The Winter’s Tale Tickets

Bolshoi Theatre, Moscow, Russia

Scene 2 from the ballet "The Winter's Tale"

Scene 1 from the ballet "The Winter's Tale"

Scene 3 from the ballet "The Winter's Tale"

Scene 4 from the ballet "The Winter's Tale"

Scene 5 from the ballet "The Winter's Tale"

Scene 6 from the ballet "The Winter's Tale"

Scene 7 from the ballet "The Winter's Tale"

Scene 8 from the ballet "The Winter's Tale"

Scene 9 from the ballet "The Winter's Tale"

Scene 10 from the ballet "The Winter's Tale"

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Important Info

Type: Ballet

City: Moscow, Russia

Duration: 2h 40min with 2 intervals

Acts: 3

Intervals: 2

Ticket delivery: E-Tickets

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.

Can I choose my seats?

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

Choose the date to see the peformers

Overview

Christopher Wheeldon first appeared at the Bolshoi in 2007. A promising young choreographer, he staged one-act ballet Misericordes inspired by Hamlet – a kind of etude for the full-length production of this play. For more than ten years, Wheeldon’s career has gained momentum. He was appointed an Artistic Associate of The Royal Ballet, staged numerous plotless ballets around the world, and finally decided to attempt a full length narrative ballet – he hasn't done that since his youth, and he has never done that for the Royal Ballet. Obviously, he appealed to the great English literature.

Alice’s Adventures in Wonderland became the first attempt, and then followed Shakespeare. English critics hailed The Winter’s Tale. The international response was also not long in coming. At the Benois de la Danse awards ceremony, held as always at the Bolshoi, Christopher Wheeldon and his constant co-author composer Joby Talbot were awarded the Best Choreographer and the Best Composer prizes. After all, the Bolshoi has decided to tell its audience this tale.

Shakespeare is loved in musical theatres and the Bolshoi is no exception! In 2015 The Bolshoi’s Museum dedicated to him an exhibition "Shakespeare. Ballet. XXI century". If it had been held now, it would have been replenished with another beautiful section! Moreover, the choice of the play is not banal at all.

The Winter’s Tale is a quite complicated play to make successful performance. However, Christopher Wheeldon has found his right approach to it and demonstrated an ability to follow the age-old ballet traditions, successfully refracting them in a modern way. He refused of naïve pantomime – peculiar to old-time ballet performances and being a stumbling block for modern narrative ballet – and replaced it with more precise and significant gestures. He managed to tell this story (omitting some plot twists, of course) in a simple and clear language.

Perhaps, today the image of Leontes, king of Sicilia, is more relevant than the simple-minded Othello (if the latter does not want to believe the suspicions, the first, an evil neurotic, persists, not wanting to dispel them, and as if he draws some perverted delight in them). Wheeldon shapes this character with classical choreographic language and broken spider-like plastic, finely transmitting the growing mental stress of the sadist king. The Bohemian second act highlights a young loving couple (Prince Florizel and servant-mistress Perdita). There is also a dashing mass shepherds' dance that is simply breathtaking, in part because it takes place against a gorgeous giant tree and with accompaniment of a stage orchestra, equipped with such rare music instruments as bansuri and dulcimer.

As for personal approach, Christopher Wheeldon demonstrates it in the most effective way in the finale – in gentle and very touching duet of penitent Leontes and his wife’s statue, which comes to life. She descends from her pedestal alone, her little son will forever remain a marble sculpture and will become a real loss and payment for unforgivable sins. And after all, it is the young Prince (as you'll see by reading Shakespeare) who explains why this tale is a winter’s tale - it's a sad story.

Heavy winter sky looms over the heroes. The forward passage of time (sixteen years will pass between the first and second acts) makes seasons change on the stage. It seems that they all will pass before eyes – on the screen (projection designer – Daniel Brodie) and on the stage (set designer – Bob Crowley; his magnificent May tree becomes the emblem of this performance). A great team is responsible for visual image of this production, including puppeteer Basil Twist who serves as Silk Effects Designer (for example, he creates a spectacular sea storm).

Wheeldon's ballet is a dance version of William Shakespeare's play The Winter's Tale (1609–11), considered by scholars one of his "problem plays," difficult to classify as tragedy, comedy, romance, or a combination of all three. The first three of its five acts are filled with intense psychological drama; the last two are lighthearted and comedic, concluding with a happy ending. It tells a complicated story of jealousy, loss, love, joy, redemption, forgiveness, and reconciliation. Shakespeare chose his title to signify to his audiences that the play was like a tale told in company gathered by a fireside on a winter's evening. A fictional invention—not true, but entertaining and morally instructive.

History

Premiere of this production: 10 April 2014, Royal Opera House, London

The Winter's Tale is a ballet in three acts choreographed by Christopher Wheeldon to a commissioned score by Joby Talbot. With scenery and costumes designed by Bob Crowley, lighting designed by Natasha Katz, and special stage effects designed by Daniel Brodie and Basil Twist, it was a co-production of the Royal Ballet and the National Ballet of Canada and was first presented at the Royal Opera House, London, on 10 April 2014.

