«FIGARO» with the National Ballet of Kremlin
hosted by Limassol Municipality


In over two centuries, Pierre Beaumarchais's comedy has been a challenge for many composers and choreographers. The choreographers had mostly introduced "The Marriage of Figaro"
as a miniature of a one-act ballet. The choreographer-director, Andrei Petrov, has offered the audience a two-act performance as a kind of an experiment. It is a combination from Rossini's opera, "The Barber of Seville", and Mozart's opera, "The Marriage of Figaro". The ballet's first act is directed on the basis of "The Barber of Seville", mainly focusing on the love story of Count Almaviva and Rosina, closing festively with their engagement.

The second act is based on "The Marriage of Figaro or The Day of Madness". It unfolds the twists of facts and revolves around the love of Figaro and Susanne. A comedy given through a classical choreography. A bright, intuitive play with humorous situations framed with young soloists.


After reflection and discussion, due to the major difficulties which our country is experiencing, we decided that we should continue to offer to the audience as many of the cultural events organized by the Municipality. Therefore, we are all here tonight and it is with a lot of pride that we present to you one of the greatest ballet companies in the world, The Kremlin Ballet of the State Kremlin Palace, presenting for the first time in Cyprus the ballet "Figaro" within the institution "Great Ballets" which is taking place for the fifteenth consecutive year.

It is indeed a great pleasure to have achieved to oppose to misery and not to sideline art and culture. We kindly ask everyone to a general alertness in order to keep our culture, the respect and love for our fellow citizens, the solidarity among our people to the high level our society is entitled of.

I deeply thank on behalf of the City Council and all the Limassolians, our sponsors for their valuable help in order to make this institution a reality. I also thank our great artists who accepted our invitation to offer us this unique experience.

And last but not least, I would like to thank all of you who support us with your presence and encourage us to continue our efforts to give our society the best possible.
I wish you all to enjoy the performance!



The Mayor

Andrey Petrov

This unique artistic collective was created and developed by initiative, energy, perseverance and boundless love for the art of its founder Andrey Borisovich Petrov, Choreographer, Ballet master, National actor of Russia. Mr. Petrov had been an Art Director of the team till May, 2014, when he was appointed as a President of the Kremlin Ballet Theatre.

A descendant of the renowned Moscow ballet dynasty of dancers, teachers and choreographers, he completed his studies at the Moscow State Academy of Choreography (G. Yevdokimov's class) in 1965. A. Petrov spent over two decades performing on stage of the State Academy Bolshoi Theater of USSR where he had over fifty solo parts in the theatre's repertoire.

Having graduated from the Lunacharsky State Institute for Theatre Arts in 1977 A.B. Petrov started working also as a ballet choreographer interning under the supervision of Y.N. Grigorovich, directing ballets and dance scenes in operas in the Bolshoi Theatre, on other stages of Russia and abroad. A.B. Petrov directed sixteen plays for the Kremlin Ballet Theatre. Among those are - editions of classical heritage performances – the likes of 'Nutcracker' (1993), 'Swan Lake' (1997) and P. Tchaikovsky's 'Sleeping Beauty' (2005), L. Delibes' 'Coppelia' (2001), A. Adam's 'Giselle' (2003), C. Pugni's and R. Drigo's 'Esmeralda' (2006), as well as the original ballets the likes of 'Ruslan and Ludmila' with music by M. Glinka and V. Agafonnikov (1992), T. Khrennikov's 'Napoleon Bonapart' (1995), D.Arapis's "Zeus" (1996), "Nevsky Prospekt" with music by D.Shostakovich and A.Schnittke (1997), P. Ovsyannikov's 'Tom Sawyer' (1998), H. Berlioz's 'Fantastic Symphony' (2000), P. Ovsyannikov's "Katya and the Prince of Siam" (2003), 'Figaro' with music by G. Rossini and W.A. Mozart (2008), 'Snow Maiden' with music by P.I. Tchaikovsky (2009) and F.Amirov's 'Thousand and One Nights' (2010).

