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Bolshoi theatre - Historic Stage (Moscow)

Bolshoi is one of the leading ballet and opera companies in the world. Marvellous Main (Historic) stage - the crown jewel of Russian arts - has been re-opened on October 28, 2011 after a six-year multi-layer $660 million restoration. Gilders, weavers and decorators have been working around the clock to restore the theater to its 19th century glory,...   Show more
All eventsOpera
19
December
Wednesday
Opera
Baritone: Konstantin Shushakov
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Tenor: Alexei Tatarintsev

All seats are sold out

21
December
Friday
Opera
Baritone: Konstantin Shushakov
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Tenor: Alexei Tatarintsev
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23
December
Sunday
Opera
Baritone: Konstantin Shushakov
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Bass: Vladimir Komovich
Conductor: Michal Klauza
Soprano: Anna Aglatova
Tenor: Alexei Tatarintsev
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26
December
Wednesday
2
January
Wednesday
2019
Opera
Composer: Sergei Banevich
Soprano: Agunda Kulaeva
Tenor: Boris Rudak
Tenor: Stanislav Mostovoy
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3
January
Thursday
2019
Opera
Baritone: Alexander Miminoshvili
Baritone: Konstantin Shushakov
Baritone: Yuri Syrov
Bass: Igor Korostylev
Composer: Sergei Banevich
Mezzo soprano: Yelena Okolysheva
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Opera
Baritone: Alexander Miminoshvili
Baritone: Konstantin Shushakov
Baritone: Yuri Syrov
Bass: Igor Korostylev
Composer: Sergei Banevich
Mezzo soprano: Yelena Okolysheva
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4
January
Friday
2019
Opera
Baritone: Konstantin Shushakov
Composer: Sergei Banevich
Soprano: Agunda Kulaeva
Soprano: Olga Seliverstova
Tenor: Stanislav Mostovoy
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Opera
Baritone: Konstantin Shushakov
Composer: Sergei Banevich
Soprano: Agunda Kulaeva
Soprano: Olga Seliverstova
Tenor: Stanislav Mostovoy
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5
January
Saturday
2019
Opera
Baritone: Konstantin Shushakov
Baritone: Yuri Syrov
Bass: Vladimir Komovich
Bass-baritone: Nikolai Kazansky
Composer: Sergei Banevich
Mezzo soprano: Yelena Okolysheva
Tenor: Boris Rudak
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Opera
Baritone: Konstantin Shushakov
Baritone: Yuri Syrov
Bass: Vladimir Komovich
Bass-baritone: Nikolai Kazansky
Composer: Sergei Banevich
Mezzo soprano: Yelena Okolysheva
Tenor: Boris Rudak
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6
January
Sunday
2019
Opera
Baritone: Yuri Syrov
Composer: Sergei Banevich
Soprano: Agunda Kulaeva
Soprano: Olga Seliverstova
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Opera
Baritone: Yuri Syrov
Composer: Sergei Banevich
Soprano: Agunda Kulaeva
Soprano: Olga Seliverstova
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15
January
Tuesday
2019
Opera
Baritone: Alexander Kasyanov
Baritone: Konstantin Shushakov
Composer: Andrei Petrov
Conductor: Anton Grishanin
Mezzo soprano: Svetlana Shilova
Soprano: Anna Nechaeva
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16
January
Wednesday
2019
Opera
Baritone: Aluda Todua
Bass: Vladimir Komovich
Conductor: Anton Grishanin
Composer: Andrei Petrov
Mezzo soprano: Yelena Novak
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17
January
Thursday
2019
Opera
Baritone: Alexander Kasyanov
Baritone: Konstantin Shushakov
Composer: Andrei Petrov
Conductor: Anton Grishanin
Mezzo soprano: Svetlana Shilova
Soprano: Anna Nechaeva
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19
January
Saturday
2019
Opera
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost ver...Show more
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost verbatim from Alexander Pushkin's play of the same name which had been written in blank verse and which forms part of his collection Little Tragedies.It was first performed at the Mariinsky Theatre, Saint Petersburg, 16 February 1872.According to the composer's wishes, the last few lines of tableau 1 were composed by Cesar Cui, and the whole was orchestrated by Nikolai Rimsky-Korsakov. Many years later, Rimsky-Korsakov revised his own orchestration of the opera, rewrote a few of Dargomyzhsky's own original passages, and added an orchestral prelude. This version, completed in 1903 and first performed in 1907 at the Bolshoi Theatre, is now considered the standard version. Full info
Baritone: Yuri Syrov
Bass: Igor Korostylev
Mezzo soprano: Oksana Volkova
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Opera
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost ver...Show more
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost verbatim from Alexander Pushkin's play of the same name which had been written in blank verse and which forms part of his collection Little Tragedies.It was first performed at the Mariinsky Theatre, Saint Petersburg, 16 February 1872.According to the composer's wishes, the last few lines of tableau 1 were composed by Cesar Cui, and the whole was orchestrated by Nikolai Rimsky-Korsakov. Many years later, Rimsky-Korsakov revised his own orchestration of the opera, rewrote a few of Dargomyzhsky's own original passages, and added an orchestral prelude. This version, completed in 1903 and first performed in 1907 at the Bolshoi Theatre, is now considered the standard version. Full info
Baritone: Yuri Syrov
Bass: Igor Korostylev
Mezzo soprano: Oksana Volkova
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20
January
Sunday
2019
Opera
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost ver...Show more
The Stone Guest is an opera in three acts by Alexander Dargomyzhsky from a libretto taken almost verbatim from Alexander Pushkin's play of the same name which had been written in blank verse and which forms part of his collection Little Tragedies.It was first performed at the Mariinsky Theatre, Saint Petersburg, 16 February 1872.According to the composer's wishes, the last few lines of tableau 1 were composed by Cesar Cui, and the whole was orchestrated by Nikolai Rimsky-Korsakov. Many years later, Rimsky-Korsakov revised his own orchestration of the opera, rewrote a few of Dargomyzhsky's own original passages, and added an orchestral prelude. This version, completed in 1903 and first performed in 1907 at the Bolshoi Theatre, is now considered the standard version. Full info
Artistic Director: Sergei Radchenko
Bass: Vladimir Komovich
Conductor: Anton Grishanin
Mezzo soprano: Julia Mazurova
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23
January
Wednesday
2019
Opera
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex...Show more
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex music. The chilling Grand Inquisitor imposes his will in thunderous, dark-toned music, while the revolutionary Marquis of Posa sings a stirring duet with Don Carlos in praise of freedom. And in Eboli and Elizabeth, Verdi created two of his most sympathetic heroines. Verdi's music masterfully controls the twisting and turning story. Vivid orchestral colours and affecting melodies manipulate his audience to devastating effect: we love, we hate, we turn and sympathise as each note reveals a little more of these complex, charismatic characters. Full info
Bass: Dmitry Ulyanov
Composer: Giuseppe Verdi
Soloist: Yusif Eyvazov
Soprano: Anna Nechaeva
Tenor: Stanislav Mostovoy
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24
January
Thursday
2019
Opera
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex...Show more
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex music. The chilling Grand Inquisitor imposes his will in thunderous, dark-toned music, while the revolutionary Marquis of Posa sings a stirring duet with Don Carlos in praise of freedom. And in Eboli and Elizabeth, Verdi created two of his most sympathetic heroines. Verdi's music masterfully controls the twisting and turning story. Vivid orchestral colours and affecting melodies manipulate his audience to devastating effect: we love, we hate, we turn and sympathise as each note reveals a little more of these complex, charismatic characters. Full info
Bass: Dmitry Ulyanov
Composer: Giuseppe Verdi
Soprano: Olga Seliverstova
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25
January
Friday
2019
Opera
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex...Show more
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex music. The chilling Grand Inquisitor imposes his will in thunderous, dark-toned music, while the revolutionary Marquis of Posa sings a stirring duet with Don Carlos in praise of freedom. And in Eboli and Elizabeth, Verdi created two of his most sympathetic heroines. Verdi's music masterfully controls the twisting and turning story. Vivid orchestral colours and affecting melodies manipulate his audience to devastating effect: we love, we hate, we turn and sympathise as each note reveals a little more of these complex, charismatic characters. Full info
Bass: Dmitry Ulyanov
Composer: Giuseppe Verdi
Soloist: Yusif Eyvazov
Soprano: Anna Nechaeva
Tenor: Stanislav Mostovoy
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26
January
Saturday
2019
Opera
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex...Show more
Don Carlo contains a host of vividly drawn characters, depicted through some of Verdi’s most complex music. The chilling Grand Inquisitor imposes his will in thunderous, dark-toned music, while the revolutionary Marquis of Posa sings a stirring duet with Don Carlos in praise of freedom. And in Eboli and Elizabeth, Verdi created two of his most sympathetic heroines. Verdi's music masterfully controls the twisting and turning story. Vivid orchestral colours and affecting melodies manipulate his audience to devastating effect: we love, we hate, we turn and sympathise as each note reveals a little more of these complex, charismatic characters. Full info
Bass: Dmitry Ulyanov
Composer: Giuseppe Verdi
Soprano: Olga Seliverstova
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29
January
Tuesday
2019
Opera
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rare...Show more
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rarely did his genius find better expression than in this psychological melodrama of breathtaking intensity and beauty.Many theories exist as to the motivations behind The Queen of Spades, of how it perhaps charts the composer’s own personal turmoil, but whatever lies behind the opera’s magnificent narrative, it provides the operatic stage with one if the greatest musical dramas of all time and a collection of deeply flawed and haunting characters.Hermann is seeking the secret of the winning cards and it is such an obsession that all before him – his love for Liza, (herself betrothed to another), comradeship, life itself, becomes secondary. The result of his slow descent into madness is death and suicide.Tchaikovsky’s beautiful music is febrile and inspired, his characters acutely drawn and the opera remains one of the great masterpieces of all Russian opera. Full info