Synopsis

Prologue

Two kings separated as children are reunited in adulthood. One king, Leontes of Sicilia, marries Hermione, giving her a beautiful emerald. They have a son, Mamilllius, and are blissfully happy. The other king, Polixenes of Bohemia, visits the court of Leontes. He is delighted to be reunited with his old friend and stays for nine months. By the time of his departure, Hermione is about to give birth to her second child.

Act I

The court of Sicilia

It is the day of Polixenes’ departure. The Bohemian court say goodbye to their Sicilian friends. At Hermione’s request, Polixenes agrees to stay on another week. In a flash of jealousy, Leontes becomes convinced that his wife has been unfaithful and is carrying Polixenes’ child. Jealousy turns to rage and he attacks Polixenes, who flees back to Bohemia. Leontes publicly accuses Hermione of adultery and treason, then has her arrested. This so distresses Mamillius that he falls seriously ill.  In prison, Hermione has given birth to a daughter. The head of her household, Paulina, brings the newborn to Leontes, hoping to convince him that the baby is his daughter. Instead, Leontes violently rejects the child, then orders Paulina’s husband Antigonus to abandon the baby in a remote place. Antigonus sets sail into a brewing storm with the baby and some treasure, including the emerald once given to Hermione by Leontes. Hermione is brought to trial and pleads her innocence. Leontes, now quite mad, refuses to believe her. Dazed and feverish, Mamillius enters the courtroom and, upon witnessing the unfolding tragedy, he collapses and dies from distress. Seeing the death of her child, Hermione too collapses dead and is taken away. Only now does Leontes realize the disastrous consequences of his terrible mistake.

The shores of Bohemia

Battling the storm, Antigonus struggles ashore to abandon the baby princess. As he leaves, he is pursued and killed by a wild bear. His ship, waiting at sea, is smashed to pieces on the rocks. As day breaks, a shepherd and his son Clown discover the baby girl and the treasure.

Act II

A hillside in Bohemia. Sixteen years later.

Perdita, the abandoned daughter of King Leontes and Queen Hermione, has been raised by the shepherd who found her. She dances beneath the great tree with her love, Prince Florizel, the son of Polixenes, whom the other villagers know only as a shepherd boy. The villagers arrive for the annual springtime festival. King Polixenes, who has heard that his son has been cavorting with a shepherdess, sends his steward to spy on the young prince. When the steward confirms his suspicions, Polixenes is enraged, and demands to see for himself.   At the festival, Perdita is to be crowned May Queen. In honour of the occasion, Father Shepherd presents her with the emerald necklace he found with her on the beach. Polixenes and his steward arrive in disguise, keen to see what Florizel is up to. On witnessing Florizel’s engagement to a mere shepherdess, Polixenes reveals himself. He is furious with Florizel, and condemns Perdita and her family to death. They all flee by boat to Sicilia, pursued by Polixenes.

Act III

A clifftop in Sicilia

King Leontes mourns by the clifftop graves of his wife and son, watched over by Paulina. Perdita and Florizel’s ship approaches Sicilia.

The palace in Sicilia Perdita and Florizel appeal to Leontes to allow their union, and to intercede with the enraged Polixenes on their behalf. Leontes is taken with the likeness of Florizel to Polixenes. He agrees to help the young couple, who remind him of his lost children. Polixenes arrives and Leontes tries to reason with him, but he violently handles Perdita, revealing the emerald. The long lost Princess of Sicilia is miraculously alive and the two kings are reunited. The Palace celebrates the wedding of Florizel and Perdita. As the festivities die down, Leontes is led by Paulina to see a new statue of Hermione. Deeply remorseful, he kneels at its base. Suddenly, the statue comes to life – it is Hermione, who is alive and has been kept in hiding by Paulina for 16 years. She embraces Leontes, and the family is reunited.

Following a brief setup scene the play begins with the appearance of two childhood friends: Leontes, King of Sicilia, and Polixenes, the King of Bohemia. Polixenes is visiting the kingdom of Sicilia, and is enjoying catching up with his old friend. However, after nine months, Polixenes yearns to return to his own kingdom to tend to affairs and see his son. Leontes desperately attempts to get Polixenes to stay longer, but is unsuccessful. Leontes then decides to send his wife, Queen Hermione, to try to convince Polixenes. Hermione agrees and with three short speeches is successful. Leontes is puzzled as to how Hermione convinced Polixenes so easily, and so he begins to suspect that his pregnant wife has been having an affair with Polixenes and that the child is Polixenes'. Leontes orders Camillo, a Sicilian Lord, to poison Polixenes. Camillo instead warns Polixenes and they both flee to Bohemia.

Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends two of his lords, Cleomenes and Dion, to the Oracle at Delphos for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina takes the baby to the king, in the hopes that the sight of the child will soften his heart. He grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in a desolate place. Cleomenes and Dion return from Delphos with word from the Oracle and find Hermione publicly and humiliatingly put on trial before the king. She asserts her innocence, and asks for the word of the Oracle to be read before the court. The Oracle states categorically that Hermione and Polixenes are innocent, Camillo is an honest man, and that Leontes will have no heir until his lost daughter is found. Leontes shuns the news, refusing to believe it as the truth. As this news is revealed, word comes that Leontes' son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. At this, Hermione falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband. Leontes vows to spend the rest of his days atoning for the loss of his son, his abandoned daughter, and his queen.

Antigonus, meanwhile, abandons the baby on the coast of Bohemia, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita. He leaves a fardel (a bundle) by the baby containing gold and other trinkets which suggest that the baby is of noble blood. A violent storm suddenly appears, wrecking the ship on which Antigonus arrived. He wishes to take pity on the child, but is chased away in one of Shakespeare's most famous stage directions: "Exit, pursued by a bear." (It is not known whether Shakespeare used a real bear from the London bear-pits, or an actor in bear costume.) Perdita is rescued by a shepherd and his son, also known as "Clown."

"Time" enters and announces the passage of sixteen years. Camillo, now in the service of Polixenes, begs the Bohemian king to allow him to return to Sicilia. Polixenes refuses and reports to Camillo that his son, Prince Florizel, has fallen in love with a lowly shepherd girl: Perdita. He suggests to Camillo that, to take his mind off thoughts of home, they disguise themselves and attend the sheep-shearing feast where Florizel and Perdita will be betrothed. At the feast, hosted by the Old Shepherd who has prospered thanks to the gold in the fardel, the pedlar Autolycus picks the pocket of the Young Shepherd and, in various guises, entertains the guests with bawdy songs and the trinkets he sells. Disguised, Polixenes and Camillo watch as Florizel (under the guise of a shepherd named Doricles) and Perdita are betrothed. Then, tearing off the disguise, Polixenes angrily intervenes, threatening the Old Shepherd and Perdita with torture and death and ordering his son never to see the shepherd's daughter again. With the aid of Camillo, however, who longs to see his native land again, Florizel and Perdita take ship for Sicilia, using the clothes of Autolycus as a disguise. They are joined in their voyage by the Old Shepherd and his son who are directed there by Autolycus.

In Sicilia, Leontes is still in mourning. Cleomenes and Dion plead with him to end his time of repentance because the kingdom needs an heir. Paulina, however, convinces the king to remain unmarried forever since no woman can match the greatness of his lost Hermione. Florizel and Perdita arrive, and they are greeted effusively by Leontes. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. The meeting and reconciliation of the kings and princes is reported by gentlemen of the Sicilian court: how the Old Shepherd raised Perdita, how Antigonus met his end, how Leontes was overjoyed at being reunited with his daughter, and how he begged Polixenes for forgiveness. The Old Shepherd and Young Shepherd, now made gentlemen by the kings, meet Autolycus, who asks them for their forgiveness for his roguery. Leontes, Polixenes, Camillo, Florizel and Perdita then go to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue shows signs of vitality; it is Hermione, restored to life. As the play ends, Perdita and Florizel are engaged, and the whole company celebrates the miracle. Despite this happy ending typical of Shakespeare's comedies and romances, the impression of the unjust death of young prince Mamillius lingers to the end, being an element of unredeemed tragedy, in addition to the years wasted in separation.

Venue Info

Bolshoi Theatre - Moscow
Teatralnaya Square 1

The Bolshoi Theatre is one of the world’s most iconic cultural landmarks, renowned for its grandeur, history, and artistic excellence. Located in the heart of Moscow, this legendary theatre has been home to unforgettable performances of opera and ballet for over two centuries. Its majestic architecture, world-class acoustics, and rich tradition make every event at the Bolshoi a truly unforgettable experience.

On 28 March (17 according to the old style) 1776, Catherine II granted the prosecutor, Prince Pyotr Urusov, the "privilege" of "maintaining" theatre performances of all kinds, including masquerades, balls and other forms of entertainment, for a period of ten years. And it is from this date that Moscow’s Bolshoi Theatre traces its history.

The Bolshoi building, which for many years now has been regarded as one of Moscow’s main sights, was opened on 20 October 1856, on Tsar Alexander II’s coronation day.

On 29 October 2002 the Bolshoi was given a New Stage and it was here it presented its performances during the years the Main Stage was undergoing massive reconstruction and refurbishment.

The reconstruction project lasted from l July 2005 to 28 October 2011. As a result of this reconstruction, many lost features of the historic building were reinstated and, at the same time, it has joined the ranks of most technically equipped theatre buildings in the world.

The Bolshoi Theatre is a symbol of Russia for all time. It was awarded this honor due to the major contribution it made to the history of the Russian performing arts. This history is on-going and today Bolshoi Theatre artists continue to contribute to it many bright pages.

The Bolshoi Ballet and Bolshoi Opera are among the oldest and best known ballet and opera companies in the world. It is by far the world's biggest ballet company, with more than 200 dancers.