The works of A.B. Petrov the master of ballet make up a substantial literary fundamental principle, talented musical drama system, maturity of the choreographic thought and direction, innovative plastic and scenographic solutions. A.B. Petrov has been awarded the 4th Degree 'For Services to the Fatherland' Order, Medal of Honour, Honorary Certificates of the President of the Russian Federation and the Government of the Russian Federation, The Russian Orthodox Church's 'Saint Right-Believing Prince Daniel of Moscow' Order and a Hungarian 'For Services to the Culture' medal.

People's Artist of Russia A.B. Petrov - The Secretary of the Union of the Theatre Workers of the Russian Federation, Deputy of the choreography commission of the Union of the Theatre Workers of the Russian Federation, Member of the creative board of the 'Ballet' magazine, Professor of Choreography and Ballet Studies of the Moscow State Academy of Choreography, a laureate of the 'For Preservation and Development of the Classic Choreography' Prize and 'Ballet' magazine's 'Soul of the Dance' Prize in the 'Knight of the Dance' nomination.








W. A. Mozart & G. Rossini



Andrey Petrov after a comedy by P. Beaumarchais

Choreography, production and music editing by Andrey Petrov
National Artist of Russia, laureate of the Moscow Premium

Designer Grigory Belov
Honored Artist of Russia

Costume designer Olga Polyanskaya

Orchestration of vocal parts by laureate of the International competition: Vladimir Kachesov

Artistic Director and Chief Choreographer of the
"Kremlin ballet" Theatre - National Artist of Russia Andris Liepa

General and Artistic Director of the State Kremlin Palace
National Artist of Russia Petr Shaboltay

