马林斯基剧院, 大剧场

雷蒙达


亚历山大·格拉祖诺夫的芭蕾舞剧

首演

Performers

指挥:

维塔利·舍韦列夫

Raymonda: Lada Sartakova
Jean de Brienne: Denis Klepikov
Abderakhman: Yuri Zinnurov
Clemence: Daria Tikhonova
Henrietta: Saki Nishida

Credits

音乐:亚历山大·格拉祖诺夫
由莉迪亚·帕什科娃和马里乌斯·佩蒂帕编写的歌词,根据骑士传说由埃尔达尔·阿利耶夫修改的剧情
编舞:马里乌斯·佩蒂帕(1898年),由孔斯坦京·谢尔盖耶夫(1948年)以及埃尔达尔·阿利耶夫(2023年)修改的,使用费多尔·洛普霍夫舞蹈片段
代表性舞蹈由埃琳娜·巴兹诺娃(马林斯基剧院)创作
布景设计:西蒙·维尔萨拉泽
服装设计:维亚切斯拉夫·奥库涅夫
灯光师:埃尔达尔·阿利耶夫

SYNOPSIS

第一幕
第一场
西比尔·德·多里斯 伯爵夫人的中世纪城堡里正在为伯爵夫人的侄女准备生日晚会。城堡里一片欢腾。大家都特别注意伯爵夫人西比尔·和雷蒙达的到来,他们到来是由管家告知的。

在晚会中骑士也是雷蒙磨的未婚夫让·德·布里埃纳在他的侍从的陪同下走进来,又向他的爱人表示无限热爱。没想到安德烈二世国王在他的骑士们的陪同下出现了,通知在场的人让·德·布里埃纳将参加一场军事行动。

让·德·布里埃纳发誓粉碎敌人后,向美丽的雷蒙德告别,在骑士们的陪同下离开了城堡。

庆典的气氛被事件掩盖了。悲伤的雷蒙达留着,她的朋友亨丽埃塔克莱蒙斯以及两个游吟诗人贝尔纳贝朗杰陪着她。他们试着驱散雷蒙达的悲痛,但是她叫所有的人离开,因为她想单独呆着。怀着对让·德·布里埃纳的思念,雷蒙达沉沉入睡了。 

第二场
雷蒙达梦到她又和她的爱人在一起,他们在一个不认识的美丽世界里由天国的少女们陪同着。 

第三场
突然让·德·布里埃纳消失了,雷蒙达发现自己在一个篷房里。她不是跟她的爱人在一起,而有一个又阴沉、又威胁的萨拉森谢赫在追击她。震惊之中雷蒙达失去知觉了。 

第四场
太阳光线将把雷蒙达睡醒了,朋友和宫廷女士们陪着她,她发现了这只是一个梦而已。 

第二幕
五场
西比尔·德·多里斯 伯爵夫人的城堡院子里正在举行庆祝活动。伯爵夫人和雷蒙达被一群随从陪同着。她无法离开对爱人的思念,不耐烦地等待着他回来。

阿卜德拉赫曼萨拉森谢赫和其他客人来到了现场,雷蒙达很不安,她认出了她在生日之夜梦到的那个萨拉森。阿卜德拉赫曼被雷蒙达的美貌惊呆了,热情地向她表白了爱意。雷蒙达对他非常冷淡。他命令他豪华的随从来招待雷蒙达和她的客人。投入情海的阿卜德拉赫曼在他忠实的仆人仆人阿里和他的附庸的帮助下,试着绑架雷蒙大。

突然去军事行动回来的让·德·布里埃纳和他的贵族骑士们出现了,把雷蒙达从阿卜德拉赫曼的绑架中救了出来。

之后安德鲁二世国王来到了城堡,见证了这一切。国王建议通过决斗来解决争端。战斗中,让·德·布里埃纳用他的剑致命地刺伤了阿卜德拉赫曼。惊慌失措中,阿卜德拉赫曼的随从们抬着他们主人的尸体逃离了城堡。

雷蒙达和让·德·布里埃纳又在一起了,并获得了幸福。

第三幕
第六场
雷蒙达和让·德·布里埃纳的婚礼在城堡里盛大地庆祝。西比尔·德·多里斯 伯爵夫人和安德烈二世国王祝福这对年轻人。

About the production

Marius Petipa created Raymonda when he was in his eightieth year, and it was one of his late grand ballets. Its simple story, based on a medieval chivalrous legend, brought together everything that was the best of the best that Petipa had done in the course of his long career as a choreographer in Russia. Here there is a ballet and detective plot including dreams, kidnappings and joyous releases, a complex and varied ballerina role and a conflict between the male roles – the refined and classical Jean de Brienne and the passionate and pointedly typical oriental Abderakhman, the vast number of characters, meaning a similar number of dancers engaged in the ballet, the colourful character dances and, arguably, Petipa's main pride and glory – the fully-developed dance scenes of classical ensembles.
The composer, on the other hand, began his ballet career with
Raymonda. The production was staged when Alexander Glazunov was in his thirty-third year. In this work the composer, new to the ballet genre, so ardently used his experience as a symphonist and maestro of vivid and colourful orchestral music that his subsequent dance works (The Trial of Damis and The Seasons) never cast a shadow over the glory of Raymonda, and it is this ballet that remains in history as perhaps Glazunov's most famous work.
Its conflict is based on the contrast of two different worlds: the serene and knightly noble idyll of Raymonda's medieval castle meets the Barbarian world of ungovernable passions embodied by Abderakhman and his suite. The choreographer resolved the musical contrast by juxtaposing the expressive nature of Abderakhman's gestures, the temperamental character dances of his suite and the classical dance of Raymonda's world. The role of Raymonda is one of the most demanding in the classical ballet repertoire. In this masterpiece by Marius Petipa, the ballerina performs five variations as well as incredibly beautiful adagios, the Pas d’action and the Grand pas. Alexander Glazunov did not stint in the musical richness of the female protagonist, accentuating each of her variations with different emotional colours. Choreographically, too, she reveals new sides to her character in the solo variations. In Act I Raymonda is light-heartedly youthful, in the scene
The Dream her variation is songfully dreamy, in Act II she is ceremonially triumphant, and in Act III she alone is coquettish and different, performed to piano solo, meditative. Together this all creates the image of a heroine who embodies the many facets of womanhood. That's on the one hand. And, on the other, it is a role that showcases a virtuoso ballerina fully armed with universal technique and grace, beauty of line and absolute skill, a ballerina the likes of whom Marius Petipa sought throughout his creative career and an anthem for whom was to be his "swan song", Raymonda.
Olga Makarova


首演:1898年1月7日马林斯基剧院
孔斯坦京·谢尔盖耶夫修改后的芭蕾舞剧首演:1948年4月30日基洛夫剧院(现在的马林斯基剧院)
马林斯基剧院滨海分院首演:2023年5月26日,符拉迪沃斯托克

演出时间:3小时15分钟
演出含两次中场休息

Age category 6+

雷蒙达
on the playbill
6 2024, 19:00
8 2024, 19:00
© 2016 – 2024
The Mariinsky Theatre
Primorsky Stage Information Service
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tickets-prim@mariinsky.ru
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