
to music by Pyotr Tchaikovsky

to music by Georges Bizet and Rodion Shchedrin

Pyotr Tchaikovsky

Sergei Prokofiev

Adolphe Adam

Adolphe Adam

Arif Melikov

to music by Anatoly Korolyov

to music by Alfred Schnitke


Alexander Glazunov

Pyotr Tchaikovsky

Aram Khachaturyan

Ludwig Minkus

Ilya Demutsky

to music by Sergei Prokofiev

Daniel-François-Esprit Auber

Leo Delibes

Boris Asafiev

to music by Dmitri Shostakovich

Herman Severin Levenskiold

Yuri Krasavin

Alexander Glazunov

Ludwig Minkus

to music by Gabriel Fauré, Igor Stravinsky, Pyotr Tchaikovsky

to music by Valery Gavrilin

Cesare Pugni

Ilya Demutsky

Ludvig Minkus, Edouard Deldevez

to music by Frederic Chopin

Joby Talbot

to music by Pyotr Tchaikovsky Alfred Shnitke, Cat Stevens / Yusuf Islam

to music by Edward Elgar, Philip Glass, Lera Auerbach and Eleha Kats-Chernin

Pyotr Tchaikovsky

The world premiere of the ballet The Taming of the Shrew in the production by Jean-Christophe Maillot was held on the 4th of July 2014 at the Bolshoi Theatre.
Jean-Christophe Maillot was not the first to be attracted by the idea of bringing the martial characters from the comedy by Shakespeare onto the ballet stage. Amongst his predecessors were Maurice Béjart (his version almost unnoticeably flashed by in the mid 1950s) and John Cranko, whose production became a classic and was shown in various places including the Bolshoi Theatre and until this day has decorated many stages around the world.
Premiered on July 4, 2014.
Thursday, 19:00
Wednesday, 19:00
Tuesday, 19:00
Wednesday, 19:00
Tuesday, 19:00
Wednesday, 19:00
Tuesday, 19:00
Monday, 19:00
Sunday, 14:00
Saturday, 19:00
Saturday, 12:00
Friday, 19:00
Wednesday, 19:00
Tuesday, 19:00
Part I
In the spacious house of the wealthy Baptista, the servants are mocking the masters in their absence: they mimic Baptista, the father, who is struggling to marry his elder daughter — Katharina, a fury — and denying the suitors of the younger one — Bianca, a goody two-shoes — who are required to wait. Baptista returns unexpectedly, putting an abrupt end to the servants’ comedy.
We meet his two daughters. The younger one, Bianca, who is the object of everyone’s attention, is as gracious as her sister Katharina is difficult and ill-tempered: nothing and no one seems to find grace in her eyes, except perhaps her father. She is the Shrew.