The performances are set for 15, 16, 17 and 28 June, in celebration of Stravinsky’s birthday, with Arseny Shuplyakov conducting.
Stravinsky’s Danses concertantes originally premiered in 1942 in Los Angeles, conducted by the composer himself. Although conceived primarily for the concert hall this vibrant composition has inspired an array of esteemed choreographers. George Balanchine was the first to adapt it into a one-act ballet for the Ballet Russe de Monte Carlo in 1944, and later revisited the piece in 1972 for New York City Ballet. Others who have left their mark on the piece include Kenneth MacMillan with Sadler’s Wells Theatre Ballet in 1955, Lew Christensen in 1959, Todd Bolender in 1964 and John Taras in 1971, among others. Now St Petersburg audiences will experience Alexander Sergeev’s fresh choreographic take on Stravinsky’s evocative music.
Sergeev’s staging reflects the composer’s intent for theatrical expressiveness loaded with musical narrative. “Originally, I envisioned this as an entirely abstract performance, but as rehearsals progressed, relationships began to form – within dance groups, between couples, and between the soloist and the ensembles. Although we strictly adhere to the music, these interactions are distinct in every cast,” Sergeev explains.
Stravinsky’s Danses concertantes stands out as a daring neoclassical masterpiece, its score marked by sharp accents and a thematic richness that transitions from one motif to the next. Sergeev, with his background in working with giants of modern choreography like George Balanchine and William Forsythe, brings a nuanced understanding to this production. The ballet also includes nods to other Stravinsky works, with Sergeev adding, “Stravinsky references his own pieces in the score, such as a few bars from Apollo and The Rite of Spring. I incorporate choreographic nods at these points, which should resonate with viewers familiar with these ballets.”
The costumes, designed by Leonid Alexeev, further enrich the production, continuing his established creative partnership with Sergeev, first showcased in their recent ballet The Twelve by Boris Tishchenko.
Danses concertantes will grace the New Stage of the Mariinsky Theatre on 15 and 16 (with performances at 1:00 PM and 7:00 PM) and 17 June, shared with Stravinsky’s seldom-seen ballet Le Baiser de la fée (“The Fairy’s Kiss”), choreographed by Maxim Petrov. On 28 June the performance moves to the Historical Stage, paired with Stravinsky’s The Firebird, choreographed by Michel Fokine in 1910. This series of performances not only showcases Sergeev’s choreographic mastery but also celebrates the rich, multifaceted legacy of Stravinsky’s music.
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