Playing time - 2 hours 45 minutes

Programme PDF pdf

Libretto PDF pdf



Andis Liepa

Since May, 2014 the art director and chief ballet master of "Kremlin Ballet" Theatre is the national artist of Russia Andris Marisovich Liyepa – a ballet master, producer, production director of musical performances (ballet and opera), movies, shows and gala concerts, in the past – a known Soviet and Russian dancer. The representative of a known ballet dynasty (the son of the outstanding Soviet dancer Maris Liyepa, the brother of the Russian ballerina Ilze Liyepa), Andris Liyepa, having finished the Moscow academic choreographic school in 1980 (A. Prokofiev's class), was assigned as the soloist of ballet troupe of the State academic Bolshoi theater of the USSR where within eight years he performed leading parts in performances of classical repertoire, among which "Nutcracker" (Nutcracker-prince), "The sleeping beauty" (Prince Désiré), "Giselle" (Count Albert), "Ivan the Terrible" (Prince Kurbsky), "Golden Age" (Boris), "Raimonda" (Jean de Briyen), "Romeo and Juliette" (Romeo), "The swan lake" (Prince Siegfried) and others. Since 1988 Andris Liyepa started acting as the invited soloist in foreign troupes: in "New-York City Ballet" (NYCB), in "American Ballet Theatre" (ABT) where he acted, in particular, in the part of the Prince Siegfried in new direction of "The swan lake", carried out by M. Baryshnikov, and also danced Romeo in "Romeo and Juliette" of K. Macmillan and a title part in "A violin concert" of J. Balanchine. Since 1989 as the constant invited soloist A. Liyepa joined the ballet of the State academic opera and ballet theater named after S. M. Kirov, going much on tour with the troupe abroad (Paris, London, Washington, Tokyo) performing leading parts in ballets "Corsair" (Ali), "Bayadere" (Solor), "The sleeping beauty" (Prince Désiré), "Giselle" (Count Albert). Here A. Liyepa created the Punch role (directed by O. Vinogradov), danced "Rose vision". In the same years Andris Liyepa worked as the invited soloist in the Roman opera and the Swedish opera, other glorified ballet troupes: he acted in the La Scala with Carla Fracci, in the Parisian Opera from Isabel Geren. The legendary duet "Songs of a Wandering Journeyman" which in due time M. Béjart did for Rudolf Nuriyev, the Master put again for Andris Liyepa. The long creative friendship connects A. Liyepa with "Kremlin Ballet" Theatre where in the nineties the dancer became the first performer of parts of Macbeth ("Macbeth, 1990) and Prince ("Cinderella", 1991), having acted in the latter in partnership with the legendary ballerina Ekaterina Maksimova. The long-term joint Project "Russian Seasons of the XXI Century" (art directors - the national artist of Russia A.B. Petrov and the national artist of Russia A.M. Liyepa) became the following page of the creative commonwealth with "The Kremlin ballet". Long ago A.M. Liyepa's creative range crossed borders of strictly ballet genre. A.M. Liyepa acts with success as the production director of movies, opera performances, show programs, is a successful producer. Among his works: Opera "Legend about an Invisible Town Kitezh" (production director; The Maryinsky Theater, 1994, the conductor – V. Gergiev), the ballet "Shekherazada" (the ballet master-director; The Latvian national opera, 1998), ballet Gala within the International festival of arts "Slavic bazaar" (the production director; Vitebsk, 2000), performances "Oscar Shlemmer's Museum" and "Maestro" (organization and direction; The Moscow theater "New Opera", 2001 conductor of the latter - E.Kolobov), annual "New Year's show for children and adults" (producer, production director; Gostiny Dvor, Moscow, from 2002 to the present), show programs of stars of the Russian platform (production director; State Central Concert Hall "Russia", 2002, 2003, 2007), tours of ballet troupe of the Roman opera on the scene of the Bolshoi theater (producer; within the Cherry Wood festival, 2003), the Ave Maya Show program and Gala, devoted to Maya Plisetskaya (production director; Riga, 2005, Kovent Garden - London, Espas Pierre Cardin – Paris, 2006), the ballet "Afternoon Rest of a Faun" of V. Nizhinsky (production director of restoration; 2007), Opera "Eugene Onegin" (production director; The Center of opera singing of Galina Vishnevskaya, 2007), "A ball of winners" for veterans of the Great Patriotic War (production director, producer; Complex of the museum of the Great Patriotic War on Poklonnaya mountain, 2006-2008) the Opera "Golden Cockerel" (the coproducer-director jointly with G. Isaakyan; Children's musical theater named after of N.I. Sats, 2013) and others. Roles in movies: Sergey Yesenin in the play "Isadora, when She Danced", the Leading role in the cine film "Short breath of love", the Movie – ballet "Return of the Firebird" (production director, producer, performer of the main parts). A.M. Liyepa is the Chairman of the board of Charity foundation named after Maris Liyepa, the member of the Board of trustees of the International open festival of arts "the Cherry Wood", the member of Patriarchal council for culture. The national artist of Russia Andris Liyepa is the owner of the Gold medal IY of the International competition of ballet dancers (Moscow, Junior group, 1981), the Silver medal Y of the International competition of ballet dancers (Moscow, 1985), the Grand Prix of the International competition of ballet dancers in the city of Jackson (the USA, 1986), the Prize of the French academy of cinema "Gold tape of the Russian cinema" in the nomination "Director debutant" for the movie-ballet "Return of the Firebird" (1998), the Latvian Award of Three stars of the 4th degree (2007) and Dyagilev's award of the I degree "For benefit to the Russian culture".


Act One

The Barber of Seville
or Vain Precautions



In a Seville Street Barber Figaro is as important to the inhabitants of Seville as the air they breathe – he puts on them wigs, perfumes and makes fanciful coiffures so that everyone is in a good mood. Count Almaviva enters the barber shop of Figaro in a disguise. He asks Figaro to help him win the love of the young Rosina who is Dr Bartolo's protégé. He employs Figaro as his servant
with the condition to pay him later on. Figaro agrees to that as he is very much in love with Susanna, Rosina's maid. Figaro arranges to meet the rich Marcellina at Dr Bartolo's house in order to lend him some money.

