Stanislavsky Theatre
Performed in Russian Premiere of this production: 28 Nov 2025 The performance has 1 intermission Running time: 3 hours 25 minutes The Stanislavsky Theatre, located in XIX century historical building just 750 metres (9-minute walk) from the Bolshoi, will present Tchaikovsky’s grand opera The Maid of Orleans, directed by Alexander Titel and conducted by Christian Knapp. Featuring acclaimed soloists who have graced the stage of the Bolshoi and trained at Russia’s foremost academies, this production explores the eternal themes of love versus duty, the horrors of war, divine destiny, and the tragic beauty of self-sacrifice. Opera at the Stanislavsky Theatre is the great and affordable alternative to the Bolshoi. The monumental opera The Maid of Orleans by Pyotr Ilyich Tchaikovsky transports us to the decisive year of 1429, during the Hundred Years’ War. France, torn apart by civil strife and devastated by English intervention, stands on the brink of ruin. Orleans is the last bastion of hope. And in this fateful moment appears the young Joan of Arc — her faith becoming a sword, her sacrifice a banner. Tchaikovsky created not a mere musical illustration of history, but a vast fresco of human courage. Forging a French legend through the prism of Russian musical language, he gave the world a work where duty overcomes despair and defeat transforms into moral victory. His Joan is not a distant myth, but a living embodiment of that mysterious force that raises nations from the abyss. The opera breathes with drama and passion: at times soaring in colossal choral waves, at times falling into hushed, trembling prayers. Written during the Russo-Turkish War of 1877–1878, its score carries an urgent emotional intensity, turning historical narrative into a timeless parable of sacrifice for one’s homeland. Experience Tchaikovsky’s most monumental opera live in Moscow — a sweeping masterpiece of faith, destiny, and dramatic power. Synopsis: Act I A forest near Domremy Thibaut, father of Joan, wants her to marry Raymond. Joan refuses, declaring that she must follow her divine destiny. Enraged, her father accuses her to be in league with the devil. News arrives that the English are devastating nearby villages. Joan inspires all to hope because Salisbury, the English commander, is destined to perish. When a soldier brings news of the death of Salisbury; all sing hanks to the Lord. Joan bids farewell to save France. Act II At the Castle of Chinon The minstrels sing and gypsies dance to amuse King Charles VII and his mistress Agnиs Sorel. The vassal Dunois informs the King that the royal treasure is exhausted. He urges the King to take arms. To the disdain of Dunois, Agnиs offers him to contribute her own money to finance the war. The archbishop receives a report of a miracle — the French have won thanks to troops led by a young girl. Joan presents herself to the King, telling him her story. The King gives her command of the army. Act III Near Reims Giovanna engages in a duel with Lionel, a Burgundian allied with the English. But when she is about to strike the deadly blow, Joan sees his face, evoking tender pity. They immediately fall in love. Lionel swears allegiance to the French cause. At the cathedral of Reims a great crowd forms to celebrate Charles’ coronation. Thibaut publicly accuses Joan of witchcraft. Dunois defends her and the archbishop questions her. Feeling guilty of her love for Lionel, Joan remains silent. Lionel implores her to run away; but she accuses him that his love has caused her downfall. Act IV In the forest Lionel and Joan embrace. A choir of angels sings a warning to the girl: she has betrayed her divine mission She must therefore suffer before she receives salvation. An English contingent arrives, killing Lionel and capturing Joan. At the old market of Rouen The English condemn Joan to the stake for being a witch. Joan asks Dunois for a cross, which he gives her. As the fire consumes her, the celestial voices promise her a place next to God. Music composed by Pyotr Il’yich Tchaikovsky to his own libretto after Friedrich von Schiller’s Die Jungfrau von Orleans (1801), tragedy translated by Vasily Andreyevich Zhukovsky, Jules Barbier’s Jeanne d’Arc and Auguste Mermet’s libretto for his own opera, after Barbier (1876), with various details adapted from Henri Wallon’s biography of Joan of Arc. | Pyotr Tchaikovsky "The Maid of Orleans" on the playbill
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