Bass: Vladimir Komovich
Tenor: Stanislav Mostovoy
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30
January
Wednesday
2019
Opera
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rare...Show more
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rarely did his genius find better expression than in this psychological melodrama of breathtaking intensity and beauty.Many theories exist as to the motivations behind The Queen of Spades, of how it perhaps charts the composer’s own personal turmoil, but whatever lies behind the opera’s magnificent narrative, it provides the operatic stage with one if the greatest musical dramas of all time and a collection of deeply flawed and haunting characters.Hermann is seeking the secret of the winning cards and it is such an obsession that all before him – his love for Liza, (herself betrothed to another), comradeship, life itself, becomes secondary. The result of his slow descent into madness is death and suicide.Tchaikovsky’s beautiful music is febrile and inspired, his characters acutely drawn and the opera remains one of the great masterpieces of all Russian opera. Full info
Bass: Vladimir Komovich
Tenor: Stanislav Mostovoy
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31
January
Thursday
2019
Opera
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rare...Show more
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rarely did his genius find better expression than in this psychological melodrama of breathtaking intensity and beauty.Many theories exist as to the motivations behind The Queen of Spades, of how it perhaps charts the composer’s own personal turmoil, but whatever lies behind the opera’s magnificent narrative, it provides the operatic stage with one if the greatest musical dramas of all time and a collection of deeply flawed and haunting characters.Hermann is seeking the secret of the winning cards and it is such an obsession that all before him – his love for Liza, (herself betrothed to another), comradeship, life itself, becomes secondary. The result of his slow descent into madness is death and suicide.Tchaikovsky’s beautiful music is febrile and inspired, his characters acutely drawn and the opera remains one of the great masterpieces of all Russian opera. Full info
Bass: Vladimir Komovich
Tenor: Stanislav Mostovoy
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2
February
Saturday
2019
Opera
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rare...Show more
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rarely did his genius find better expression than in this psychological melodrama of breathtaking intensity and beauty.Many theories exist as to the motivations behind The Queen of Spades, of how it perhaps charts the composer’s own personal turmoil, but whatever lies behind the opera’s magnificent narrative, it provides the operatic stage with one if the greatest musical dramas of all time and a collection of deeply flawed and haunting characters.Hermann is seeking the secret of the winning cards and it is such an obsession that all before him – his love for Liza, (herself betrothed to another), comradeship, life itself, becomes secondary. The result of his slow descent into madness is death and suicide.Tchaikovsky’s beautiful music is febrile and inspired, his characters acutely drawn and the opera remains one of the great masterpieces of all Russian opera. Full info
Conductor: Tugan Sokhiev
Mezzo soprano: Yelena Manistina
Soprano: Anna Nechaeva
Tenor: Stanislav Mostovoy
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3
February
Sunday
2019
Opera
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rare...Show more
The romance of Tchaikovsky’s Yevgeny Onegin is an evergreen staple of the repertoire today, but rarely did his genius find better expression than in this psychological melodrama of breathtaking intensity and beauty.Many theories exist as to the motivations behind The Queen of Spades, of how it perhaps charts the composer’s own personal turmoil, but whatever lies behind the opera’s magnificent narrative, it provides the operatic stage with one if the greatest musical dramas of all time and a collection of deeply flawed and haunting characters.Hermann is seeking the secret of the winning cards and it is such an obsession that all before him – his love for Liza, (herself betrothed to another), comradeship, life itself, becomes secondary. The result of his slow descent into madness is death and suicide.Tchaikovsky’s beautiful music is febrile and inspired, his characters acutely drawn and the opera remains one of the great masterpieces of all Russian opera. Full info
Bass: Vladimir Komovich
Bass-baritone: Kostas Smoriginas
Tenor: Stanislav Mostovoy
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6
February
Wednesday
2019
Opera
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally transla...Show more
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally translated, “thus do they all” suggests that women are easily seduced and quick to fly from the arms of one love to another. The opera was a great success in its day, but for most of the nineteenth through the first half of the twentieth century, its subject matter was deemed too racy for public consumption. Since that time, it has returned to the standard repertoire and, according to recent tabulations, is the eleventh most popular opera being performed today. Full info
Baritone: Yuri Syrov
Conductor: Tugan Sokhiev
Soprano: Olga Seliverstova
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7
February
Thursday
2019
Opera
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally transla...Show more
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally translated, “thus do they all” suggests that women are easily seduced and quick to fly from the arms of one love to another. The opera was a great success in its day, but for most of the nineteenth through the first half of the twentieth century, its subject matter was deemed too racy for public consumption. Since that time, it has returned to the standard repertoire and, according to recent tabulations, is the eleventh most popular opera being performed today. Full info
Baritone: Konstantin Shushakov
Bass-baritone: Nikolai Kazansky
Conductor: Tugan Sokhiev
Mezzo soprano: Alexandra Kadurina
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8
February
Friday
2019
Opera
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally transla...Show more
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally translated, “thus do they all” suggests that women are easily seduced and quick to fly from the arms of one love to another. The opera was a great success in its day, but for most of the nineteenth through the first half of the twentieth century, its subject matter was deemed too racy for public consumption. Since that time, it has returned to the standard repertoire and, according to recent tabulations, is the eleventh most popular opera being performed today. Full info
Baritone: Yuri Syrov
Conductor: Tugan Sokhiev
Soprano: Olga Seliverstova
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9
February
Saturday
2019
Opera
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally transla...Show more
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally translated, “thus do they all” suggests that women are easily seduced and quick to fly from the arms of one love to another. The opera was a great success in its day, but for most of the nineteenth through the first half of the twentieth century, its subject matter was deemed too racy for public consumption. Since that time, it has returned to the standard repertoire and, according to recent tabulations, is the eleventh most popular opera being performed today. Full info
Baritone: Konstantin Shushakov
Bass-baritone: Nikolai Kazansky
Conductor: Tugan Sokhiev
Mezzo soprano: Alexandra Kadurina
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10
February
Sunday
2019
Opera
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally transla...Show more
Cosi Fan Tutte, a comic tale of love tested by deception and seduction. The title, literally translated, “thus do they all” suggests that women are easily seduced and quick to fly from the arms of one love to another. The opera was a great success in its day, but for most of the nineteenth through the first half of the twentieth century, its subject matter was deemed too racy for public consumption. Since that time, it has returned to the standard repertoire and, according to recent tabulations, is the eleventh most popular opera being performed today. Full info
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13
February
Wednesday
2019
Opera
Bass-baritone: Nikolai Kazansky
Conductor: Michal Klauza
Mezzo soprano: Yevgenia Segenyuk
Soprano: Ksenia Dezhneva
Mezzo soprano: Yevgenia Segenyuk
Soprano: Ksenia Dezhneva
Tenor: Stanislav Mostovoy
Tenor: Vadim Babichuk
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14
February
Thursday
2019
Opera
Baritone: Konstantin Shushakov
Bass-baritone: Aleksei Dedov
Conductor: Michal Klauza
Soprano: Anastasia Barun
Soprano: Olga Seliverstova
Tenor: Vadim Babichuk
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15
February
Friday
2019
Opera
Bass-baritone: Nikolai Kazansky
Conductor: Michal Klauza
Mezzo soprano: Yevgenia Segenyuk
Soprano: Ksenia Dezhneva
Mezzo soprano: Yevgenia Segenyuk
Soprano: Ksenia Dezhneva
Tenor: Stanislav Mostovoy
Tenor: Vadim Babichuk
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16
February
Saturday
2019
Opera
Baritone: Konstantin Shushakov
Bass-baritone: Aleksei Dedov
Conductor: Michal Klauza
Soprano: Anastasia Barun
Soprano: Olga Seliverstova
Tenor: Vadim Babichuk
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20
February
Wednesday
2019
Opera
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the o...Show more
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the opera that would eventually become Un ballo in maschera. He selected a pre-existing libretto by Eugène Scribe (originally created for French composer Daniel Auber) on the story of the reformist Swedish king Gustav III, who was assassinated at a masked ball in 1792. The subject was not at all to the taste of the notoriously prickly censors in Naples, who in addition to wanting the setting and period changed demanded that the murder take place offstage. Verdi angrily refused, and sought another theatre to stage the work. The considerably more liberal Teatro Apollo in Rome still insisted a fictional setting be used; Verdi had little choice but to relent, and transformed King Gustav into Riccardo, governor of Boston. The opera was first performed on 17 February 1859 and was an immediate success. Full info
Baritone: Yuri Syrov
Bass-baritone: Nikolai Kazansky
Mezzo soprano: Nadia Krasteva
Mezzo soprano: Nadia Krasteva
Soprano: Anna Aglatova
Tenor: Stanislav Mostovoy

