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Opera War and Peace (opera in concert).
World famous Bolshoi Ballet and Opera theatre (established 1776) - Small Stage


Schedule for War and Peace (opera in concert). 2022

Composer: Sergei Prokofiev
Choirmaster producer: Valery Borisov
Light Designer: Damir Ismagilov
Set Designer: Ivan Popovskya
Stage Director: Aleksandr Borovskiy -Brodski
Costume Designer: Angelina Atlagich
Choreography: Ekaterina Mironova
Music Director: Alexander Vedernikov

Orchestra: Bolshoi Theatre Symphony Orchestra

Premiere of this production: 09.12.2005

Presented with one interval.

Libretto by Sergei Prokofiev and Mira Mendelson-Prokofiev after the novel of the same by Lev Tolstoi



Synopsis

Act I

Scene I
May 1806, in the garden of Count Rostov’s estate at Otradnoye. The young widower Prince Andrei Bolkonsky, who is visiting the estate on business, cannot sleep and meditates at his open window on the great oak with crooked bought grew, covered in ancient scars. "Hideous, contemptuous and furious, overtowering the birches, it seemed to be saying ’Spring, love, happiness - they are nothing but mad illusions, for nothing of the kind exists.’" At this moment, from an upstairs room, Andrei hears the voice of the Count’s daughter Natasha complaining to her cousin, Sonya, that she cannot sleep, so transported is she by a feeling of poetic exaltation. Andrei is moved by the romantic situation and the innocence and charm of the young girl, and comes to realise how fondly he feels for her.

Scene II
A ball at an old nobleman’s house. Among the guests are Count Rostov, who enters with Natasha and Sonya. They are followed by the Rostovs’ friend, Count Pierre and his wife, Countess Hйlиne Bezukhov, Helene’s brother Anatole Kuragin, his friend Lieutenant Dolokhov, and Andrei Bolkonsky. Tsar Alexander I honours the occasion with his presence and dances a mazurka. Natasha, standing sadly to one side, wonders if anyone will ask her to dance. Pierre Bezukhov, noticing how disappointed she is, suggests to his friend Andrei that he ask her for the waltz. Andrei does this, and their feelings for one another become more clearly defined. Natasha’s happiness reaches its peak when her father invites Andrei to visit them the following Sunday. But Andrei is not the only man taken with Natasha; the glittering and dissolute Anatole has earlier asked his sister, Helene, to arrange his introduction to the young beauty.

Scene III
Prince Andrei has proposed to Natasha, and her father brings her to meet old Prince Bolkonsky. The old man refuses to accept his son’s betrothal to Natasha. He has insisted that Andrei should spend a year abroad before marrying. Natasha and her father arrive and are told the old man cannot see them. Instead, his unmarried daughter Princess Marya meets with them, and treats Natasha with stilted, hypocritical friendliness. The old Prince appears. With boorish insincerity, he apologises to Natasha for his attire to Natasha, mutters threateningly, and generally addresses her in a contemptuous and wounding tone before leaving. Marya starts to excuse his behaviour, but Natasha understands all too well that he is the obstacle to her marriage. She is outraged at her treatment by her fiance’s family, but remains very much in love with him, and is distressed to learn that Andrei has been forced to go abroad for a year.

Scene IV
May 1812, in the reception room of Pierre Bezukhov’s house. At an evening party, Pierre’s wife Helene congratulates Natasha on her betrothal to Prince Andrei, showering him with compliments on her fiance. But she also lets slip to Natasha that Helene’s brother, Prince Anatole Kuragin, revealed only the night before that he had fallen madly in love with Natasha and was pining for her. Count Rostov notices Natasha’s distress, and attempts to make their excuses and leave, but Helene laughs at Natasha’s embarassment and refuses to accept their departure. Natasha reflects that since neither Helene nor Pierre seems at all shocked at Anatole’s confessed passion for her, she should not be shocked either. Anatole then arrives, he slips a note into her hand that reads: "To be loved by you or die". She is taken aback. Sonya warns her to steer clear of Anatole, and Count Rostov hurries the girls out of the house.

Scene V
Dolokhov’s apartments. Anatole tells his friend Dolokov of his scheme to elope with Natasha and take her abroad. Dolokhov tries to curb his friend’s enthusiasm, pointing out the risks of the plan, but his arguments are unsuccessful. Anatole’s coachman Balaga enters and announces that he has procured a carriage and fast horses to abet his master’s elopment. Anatole makes his musically nostalgic farewells to Moscow and to his gipsy mistress Matriosha.

Scene VI
The same night, in a room in the house of Marya Dmitrievna Akhrossimova. Natasha is staying with Akhrossimova while Count Rostov is away. She waits there alone, anxiously anticipating the arrival of Anatole. But when Anatole arrives, Natasha’s maid Dunyasha rushes in to report that Sonya has revealed the elopement plans to Akhrossimova, who has ordered the butler to bar Anatole from the door. Akhrossimova lectures Natasha on her behaviour, and the girl begs to be left alone, and dissolves into tears of despair. Pierre Bezukhov arrives and Akhrossimova, still furious, tells him what has happened. Pierre has a long-established friendship with Natasha, and gently explains that her plan to marry Anatole was hopeless from the start, because Kuragin is already married. Natasha, overcome with remorse for her infidelity to Prince Andrei, begs Pierre to ask the Prince to forgive her. Moved by her dismay, Pierre promises to do this, and also confesses her his own love.

