Citizens Opera House tickets 24 May 2025 - Spring Experience 2025: 27’52”. Petite Mort. Raymonda | GoComGo.com

Spring Experience 2025: 27’52”. Petite Mort. Raymonda

Citizens Opera House, Boston, USA
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1:30 PM 7:30 PM
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US$ 97

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Ballet
City: Boston, USA
Starts at: 19:30

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Ballet company: Boston Ballet
Orchestra: Boston Ballet Orchestra
Creators
Composer: Alexander Glazunov
Composer: Dirk Haubrich
Composer: Wolfgang Amadeus Mozart
Choreographer: Jiří Kylián
Choreographer: Mikko Nissinen
Librettist: Ivan Vsevolozhskiy
Author: Lidiya Pashkova
Librettist: Marius Petipa
Choreography: Marius Petipa
Overview

An experience that will refresh your soul.

Mikko Nissinen has re-envisioned Marius Petipa’s Raymonda, with rechoreographed sections by Florence Clerc, Alla Nikitina, and Nissinen. The world premiere on February 22, 2024 was praised for its lavish costumes, brilliant dancing, and sumptuous score. This reimagined classical ballet delighted ballet purists with its demand for strong classical technique and bravura dancing with featured roles for the corps, soloists, and principals. The ballet stays true to Boston Ballet’s values by removing outdated and offensive stereotypes and characters and focusing solely on preserving the classical choreography.

“I have been intrigued by Raymonda for many years and am thrilled to have the opportunity to reimagine this iconic classic. I am fortunate to work with a dream team of associated artists whom I deeply respect.”
Artistic Director Mikko Nissinen

Raymonda was one of Petipa’s final, most successful ballets to be staged during the golden years of his career. The 1890s had seen some of the biggest highlights of Petipa’s career, which first emerged with the creation of The Sleeping Beauty. This late-era saw Petipa taking a slightly different step from what he had previously produced for the Saint Petersburg Imperial Ballet. He was now creating ballets that lacked dramatic plots and character development and were, instead, presenting new ballets that represented the grand spectacle. The ballet-féerie made its impact on the Imperial Ballet following the success of The Sleeping Beauty and materialized again in other ballets such as Cinderella and Bluebeard.

27’52” is made for six dancers, who form three duets. When the ballet was created, four dancers from the original cast were inspired by various poems in the creation process. Quotes from these poems are also included in the work. The ballet was developed through a unique collaboration between choreographer and composer, as German composer Dirk Haubrich created the music specifically for this piece.

“In the very title—which simply reproduces the length of the piece—rhythm and space are united in the same movement. In the score… there can be found the sensual, pared back dancing, which is the choreographer’s signature.”
Arts and Culture

Content Advisory: 27’52” contains moments of partial nudity. There may also be moments of loud music and flashing light that could be challenging for people with sound and light sensitivities.

One of Kylián’s most beloved ballets, Petite Mort is a sensuous exploration of what it means to be human. Known for its molded dresses and sword play, it is truly one of the most provocative and beautiful works in ballet today.

“…in the moment of pleasure (…) we are reminded of the fact that our lives are of a relatively short duration, and that death is never too far from us… it is always a Mort, which accompanies our lives, sometimes it is Petite, sometimes it is Grand, but it is the most faithful companion we have, from the dawn of our existence till the end.”
Jiří Kylián

For his choreographic performance Petite Mort, Jiri Kilian, who is also called the “Picasso dance”, used two slow fragments from two of Mozart’s most famous concerts for piano. He deliberately cut out fast movements, leaving only slow music, helpless, like mutilated bodies, appearing to listeners and spectators. According to the choreographer himself, this is against all rules, but, nevertheless, it was decided to do just that. After all, the world around us is far from ideal and the rules are constantly violated. Jiri Kilian also decided to keep up with this general trend.

Indeed, since Mozart created his divine music, and to this day, many wars have occurred in the world, and rivers of blood have spilled under the “Bridge of Time”. In order to demonstrate male potency and a thirst for power (possession), swords were symbolically involved in the composition.

So, throughout our entire life, “Death” always accompanies us, sometimes it is “small” and sometimes “large”, but it is it that is our faithful companion from dawn to dusk of our life.

History
Premiere of this production: 19 January 1898, Imperial Mariinsky Theatre, Saint Petersburg, Russia

Raymonda  is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa to music by Alexander Glazunov, his Opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.