All seats are sold out

21
February
Thursday
2019
Opera
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the o...Show more
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the opera that would eventually become Un ballo in maschera. He selected a pre-existing libretto by Eugène Scribe (originally created for French composer Daniel Auber) on the story of the reformist Swedish king Gustav III, who was assassinated at a masked ball in 1792. The subject was not at all to the taste of the notoriously prickly censors in Naples, who in addition to wanting the setting and period changed demanded that the murder take place offstage. Verdi angrily refused, and sought another theatre to stage the work. The considerably more liberal Teatro Apollo in Rome still insisted a fictional setting be used; Verdi had little choice but to relent, and transformed King Gustav into Riccardo, governor of Boston. The opera was first performed on 17 February 1859 and was an immediate success. Full info
Baritone: Aluda Todua
Baritone: Maxim Aniskin
Bass: Vladimir Komovich
Bass-baritone: Aleksei Dedov
Bass-baritone: Aleksei Dedov
Soprano: Damiana Mizzi
Tenor: Stanislav Mostovoy
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22
February
Friday
2019
Opera
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the o...Show more
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the opera that would eventually become Un ballo in maschera. He selected a pre-existing libretto by Eugène Scribe (originally created for French composer Daniel Auber) on the story of the reformist Swedish king Gustav III, who was assassinated at a masked ball in 1792. The subject was not at all to the taste of the notoriously prickly censors in Naples, who in addition to wanting the setting and period changed demanded that the murder take place offstage. Verdi angrily refused, and sought another theatre to stage the work. The considerably more liberal Teatro Apollo in Rome still insisted a fictional setting be used; Verdi had little choice but to relent, and transformed King Gustav into Riccardo, governor of Boston. The opera was first performed on 17 February 1859 and was an immediate success. Full info
Baritone: Yuri Syrov
Bass-baritone: Nikolai Kazansky
Mezzo soprano: Nadia Krasteva
Mezzo soprano: Nadia Krasteva
Soprano: Anna Aglatova
Tenor: Stanislav Mostovoy
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23
February
Saturday
2019
Opera
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the o...Show more
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the opera that would eventually become Un ballo in maschera. He selected a pre-existing libretto by Eugène Scribe (originally created for French composer Daniel Auber) on the story of the reformist Swedish king Gustav III, who was assassinated at a masked ball in 1792. The subject was not at all to the taste of the notoriously prickly censors in Naples, who in addition to wanting the setting and period changed demanded that the murder take place offstage. Verdi angrily refused, and sought another theatre to stage the work. The considerably more liberal Teatro Apollo in Rome still insisted a fictional setting be used; Verdi had little choice but to relent, and transformed King Gustav into Riccardo, governor of Boston. The opera was first performed on 17 February 1859 and was an immediate success. Full info
Baritone: Aluda Todua
Baritone: Maxim Aniskin
Bass: Vladimir Komovich
Bass-baritone: Aleksei Dedov
Bass-baritone: Aleksei Dedov
Soprano: Damiana Mizzi
Tenor: Stanislav Mostovoy
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24
February
Sunday
2019
Opera
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the o...Show more
Giuseppe Verdi set aside his project of adapting King Lear – never to be completed – to create the opera that would eventually become Un ballo in maschera. He selected a pre-existing libretto by Eugène Scribe (originally created for French composer Daniel Auber) on the story of the reformist Swedish king Gustav III, who was assassinated at a masked ball in 1792. The subject was not at all to the taste of the notoriously prickly censors in Naples, who in addition to wanting the setting and period changed demanded that the murder take place offstage. Verdi angrily refused, and sought another theatre to stage the work. The considerably more liberal Teatro Apollo in Rome still insisted a fictional setting be used; Verdi had little choice but to relent, and transformed King Gustav into Riccardo, governor of Boston. The opera was first performed on 17 February 1859 and was an immediate success. Full info
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6
March
Wednesday
2019
19:00
7:00 PM
Premiere
Opera
Musical Director: Ainars Rubikis
Composer: Antonin Dvorak
Opera company: Bolshoi Opera
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7
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Thursday
2019
19:00
7:00 PM
Premiere
Opera
Musical Director: Ainars Rubikis
Composer: Antonin Dvorak
Opera company: Bolshoi Opera
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8
March
Friday
2019
19:00
7:00 PM
Premiere
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Musical Director: Ainars Rubikis
Composer: Antonin Dvorak
Opera company: Bolshoi Opera
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9
March
Saturday
2019
19:00
7:00 PM
Premiere
Opera
Musical Director: Ainars Rubikis
Composer: Antonin Dvorak
Opera company: Bolshoi Opera
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Opera
There are few productions in the world of opera that could compete with this lyrical drama. It is no...Show more
There are few productions in the world of opera that could compete with this lyrical drama. It is not pretentious, convoluted or emotional — here, the art of opera and the real world collide. It was not by chance that Puccini turned to the only book by Murger that survived its author: The composer knew the protagonists very well: at times, during his studies at the Milan Conservatory, he too had to go without food, just like them. Later, at the time of success and financial independence, he was a centre of the crowd of artists, painters and writers, nicknamed on his initiative ‘The Bohemian Club.’ The composer conceived the idea of the opera in 1893. The opera was created to an Italian libretto by Luigi Illica (1853-1919) and Giuseppe Giacosa (1847-1906), yet it was Puccini who shaped the plan and sketched the characters of the protagonists, who differ from those in the original. Puccini was absorbed by the opera and started composing it in 1894, when the libretto wasn’t ready yet. Puccini wrote his opera La bohème contemporaneously with Leoncavallo’s own treatment of the same story. The rivalry ended in a quarrel. By the end of 1985 Puccini’s La bohème was ready and received its première on 1 February 1896 in Turin. Full info
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29
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2019
Opera
There are few productions in the world of opera that could compete with this lyrical drama. It is no...Show more
There are few productions in the world of opera that could compete with this lyrical drama. It is not pretentious, convoluted or emotional — here, the art of opera and the real world collide. It was not by chance that Puccini turned to the only book by Murger that survived its author: The composer knew the protagonists very well: at times, during his studies at the Milan Conservatory, he too had to go without food, just like them. Later, at the time of success and financial independence, he was a centre of the crowd of artists, painters and writers, nicknamed on his initiative ‘The Bohemian Club.’ The composer conceived the idea of the opera in 1893. The opera was created to an Italian libretto by Luigi Illica (1853-1919) and Giuseppe Giacosa (1847-1906), yet it was Puccini who shaped the plan and sketched the characters of the protagonists, who differ from those in the original. Puccini was absorbed by the opera and started composing it in 1894, when the libretto wasn’t ready yet. Puccini wrote his opera La bohème contemporaneously with Leoncavallo’s own treatment of the same story. The rivalry ended in a quarrel. By the end of 1985 Puccini’s La bohème was ready and received its première on 1 February 1896 in Turin. Full info
