Fantasy ballet in two acts
Music: Adolphe Adam

ACT I

Count Albert has fallen in love with a peasant girl, Giselle, though she is ignorant of his rank and believes him to be a simple villager staying in a nearby cottage. Giselle has another suitor, Hans, a gamekeeper, who is suspicious and jealous of Albert. Albert arrives to court Giselle. The young lovers’ encounter is interrupted by Hans, who warns Giselle against trusting this unknown admirer, but Giselle does not heed his advice, and Albert drives Hans away. The sound of horns announces the arrival of a hunting party, amongst whom are Albert’s betrothed, Princess Bathilde, and her father. By chance, they are seeking rest and refreshment in the village, and Bathilde, charmed by Giselle’s innocence and beauty, gives her a gold necklace. When the hunting party retires, the peasants begin to celebrate the new vintage, but Hans has meanwhile searched Albert’s cottage and discovered his sword, proof of his identity. At the height of the festivities, he unmasks Albert. However, Giselle does not believe her lover’s deception. Hans then summons the hunters, who bow before their Count, while Bathilde fondly greets the embarrassed young nobleman. The shock unsettles Giselle’s reason; in her madness, she relives her love for Albert and then, heartbroken, dies.

ACT II

Hans enters in sorrow. He has come at midnight to visit Giselle’s tomb in the forest, but is frightened away by the approach of the Willis, the ghosts of girls who died on the eve of their wedding; arising at night from their tombs, they will dance any man they encounter to death. Myrtha, the Queen of the Wilis, summons Giselle from her tomb and initiates her into their order, but the Willis disperse at the arrival of Albert and his attendant, who are seeking Giselle’s grave. As the young Count grieves at the tomb, Giselle appears; unbelieving, he tries to catch her, but she eludes his grasp. At last, touched by Albert’s sincere grief and despair, she forgives him. Hans enters, pursued by the Wilis, who drive him to his death in the lake and then surround Albert, whom Myrtha insists must dance to death. He begs Myrtha for mercy, and Giselle pleads for him, but the Queen is adamant and, as Albert dances, Giselle tries to sustain him with her love. Dawn breaks; with the daylight, the Wilis’ power is at an end and they disappear, leaving Albert to bid a last farewell to Giselle.

Opera in four acts
Music: Georges Bizet

ACT I

A square in Seville.

In the guard house, Morales and his soldiers are discussing the passers-by. Micaela arrives, looking for the corporal Don Jose. Morales explains that Jose is in another company that is due to take over the guard. Micaela decides not to wait and departs. The officer Zuniga and Jose lead in the new guard, accompanied by a horde of children. Morales tells Jose that Micaela was asking for him. Zuniga, leader of the new guard, asks Jose about the women who work in the factory nearby, but Jose says he pays them no attention. It is break-time at the factory and the women come out to smoke and flirt with the young men who have been waiting for them. Carmen is at the centre of everyone

Opera in three acts.
Music: Pytor Tschaikovsky

ACT I

Scene 1.

The Summer Garden in springtime. Two officers, Chekalinsky and Surin, are concerned about the fortunes of their friend Herman, who visits gambling halls every evening, despite the fact that he does not play because he is so poor. Herman turns up, accompanied by Count Tomsky, to whom he explains the reason for his strange behaviour: he is in love with a girl to whom he has not yet been introduced, and wants to win a large sum of money in order to marry her (“I do not know her name”). Chekalinsky and Surin congratulate the Grand Duke Yeletsky on his forthcoming marriage. An old countess is walking in the garden with the very girl whom Herman loves. Upon finding out that she is the Grand Duke’s fiancee, he is deeply shaken. The women are frightened by his appearance (“I’m frightened”). Tomsky tells the story of the old Countess’ past in Paris. Count Saint-Germain showed her three winning cards. The officers laugh at Herman, and advise him to tempt fate while Herman vows to fight for his love.

Scene 2.