Drawing from the abundance of his dancing imagination, Jiří Kylián has kept audiences and experts in suspense with his choreographies for decades. One of his most performed works is Petite Mort. This work is based on the extremely popular Adagio movements from Wolfgang Amadeus Mozart's Piano Concertos No. 21 and 23. The beguiling intensity of these slow musical movements forms the counterpoint to an energetic display of male and female attributes that allude elegantly and ambiguously to the sexual ritual of aggression, energy and vulnerability, to the "little death".

Synopsis

Act I
Scene 1: Raymonda's feast

At the castle of Doris, preparations are under way for the celebrations of the young countess Raymonda’s name day. Countess Sybille, her aunt, chides those who are present, including Raymonda's two friends Henrietta and Clémence, and the two troubadours Béranger and Bernard, for their idleness and their passion for dancing, telling them of the legendary White Lady, the protector of the castle, who warns the Doris household every time one of its members is in danger and casts punishment on those who do not fulfil their duties. The young people laugh at the countess’s superstitions and continue to celebrate. The seneschal of the Doris castle announces the arrival of a messenger, sent by Raymonda's fiancé, the noble crusader knight, Jean de Brienne, bearing a letter for his beloved. Raymonda rejoices when she reads that King Andrew II of Hungary, for whom Jean de Brienne has fought, is returning home in triumph and Jean de Brienne will arrive at the Doris castle the next day for their wedding. Suddenly, the celebrations are interrupted when the seneschal announces the arrival of an uninvited Saracen knight, Abderakhman and his entourage, who have stopped at the castle seeking shelter for the night. Captivated by Raymonda's beauty, Abderakhman falls in love with her at once and resolves to do anything to win her. The party lasts late into the night and, left alone and exhausted by the day, Raymonda lies down on a couch and falls asleep. As she sleeps, she begins to dream that the White Lady appears illuminated by the moonlight and, with an imperious gesture, orders Raymonda to follow her.

Scene 2: The Visions

The White Lady, without making a sound, advances along the terrace. Raymonda follows her in a state of unconsciousness. At a signal from the White Lady, the garden is wrapped in mist. A moment later, the mist vanishes and Jean de Brienne appears. Overjoyed, Raymonda runs into his arms and they are surrounded by glory, knights and celestial maidens. The garden is illuminated by a fantastic light and Raymonda expresses her joy to the White Lady, who interrupts her enthusiasm with a vision of what awaits her. Raymonda wants to return to her fiancé, but instead, she finds Abderakhman, who has taken Jean de Brienne's place. Abderakhman declares his passionate love for her, but Raymonda, though confused and upset, is quick to reject him. Imps and elves appear from everywhere surrounding Raymonda, who begs the White Lady to save her and Abderakhman tries to take Raymonda by force. Raymonda cries out and falls to the ground in a faint. The frightful vision disappears along with the White Lady.

Act II
The Courtyard of the Castle

The feast in honour of Jean de Brienne's arrival is taking place. Raymonda welcomes her guests, but cannot hide her uneasiness caused by Jean de Brienne’s delay. Abderakhman approaches her repeatedly and reveals his passion for her, but remembering the warnings of the White Lady, Raymonda rejects him with contempt. Abderakhman becomes even more insistent and realises the only way to possess Raymonda is by force. He calls his slaves to dance for her, after which he summons his cup bearers and they pour a potion into everyone’s cup, causing all the guests to become drunk. Seizing his chance, Abderakhman grabs Raymonda in an attempt to abduct her, but luckily Jean de Brienne arrives just in time, accompanied by King Andrew II and his knights. Jean de Brienne saves Raymonda from the hands of the Saracens and tries to seize Abderakhman. The King commands the two rivals to put an end to the matter in a duel, during which the White Lady appears on the castle tower. Abderakhman is dazed and dies, slain by Jean de Brienne's sword. Raymonda joyfully embraces her fiancé and the two reaffirm their love as the King joins their hands.

Act III
The Wedding

Raymonda and Jean de Brienne are finally married and King Andrew II of Hungary gives the newly wedded couple his blessing. In his honour, everyone at court is dressed in Hungarian fashion and perform a range of Hungarian-style dances, ending in an Apotheosis where everyone comes together in a knightly tournament.