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30
March
Saturday
2019
Opera
There are few productions in the world of opera that could compete with this lyrical drama. It is no...Show more
There are few productions in the world of opera that could compete with this lyrical drama. It is not pretentious, convoluted or emotional — here, the art of opera and the real world collide. It was not by chance that Puccini turned to the only book by Murger that survived its author: The composer knew the protagonists very well: at times, during his studies at the Milan Conservatory, he too had to go without food, just like them. Later, at the time of success and financial independence, he was a centre of the crowd of artists, painters and writers, nicknamed on his initiative ‘The Bohemian Club.’ The composer conceived the idea of the opera in 1893. The opera was created to an Italian libretto by Luigi Illica (1853-1919) and Giuseppe Giacosa (1847-1906), yet it was Puccini who shaped the plan and sketched the characters of the protagonists, who differ from those in the original. Puccini was absorbed by the opera and started composing it in 1894, when the libretto wasn’t ready yet. Puccini wrote his opera La bohème contemporaneously with Leoncavallo’s own treatment of the same story. The rivalry ended in a quarrel. By the end of 1985 Puccini’s La bohème was ready and received its première on 1 February 1896 in Turin. Full info
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Was US$200 Now US$170
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31
March
Sunday
2019
Opera
There are few productions in the world of opera that could compete with this lyrical drama. It is no...Show more
There are few productions in the world of opera that could compete with this lyrical drama. It is not pretentious, convoluted or emotional — here, the art of opera and the real world collide. It was not by chance that Puccini turned to the only book by Murger that survived its author: The composer knew the protagonists very well: at times, during his studies at the Milan Conservatory, he too had to go without food, just like them. Later, at the time of success and financial independence, he was a centre of the crowd of artists, painters and writers, nicknamed on his initiative ‘The Bohemian Club.’ The composer conceived the idea of the opera in 1893. The opera was created to an Italian libretto by Luigi Illica (1853-1919) and Giuseppe Giacosa (1847-1906), yet it was Puccini who shaped the plan and sketched the characters of the protagonists, who differ from those in the original. Puccini was absorbed by the opera and started composing it in 1894, when the libretto wasn’t ready yet. Puccini wrote his opera La bohème contemporaneously with Leoncavallo’s own treatment of the same story. The rivalry ended in a quarrel. By the end of 1985 Puccini’s La bohème was ready and received its première on 1 February 1896 in Turin. Full info
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18
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Thursday
2019
Opera
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady o...Show more
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady of the Camellias. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. The title character of the play is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils. Duplessis was both a popular courtesan and the hostess of a salon, where politicians, writers, and artists gathered for socializing. Alexandre Dumas, père allegedly insisted on his son splitting up with Duplessis: and when he returned to Paris, she had already died of consumption. Since its debut as a play, numerous editions have been performed at theatres around the world. Giuseppe Verdi attended the Paris première of the play and soon turned to composing the opera. When Dumas, fils heard La traviata, he said: “Nobody would have remembered my Lady of the Camellias in 50 years but for Verdi, who made it immortal”. Full info
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19
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Friday
2019
Opera
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady o...Show more
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady of the Camellias. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. The title character of the play is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils. Duplessis was both a popular courtesan and the hostess of a salon, where politicians, writers, and artists gathered for socializing. Alexandre Dumas, père allegedly insisted on his son splitting up with Duplessis: and when he returned to Paris, she had already died of consumption. Since its debut as a play, numerous editions have been performed at theatres around the world. Giuseppe Verdi attended the Paris première of the play and soon turned to composing the opera. When Dumas, fils heard La traviata, he said: “Nobody would have remembered my Lady of the Camellias in 50 years but for Verdi, who made it immortal”. Full info
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20
April
Saturday
2019
Opera
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady o...Show more
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady of the Camellias. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. The title character of the play is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils. Duplessis was both a popular courtesan and the hostess of a salon, where politicians, writers, and artists gathered for socializing. Alexandre Dumas, père allegedly insisted on his son splitting up with Duplessis: and when he returned to Paris, she had already died of consumption. Since its debut as a play, numerous editions have been performed at theatres around the world. Giuseppe Verdi attended the Paris première of the play and soon turned to composing the opera. When Dumas, fils heard La traviata, he said: “Nobody would have remembered my Lady of the Camellias in 50 years but for Verdi, who made it immortal”. Full info
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21
April
Sunday
2019
Opera
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady o...Show more
The most lyrical Verdi’s work is La traviata, based on the novel by Alexandre Dumas, fils The Lady of the Camellias. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. The title character of the play is Marguerite Gautier, who is based on Marie Duplessis, the real-life lover of author Dumas, fils. Duplessis was both a popular courtesan and the hostess of a salon, where politicians, writers, and artists gathered for socializing. Alexandre Dumas, père allegedly insisted on his son splitting up with Duplessis: and when he returned to Paris, she had already died of consumption. Since its debut as a play, numerous editions have been performed at theatres around the world. Giuseppe Verdi attended the Paris première of the play and soon turned to composing the opera. When Dumas, fils heard La traviata, he said: “Nobody would have remembered my Lady of the Camellias in 50 years but for Verdi, who made it immortal”. Full info
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15
May
Wednesday
2019
19:00
7:00 PM
Premiere
Opera
Intensely passionate drama set to some of opera’s most sweeping, soulful, and heartstoppingly beauti...Show more
Intensely passionate drama set to some of opera’s most sweeping, soulful, and heartstoppingly beautiful music — that is Eugene Onegin. Tatiana is a lovesick country girl, and Onegin is the sophisticated young man who callously spurns her love before realizing, too late, what a mistake he’s made. Here is Pushkin’s profoundly human, hopelessly romantic, ultimately devastating story, elevated by Tchaikovsky’s richly layered and unabashedly expressive music. Find out why Eugene Onegin is beloved by opera audiences the world over. Full info
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All eventsOpera

