Danses Сoncertantes
Premiere: 17 November 2023, Rostov State Musical Theatre
Premiere at the Mariinsky Theatre: 15 June 2024
Running time: 25 minutes
Age category 12+
Credits
Music by Igor Stravinsky
Musical Director: Valery Gergiev
Production Choreography: Alexander Sergeev
Costume Designer: Leonid Alexeev
Lighting Designer: Konstantin Binkin
Lighting Adaptation for the historical stage of the Mariinsky Theatre by Alexander Naumov
Igor Stravinsky originally composed Danses concertantes for chamber orchestra without the intention of it being used for ballet. Despite its name suggesting choreography, Stravinsky himself declared, “Contrary to its choreographic title, Danses concertantes was not conceived with dance in mind.” Yet, only a week after its orchestral debut in 1942, he proposed that George Balanchine choreograph it. This proposal marked the beginning of the composition’s life on stage, now featuring dance interpretations by various choreographers.
Choreographer Alexander Sergeev comments on the essence of Danses concertantes, saying, “For me Danses concertantes is about competition – the word concerto derives from the Latin for ‘contest’. It embodies a competition among soloists, between the soloists and five couples, and dancers grappling with complex rhythms. Ultimately, it’s about competing with myself.” Sergeev intended to craft a spectacle driven solely by music, energy and choreography. However, during the staging rehearsals psychological elements and interpersonal dynamics began to emerge unexpectedly.
Jeu de cartes
Premiere of Igor Stravinsky's ballet choreographed by George Balanchine – 27 April 1937, American Ballet, Metropolitan Opera, New York
Performance premiere – 30 April 2019, Mariinsky Theatre
Running time 25 minutes
Age category 12+
Credits
Music by Igor Stravinsky
Choreography and Set Design by Ilya Zhivoi
Costumes Designer: Sofia Vartanian
Lighting Designer: Konstantin Binkin
Video Designer: Sergei Rylko
When creating the ballet’s concept, we rejected direct references to the theme of a casino or card games, otherwise it would have been too easy. This concerns everything: the sets and the costumes. But neither did we entirely exclude that element, in the production there are references to Stravinsky’s libretto, and the structure of the score has been retained.
The ballet Jeu de cartes speaks to the audience not about poker, but about the relationships between the three protagonists. It is playing in a love triangle, where the Queen, the King and the Joker are normal, everyday people, but each of them has, apropos, as they do in the card game, their own value and purpose.
We were inspired by canvases of Rothko, hence the minimalism of detail, the geometry in the decorative design and the intense colours of the costumes. Neither did we forget contemporary technology – the plot is accompanied by video design and an intensive lighting range, while the evening’s protagonists are stars of the Mariinsky Ballet whose talent will be the main focus of the action. Ilya Zhivoi
Dance Scenes
Premiere: 8 April 2025, Mariinsky II
Running time: 30 minutes
Age category 12+CreditsMusic by Igor Stravinsky
Musical Director: Valery GergievChoreographer: Vyacheslav SamodurovSet Designer: Alexey KondratyevCostume Designer: Irena BelousovaLighting Designer: Konstantin BinkinVideo Designer: Igor Domashkevich
“Infinite, translucent drapes break the stage space into several planes. These are the layers of our memory, through which we try to glimpse the life that has passed. It should feel frightening, tragic and tender all at once – full of contrast, just like life itself and just like this astonishing music,” says stage designer Alexey Kondratyev of his work on the ballet set to Stravinsky’s Symphony in C.Choreographer Vyacheslav Samodurov envisioned this symphony as a series of distinct dance scenes. Known for both narrative and abstract ballets, Samodurov refrains from outlining a storyline for his new work, though he emphasises that for him, dance always conveys emotion – it cannot exist without it.“The music of the symphony is sharp, pointed – at times even exaggeratedly so – and intricately constructed. I find that fascinating,” the choreographer remarks.
