Natalia Bessmertnova as Raymonda and Gediminas Taranda as Abderakhman in the Grand Pas d'action from the Bolshoi Ballet's production of the Petipa/Glazunov Raymonda. Moscow, 1980

Raymonda is a ballet, originally staged in 3 Acts-4 Scenes with Apotheosis, choreographed by Marius Petipa to the music of Alexander Glazunov (his 57th opus). 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. Please wikify (format) this article as suggested in the Guide to layout and the Manual of Style. ... The Bolshoi Theatre in Moscow houses the world renowned Bolshoi Ballet, which has been home to some of the worlds greatest ballet dancers, including Anna Pavlova, Vaslav Nijinsky, Rudolf Nureyev, Mikhail Baryshnikov and Natalia Makarova. ... Painting of ballet dancers by Edgar Degas, 1872. ... Apotheosis means glorification, usually to a divine level, coming from the Greek word apotheoun, to deify. ... Marius Petipa, Circa 1890 Marius Petipa (11 March 1818 – 14 July 1910) - Unrivaled ballet master of the Tsars Imperial Ballet of St. ... Portrait by Ilya Repin, 1887. ... Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ... 1898 (MDCCCXCVIII) was a common year starting on Saturday (see link for calendar) of the Gregorian calendar (or a common year starting on Monday of the 12-day-slower Julian calendar). ... The Julian calendar was introduced in 46 BC by Julius Caesar and came into force in 45 BC (709 ab urbe condita). ... The Gregorian calendar is the most widely used calendar in the world. ... Saint Petersburg  listen (Russian: Санкт-Петербу́рг, English transliteration: Sankt-Peterburg), colloquially known as Питер (transliterated Piter), formerly known as Leningrad (Ленингра́д, 1924–1991...

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 redaction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005). Michel Fokine or Mikhail Mikhailovich Fokin (Михаил Михайлович Фокин) (April 23, 1880 (OS: April 11) – August 22, 1942) was a Russian choreographer and dancer. ... Léon Bakst: Firebird, Ballerina, 1910 The Ballets Russes was a ballet company established in 1909 by the Russian impresario Serge Diaghilev and resident first in Théâtre Mogador, Paris; and then in Monte Carlo. ... Photographic postcard of Anna Pavlova as Aspicia in The Pharoahs Daughter, circa 1910 Anna Pavlova as Nikiya in the Grand Pas Classique of the Shades from Act III of La Bayadere, circa 1902 Anna Pavlova is also the name of an Olympic gymnast. ... George Balanchine (January 9 (O.S.) = January 22 (N.S.), 1904–April 30, 1983) was one of the 20th centurys foremost choreographers, and one of the founders of American ballet. ... Danilova as Fanny Cerrito in Pas de Quatre. ... Ballet Russe de Monte Carlo was an influential ballet company that existed from 1932 to 1963. ... Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ... The Mariinsky Ballet is one of the most famous ballet schools in history (formerly the Kirov Ballet, and also the Academic State Theatre), located in St. ... Rudolf Nureyev Rudolf Nureyev (Tatar form Rudolf Xämät ulı Nuriev, Russian Рудольф Хаметович Нуриев) (17 March 1938 – 6 January 1993), Tatar-born dancer, is regarded as one of the greatest male dancers of the 20th century, alongside Vaslav Nijinsky and Mikhail Baryshnikov. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ... The Paris Opera Ballet is the ballet company of the Paris Opera. ... Yury Grigorovich Yury Nikolayevich Grigorovich (born January 2, 1927 in Leningrad) is a Russian dancer and choreographer who dominated the Russian ballet for 30 years. ... The Bolshoi Theatre in Moscow houses the world renowned Bolshoi Ballet, which has been home to some of the worlds greatest ballet dancers, including Anna Pavlova, Vaslav Nijinsky, Rudolf Nureyev, Mikhail Baryshnikov and Natalia Makarova. ...

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). Logo of the New York City Ballet The New York City Ballet is a ballet company founded in 1948 by choreographer George Balanchine and Lincoln Kirstein originally known as the American Ballet. ... Royal Ballet may refer to: Royal Ballet, London Birmingham Royal Ballet Royal Winnipeg Ballet Royal Danish Ballet There is also an article about the Royal Ballet School in London, England. ... Alexandra Danilova and Mikhail Baryshnikov, 1976 Mikhail Nikolaevitch Baryshnikov (Russian: ) (born January 28, 1948) is a Russian dancer, choreographer, and actor. ...