History

The Bolshoi Theatre began its life as the private theatre of the Moscow proseсutor Prince Pyotr Urusov. On 28 March 1776, Empress Catherine II signed and granted the Prince the 'privilege' of organizing theatre performances, masquerades, balls and other forms of entertainment for a period of ten years. It is from this date that Moscow's Bolshoi Theatre traces its history.

At first, the Bolshoi Theatre's Opera and Dramatic Troupes formed a single company. Company members came from very diverse backgrounds – all the way from serf artists to guest stars from abroad.

Moscow University and its gymnasium, both of which provided a good musical education, played a major role in the formation of the Opera and Drama Company. Theatre classes were organized at the Moscow Foundling Home which was also a source of recruits for the new Company.
The organization of theatre performances and 'entertainments' involved a heavy financial burden and Prince Pyotr Urusov shared his 'privilege' with a business partner, the Russophile Englishman and theatrical entrepreneur Michael Maddox. The latter was also an equilibrist, theatre mechanic and 'lecturer', who demonstrated various types of optical equipment and other 'mechanical' marvels.

The Theatre's first building was erected on the right bank of the River Neglinka. It stood on Petrovka Street, whence the Theatre derived its name Petrovsky (it was subsequently to be called the Old Petrovsky Theatre). The Theatre opened on 30 December 1780. The opening performance consisted of a solemn prologue The Wanderers written by Alexander Ablesimov and a big pantomime ballet The Magic School, produced by Leopold Paradis to music by Joseph Starzer. Later on the Theatre repertoire consisted for the most part of Russian and Italian comic operas with ballet interludes, and separate ballets.

The Petrovsky Theatre, which was built in record quick time – less than six months, was the first public Theatre building of such size and beauty to be erected in Moscow. True, by the time the Theatre opened, Prince Urusov had already ceded his rights to his business partner and, in the future, the 'privilege' was renewed in the name of Maddox alone.

However, the latter's expectations too were dashed. Constantly forced to request loans of the Government Loan Office (Board of Trustees), Maddox was steeped in debt. Added to which, the authorities' opinion – which to begin with had been very positive - of the quality of his entrepreneurial activities underwent radical change. In 1796, the lease of Maddox’s personal 'privilege' ran out and so both Theatre and its debts were transferred to the Government Loan Office.

In 1802-03 the Theatre was farmed out to Prince M. Volkonsky, who owned one of Moscow's best private theatre companies. But in 1804, when the Theatre was transferred back to the Government Loan Office, Volkonsky was in effect appointed its salaried director.
In 1805 it was decided to set up a theatre directorate in Moscow "along the lines" of the Directorate of Imperial Theatres in Petersburg. And in 1806 this project was realized and the Moscow Theatre acquired the status of imperial, coming under the joint Directorate of Imperial Theatres.
In 1806 the Petrovsky Theatre School was reorganized into the Moscow Imperial Theatre College for the training of opera, ballet and theatre artists and theatre orchestra musicians (in 1911, it became the Moscow School of Ballet).

