Schedule for Evening of one-act ballets: Prodigal Son. Divertissement 2022

Composer: Sergei Prokofiev
Lighting Designer: Vladimir Lukasevich
Choreography: George Balanchine
Costume Designer: Georges Rouault
Scenery: Georges Rouault
Staging: Karin von Aroldingen
Staging: Paul Boos

Orchestra: Mariinsky Theatre Symphony Orchestra

The Prodigal Son was the last work Balanchine made for Diaghilev’s Ballets russes in 1929; it was revived in 1950 by the New York City Ballet with Jerome Robbins in the title role. Its music, by Prokofiev, was written for the ballet, and its costumes and decor were created by Rouault, making it a perfect example of the collaborative efforts among artists that produced some of the best works of the Diaghilev era.

Divertissement: scenes and pas de deux from ballets and choreographic compositions

Prodigal Son

Premiere: 21 May 1929, Les Ballets Russes de Serge de Diaghilev, Thйвtre Sarah-Bernhardt, Paris
Premiere at the Mariinsky Theatre: 14 December 2001 

Running time 40 minutes

The Ballet of George Balanchine Prodigal Son is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style^® and Balanchine Technique^® service standards established and provided by the Trust 
The Mariinsky Theatre would like to express its gratitude to Mrs Bettina von Siemens for her support in bringing the "Ballets of George Balanchine"project to life 

The Prodigal Son was the last work Balanchine made for Diaghilev’s Ballets russes in 1929 with Serge Lifar in the role of the Prodigal Son; it was revived in 1950 by the New York City Ballet with Jerome Robbins in the title role. Its music, by Prokofiev, was written for the ballet, and its costumes and decor were created by Rouault, making it a perfect example of the collaborative efforts among artists that produced some of the best works of the Diaghilev era. New for a Diaghilev ballet was the Biblical theme and the religious spirit. In seeking eternal themes and turning to past artistic devices, western artists were trying to avoid the complete itellectual and artistic degeneration towards which their rootless experimentation was leading.Prodigal Son anticipated the trend toward religion of the 1930s and 40s. It was Diaghilev’s fate that he would always be ahead of fashion, even when he believed he had turned his back on vogue. The return of Prodigal Son to St Petersburg is of great significance. For the first time, a ballet of the most radical, late period of Diaghilev’s Les Saisons russes has returned to the stage of the Mariinsky Theatre. That period of Russian and world ballet has been come home, which until recently was under artistic (avant-garde aesthetics of the late Diaghilev era) and ideological (use of religious motifs) censorship. With the return of Prodigal Son, the Mariinsky Theatre and its generation of young dancers have begun to restore an objective picture of the development of ballet in the 20^th century.

Divertissement

Scenes and pas de deux from ballets and choreographic compositions