances are made possible, in part, by the Centennial Campaign’s Creative Venture Fund through a gift from the Bernard Osher Foundation. Additional major support provided by the Goatie Foundation, and by Patron Sponsors Kathryn and The Mariinsky Ballet’s U.S. tour is under the management of Scott Mercer, and Natalia Makarova and Edward Karkar. Ardani Artists Management, Inc., Sergei Danilian, President & CEO. Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. The Global Partners of the Mariinsky are VTB Bank, Sberbank, Yoko Ceschina, and Gasprom. 8 CAL PERFORMANCES CAL PERFORMANCES 9 SYNOPSIS PROGRAM NOTES Swan Lake act i act iii It is Prince Siegfried’s birthday, and in the park Guests have gathered at the castle for a ball cel- in front of the castle the young prince celebrates ebrating the birthday of the Prince. Siegfried his coming of age with courtiers, friends, and must choose his bride from among the six prin- villagers. The guests drink to his health and a cesses who have been invited, but he remains jester entertains them with his antics. When indifferent to them all because he has given his Siegfried’s mother arrives she expresses displea- heart to Odette. At his mother’s insistence he sure with her son’s behavior, and he presents her dances with each of the prospective brides. As with a bouquet of roses to mollify her. However, a token, he is to give his chosen bride a bouquet once his mother departs, the revelry resumes. of flowers. As he faces his dilemma a flourish As twilight falls, the guests depart and the of trumpets heralds the arrival of new guests: Prince is left alone in the park. High above, a the sorcerer Rothbart and his daughter Odile- flock of white swans fly across the darkening sky. Odette’s evil double. Seeing them and thinking Seizing his bow, Siegfried rushes off into the for- his true love has arrived, Siegfried joyously an- Gene Schiavone est to hunt for the swans. nounces to his mother that the beautiful Odile is his choice. The sorcerer is jubilant. hen we say “russian ballet” we The “swan” scene staged by Lev Ivanov Suddenly, Siegfried sees a vision of the fran- Wsimply mean Swan Lake. Tchaikovsky’s was first shown in 1884, earlier than all other act ii tic swan queen, Odette, outside the castle win- masterpiece is a savory dish frequently used to episodes of the ballet, at a concert in memory dow and realizes that he has been deceived into open a theatrical season or a tour. Swan Lake is a of Tchaikovsky. Petipa, abandoning all other In the growing darkness the swans have gath- breaking his vow. In despair, Siegfried rushes to must in the tourist guides for St. Petersburg, and activities, accepted a sudden challenge from his ered near the shore of a lake deep in the forest. the lake in search of his beloved Odette. is generally mentioned second after a visit to the talented rival. He staged in Swan Lake scenes of The swans are, in fact, beautiful young maidens Hermitage. Ballet companies worldwide seek to palatial balls and court festivals, and juxtaposed who have been transformed by the evil sorcerer include it in their repertoires, but they tacitly the white queen Odette—created by Ivanov— Rothbart. Only at night can they assume human act iv admit the superiority of Russian performers. with her black counterpart, Odile, thereby set- form and the only power on earth that can break But who instilled the Russian soul into ting up a contrast between daring fascination Rothbart’s spell is devoted love. One of the swans The dejected swan-maidens have gathered at the story of a prince with the German name of and tender craftiness with elegiac languor. To comes to shore, and just as Siegfried is draw- the lakeside. When Siegfried arrives, he begs Siegfried and a swan with the French name of the simple flowing dance of the swans, he op- ing his bow to shoot the white bird it suddenly Odette’s forgiveness for breaking his promise Odette? Not Tchaikovsky—he æstheticized the posed the tracery of court waltzes and the vio- turns into a beautiful woman—it is Odette, the and again professes his eternal love. minute emotional movements with a French lent colors of Hungarian, Polish, and Spanish Queen of the Swans. Enthralled by her beauty, Rothbart appears, and in a rage commands rather than Russian grace. Neither did the fa- folk dances. the Prince tries to capture her. But, afraid of that the black swans separate the young lov- mous choreographer Marius Petipa, who delib- The premiere of Swan Lake took place in Rothbart and his magic, she disappears into he ers. Siegfried struggles with the sorcerer and erately evaded the Russian theme throughout 1895, and dancing the leading role became a midst of the other swan-maidens. Siegfried runs in the encounter breaks Rothbart’s wing. The his long sojourn in Russia. The Russification turning point in the biographies of many fa- after her and swears his eternal love and fidelity. enchanter collapses and, his power gone, dies. of the ballet fell to Lev Ivanov, a modest assis- mous Russian ballerinas, including Marina As dawn breaks, Odette sadly bids farewell to Love has broken the evil spell. The rising sun tant to Petipa. It was, in fact, he who devised in Semenova, Galina Ulanova, Natalia Makarova, her prince and joins the other swan-maidens as shines radiantly on the Prince, Odette, and the the lakeside act the spellbound white maidens Alla Osipenko, and Galina Mezentseva. Now they glide slowly across the lake. rescued maidens. with their arms folded on their tutus with heads this role is danced by today’s generation of bowed suggesting a silhouette of a bird with Mariinsky dancers, who infuse Swan Lake with folded wings. He endowed the dancers with a a new life. national grace and flowing majesty of move- ment. He made them “sing” the music with their hands so that they immediately conjured up in audiences visions of languid sorrowful songs, pensive mermaid-like round-dances, and vast fields and ungainly northern scenery. 10 CAL PERFORMANCES CAL PERFORMANCES 11 CAST CAST Swan Lake Prince’s Brides Victoria Krasnokutskaya, Keenan Kampa, Ksenia Ostreykovskaya, Victoria Brileva, Alisa Sodoleva, Yuliana Chereshkevich CAST (Subject to change) Spanish Dance Anastasia Petushkova, Yulia Stepanova, Kamil Yangurazov, Karen Ionessian Odette, Queen of the Swans/ Odile, Odette’s Double Ekaterina Kondaurova (10/10, 10/13 matinee), Neapolitan Dance Anna Lavrinenko, Ilya Petrov (10/10, 10/13 evening); Anastasia Kolegova (10/12, 10/14), Anna Lavrinenko, Vasily Tkachenko (10/12, 10/14); Oksana Skoryk (10/11, 10/13 evening) Anna Lavrinenko, Alexey Nedviga (10/11, 10/13 matinee) Prince Siegfried Danila Korsuntsev (10/10, 10/13 matinee), Yevgeny Ivanchenko (10/12), Hungarian Dance Olga Belik, Boris Zhurilov Vladimir Schklyarov (10/11), Alexander Sergeev (10/13 evening), Mazurka Lilia Lishchuk, Ksenia Dubrovina, Maxim Zyuzin (10/14) Lyubov Kozharskaya, Irina Prokofieva, Alexander Beloborodov, Mikhail Degtyarev, The Princess Regent, Siegfried’s Mother Elena Bazhenova Soslan Kulaev, Vadim Belyaev The Prince’s Tutor Andrey Yakovlev (10/10, 10/12, 10/13 evening), Orchestra Soloists Lyudmila Chaikovskaya, violin Soslan Kulaev (10/11, 10/13 matinee, 10/14) Alexander Ponomarev, cello Bozhena Chornak, harp Friends of the Prince Maria Shirinkina, Nadezhda Batoeva, Alexander Popov (10/10), Ekaterina Ivannikova, Nadezhda Gonchar,