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 Lydia Pashkova. Marius Petipa, Circa 1890 Marius Petipa (11 March 1818 – 14 July 1910) - Unrivaled ballet master of the Tsars Imperial Ballet of St. ... The great balletmaster Jules Perrot as depicted by French painter, Edgar Degas (1875) Ballet Master (also Balletmaster, Ballet Mistress, or Maître de ballet) is the term used for an employee of a ballet company who is responsible for the level of competence of the dancers in their company. ... Portrait by Ilya Repin, 1887. ... Ivan Vsevolozhsky, circa 1880 Ivan Alexandrovich Vsevolozhsky (1835 - 1909) was the Director of the Imperial Theatres in Russia from 1881 to 1898. ...

Synopsis for Anna-Marie Holmes' Productions of 'Raymonda'

Act I - Scene I

Everybody is awaiting Raymonda as is Jean, who wants to present her with a silk shawl as a farewell gift. Raymonda’s first solo immediately shows her as an exquisite young woman whose path is strewn with flowers. When Jean puts the shawl around her shoulders she seems to sense the symbolic power of this gift of love. Yet she also painfully senses that Jean’s feelings for her have no real depth, that he will leave her easily for his world of knightly fights, tournaments and crusades. The guests try to cheer Raymonda up with a grand valse and can even persuade her to dance a solo by which she tries to overcome her melancholy mood.

Quite unexpectedly a new guest bursts in on the court: the Saracen prince Abderakhman. He tries to overwhelm Raymonda with presents which she refuses. However, at long last – deeply fascinated by the sensual power of the prince, - she accepts the gesture when Abderakhman presents her with a spray of jasmine.

The festivities are ending, but Raymonda is hypnotized, bewildered by the sudden intrusion of an erotic elemental force upon her seemingly secure happiness with Jean. Clémence, Henriette and the two troubadours try to cheer her up. And in a dance with Jean’s shawl Raymonda tries to reassure herself of her love for him.

She takes leave of her friends and falls asleep. Entranced by the sweet scent of the jasmine that seems to embody an erotic oriental world, her shoulders wrapped in Jean’s shawl, the symbol of the perfect elegance of the court, she begins to dream.

Act I - Scene II

The White Lady leads Raymonda into an unknown world, beyond all material reality. Raymonda falls under the spell of the dance of a group of fairytale girls that finally leads her to a magic reunion with Jean in an adage. At the climax of the dream which follows the formal structure of classical ballet with the adage followed by variations for Clémence, Henriette, the White Lady and Raymonda herself, as well as a coda where Jean can demonstrate his virile strength – Raymonda suddenly sees the Saracen prince Abderakhman in the place of Jean and is overwhelmed by his fascination, his seductive power and blunt erotic attack. Only the intervention of the White Lady averts the extreme. Raymonda awakens in deep confusion, with the shawl and the jasmine spray in her hands.

Act II - Scene I

The court society assembles for a festivity called “La Cour d’amour”, a popular pastime of the aristocracy in the South of France, at which troubadours court elegant ladies according to strict rules of etiquette. Jean de Brienne, busy with preparations for the crusade, is delayed and instead, Abderakhman appears. Raymonda is dismayed and delighted at the same time. They dance together and he observes the exquisite rules of the courtly festivity with perfect politeness. His entourage entertains the society with exotic dances ending in a bacchanale. At its climax, in a fury of passionate love, Abderakhman commands the abduction of Raymonda.

At this moment Jean de Brienne and King Andreas II appear. The king urges the two men to decide their rivalry, as befits knightly rules, in a duel. This seems to end in a draw until the White Lady appears and gives Jean the strength to inflict a deadly wound on Abkerakhman. The Saracen dies at Raymonda’s feet. She is deeply distressed and can only see Jean as Abderakhman’s murderer.

Jean senses Raymonda’s predicament, her repulse. Again he begins to court her and for the first time really endeavours to win her love. He succeeds in winning back her confidence.

Act II - Scene II

The wedding ceremony confirms the love between Raymonda and Jean de Brienne. In honour of the Hungarian King Andreas II the courtiers are dressed in Hungarian style, dance the czardas and finally the grand pas classique hongrois. It begins with a great adage for nine couples led by Raymonda and Jean. This is followed by variations for four men (Béranger, Bernard and two other troubadours), for two ladies (Clémence and Henriette), for Jean and finally for Raymonda. Her solo expresses her strength of character and secret melancholy of conquered pain. The coda leads to an apotheosis and the blessing by the White Lady.