Aram Khachaturyan
Pyotr Tchaikovsky
Ilya Demutsky
Herman Severin Levenskiold
to music by Pyotr Tchaikovsky Alfred Shnitke, Cat Stevens / Yusuf Islam
to music by Valery Gavrilin
Ludvig Minkus, Edouard Deldevez
Cesare Pugni
to music by Sergei Prokofiev
to music by Frederic Chopin
Daniel-François-Esprit Auber
Arif Melikov
to music by Gabriel Fauré, Igor Stravinsky, Pyotr Tchaikovsky
Alexander Glazunov
Pyotr Tchaikovsky – Yuri Krasavin
Ludwig Minkus
Adolphe Adam
Pyotr Tchaikovsky
Leo Delibes
Sergei Prokofiev
Yuri Krasavin
Yuri Krasavin
Alexander Glazunov
to music by Anatoly Korolyov
Ludwig Minkus
Joby Talbot
Georges Bizet–Rodion Shchedrin
to music by Alfred Schnitke and Milko Lazar
The world premiere of the ballet Gaîté Parisienne was held on the 27th of January 1978 in Brussels, on the stage of the Royal Theatre of La Monnaie. The premiere at the Bolshoi Theatre took place on the 13th of June 2019.
This ballet can be considered the official ‘debut’ of Maurice Bejart on the Russian stage. Despite the fact that for many decades his productions had been the dream of dancers in the USSR and later in Russia, they were never included in the permanent repertoire. In was only Maya Plisetskaya who managed to gain permission to perform Bolero at the Bolshoi Theatre and Ekaterina Maximova and Vladimir Vasiliev participated in productions with Bejart’s troupe on its tour to Moscow. It was then that Gaîté Parisienne was born. Although Bejart was already a living legend – the author of Sacre du printemps, Bhakti, Beethoven's Symphony No. 9, Songs of a Travelling Journeyman and The Firebird, he remained the symbol of freedom and radicalism in the world of choreography.
Premiered on June 13, 2019.
The world premiere took place at the Théâtre Royal de La Monnaie (Brussels) on January 27, 1978.
Photo by Damir Yusupov.
Photo by Natalia Voronova.
Photo by Damir Yusupov.
Photo by Mikhail Logvinov.
Photo by Natalia Voronova.
Photo by Natalia Voronova.
Photo by Damir Yusupov.
A young man comes to Paris to study dance. He meets a professor who both adores and bullies him.
He constantly escapes into reveries and fills his universe with dreamlike characters.
Some time ago, Jacqueline Cartier presented me with the text of a musical that she had just written about the life of Offenbach. I was seduced by the way the character of the musician was portrayed in relation to the period he lived in. I was fascinated to discover, next to the image of Offenbach, this newspaper from the Paris of the Second Empire and the beginning of the Third Republic.