Scene VII
Later the same night, at the Bezhukovs’ house. Helene is entertaining guests. Pierre arrives, and angrily confronts Anatole about Natasha. The quarrel grows violent, and Pierre physically attacks Anatole and forces him to hand over Natasha’s love letters. He insists that Anatole leave Moscow immediately, never to return and never to mention the matter to anyone. Anatole, taken aback by Pierre’s vehemence, agrees, then departs only formally reconciled with his brother-in-law. Pierre, left alone, reflects on the course of his life, and his search for an ideal of which his love for Natasha appears to be the fulfilment. His musings are abruptly interrupted by the arrival of his friend, Lieutenant-Colonel Denissov. Denissov announces that "Napoleon has mustered his armies at our frontiers. It looks like war."

Act II

Scene VIII
On the field of the Battle of Borodino. Soldiers and peasants are preparing for the fight. Prince Andrei has trained his own regiment. By sheer coincidence he meets Denissov, who explains his plans for operations in the enemy’s rear. His meeting with Denissov, who had been Natasha’s first fiancй, draws Andrei’s thoughts back to the memory of his love for the girl. He then notices the approach of the highly unmilitary figure of Pierre Bezukhov, who explains he has come to Borodino "to witness a battle at close quarters". Andrei expresses his disillusion with a war which is devastating Russia and has already killed his father. But, as he tells Pierre, he is still patriotically convinced of ultimate victory. The two men embrace, both certain they have met for the last time. Marshal Kutuzov appears, full of admiration for the hearfelt resolve of the Russian people in the face of the French invaders. He offers Andrei a position on his staff, which Andrei declines, not wanting to abandon his men. Kutuzov, though vexed that he is to be deprived of a valuable adviser, approves Andrei’s decision, respecting the Prince for choosing to serve in the front line. The battle starts.

Scene IX
Napoleon’s command post at the Shevardino redoubt. Napoleon watches the battle, surrounded by his staff. The Emperor broods on the possible outcome of the battle, and imagines himself already at Moscow, with the city at his mercy and a delegation of citizens offering him the keys of the city; he will earn history’s gratitude by showing clemency. But his aides-de-camp break his mood with news as to the poor progress of the battle. Several of his marshals have been killed or wounded, and reinforcements are vital. But in spite of the urgent requests from his Marshals, Napoleon at first refuses to commit his reserves. Reluctantly, he gives in. He remains sombre and perplexed as his aide, de Beausset, tries unsuccessfully to get the Emperor to eat luncheon. "Nothing is as it was, " Napoleon reflects. "Yet my troops are still the same. My generals too. I myself am even more experienced. And yet this time victory is beyond me."

Scene X
Two days later, at Council of War in a peasant’s hut in the village of Fili, near Moscow. Marshal Kutuzov is surrounded by his generals. They face a dilemma; defend Moscow and put the army at risk; or retreat and leave the capital at the enemy’s mercy. Each gives his opinion on the strategic posture to adopt. Some insist on the importance of rejoining the battle under the walls of Moscow. Others insist that the Russian armies are in a weak position, and that a provisional retreat would be preferable. After listening to all of them, Kutuzov knows it is up to him to decide. "To conquer, we must give ground, " he concludes. "If we deliver Moscow to the enemy, we will put in his hands the weapons of hid own defeat." He orders a strategic withdrawal, and the command goes out ordering the Russian troops to move away from Moscow. Left alone, Kutuzov expresses his belief in the rightness of his decision to withdraw in a soliloquy to a broad tune of immediate appeal and memorability.

Scene XI
Moscow, under French occupation. The delegation that Napoleon had expected has not appeared. Instead, Moscow’s inhabitants have started to evacuate, setting fire to the buildings rather than surrender the city to the invader - to the amazement of the French generals. Pierre - having learned that the Rostovs, who had turned their house into a temporary hospital, have safely left Moscow, taking the wounded with them; Natasha does not know that Andrei is among the wounded. Pierre moves through the Moscow mob, his imagination aflame with the idea of encountering Napoleon and killing him. Several arsonists are arrested and summarily shot. Pierre and a soldier, Platon Karatayev, are shoved in among a group of accused incendiaries, but Marshal Davout decides not to shoot them and they are marched off as prisoners. Karatayev expresses his regrets to Pierre about the city’s fate, but also his hope for the future. Chaos spreads throughout Moscow. Madmen escape from an asylum, screaming gibberish. Actors flee from a theatre that has gone up in flames. Napoleon appears, impressed with Moscows’ inhabitants.

Scene XII
In a peasant’s hut. Andrei lies wounded and delirious with fever. He thinks he can hear a chorus dully repeating the obsessive onomatopoeia ’Pi-ti, pi-ti, pi-ti’ as the blood pounds in his ears. In lucid moments he thinks of Natasha. Suddenly, she appears, dressed in white. She has learned of his presence among the Rostovs’ party, and has come to beg his forgiveness for betraying him. Andrei harbours no resentment for what is past, and is overjoyed to see her again. He tells her that he loves her more than ever. As his last spasm comes, the sound of the chorus chanting ’Piti-piti-piti’ becomes ever more insistent, then abruptly stops. Silence.

Scene XIII
The French troops retreat. A Russian advance guard appears, followed by Marshal Kutuzov himself. He is tired, but confirms the Russian victory: "I thank the Lord and our army; I thank you all. The motherland is safe."

  • Characters and performers




    Schedule for War and Peace (opera in concert). 2022


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