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Stravinsky Evening

  • Zubin Mehta 540482MBDG ph Marco Brescia RIDOTTA
  • Petrushka 362257LMN x ph Lelli e Masotti
  • R Petrushka 357702LMN x ph Lelli e Masotti
  • R Le sacre du printemps Glen Tetley ..ph Lelli e Masotti Teatro alla Scala  20419LMN
  • Le sacre du printemps Glen Tetley ..ph Lelli e Masotti Teatro alla Scala 20735LMN
  • serata stravinskji
From 11 February to 1 March 2017
Igor Stravinsky

Teatro alla scala Ballet Company and Orchestra 

Students of the Ballet School of Teatro alla Scala Academy


 Teatro alla Scala Production


Running Time: 1 hour 35 minutes intermission included

Le sacre du printemps

Music Igor' Stravinsky  
Conductor Zubin Mehta  

Glen Tetley

©Glen Tetley Legacy

Revived by Bronwen Curry  
Sets and costumes Nadine Baylis  
Lights  John B. Read  


Music Igor'Stravinsky
Conductor Zubin Mehta 
Choreography Michail Fokin
Revived by Isabelle Fokine
Libretto Igor'Stravinsky and Aleksandr Benois 
Sets and costumes Aleksandr Benois
Costume Supervisor Irene Monti
Lights Marco Filibeck



There will be a distinct change of atmosphere between February and March, with two cornerstones of the history of music and ballet for Stravinsky Evening. A tribute to the genius of the composer exalted by the baton of Zubin Mehta, for the first time on the podium with the Scala Ballet Company, in an evening evoking the creative fervour of the dawn of last century, the incomparable artistic hotbed that was the experience of the Ballets Russes. Stravinsky, Diaghilev, Nijinsky, and Fokin. Le sacre du printemps and Petruška: pagan rites and Russian folklore, universal ancestral tales, absolute masterpieces, symbols and testimonies, at their birth, of a new direction in the history of music and ballet. Petruška returns to the stage in the historic version, with Fokin’s choreography and staging by Aleksandr Benois. Performed at La Scala in 1981, but created in 1974, Le sacre du printemps by Glen Tetley breaks free from historical references to concentrate on the almost-telluric potency and the emotions suggested by music, using abstract and timeless costumes to evoke the cycles of life and death, in accordance with the alternating of the seasons, and entrusting a male dancer with the role of the Chosen One. This was the version with which the great choreographer made his first entrance into the repertoire of La Scala, and with this version he will return, in 2017, ten years after his death.


With the support of