Raymonda (Russian: ???????? , the name of a main character) is a ballet in three acts, four scenes with an Apotheosis, choreographed by Marius Petipa, with music by Alexander Glazunov, his Opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on January 7/19 , 1898 (Julian/Gregorian calendar dates) in St. Petersburg, Russia. The ballet is famous for its Grand Pas Classique known as the Grand Pas Classique Hongrois or Raymonda Pas de Dix from the third Act, which is often extracted from the full-length work to be performed independently.

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History

Composition history

Raymonda was the creation of Marius Petipa, the renowned Maître de Ballet to the St. Petersburg Imperial Theatres, the great composer Alexander Glazunov, and the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky, and the columnist Lidiya Pashkova.

Performance history

Source:

St. Petersburg Premiere (World Premiere)

• Date : 7 January, 1898
• Place : Mariinsky Theatre, St. Petersburg
• Balletmaster : Marius Petipa
• Conductor : Riccardo Drigo
• Scene Designers : O. Allegri, K. Ivanov, Pyotr Lambin

Moscow Premiere

• Date : 23 January, 1900
• Place : Bolshoi Theatre, Moscow
• Balletmaster : Ivan Khlyustin, Aleksandr Gorsky
• Conductor : Andrey Arends
• Scene Designers : Karl Valts (Waltz), Lütke-Meyer, P. Isakov

Other Notable Productions

• 1908, Moscow, Bolshoy Theatre, balletmaster Gorsky, conductor Arends, décor by Konstantin Korovin

Original Interpreters

Role	St. Petersburg 1898	Moscow 1900	Moscow 1908
Raymonda	Pierina Legnani	Adelaide Giuri	Yekaterina Geltser
Jean de Brienne	Sergey Legat	Mikhail Mordkin	Vasiliy Tikhomirov
Henrietta	Olga Preobrazhenskaya
Cléménce	Klavdiya Kulichevskaya
Abderakhman	Pavel Gerdt	A. Yermolayev	M. Shchipachov

The full-length Raymonda has been revived many times throughout its performance history, the most noted productions being staged by Mikhail Fokine for the Ballet Russe (1909); Anna Pavlova for her touring company (1914); George Balanchine and Alexandra Danilova for the Ballet Russe de Monte Carlo (1946); Konstantin Sergeyev for the Kirov Ballet (1948); Rudolf Nureyev for American Ballet Theatre (1975), and for the Paris Opera Ballet (1983); Yuri Grigorovich for the Bolshoi Ballet (1984); Anna-Marie Holmes (in a 2-act reduction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005).

There have been many productions around the world of only extracts from the full-length Raymonda , being for the most part taken from the Grand Pas Classique Hongrois from the third Act, which is considered to be among Marius Petipa's supreme masterworks. The most noted of these productions have been staged by George Balanchine for the New York City Ballet (1955, 1961, 1973); Rudolf Nureyev for the Royal Ballet Touring Company (1964); and Mikhail Baryshnikov for American Ballet Theatre (1980, 1987).

In 2005 the Australian Ballet Company performed a modern version of Raymonda, set in the 1950s, where Raymond is a Hollywood star and has filmed her last film before marrying a European prince. It was choreographed by Stephen Baynes and bears no resemblance to the original ballet.

Structure

Act I (scene 1) — La fête de Raymonde

• no.01 Introduction
• no.02 Jeux et danses

::—a. La traditrice

• no.03 Entrée de Raymonde
• no.04 Scène
• interpolation: Entrée d'Abdéràme
• no.05 Entrée des vassals et des esclaves
• no.06 Pas d'ensemble —

::a. Valse provençale

• no.07 Départ des invitées
• no.08 La romanesque —

::a. La Romanesque

• no.09 Clémence joue du luth
• no.10 Entrée de la Dame Blanche
• no.11 Entr'acte symphonique

Act I (scene 2) — Visions

• no.12 Grand scène du rêve
• no.13 Entrée de Jean de Brienne
• no.14 Grand Pas d'action —

::a. Grand adage

• no.15 Scène dramatique
• no.16 Ronde des follets et des farfadets

Act I (scene 3) — L'aurore

• no.17 Scène finale

Act II — Cour d'amour

• no.18 Ouverture
• no.19 Marche
• no.20 Entrée d'Abdéràme
• no.21 Pas d'action —

::a. Grand adage

• Grand divertissement —

::no.22 Entrée

• no.29 L'arrivée de Jean de Brienne et Roi André II
• no.30 Le combat
• no.31 Dénouement et final

Act III — Le festival des noces

• no.32 Entr'acte
• no.33 Grand cortège hongrois
• no.35 Rapsodie
• no.34 Palotás
• interpolation: Mazurka (Insertion from Glazunov's 1894 Scènes de Ballet , op. 52)
• no.36 Pas classique hongrois —

::a. Entrée

• no.37 Galop générale
• no.38 Apothéose – Tourney

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