She promises to do so. During their meeting, it is obvious that Marcellina is attracted by Figaro. The term of the loan is that if Figaro does not have the ability to pay his debt to her, he will have to marry her. Money in exchange of an oath of marriage. Late in the evening, Figaro hires musicians to play a serenade under Rosina's balcony. The Count Almaviva arrives, everything is ready and the musicians begin to play.

Rosina's window lights up and she comes out on to her balcony. Her guardian though, Dr Bartolo who also heard the serenade, forces Rosina to immediately go back into her room and remain there. Bartolo, locks up the house and leaves. Almaviva and Figaro follow him. The skillful servant manages to steal the key from Bartolo and Rosina is set free from captivity. Rosina falls in love with the Count although she has no idea that he is a grandee. Figaro is ready to help them in their amorous plans. Dr Bartolo comes back to the house and he realizes that he does not have his keys.

He keeps looking for them when suddenly Figaro hands them out to him. Dr Bartolo begins to become suspicious. A detachment of soldiers march into the town. The sergeant distributes military secrees to them. Having managed to get hold of one of these documents, Figaro organizes a new plan which is to the Count's liking.



Bedroom in Bartolo's house
Bartolo is asleep and dreams of his protégé, Rosina. He gets up and he is dancing in his night-cap and night-shirt, imagining that he is holding in his arms the beautiful Rosina.

A drunken soldier is invading in Bartolo's house. Bartolo and his servants are trying to get him out. The situation is getting out of hand and turns out into a fight. As a result, a big mirror gets broken and Bartolo calls the police in order to put the intruder away. Rosina who recognized the Count under the soldier's uniform, was thrilled by his courage and Susanna was very much impressed with Figaro's inventiveness and intelligence.

Count Almaviva and Figaro dream about their loved ones: Rosina and Susanna.

Figaro has a new plan! He disguises the Count into Don Basilio, the music and dancing teacher of Rosina. When Count Almaviva enters the house in disguise, Rosina immediately recognizes him and she joins the spirit of the game. Meanwhile Dr Bartolo is getting suspicious and he is continually interrupting the "teacher"-Count and Rosina by entering the teaching room. Barber Figaro shaves Bartolo in an attempt to distract his attention. The Count gets the chance propose to Rosina who agrees to become his wife. Suddenly, the real Don Basilio appears in the house. Positioning himself behind the shattered mirror, the disguised Count does his best to portray himself as the dancing teacher's reflection. But Basilio is not so easily deceived, he overcomes the hallucination in the mirror and the count is unmasked. Bartolo suspects Rosina of being involved in the conspiracy and throws the Count and Figaro out the house.



By Bartolo's house
Having made sure that Rosina is firmly locked indoors, Bartolo with the help of Basilio, makes rushed preparations to marry Rosina. Figaro finds a ladder and the Count climbs to Rosina's window. Don Basilio who has witnessed these movements, calls for the soldiers to arrest him. The soldiers know the real identidy of the Count and do not proceed with the arrest. Instead the soldiers, a notary, an orchestra and the citizens of Seville gather in the square by the house. Bartolo opens the door and out steps Count Almaviva dressed in the robes of a grandee together with Rosina. Everyone congratulates the engaged couple and the notary validates the engagement to the delight of the attendees. Figaro is very pleased and the truth is that he never did get any money from
the Count.


Act Two

The mad day or
the marriage of Figaro



The park before Count Almaviva's Palace
In the morning, the Count and Countess are attending a festive celebration to honor Figaro and Susanna for their upcoming wedding. The Count has to give his consent for Figaro's wedding as this is the customary which masters do for their servants. Instead of this, he tries to persuade Susanna to have an affair with him, for he has already lost interest in Countess Rosina. The useless servant of the Count, Cherubino, spends his time chasing after women. Therefore the Count orders that he serves in the army. All the old acquaintances gather in the park: Dr Bartolo, Don Basilio and the notary. They accompany Marcellina, to demand from Figaro to pay his debt or marry Marcellina as it was agreed. The Count realizes that this is his chance to take advantage from this circumstance and get the barber's wedding to Susanna postponed.