Lisa’s room. She is singing with her friend Polina (“Oh, what an evening”). Left alone, Lisa reveals her feelings: the Grand Duke loves her, but she cannot forget the passionate gaze of the stranger in the garden (“Where are these tears from?” “Oh, listen, oh, night”). As if he had heard her calling, Herman appears on the balcony. He threatens to kill himself because Lisa is promised to another, and tells her that no one loves her as passionately as he does (“Forgive me, heavenly creature”). The Countess enters, and Lisa hides the love-struck Herman. Like a man possessed, Herman starts to search for the three cards. Having been with Lisa, he realises he is happy only when he is with her.

ACT II

Scene 3.

A masquerade at the home of a high official. Yeletsky assures Lisa of his love (“I love thee”). Herman continues to be haunted by thoughts of the three cards. A musical intermezzo-pastorale begins (“My dear little friend”). After it ends, Lisa gives Herman a key to a secret door by which he can enter her room.

Scene 4.

The Countess’ bedroom. It is night. Above the fireplace there is a portrait of the Countess in her youth dressed up as the Queen of Spades. Herman carefully enters the room. He vows to wrest the secret out of the old woman, even if Hell awaits him. Footsteps are heard, and Herman hides. Servants enter, and then the Countess, who starts getting ready for bed. Having sent the servants away, the Countess falls asleep in her chair. Suddenly, Herman appears before her (“Don’t be frightened! For God’s sake, don’t be frightened!”). On his knees, he begs her to name the three cards. The Countess, having risen from her chair, is silent. Then Herman points his pistol at her. The old woman falls. Herman sees that she is dead.

ACT III

Scene 5.

Herman’s room at the barracks. Lisa has written to him to say that she is ready to forgive him, but Herman’s thoughts are elsewhere. He remembers the Countess’ funeral (“All the same thoughts, the same nightmare”). The ghost of the Countess appears before him. Out of love for Lisa, she names the three magic cards for him: a Three, a Seven and an Ace.

Scene 6.

On the banks of the Winter Canal, Lisa waits for Herman (“Ah! I’m worn out, I’m tired”). From his words she understands that he is responsible for the Countess’ death, and that he has gone out of his mind. She wants to take him away with her, but he pushes her aside and runs away (the duet “Oh, yes, the sufferings are over”). Lisa throws herself into the river.

Scene 7.

A gambling hall. Tomsky is surprised to find Yeletsky, who is looking for Herman in order to exact revenge from him. The newly arrived Herman enters the game. Herman celebrates his victory (“What is our life, but a game!”). His winning streak strikes fear into everyone’s hearts. Yeletsky enters the game. Herman bets all of his winnings on the third card, but instead of an Ace, his hand comes up with the Queen of Spades. A shocked Herman sees the ghost of the Countess. She waits for his death. Herman dies, his last thought of Lisa.

Opera in one act
Rossini’s last opera in the Italian language.

SYNOPSIS

It is the 28^th May 1825, the eve of the coronation of King Charles X of France, at the Golden Lily Inn. Illustrious names from all over Europe have gathered here in order to travel to Reims and attend the coronation. Maddalena the house-keeper is exhorting her staff to get ready for the departure of the guests. Don Prudenzio, a health attendant who calls himself a doctor, complains that the guests should not travel in their condition, but has decided to let them go anyway. Nonetheless, he insists on being listened to while they are still here. Madama Cortese, the Tyrolean owner of the hotel, wishes that she could accompany her guests to the coronation. She instructs her staff on what they should talk about with the guests – fine clothes with Folleville, women with Belfiore, empire with Libenskof – so that the Golden Lily should become famous in Europe for its hospitality.The first guest is a Parisian lady of fashion, the Contessa di Folleville. She is anxiously awaiting news of her carriage, when in runs Don Luigino with the news that the carriage has overturned and all her fine clothes have been ruined. The Contessa faints. The German Baron di Trombonok and Prudenzio enter and begin to fight over what to do to help her. Prudenzio dramatically announces that she is going to die, and Folleville instantly revives. She heroically decides not to travel, for patriotic reasons: she cannot be seen at the coronation without her fine clothes. She brightens up, however, when her maid Modestina arrives with a beautiful hat salvaged from the wreckage.

Trombonok laughs at the folly of the world, and several more characters begin to arrive – the antique collector Don Profondo, the Spanish Don Alvaro and the young Polish widow Marchesa Melibea. These last two seem delighted with each other’s company, and suddenly the Russian general Count Libenskof bursts in and creates a scene of jealousy, challenging Don Alvaro to a duel. The situation is saved by the arrival of Corinna the poetess from Rome. Her song of peace and fraternal love calms everyone.