Venue Info

Citizens Opera House - Boston
Location   539 Washington Street, 02111

The Citizens Opera House ( Boston Opera House) is one of the finest examples of the vaudeville circuit palace at the pinnacle of its development.

Designed in a combination of French and Italian styles by Thomas White Lamb, one of the foremost theatre architects of his day, it was erected under the close personal supervision of Edward Franklin Albee to memorialize his late partner, Benjamin Franklin Keith. Because it was constructed as a memorial and tribute to vaudeville’s greatest impresario, it was built with a degree of luxury in its appointments that is almost unrivaled.

The Boston Opera House, also known as the Citizens Bank Opera House, is a performing arts and esports venue located at 539 Washington St. in Boston, Massachusetts. It was originally built as the B.F. Keith Memorial Theatre, a movie palace in the Keith-Albee chain. The chain became part of RKO when it was established just before the theater opened on October 29, 1928, and it was also known as the RKO Keith's Theater. After operating for more than 50 years as a movie theater, it was rededicated in 1980 as a home for the Opera Company of Boston, which performed there until the opera company closed down in 1990 due to financial problems. The theater was reopened in 2004 after a major restoration, and it currently serves as the home of the Boston Ballet and also hosts touring Broadway shows. The theater serves as the home arena of the Boston Uprising of the Overwatch League.

The Boston Opera House was originally designed as the B.F. Keith Memorial Theatre, a lavish movie theater in the Keith-Albee chain. The Keith's Memorial was one of his most elaborate designs of the prominent theater architect Thomas W. Lamb. It was dedicated to the vaudeville pioneer B.F. Keith. On October 23, 1928, just before the theater opened, the Radio-Keith-Orpheum (RKO) company was formed and became the owner of the theater. The theater opened on October 29, 1928, presenting first-run films along with live vaudeville. By 1929, the theater had converted to showing only films and remained a leading Boston movie showcase through the 1950s. It became known as RKO Keith's, and bore signage that said both "B.F. Keith's" and "RKO Keith's" (see the 1938 photo shown at right).

In 1965 the Sack Theaters company acquired the theater and renamed it the Savoy Theater. Sack later added a second smaller cinema in the theater's stage space, separated from the original auditorium by a masonry wall built across the proscenium.

In 1980, after closing as a movie house, the theater became the home of opera director Sarah Caldwell's Opera Company of Boston and was renamed the Boston Opera House. The theater was acquired and renovated by the opera company with the help of Boston arts patron Susan Timken. After a decade of opera productions at the house, Caldwell's company collapsed due to financial troubles in 1991. Having previously produced opera since 1958 in rented theaters, the company was not financially prepared to cope with the substantial costs of upkeep for the large theater which had previously been poorly maintained for decades. The company's failure left the theater dark and without funds to maintain it.

Unheated, the building fell prey to extensive water damage, severely damaging the electrical system and the decorative plaster interior of the auditorium. The company's costumes, collected for decades and stored under the damaged roof, were lost. In 1996, the former opera company relinquished ownership of the building.

Mayor Thomas Menino, with the aid of Senator Edward Kennedy (whose father, Joseph, was the first owner), helped to get the theater landmark status in 1999 through the Boston Landmarks Commission. After a series of failed or delayed development proposals, the Clear Channel Company agreed to renovate the theater. The need to enlarge the trapezoidal stage house into the street between buildings provoked a multi-year court fight with the neighboring Tremont on the Commons condominium building, whose concerns with fire safety were eventually overcome with the persuasion of Mayor Menino.

The Boston opera community welcomed the efforts of Mayor Menino and Clear Channel to refurbish the Opera House and the damaged interior was restored in a $38 million renovation. It reopened on July 16, 2004, with the Broadway production of The Lion King. Clear Channel kept the historic theater busy and active with long runs of touring Broadway musicals and pop concerts. While its agreement with city included a clause that opera be produced at least two weeks a year, no opera company has yet returned to make the Opera House its home.

The current owner of the theater is Boston Opera House Ventures, LLC, a partnership of local Boston businessmen Don Law and David Mugar. Its primary tenants are Broadway Across America, Boston Uprising and the Boston Ballet. Home to Boston Ballet's annual production of The Nutcracker since 2005, the theater became the company's permanent home in 2009.

Important Info
Type: Ballet
City: Boston, USA
Starts at: 19:30
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