In the autumn of 1805, the Petrovsky Theatre building burnt down. The Company began to appear with different private theatres and from 1808 at the new Arbat Theatre, designed by Carlo Rossi. During the 1812 war against Napoleon this wooden building also went up in flames.
In 1819 a competition for designs for a new theatre was announced. It was won by Andrei Mikhailov, a professor at the Academy of Arts. His design, however, was declared to be too expensive. Therefore, the Governor of Moscow Dmitry Golitsyn commissioned architect Joseph Bové to alter it, which the latter did, considerably improving it in the process.

In July 1820 work started on building the new theatre which was to become the central feature in the architectural composition of the projected (Theatre) square to be laid out in front of it and adjacent streets. The facade, decorated by a massive eight columned portico surmounted by a pediment on which stood a large sculptural group – Apollo in a chariot drawn by three horses, 'surveyed' Theatre Square which was under construction, greatly adding to the latter's beauty.

In 1822-23 the Moscow theatres were removed from the joint Directorate of Imperial Theatres and handed over to the Moscow Governor General who was given the power to appoint the directors of the Moscow imperial theatres.

"Even closer, standing on a broad square, is the Petrovsky Theatre, a pioneering piece of architecture, a huge building, built with great taste, with a flat roof and imposing portico, surmounting which is an alabaster Apollo, standing motionless on one leg in an alabaster chariot, and driving three alabaster horses while gazing with annoyance at the Kremlin wall which jealously cuts him off from Russia’s ancient and sacred monuments!" Mikhail Lermontov, in a work he wrote as a young man A Panorama of Moscow

On 6 January 1825 the solemn opening ceremony for the new Petrovsky Theatre took place – as it was much bigger than its predecessor it was known as the Big (Bolshoi) Petrovsky Theatre. A prologue in verse (M. Dmitriev) specially written for the occasion was performed The Triumph of the Muses, with choruses and dances to music by Alexander Alyabiev, Alexei Verstovsky and F. Scholtz, and also a ballet Cendrillon produced by a guest ballerina and ballet-master from France Félicité Hullen-Sor, to music by the latter’s husband, Fernando Sor. Muses triumphed over the blaze which destroyed the old theatre building and, led by the Genius of Russia, a role danced by the twenty-five-year-old Pavel Mochalov, raised from the ashes a new temple to art. And though the Theatre was indeed very large, it was unable to accommodate all those who wished to be present. In recognition of the importance of the moment and as a conciliatory gesture towards those who had failed to gain admittance, the production was repeated in full the next day.

The new Theatre, which was bigger even than Petersburg's Big (Bolshoi) Stone Theatre was distinguished by its monumental grandeur, its perfect proportions, the harmony of its architectural forms and the richness of its interior decoration. It was very comfortable: there were galleries where the public could promenade, staircases leading to the tiers, corner and side rooms for the audience to rest in and capacious cloakrooms. The huge auditorium could accommodate over two thousand people. The orchestra pit was deepened. During masquerades the stalls' floor was raised to the level of the forestage, the orchestra pit being covered over by special panels and - the end result was an excellent dance floor.
In 1842 the Moscow theatres were again subordinated to the joint Directorate of Imperial Theatres. The director at the time was A. Gedeonov, while the famous composer Alexei Verstovsky was appointed manager of the Moscow Theatre office. The years he was 'in command' (1842-59), were known as the "Verstovsky age".

Though the Bolshoi Petrovsky Theatre continued to present dramatic productions, more and more of its repertoire was given over to opera and ballet. It produced works by Donizetti, Rossini, Meyerbeer, the young Verdi and of the Russian composers – works by both Verstovsky and Glinka (in 1842 the Moscow première of A Life for the Tsar took place and in 1846 – of the opera Ruslan and Lyudmila).

The building of the Bolshoi Petrovsky Theatre stood for almost 30 years. But it too was overtaken by the same sad fate: on 11 March 1853 a fire broke out in the Theatre and continued for three days, burning everything which came in its path – theatre machines, costumes, musical instruments, notes, sets… The building itself was virtually totally destroyed, all that remained of it were the charred stone walls and portico columns.

Three leading Russian architects participated in the competition for the rebuilding of the Theatre. The competition was won by Alberto Cavos, chief architect of the imperial theatres and a professor of the Petersburg Academy of the Arts. Cavos, who specialized in building theatres, had an excellent grasp of theatre technology and of designing multi-tiered theatres with box-stage and Italian and French-type boxes.

Restoration work progressed at a rapid pace. In May 1855 the demolition and clearing away of the ruins was completed and the reconstruction of the building began. In August 1856 the Theatre opened its doors to the public. That the building was completed with such speed is explained by the fact that it had to be ready in time for the coronation celebrations of Emperor Alexander II. The Bolshoi Theatre which was virtually built anew and with major modifications by comparison to the previous building, opened on 20 August 1856 with a performance of Vincenzo Bellini's opera I Puritani.

The overall height of the building increased by almost four metres. Despite the fact that Bové's portico with columns remained, the appearance of the main facade underwent fundamental change. A second pediment appeared. Apollo's troika-led chariot was replaced by a quadriga cast in bronze. The inner field of the pediment was decorated with an alabaster bas -relief consisting of winged geniuses with lyre. The frieze and capitals of the columns were altered. Sloping roofs on cast iron pillars were erected over the theatres' side facade entrances.

But it was on the auditorium and stage and backstage areas that Cavos, of course, concentrated his attention. In the second half of the 19th century the Bolshoi was considered to be one of the best theatres in the world in terms of its acoustic qualities. A reputation it owed to the skill of Alberto Cavos who designed the auditorium as a huge musical instrument. The auditorium walls were lined with acoustically resonant pinewood panels, the iron ceiling was replaced by a wooden one, the painted plafond being constructed out of wooden panels – everything in the auditorium – even the decoration of the boxes made out of papier-mache - was geared to the acoustics. To improve the acoustics, Cavos also filled in the space, occupied by a cloakroom, under the amphitheatre, the former being moved to the stalls' level.

There was a considerable increase in the space occupied by the auditorium which made it possible to provide the boxes with anterooms – small drawing-rooms done up to entertain visitors from the stalls or from neighboring boxes. The six-tier auditorium accommodated almost 2300 people. The lettered boxes closest to the stage on both sides of the auditorium were reserved for the Tsar's family, court ministries and Theatre management. The Tsar's box, opposite the stage and protruding a little into the auditorium became the latter's central feature. The bottom of the Tsar's box was supported by consoles in the form of bent Atlantes. The crimson-gold magnificence of the auditorium impressed all those who entered it – both in the first years of the Bolshoi Theatre's existence and in later decades.