All leave the stage and the English Lord Sidney appears. He is secretly in love with Corinna but dares not tell her of his feelings. He leaves (escaping Don Profondo’s prying questions), and Corinna enters.

The young French chevalier Belfiore quickly follows. Though he has the heart of the Contessa di Folleville, he is not averse to including Corinna in his list of conquests. Falling to his knees, he declares his love for her, and Corinna, surprised at first by his ridiculous advances, finally rejects him in a passionate fury.

Enter Don Profondo, who has been charged with organising the trunks for the journey. With the help of the hotel staff, he goes through the effects of his fellow travellers. He is interrupted by Folleville, who is looking for Belfiore. Profondo admits that he saw him with Corinna. This angers her, but suddenly Baron Trombonok and Luigino enter, followed by the whole company, with the news that there are no horses available, and the voyage to Reims must be cancelled. Everyone is dismayed, but Madama Cortese brings a letter from her husband, who writes that for those who miss the festivities in Reims, there will be festivities in Paris. The Contessa invites everyone to join her in the capital. Everyone decides to spend the money raised for the journey on a banquet at the Golden Lily.

Trombonok, whose favourite theme is harmony, convinces Libenskof and Melibea that they are made for each other. Libenskof asks forgiveness for his jealousy, and Melibea, harsh at first, finally relents and forgives him.

The final scene is a grand festive divertissement to celebrate harmony, with each guest singing a song from their country, ending with an improvisation by Corinna on the new king, Charles X. The guests sing a final song to the glory of France.

Ballet in two acts
Music: Pyotr Tchaikovsky

ACT I

Scene 1. Counsellor Stahlbaum’s Kitchen

The ballet begins in the kitchen of Counsellor Stahlbaum’s house, where preparations for the holiday dinner are underway. Before the stunned kitchen maids sausage-people, a human soup tureen, and a platter with a boar’s head stride in on human legs. All these metamorphoses dissipate when these apparitions turn out to be cooks carrying delicacies on their shoulders.As the scene continues, the world of the kitchen acquires an even more Hoffmannesque character. A cook attempting to cut a slice of cheese is surprised to discover a naughty little rat inside the cheese. The startled rat dashes out between the cook’s legs and heads for the kitchen, creating panic and havoc among the kitchen staff who then, to their horror, realize that one of the sous-chefs is also a rat in disguise. Counsellor and Mrs. Stahlbaum come to the kitchen with their children Masha and Fritz, who hope for a taste. The favorite child, Fritz, gets a sweet, while Masha is rudely pushed aside. The staff and members of the Stahlbaum family leave the kitchen and rat hooligans of all ages emerge from every nook and cranny and set to feasting. In the heat of the festivities the Rat Cardinal Kryselieu and Masha’s godfather Drosselmeyer appear, Drosselmeyer with his young nephew the Nutcracker.

Intermedia. The Dressing Room

Counsellor Stahlbaum and his wife come to their dressing room to dress for the Christmas party, followed by their children. As the adults preen in front of their respective mirrors – the Counsellor’s convex mirror reflects everything wider, while Mrs. Stahlbaum’s concave mirror stretches the reflection vertically – servants propose garment after garment. The parents find nothing to their liking, and settle on the house-coats they are already wearing. The spoiled Fritz gets a Napoleonic hat to wear, while Masha, through whose eyes we see the closet, enormous, foreboding, dark, is once again pushed aside.

Scene 2. The Christmas Party

The Stahlbaum’s guests gather for Christmas dinner. Masha’s godfather Drosselmeyer arrives. He presents his automatic dolls to the assembled company: The Recruit and his Canteen Girl and two Cossacks. Drosselmeyer gives Grandfather Stahlbaum an enormous pipe, Fritz a miniature bridge for toy soldiers. Masha is left with the toy no one wants, the Nutcracker. She is charmed by the Nutcracker’s agility cracking nuts, and she senses that he is not just a toy. The guests retire to the table at the back of the room for dinner. Grandfather and his Bonapartist friend observe the festivities from their chairs, then Grandfather decides to lead a dance. He dances vigorously and becomes so carried away that he loses one of his shoes in the process.

