26 august 2021
03 september 2021
05 september 2021
15 september 2021
16 september 2021
17 september 2021
19 september 2021
22 september 2021
24 september 2021
25 september 2021
29 september 2021
01 october 2021
03 october 2021
06 october 2021
09 october 2021
10 october 2021
13 october 2021
14 october 2021
17 october 2021
19 october 2021
21 october 2021
27 october 2021
28 october 2021
30 october 2021
31 october 2021
  • July
  • August
  • September
  • October
26 August / Thu 19:00–21:10
The Buffoon. Schaherezade
S.Prokofiev, N. Rimsky-Korsakov
One-act ballet in six scenes

Libretto by Sergei Prokofiev, based on tales from Perm Province

Set design and production by Mikhail Larionov, with Sergei Prokofiev and Thadée Slavinsky 

The ballet was written in 1921. This version was first performed in Perm in 2011. Running time: 1 hour

The Perm version of The Buffoon is a bold experiment combining the choreography of Alexey Miroshnichenko with set design and costumes based on the original sketches by futurist artist Mikhail Larionov for the first production. 

Impresario Sergei Diaghilev commissioned Sergei Prokofiev to write the score for The Tale of the Buffoon who Outwits Seven Other Buffoons in 1914 on the crest of the success of Le Sacre du printemps, taking a collection of tales from Perm Province as inspiration. After selecting several stories about the resourceful Buffoon who cheats stupid rich men, Prokofiev wrote the libretto and quickly finished the piano reduction score of the ballet. The completion of the work was interrupted by World War I; the première of The Buffoon did not take place until 1921. Until recently, the ballet had completely disappeared from choreographers’ field of vision. 




The Buffoon
The Buffooness, the Buffoon’s wife
Seven buffoons
Their wives
Their seven daughters
The merchant
A nanny goat
Seven soldiers

Scene 1

Once upon a time there lived a Buffoon. The Buffoon had a Buffooness for a wife. One day, the Buffoon was sitting on his big Russian oven and thinking about what kind of joke to play. The Buffooness was washing the floor. The Buffoon had an idea, jumped off the oven, and said, “Look here, my girl. There are seven buffoons coming over. I’ll tell you to cook us a meal, you refuse, and then I’ll pretend to kill you. When you fall over, I’ll pick up that whip. When I hit you the first time, you move a little. The second time, you turn over. And then the third time, you get up and make like you’re going to cook for us. Then we’ll sell the whip for lots of money.” No sooner said than done. Seven buffoons appeared, saw the miracle, and paid three hundred roubles for the whip.

Scene 2

The seven buffoons returned home and decided to try out the whip. They killed their seven wives and began to whip them. But not one of the wives came back to life.

Scene 3

The enraged widowers ran to the Buffoon’s house to get even with him for doing such a thing. The Buffoon hid the Buffooness and dressed himself as a woman, pretending to be his own sister. He sat down at the spinning-wheel and began to spin. The buffoons searched the whole house, but could not find the culprit. Then they saw his sister sitting there spinning. They grabbed the young woman and took her home with them, deciding that she could serve them as a drudge until the Buffoon was found.

Scene 4

The seven buffoons had seven daughters, and the time came for them to be married. An unbelievably rich merchant came to them with two matchmakers. What joy there was to be had! But the merchant didn’t spare a glance for the buffoons’ daughters; he chose the drudge for his wife.

Scene 5

The merchant brought the young woman to his bedroom, but the little woman didn’t know what to do. She said to her husband, “Oh, my dear, I’m not well. Lower me out the window on a sheet so I can get some air. When I tug on the sheet, pull me back in.” The merchant obeyed, tying her in a sheet and lowering her out of the window. But when he pulled it back in, there was a nanny goat on the sheet instead. The merchant was terrified, and began to call to his menials and servants: “Help, good people! My wife has turned into a nanny goat!” His cronies ran in and started jabbering; they began to torment and toss the nanny goat around, getting so worked up that they finally killed her.

