St Petersburg, Mariinsky Theatre

Knights of dance: Igor Kolb, Danila Korsuntsev, Yevgeny Ivanchenko

an evening of ballet

The Mariinsky Orchestra
Conductor: Christian Knapp

I. The Young Lady and the Hooligan
Music by Dmitry Shostakovich
Choreography by Konstantin Boyarsky
Libretto by Alexander Belinsky based on the play of Vladimir Mayakovsky
Set design by Vyacheslav Okunev after Valery Dorrer
Costume design by Tatiana Noginova
Lighting design by Vladimir Lukasevich
Lighting Adaptation for the Mariinsky II by Andrei Ponizovsky and Yegor Kartashov

In the lead roles:
The Young Lady: Viktoria Tereshkina
The Hooligan: Danila Korsuntsev
The Leader: Alexei Kuzmin

II. Le Divertissement du roi
Music by Jean-Philippe Rameau
Choreography by Maxim Petrov
Costume Designer: Tatiana Noginova
Lighting Designer: Konstantin Binkin
Libretto by Bogdan Korolyok

In the lead roles:
The King: Igor Kolb
Master of Ceremonies: Soslan Kulaev
Yevgeny Konovalov, Andrei Solovyov, Vasily Tkachenko, Denis Zainetdinov

III. Schéhérazade
Music by Nikolai Rimsky-Korsakov
Scenario by Léon Bakst and Michel Fokine after Arabian Nights fairytales
Choreography by Michel Fokine
Reconstruction by Isabelle Fokine, Andris Liepa
Set and costume design by Anna Nezhnaya, Anatoly Nezhny after original sketches: Léon Bakst

In the lead roles:
Shahriar: Vladimir Ponomarev
Zobeide: Olga Belik
Zobeide’s Slave: Yevgeny Ivanchenko
The Odalisques: Viktoria Brilyova, Yulia Kobzar, Anastasia Zaklinskaya

IV. Tango for Three
Music by Gerardo Rodriguez
Choreography by Emil Faski

Performed by Igor Kolb, Danila Korsuntsev, Yevgeny Ivanchenko

Le Divertissement du Roi is a neoclassical fantasy on a baroque theme, it is recollections of the happy beginnings of the art of ballet that unfolded in the Louvre and in Versailles. The protagonist of the ballet is a King who loves to appear at the theatre dressed as the Sun. The prototypes number more than just Louis XIV: contrary to popular opinion, the epithet Le Roi Soleil was first attributed to his most august father, Louis XIII. Just as much as his son, he loved to take part in Court masquerade balls, and not always as the star of day. Much more frequently he appeared as marginalised urban dwellers and port idlers – such as a drunken Dutch captain.
Maxim Petrov’s ballet is a catalogue of cherished images of baroque ballet. Although the music used is by Jean-Philippe Rameau – and this is a very late score from the baroque theatre tradition – the divertissement features entrées typical of earlier times. There are peasants on the stage (the indispensable gallants), Play and Pleasure as well as miraculous snails which are also ugly furies. But the protagonist of the evening is Armide the magician. The mistress of enchanted salons that appear and disappear as she waves her hand is, arguably, a key feature of baroque art, tensely feeling the border between dreams and reality, trying to separate illusions from truth. In brief, no-one can ultimately guarantee that the entire so-called “king’s divertissement” is not an illusion – a jester’s trick with fairground comedians.
Bogdan Korolyok

Igor Kolb about Le Divertissement du Roi >>



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