The Countetess's Bedroom
The Countess tries to arouse her husband's desire, for she still loves him. But Almaviva withdraws, leaving Rosina in a pensive mood. Cherubino runs in Rosina's bedroom and hides under a chair in an attempt to escape from the Count's soldiers and servants. The Countess and Susanna hide him under their skirts. Cherubino being in a state of panic confesses his love to the Countess. The Count enters unexpectedly. Seeing Cherubino's tricorne (hat), he demands to know where he is hiding. The Countess and Susanna do not reveal Cherubino's hiding-place. When the
Countess leaves the room, the Count begins to flirt with Susanna. Realizing, Susanna that it will be very difficult to avoid her master, agrees to meet him in the park. The Countess, Susanna, Fanshetta and Cherubino, whom they have disguised as a woman, devised a plan which would bring the Count to his senses and solve all their problems.


Festivity in the Park
Marcellina and her assistant eventually manage to meet Figaro and hold him to his promise. This time they have brought a judge along with them. The Count asks them to wait and solve their differences after the celebration. Dressed up as flowers and gardeners, the Count's servants presented a joyful spectacle before their master. Almaviva himself takes part in the performance by dancing with an attractive flower, suspecting that it is Cherubino in desguise. With Basilio's assistance Cherubino is revealed and the chase begins all over again but without success
as everyone is helping him to avoid capture. A storm breaks out.

Figaro is now very upset. He has understood that the Count is spying on him and he is depressed by the deception. He almost ceased to believe that his dreams will come true. Susanna helps him to overcome his doubts.


A remote corner of the park
Having received a note from Susanna, the Count, accompanied by Basilio, goes to the rendezvous. Here too, are Figaro and all the rest of the plotters. Eventually, Susanna arrives. The Count meets with her. Figaro who is hiding in the bushes, is out of his mind from jealousy. He has no idea that the Countess is hiding under Susanna's skirt. Figaro does everything he can to interrupt the rendezvous and he succeeds. Another couple of lovers appears wearing masks. The Count recognizes the Countess and Cherubino. He intends to expose his unfaithful wife! He calls the Palace servants who came and surrounded the lovers carrying torches. The Count tears the mask off the "Countess's" face but before him stands Fanshetta. "Susanna" turns out to be the Countess! Everybody burst into laughter at the Count's expense. The Count Almaviva begs his wife for forgiveness.

Finally, Almaviva gives his consent for Figaro's and Susanna's wedding as well as Cherubino's and Fanshetta's. Rosina pays off Figaro's debt to Marcellina so everybody is content! A festive wedding celebration is held in the park where fireworks are flooding in the shape of stars.




Earl Almaviva
Spanish Grande who is in love with Rosina

pupil of Bartolo, in the second act - a Countess
"National actress of Russia", laureate of Moscow Award

a doctor, guardian of Rosina
"Honored artist of Russia"

barber of Seville, in the second act – the major-servant of the Count
"Honored artist of Russia"

maid of Rosina and the bride of Figaro
"Honored actress of Russia"

maid of Rosina
laureate of International Competitions

Don Bazilio
a church organist, earning money from lessons of music and dance, as well as from denunciations and gossips
laureate of the International Competition

Marceline, a rich lady

a servant of the Count
laureate of International and Pan-Russian competitions

laureate of International and Pan-Russian competitions




laureate of International competitions
laureate of International and Pan-Russian competitions


Townsfolk of Seville, Courtier of the Count,
Sergeant, soldiers,
sleepwalkers, servants of the Count

Music recorded by the
Artistic director and Main Conductor
"Honored worker of arts of Russia"

"Honored actress of Russia"
"National actress of Russia"
laureate of the State Premium of Russia
Honored artist of Russia
Honored artist of Russia

Manager of the company
"Honored artist of Russia"