"I tried to decorate the auditorium as extravagantly but at the same time as lightly as possible, in Renaissance taste mixed with Byzantine style. The white light, interspersed with gold, the bright crimson draping of the interiors of the boxes, the stucco arabesques, different for each floor and the main eye-catcher of the auditorium – the huge chandelier consisting of three tiers of lights and candelabras decorated with crystal – all this has aroused universal approval". Alberto Cavos

The auditorium chandelier was originally lit by 300 oil lamps. In order to light the oil lamp wicks, the chandelier had to be hoisted through an opening in the plafond into a special chamber. It was this opening that dictated the circular composition of the Apollo and the Muses plafond painted round it by Academician Alexei Titov. There is a secret attached to this mural which will be noticed only by the most observant of spectators who, in addition, has to be a connoisseur of ancient Greek mythology: in place of one of the canonic muses – Polyhymnia, the Muse of the sacred hymn, Titov has depicted a muse of his own invention – the Muse of painting – with palette and brush in hand.

The main house fly curtain was created by the Italian artist Cosroe Dusi, a professor of the Petersburg Imperial Academy of Fine Arts. Its theme Minin and Pozharsky's entrance into Moscow was selected from a choice of three sketches. In 1896 it was replaced by a new curtain View of Moscow from Sparrow Hills (made by Pyotr Lambin from a drawing by Mikhail Bocharov), used at the beginnings and ends of performances. And for the intervals one more curtain was made –The Triumph of the Muses from a sketch by Pyotr Lambin (today the only remaining 19th century curtain in the Theatre's possession).

After the 1917 Revolution, the imperial theatre curtains were 'banished'. In 1920, in the course of working on a production of Lohengrin theatre artist Fyodor Fyodorovsky designed a bronze-coloured canvas draw curtain, which would later be used as the main curtain. In 1935 a new curtain was made based on a sketch by Fyodor Fyodorovsky on which were weaved the revolutionary dates – "1871, 1905, 1917". From 1955, for fifty years, Fyodor Fydorovsky's famous gold 'Soviet' curtain, bearing the state symbols of the USSR, reigned supreme at the Theatre.

As with the majority of the buildings in Theatre Square, the Bolshoi Theatre was built on piles. Gradually the building decayed. Drainage work lowered the level of subsoil waters. The upper part of the piles rotted, and this resulted in major subsidence to the building. Repairs to the foundations were carried out in 1895 and 1898 which, for a time, put a stop to the ongoing destruction.

The last performance at the Imperial Bolshoi Theatre took place on 28 February 1917. And on 13 March the State Bolshoi Theatre opened its doors to the public.

Following the October Revolution, not only its foundations, the Theatre's very existence came under threat. Several years were to pass before the authorities, in the shape of the victorious proletariat, were to give up for good their idea of shutting down the Bolshoi Theatre. In 1919 the title of Academic was bestowed on the Theatre which in those times was no guarantee of safety for, within a few days, the issue of whether or not to close it down was again being hotly debated.

However, in 1922, the Bolshevik government decided that to close the Theatre was not economically feasible. By this time, it had already 'adapted' the building to its own needs with a vengeance. The All-Russian Congresses of Soviets, the All-Russian Central Executive Committee sessions, the Comitern Congresses – were all taking place at the Bolshoi Theatre. And it was from the Bolshoi Theatre stage that the formation of a new country – the USSR – was proclaimed.

In 1921 a special government commission, examining the Theatre building, found its condition to be catastrophic. It was decided to undertake emergency repairs under the direction of architect Ivan Rerberg. It was at this time that the foundations under the semi-circular auditorium walls were reinforced, the cloakrooms overhauled, the staircases replanned, new rehearsal rooms and dressing-rooms created. In 1938 a major reconstruction of the stage was carried out.

The General Reconstruction plan for Moscow (1940-41) envisaged the demolition of all buildings between the Bolshoi Theatre and Kuznetsky Most Street. And on the resulting empty space it was planned to put up the auxiliary buildings the Theatre so badly needed. As for the Theatre itself, it was to be equipped with fire-safety and ventilation systems. In April 1941, the Bolshoi Theatre closed for renovation. Just two months later the Germans invaded the USSR.

Part of the Bolshoi Theatre Company went into evacuation in Kuibyshev, part remained in Moscow and continued to give performances at the Bolshoi Filial, its 2nd stage. Many artists went to the front to entertain the troops, while others joined up and went off to defend their country.
At 4 p.m., on 22 October 1941, a bomb fell on the Bolshoi Theatre building. The shock wave passed obliquely between the portico columns, went through the facade wall and did considerable damage to the Lobby. Despite the wartime hardship and the severe cold, restoration work on the Theatre was initiated in winter 1942.

And by autumn 1943, the Bolshoi Theatre had again opened its doors to the public with a production of Glinka's opera A Life for the Tsar from which the monarchical stigma had been erased and its patriotic and popular appeal acknowledged though, true, in order to achieve this, the libretto had to be revised and the opera given a new politically correct title – Ivan Susanin.

Cosmetic repairs were done on a yearly basis at the Theatre. And larger scale renovation work was regularly undertaken. But, as before, rehearsal space was woefully inadequate.

In 1960 a big rehearsal room, right under the roof, was equipped and opened at the Theatre in a room which had previously served as a stage decorations workshop.

In 1975 some restoration work in the auditorium and Beethoven Hall was carried out for the Theatre's 200th anniversary. The main problems, however – the instable foundations and lack of space within the Theatre – had not been solved.

Finally, in 1987, came a government decree in which the decision was taken to undertake urgent reconstruction work at the Bolshoi Theatre. It was clear to everyone, however that, in the interests of keeping the Company together, it simply had to go on working. What was wanted was a second stage. Eight years were to go by before the cornerstone was set in the foundations of the Bolshoi's New Stage. And another seven before building work on it was completed.

29 November 2002. The New Stage opened with the première of a new production of Rimsky-Korsakov's The Snow Maiden, a production which was fully in keeping with the new building's spirit and designation, i.e., it was innovational and experimental.
In 2005 the Bolshoi Theatre Historic Stage shut for reconstruction and refurbishment.

Reconstruction

The reconstruction and refurbishment of the Bolshoi Theatre Historic stage was a colossal, world-level project. The Theatre building has long been seen as one of Russia’s symbols. The Theatre’s rehabilitation, therefore, came under constant scrutiny from state authorities and public alike.

In 2009 to enhance coordination between project members, the President of Russia Dmitri Medvedev set up a special interdepartmental working group to control the pace of the reconstruction and refurbishment of the country’s chief Theatre. In July 2009 the Summa Capital investment group — Group founder Ziyavudin Magomedov is one of the Theatre’s trustees — was included in the reconstruction and refurbishment project. Having taken over from the main contractor, in a very short period of time Summa effected a substantial increase in the work pace.

The story of the reconstruction and refurbishment of the Bolshoi Theatre building dates back to virtually the first years of its existence. At the time the present reconstruction began from 50 to 70 percent of the building, according to different estimates, was in a precarious condition. Various renovation schemes were suggested: from a superficial overhaul to total reconstruction of the existing building. The project which was eventually chosen and approved by Theatre Company, architects, public figures in the arts etc., envisaged informed restoration of the Theatre’s public spaces and a cardinal reconstruction of the stagehouse, plus the addition of new, underground space. As a protected monument, moreover, the building’s historical appearance had to be preserved. 