Scene 6

The inconsolable merchant went to bury his wife. And the buffoons were there, jumping back and forth over the fence and monkeying around, saying, “Serves you right for choosing the drudge.” Suddenly the Buffoon arrived with seven soldiers. “What have you done, dogs? Where’s my sister?” The merchant showed him a nanny goat. The Buffoon took the merchant by the beard: “Why you little…! You took my sister, and now you’re giving me back a dead nanny goat. I’ll see you behind bars!” The merchant, terrified, paid three hundred roubles to stop them from taking him away. And the Buffoon and his Buffooness had a great time with the money, while the soldiers had a similarly great time with the buffoons’ daughters.
Age category: 6+
Duration: 2 hours 10 minutes
Number of intermissions: 1
Musical Director: Teodor Currentzis
The Revival Musical Director and Conductor: Artyom Abashev
Choreographer: Alexey Miroshnichenko
Conductor: Artyom Abashev
Costume Designer: Tatiana Noginova
Set Designer: Sergey Martynov

Ballet in one act to the music of a symphonic suite “Scheherazade” by Nikolai Rimsky-Korsakov 

The ballet was inspired by the life of one of the most amazing women of the 20th century — the last Empress of Iran Farah Pahlavi.

Her life journey is as remarkable as a fairy tale. The only daughter of an officer whose family, once affluent, was in a difficult financial state, she, nevertheless, had been highly educated and moved to study in France. Like many Iranian young people who were studying abroad at this time she was on scholarship established by the Shah. During his official visits to foreign countries, Shah Mohammad Reza Pahlavi met with most accomplished local Iranian students, and it was on one such occasion that he noticed Farah Diba, a student of the École Spéciale d'Architecture, and was completely charmed by her. Several months later she became his wife. Farah Pahlavi placed the heavy weight of being responsible for cultural and social life in the country on her shoulders. She was building hospitals, schools, kindergartens, she was fighting for women’s rights, and organized communes for lepers where they could live life more fully. She supported both traditional culture and modern art, through her patronage, dozens of artifacts from foreign collections were returned to Iranian museums. Farah had grown immensely popular among people of Iran, and in 1967 the Shah made an unprecedented decision — Farah was crowned, and became the first and only crowned Empress (Shahbanu) in the history of the country. It was not just the title that she received, but she was named to be the regent should anything happen to the Shah before the Crown Prince's 21st birthday. During the Iranian Revolution of 1979, Farah Pahlavi, together with the Shah, was forced to leave Iran. Time took her husband and two of her four children away from her, but she herself is now in good health.

This is the second performance by choreographer Alexey Miroshnichenko that was inspired by non-artistic historical facts (created in 2016, his "Cinderella", a reflection on the realities of the Soviet ballet world, has received the "Golden Mask" Award). And it is the first ballet he has done where choreography does not involve pointe work.

Alexey Miroshnichenko has worked on this ballet together with the team of artists, with whom they very often create in collaboration. Set designer Alyona Pikalova has masterfully placed artifacts and Items of Persian art into a symbolic world of the performance. Tatiana Noginova’s ballet costumes design reflects a true spirit of that historic period. Stage lighting set by Alexey Khoroshev has built an imaginary world that is on the borderline between reality and a fairy tale. And finally, the musical director of the premiere Artyom Abashev is playing with our perception of time and space, making the symphonic suite of Rimsky-Korsakov shine with all the shades one can imagine.

Age category: 6+
Duration: 2 hours 10 minutes
Number of intermissions: 1
Choreographer, Author of Libretto: Alexey Miroshnichenko
Musical Director and Conductor: Artyom Abashev
Conductor: Petr Beliakin
Costume Designer: Tatiana Noginova
Lighting Designer: Alexey Khoroshev
Set Designer: Alyona Pikalova
Assistant Set Designer: Svetlana Nechayeva
Production Science Consultant: Lana Ravandi-Fadai
Perm Opera and Ballet Theatre