Intermedia I. The Wine Cellar: The Guests Depart

After the party, the guests file out through the wine cellar into the snowy night. The last to leave is Drosselmeyer, holding aloft a platter with the boar’s head from dinner, licked clean to the bone.

Intermedia II. The Transformation

After the guests have left and the household has retired for the night, Masha slips back to the parlor to see the Nutcracker. In the darkness she sees rats in ball gowns. Frightened, she faints. The rats disappear. The parlor clock strikes midnight. The transformation begins.

Scene 3. The Battle

When Masha awakens from her fainting spell, she sees that the parlor has become enormously large, so large that she is the size of a toy. She hears fanfares. Drosselmeyer swings on the pendulum of the grandfather clock. Masha watches in terror as the rat army rallies before the Rat Emperor. The army is commanded by a Rat Napoleon, quite reminiscent of her spoiled brother Fritz. The Nutcracker’s soldiers appear, and the battle begins. The Rat Emperor forgets his pride and slips out of his mantle, which, as it turns out, is nothing but a false carcass. In his haste to escape danger, the Emperor leaves the royal mantle and six of his terrifying heads behind and dashes for cover in Drosselmeyer’s wig, along with the Queen and their two small children. The Crown Prince remains in the fray, battling the Nutcracker.
The battle rages. Masha is so alarmed by the fighting that she hides in Grandfather’s shoe.
The Nutcracker fights with the Crown Prince one on one. Masha manages to deal the Crown Prince a blow to the head with her own shoe, taking advantage of the height of her perch.
The Crown Prince is stunned for a moment, and the Nutcracker deals him a final blow with his sword. The wounded Prince accepts defeat, gallantly saluting Masha. The Rat Emperor gives Masha a royal mantle. Masha and the Nutcracker mount the shoe and ascend into the branches of the tree.

PANORAMA

Masha and the Nutcracker travel in Grandfather’s shoe through the night sky, above the rooftops of the sleeping town. The only lighted window is in the sweets shop Confiturenburg.

Scene 4. The Snowstorm

Snow begins to fall. Masha and the Nutcracker are forced to make a stop in their journey. They alight in an abandoned churchyard where strange cocoons hang from the trees. Snowflakes, led by their Queen, surround Masha. Masha dances with them. The dance gets faster and faster, becoming a real blizzard that could cost Masha her life. The Nutcracker rescues her, and Drosselmeyer stops the storm.

ACT II

Scene 1. Confiturenburg, The Sweets Shop

Masha and the Nutcracker finally arrive in Confiturenburg, seen through the window of the sweets shop. It is filled with candies and pastries and with sweets-loving flies and bees; doctors ready to pull rotten teeth or cure a sick stomach wander about. Masha and the Nutcracker are greeted by the Sugar Plum Fairy and the Nutcracker’s four sisters. Suddenly the Fly-Person attacks the Nutcracker, who successfully fights him off.The inhabitants of Confiturenburg present dances for Masha and the Nutcracker. Masha is stunned by the extraordinary spectacle. In a burst of feeling she runs to the Nutcracker and kisses him. Her kiss breaks the spell and the Nutcracker is transformed into a Prince. Their wedding waltz begins.

Intermedia. Outside the Shop

On the wintry street outside Confiturenburg stands a distraught Drosselmeyer. The window is boarded up, and light comes through the cracks between the planks. Drosselmeyer tries desperately to see what is happening within.

FINALE

Ballet/choreographic poem in four acts
By Alexander Pushkin
Music: Boris Asafiev

PROLOGUE

Khan Ghirei is lost in reverie by the “Fountain of Tears”, built in memory of Maria.