Stage director

Director of the Musical department
laureate of the International competition

Lighting designer

Manager of costume department

Stage assistants

Director of the theatre



The Kremlin Ballet Theatre was founded in 1990 under the initiative of a renowned master of ballet and People's Artist of Russia Andrei Petrov at the State Kremlin Palace (then, Palace of Congresses) – the country's largest and most prestigious theatre and concert hall, which was the second stage of the Bolshoi Theatre of USSR until the late 80's. Creation of a new classic genre-oriented choreographic collective within Moscow's ancient Kremlin became a grand event in the world of ballet. Nowadays, whenever we talk about the Kremlin Ballet and the collective's artistic triumphs we cannot help but remember with a sense of gratitude the names of the renowned choreographers who were there at its cradle: Galina Ulanova, Marina Semyonova, Sofya Golovkina, Boris Pokrovsky etc. From day one of the group's creation and until her final breath the legendary Russian ballerina Yekaterina Maksimova was the head teacher of the Kremlin Ballet.

Some of the master choreographers who have worked with the Kremlin Ballet Theatre include Yuri Grigorovich, Vladimir Vasilyev, Wayne Eagling, Patrick de Bana, Yurius Smoriginas, as well as some of the greatest theatrical artists the likes of Tahir Salahov, Stanislav Benediktov, Viktor and Raphael Volsky, Marina Sokolova, Boris Messerer, Olga Polyanskaya, Vladimir Arefyev, Boris Krasnov, Pavel Orinyansky, Anna and Anatoly Nezhny, Grigory Belov and Nikolai Sharonov. Under the management of Margarita Prokudina Simon Virsaladze's decorations for the plays 'Romeo and Juliet' and 'Ivan the Terrible' have been reconstructed.

Among the guest leads who have been invited to perform in the Theater's plays are the world ballet stars the likes of Igor Yebra (Spain), Matilda Fruste and Stephane Buillion (France, Paris National Opera), Alina Kozhokaru, David Makhateli, Johan Kobborg, Federico Bonelli (London Royal Ballet), Sergei Sidorsky (National Opera of Ukraine), Anastasia Volochkova, Yuri Klevtsov, Aleksandr Volchkov, Ilze Liepa, Mikhail Lobukhin (Bolshoi Theater of Russia), Darya Klimentova and Vadim Muntagirov (English National Ballet), Viktoriya Ananyan (National Ballet of Netherlands), Sergei Upkin (Estonian National Ballet), Yulia Mahalina, Yekaterina Osmolkina and Yevgeni Ivanchenko (Mariinsky Theater, Saint-Petersburg) and Gabriele Corrado (Monte- Carlo Ballet).
In 2005 the long-term joint international project 'Russian Seasons of 21st Century' has been launched (art-directors – People's Artist of Russia Andrei Petrov and People's Artist of Russia Andris Liepa). It is being implemented by the Kremlin Ballet and Maris Liepa Charity Foundation. Among the outcomes of this large-scale project is the revival of the masterpieces of Sergei Diaghilev's legendary repertory / as The Blue God, Tamar, Scheherazade, Firebird, Bolero, L'Apre `s-midi d'un faune, Le Pavillon d' Armide, Chopiniana, Petrouchka, Polovtsian Dances, Cleopatra – Ida Rubinstain/ that once got the world accustomed with the Russian art and introduced the ballet to a global artistic process of the plays that in their turn gave a powerful impulse to the development of the world ballet theatre, music and painting.

Nowadays The Kremlin Ballet Theatre is the most refined and carefully preserved classical dance culture. It is a group with a unique artistic image, distinctive artistic style and its own original repertoire. The Kremlin Ballet's creed is adherence to the traditions of the Russian ballet theatre combined with the creation of contemporary original pieces. An acknowledged leader among the choreographic collectives of Russia, The Kremlin Ballet Theatre has had over 85 tours in more than 30 countries across the globe, as well as 30 national tours. The Kremlin Ballet Theatre is an essential part of the artistic achievements that define art history of the modern Russia.




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