The first years of the project were devoted to a scrupulous examination of the building itself, the scanning of its position in space, the condition of its walls and foundations. And only in the autumn of 2009, after numerous preliminary studies, was the huge and badly dilapidated Bolshoi Theatre building transferred from temporary supports to a permanent foundation and large-scale restoration work initiated in the Theatre itself. In the two years that followed, record volumes of work were achieved in the renovation and reconstruction of the Theatre. Over three and a half thousand specialists worked at the Theatre each day, of which numbers upwards of a thousand were restorers. And another thousand labored in restoration workshops outside the Theatre.

In addition to the restoration of the Theatre’s historical appearance both inside and out, the project designers were also faced by the problem of providing it with extra working areas. This was successfully solved by the creation of additional underground space.

An equally important task was the necessity of combining meticulous restoration work in the Theatre’s public spaces with the installation of state-of-the-art technological equipment in the Theatre’s stagehouse and new spaces.

The Bolshoi has to a large extent reacquired its authentic historical appearance, lost during the years of Soviet power. The auditorium and part of its suite of halls now look as they were originally conceived by Bolshoi Theatre architect Alberto Cavos. While the former imperial foyer halls have been given back their 1895 decor, this was the year they were redecorated for Emperor Nicholas II’s coronation celebrations. Each reproduced or restored element of interior decoration was made the object of a special project for which separate documentation was collected based on numerous archival and on-site researches.

In 2010 the auditorium suite of halls were renovated: the Lobby, the Main or the White Foyer, the Choral, Exhibition, Round and Beethoven halls. Muscovites were able to admire the restored facades and the renovated symbol of the Bolshoi Theatre — the famous Apollo quadriga, created by the sculptor Peter Klodt.

The auditorium has regained its original beauty. And, just like the 19th century theatergoer, so each member of the public today will be dazzled by its extravagant and at the same time “light” décor. The bright crimson, scattered with gold, draping of the interiors of the boxes, the different on each level stucco arabesques, the Apollo and the Muses plafond — all this contributes to the auditorium’s breath-taking impact.

Special attention was paid to the restoration of the legendary acoustics. International experts did extensive research work and made sure all their technical recommendations were carried out to the letter.

State of the art machinery has been installed in the stagehouse. The Bolshoi Theatre Historic stage now consists of seven two-tier rising and descending platforms. These platforms can easily change their positions, thus the stage can become horizontal, raked or stepped. The stage and backstage area can be united which creates a stage space of incredible depth.

New upper stage equipment, remotely controlled by computer, makes it possible to derive maximum use from lighting, sound and visual effects. Cutting edge rigs have been installed for the deployment of lanterns, special effects apparatus and acoustics. 

The orchestra pit has been provided with extra space under the forestage. This makes it one of the biggest orchestra pits in the world seating up to 130 musicians, which is necessary for the performance of such large-scale works as, for instance, Wagner operas.

The installation of state of the art stage equipment was a unique world-scale project. The reconstruction has doubled the Theatre’s total floor space. Thanks to the expansion of the Theatre’s existing underground spaces (under stagehouse) and to the construction of new underground space under Theatre Square, this has been achieved without any change to the Theatre’s external appearance.

Thus the Theatre has acquired badly needed new space, including an underground concert and rehearsal room, which has inherited its name from the Beethoven Hall, under the Theatre lobby. This hall is a multi-functional space which can be used in different ways. It consists of five main platforms: the central platform is the stage itself, two platforms to the right and left of it can be used either to increase the size of the stage or as audience space. The two remaining platforms form the main space of the auditorium. All of the platforms can be raised to foyer level to create a space for holding formal, receptions. Apart from this concert hall and its auxiliary premises, the rest of the underground space under Theatre Square accommodates a large number of technical, service and staff rooms.

The Bolshoi Theatre reconstruction project also included the renovation of the Khomyakov House, a protected architectural monument of the first half of the nineteenth century situated immediately behind the Bolshoi, which has been transformed into a service wing. Due to numerous 20th century reconstructions, the historical interiors of the Khomyakov House have been totally lost. While its main walls have been preserved, the interior layout has been redesigned to meet the Theatre’s present-day requirements. Thus the Khomaykov House, which is linked to the main Bolshoi Theatre building by an underground tunnel, is a key element in the gigantic Bolshoi Theatre complex.

The renovation of the country’s main stage was a landmark event in the lives of a large coordinated team of highest-level professionals. Participating in the project were uniquely qualified specialists whose great feat of labor will earn them the undying gratitude of present-day Bolshoi Theatre audiences.

MISSION

The Bolshoi Theatre of Russia has always been, and will remain, one of the main symbols of Russian state and its culture. It is Russia’s main national theatre, a bearer of the traditions of Russian music culture and a centre of world music culture, the spearhead of the development of the country’s performing arts.

Chef-d’œuvres of Russian 19th-20th century music theatre occupy a leading place in its repertoire. The principles governing the formation of this repertoire may be divided provisionally into three categories. The Bolshoi presents to its public the Russian classics, the 20th century included, western classics, likewise inclusive of recognized 20th century masterpieces, and specially commissioned works. In recent Bolshoi history, there are several examples of the latter: namely, Leonid Desyatnikov’s opera The Children of Rosenthal, the ballets — Misericordes produced by Christopher Wheeldon, Leonid Desyatnikov’s Lost Illusions produced by Alexander Ratmansky, Laurent Garnier’s dance piece And then One Thousand Years of Peace produced by Angelin Preljocaj with the participation of the latter’s Company.

The Theatre tries to ensure continuity between generations by promoting the artistic development of young people with talent (thus the Youth Opera Programme has been set up to foster and perfect the skills of opera stars of the future). In order to be able to produce productions to the highest standards for presentation at home and at the world’s leading opera and ballet venues, the Bolshoi Company always keeps itself in good creative trim. Another important direction of the Theatre’s work is to introduce the Russian public to the achievements of the world’s great opera and ballet theatres, as well as to invite guest artists to participate in its own creative endeavors.

To the foreign spectators who come to Moscow specially to attend the Theatre’s performances and who watch its performances when it is on tour abroad, the Bolshoi offers a wide spectrum of the Russian classical legacy and the Bolshoi’s foreign fans come away from these performances imbued with new impressions of the development of the performing arts in Russia.

The Theatre carries out an educative function by performing works rarely found in the repertories of Russian theatres and by inviting cooperation from outstanding soloists, directors and choreographers. To-date, the following directors have worked at the Bolshoi: — Francesca Zambello, Eiumantas Necrosius, Declan Donnellan, Robert Sturua, Peter Konwitschny, Temur Chkheidze, Robert Wilson, Graham Vick, Alexander Sokurov; — and the choreographers Roland Petit, John Neumeier, Christopher Wheeldon, Angelin Preljocaj, Wayne McGregor.