ACT I

Birthday celebrations for Maria, the daughter of a noble Polish lord, are underway at the old castle. The castle is ablaze with lights and music can be heard. Maria and her bridegroom Vaslav appear in the dusky park. They are overjoyed. A Tatar scout slinks along the path, unseen. The castle doors swing wide open and the guests come down into the park to the music of a solemn polonaise. The host and his beautiful daughter lead the dancing. The polonaise gives way to a mazurka and a cracovienne. Suddenly, the wounded chief of the guard enters, bearing news of a Tatar attack. Prince Adam calls the men to arms. The women hide themselves in the castle. The Poles get ready to beat off the attack. The castle is aflame. Locked in mortal combat, the defenders of the castle perish. Maria and Vaslav are running through the fire and chaos of the bloody battle, trying to escape. Their flight is hindered, however, by Khan Ghirei. Vaslav attacks him but is stabbed with the Khan’s dagger and falls dead. The Khan approaches the defenceless girl, tears the veil from her face and is struck motionless by her beauty.

ACT II

Khan Ghirei’s harem in the palace of Bakhchisarai. Ghirei’s favourite wife Zarema, “the star of love”, is amongst the concubines. Sounds of bellicose music can be heard. The wives and concubines get ready to welcome Khan Ghirei. The Tatars return from the war, rich in plunder. The captive Maria is carefully carried in. Ghirei enters the harem. He looks preoccupied and thoughtful. Zarema tries to divert him, but in vain. Overwhelmed with his love for Maria, he takes no notice of Zarema. Zarema realizes that his love for her has gone. The concubines try to cheer up their ruler. Zarema hopes to regain his favour, but all is in vain. He pushes her aside and leaves. Zarema collapses.

ACT III

A luxurious bed-chamber. Here, guarded by an old woman, the beautiful Maria languishes in captivity, a harp the only reminder of her former life, freedom and bygone happiness. Her reverie is interrupted by Ghirei. He implores her to accept his love and his wealth, but Maria is only afraid and repelled by Ghirei, who killed her beloved, her friends and her family. He humbly leaves the chamber. Late at night, Zarema enters the princess’ bed-chamber. She tells Maria of her passionate love for Ghirei, demanding that Maria alienate Ghirei from herself, and pleads to restore his love for her. Maria is unable to understand Zarema’s passionate speech and is frightened by it. Zarema sees Ghirei’s scull-cap on the floor. Seized with jealousy, Zarema rushes to Maria with a dagger; unafraid, Maria is prepared to die. Ghirei rushes in. He tries to stop Zarema but fails. Zarema kills Maria.

ACT IV

The courtyard of Ghirei’s palace. Ghirei is surrounded by servile nomads, warriors and slaves.
Nothing, neither the rich plunder from a new foray, nor new and beautiful concubines, gladdens or excites the Khan. Executioners lead Zarema to her death. Ghirei orders them to hurl her down from the top of a high cliff. Ghirei’s favourite military chief Nurali tries to divert his sovereign from his sombre thoughts, but the warrior-like dances provide no relief. Ghirei sends everyone away.

EPILOGUE

Ghirei is sitting by the “Fountain of Tears”.

A train of thoughts passes through his mind, reviving the image of the beautiful Maria.

Fantasy ballet in three acts (four scenes)
Music: Pyotr Tchaikovsky

ACT I

Scene 1.

Prince Siegfried and his friends are celebrating his coming of age at a private party. The guests drink to his health and the jester entertains them with his antics. The Prince is warned that his mother, the Princess Regent, is approaching. She is displeased with her son’s behaviour and he presents her with a bouquet of roses to pacify her. After the Princess has gone, the partying begins anew. Twilight falls. The guests depart and the Prince is left alone in the park. High above, Siegfried catches sight of a flock of white swans and the sight stirs the hunter’s urge in him. Seizing his bow, the Prince makes his way off into the heart of the forest.

Scene 2.

A Lake in the Forest in the Middle of the Night. White swans are swimming near the shore; they are beautiful young maidens who have been transformed by the evil magician Rothbart. Only at night can they assume human form and the only power on earth which can break this evil spell is devoted love. Siegfried appears. He sees one of the white birds come to shore and draws his bow to shoot it. The bird suddenly turns into a beautiful woman – it is Odette, Queen of the swan-maidens. Odette’s beauty enthrals the Prince and he tries to capture her. She, however, is afraid of the evil magician and, as she avoids Siegfried, she disappears in the midst of the swan-maidens. Siegfried runs after Odette and vows eternal love and fidelity to her. Odette’s heart responds in the same way to Siegfried’s passionate love. Dawn breaks. Odette bids Siegfried a tender farewell and the white swans glide slowly away across the lake.

ACT II

Scene 3.

A Ball at the Castle. Siegfried must choose a bride from among the well-bred maidens who have been invited, but he remains indifferent to them all because he has given his heart to Odette. Only at his mother’s insistence does he dance with any of the prospective brides.
He must, however, choose one of them, and as a token of his love, he must give his chosen bride a bouquet. As he faces this dilemma, however, a fanfare of trumpets heralds the arrival of new guests: the magician Rothbart and Odile, his daughter. The Prince is struck by her resemblance to Odette. Rothbart wants the Prince to fall in love with Odile so that he will break his vow of eternal love and fidelity; Odette will then remain in the sorcerer’s power forever. It is for this reason that he has given his own daughter Odette’s form and features. Odile seduces Siegfried, who is fascinated by her charm. He announces to his mother that the beautiful Odile is his choice. The wicked magician is jubilant. Suddenly Siegfried sees a vision of the true swan-maiden outside the castle window and realises that he has been deceived into breaking his vow. In despair, he rushes to the lake to find his beloved Odette

ACT III

Scene 4.

Friar Lawrence is happily passing the day in his quiet cell. Romeo enters and begs the monk to wed him to Juliet in secret. The friar promises to help, hoping that the marriage will reconcile the Montagues and the Capulets and thus end the feud. Juliet enters and Friar Lawrence performs the wedding rites.

Ballet in three acts (thirteen scenes)
Music: Sergey Prokofiev

ACT I

Scene 1.

It is early one morning. Romeo, dreaming of love, wanders through the deserted streets of Verona. Little by little, all sorts of people fill the square and the first customers arrive at the inn.
Tybalt, noticeably drunk, is on his way home. He sees Benvolio and, drawing his sword, attacks him immediately. The peaceful square turns into a scene of fierce fighting between the supporters of the Montague and Capulet households. Swords cross, people are killed and the alarm is sounded.

Paris, a young nobleman, appears. He has come to ask for the hand of Juliet, the beautiful daughter of Old Capulet. Nobody heeds him. Old Capulet himself is seen running out of his house, eager to play a part in the encounter with the Montagues. The Duke of Verona and his guards appear in the square. The people implore him to put a stop to the bloodshed. The Duke commands them to drop their weapons, and issues a decree stating that anyone who bares arms in the streets of Verona will be sentenced to death.

Scene 2.

Juliet playfully teases her old nurse, who is helping her dress for the imminent ball. Juliet’s mother enters and scolds her daughter for her childishness.

Scene 3.

Guests pass in a ceremonious parade to the ball at the Capulets’ house. Paris is amongst them, accompanied by his page. Romeo’s friends, the witty Mercutio and the loyal Benvolio, persuade him to go to the ball with them. The young men put on masks; without them they cannot go to the feast because of the feud between the two families.

Scene 4.

Romeo and his friends enter the Capulets’ palace. Romeo is captivated by Juliet’s beauty and cannot conceal his emotions. By accident, his mask slips, revealing his face to Juliet. She falls in love with the youth Tybalt recognises Romeo as an enemy of the Capulets and hurries off to tell Old Capulet that Romeo has dared to come to the ball. Romeo and his friends leave the house to avoid trouble.

Scene 5.

On a moonlit balcony of the Capulets’ house, Juliet dreams of seeing Romeo again.
Her dream comes true as Romeo appears in the garden below. He stretches out his arms to her in an expression of love. A moment later, they are together. They tenderly declare their love for one another and vow eternal fidelity to each other.

ACT II

Scene 6.

In the noisy gaiety of the square in Verona, Juliet’s nurse hands Romeo a letter from her young mistress. Romeo reads it with delight, for Juliet has agreed to be his wife.

Scene 7.

Friar Lawrence is happily passing the day in his quiet cell. Romeo enters and begs the monk to wed him to Juliet in secret. The friar promises to help, hoping that the marriage will reconcile the Montagues and the Capulets and thus end the feud. Juliet enters and Friar Lawrence performs the wedding rites.

Scene 8.

Mercutio, Benvolio and their friends have come to the inn. Tybalt enters and, upon seeing his enemies, he draws his sword and rushes at Mercutio. Romeo tries to make peace between them. Tybalt pushes him away. Tybalt and Mercutio cross swords. Romeo again attempts to separate them, but Tybalt, seizing a favourable moment, deals Mercutio a treacherous blow and kills him. Romeo is wild with fury at the death of his friend. He draws his sword and challenges Tybalt to a duel. Tybalt is killed. Benvolio, frightened, points to the decree posted by the Duke of Verona and leads his friend away. Tybalt’s kinsmen gather round his dead body and swear vengeance on the House of Montague.

ACT III

Scene 9.

Romeo has come to bid farewell to Juliet. He is ready to flee Verona, having violated the Duke’s decree. As the rays of the morning sun stream into the room, Romeo takes leave of his beloved. The nurse comforts Juliet, who is heart-broken at her separation from Romeo. Juliet’s parents enter the room, and her mother tells her that her marriage to Paris has been arranged. Paris, who has also come in, declares his love for Juliet; she listens to his passionate avowals, but refuses to comply with her parents’ wish. When Paris has left the room, they shower her with reproaches. Her father says firmly that he is determined to have his way. Juliet is in despair. She makes up her mind to go to Friar Lawrence for advice.

Scene 10.

Juliet comes to Friar Lawrence’s cell. The monk is touched by the tale of her boundless love for Romeo and gives her a potion. His plan is that she will drink the potion and fall into a deep sleep. She will be thought dead, and her body will be taken to the family vault – in an open coffin according to the ancient custom of the country. Meanwhile, Friar Lawrence will write to Romeo who is hiding in Mantua and summon him back to Verona. The young man will return at once. Juliet will have awoken by that time and Romeo will take her away with him back to Mantua.

Scene 11.

When Juliet returns home, she pretends to have submitted to her parents’ will. She takes the potion and falls into a deep sleep. Juliet’s friends come in with bunches of flowers and, unable to find her, believe her to be still asleep. Her parents enter, accompanied by Paris. The nurse draws the curtains of Juliet’s bed aside. All are paralysed with horror – Juliet lies dead on her couch.

Scene 12.

Mantua. It is night. Romeo is alone, lost in gloomy thoughts. He has had no news from Juliet. Friar Lawrence’s messenger has not arrived. Benvolio, who has just come from Verona, rushes to Romeo and tells him of Juliet’s death. Romeo hurries back to Verona.

Scene 13.

At the cemetery in Verona, the mourners, sad and silent, take their last farewell of Juliet and depart. Romeo enters the vault. He cannot take his eyes off his beloved; she is dead, and life no longer has any meaning for him. Romeo swallows some poison and falls dead at her feet. Juliet wakes up to see Romeo dead. Snatching his dagger, she stabs herself. The people assembled at the cemetery watch as Old Montague and Old Capulet gaze sorrowfully at the bodies of their dead children. In silence, they stretch out their hands to each other. The tragic death of the two lovers was the price to pay to end their long and bloody feud.

Ballet in two acts
Music: Herman von Lovenskjold

ACT I

On the eve of his wedding, James, a young Scotsman, sees a vision of an enchanting, winged sylph. She is an ethereal spirit of the air who has fallen in love with him. James is captivated by the beautiful sylph but, as he tries to touch her, she disappears into thin air. A party of guests and friends arrive with Effie, James’ bride-to-be. James is distracted, still haunted by the memory of the sylph. Lost in thought, he gazes at the spot where she vanished. In his mind he can still see her and reaches out as though she is still there. It is, however, Old Madge, the village sorceress, whose hideous figure steps out of the shadows instead of the beautiful sylph. Her revolting appearance and ravaged face cast a shadow over the celebrations. James’ initial fear turns to anger and Effie tries to calm him. Old Madge starts to tell Effie’s fortune. She predicts that Effie will marry not James, but his friend Gurn, a Scottish peasant, who is also in love with her. James loses his temper and sends Old Madge away. The party resumes and, in the general dancing and merrymaking, everyone soon forgets the unpleasant scene. At the height of the party, the sylph reappears. She beckons to James and they vanish together. Effie is heartbroken.

ACT II

Outside a cave in the forest, Old Madge is busy casting evil spells. She traces a magic circle on the ground and places a cauldron in it, which begins to boil. Old Madge begins conjuring things up from the huge cauldron. Other witches hurry to join her and together they conjure up a magic scarf, which is incredibly beautiful but deadly poisonous. The witches depart. James and the sylph arrive, very much in love. She shows James her magic kingdom and then flies away. James is left all alone and Old Madge reappears. She asks if he needs any help, and produces the magic scarf. She explains that if he puts the scarf around the sylph’s shoulders, she will never be able to fly again and will be his forever on earth. James seizes the scarf and goes in search of the sylph. However, when he finds her and places the scarf on her shoulders, he is horrified to see that it causes her great pain. In front of his stricken gaze, her wings fall to the ground and then in agony she sinks lifeless at his feet. Mourning sylphs appear and carry their dead friend away, over the treetops and out of sight. The sound of bagpipes and the joyful ringing of bells break the silence in the forest. A bridal procession is glimpsed through the trees: it is a triumphant Gurn leading Effie to the church.

Opera in three acts
Music: Giacomo Puccini

ACT I

The Church of Sant’Andrea della Valle, Rome

Angelotti, former Consul of the Republic of Rome and now a political prisoner who has escaped from prison, enters exhausted. He hides in the chapel of his sister, the Marchesa Attavani. The artist Cavaradossi is working on an image of Mary Magdalene. The Sacristan is shocked that the painting resembles a woman in his congregation. Cavaradossi denies the resemblance: only Tosca occupies his thoughts and his brush could paint the features of no-one else. After the Sacristan leaves Angelotti emerges from the chapel. He knows the artist and trusts him, and so he begs for assistance. Hearing Tosca’s voice, he hides again. The singer notices the painting of Mary Magdalene resembles the Marchesa Attavani. Tosca’s jealousy erupts but the artist manages to pacify her. Floria leaves and Cavaradossi offers the fugitive refuge in his home. Gunshots are heard – the escape has been discovered. The men hurry away. A celebratory mass begins. Scarpia, chief of police of Rome, and police agent Spoletta are among the worshippers. They are interested in the Attavani Chapel where they expect to discover Angelotti, but find a fan left there by the Marchesa and an empty food basket. Seeing Tosca return to the church in the hopes of seeing her beloved again, Scarpia decides to seize his opportunity. He cunningly provokes Floria’s jealousy. When she runs out of the church, Scarpia sends police agents after her, believing that the infuriated Tosca will lead them to the artist’s secret hiding place.

ACT II

The Farnese Palace

Scarpia is in his apartments awaiting news from his agents. His expectations are only half fulfilled: Tosca did lead them to Cavaradossi who has now been arrested but Angelotti remains at liberty. Scarpia hopes to torture the artist into revealing the truth and orders Tosca be brought to him. The chief of police himself begins Cavaradossi’s interrogation but to no avail. The artist manages to whisper to Tosca to keep the secret at all cost. He is led off to be tortured. His groans and screams make Floria lose her self-control and she reveals the secret hiding place in the garden. Scarpia orders an end to the torture. In agony, Cavaradossi is thrown at Tosca’s feet by the soldiers. He hears the chief of police and understands that the secret has been revealed. He curses Tosca. Scarpia orders that he be taken away and executed in the morning. In answer to Tosca’s pleas, he says he will spare Cavaradossi’s life if she will be his. In Tosca’s presence the chief of police gives an ambiguous command and issues a pass for her and Cavaradossi, allowing them to leave Rome. Tosca, however, does not realise that the execution will be real. Scarpia runs towards Tosca and, defending herself, she kills him. Staring at the corpse in horror, she carefully removes the pass from Scarpia’s hand and slips out of the palace.

ACT III

The platform of the Castel Sant’Angelo

Cavaradossi’s execution is to take place here. Overwrought, Tosca rushes in and explains it is to be a mock execution. Mario has to play his part well so the soldiers suspect nothing, and then they can flee the city. The soldiers appear. They fire and the artist falls to the ground. Floria calls his name in vain. Realising he is dead, Tosca throws herself from the parapet.