Arrow down iconArrow left iconArrow right iconArrow up iconAudio iconBasket iconClose iconDocument iconExclamation mark iconMenu iconPhoto iconQuotation markQuote iconTick iconUser icon

Raymonda Act III

The final act of Raymonda contains some of the greatest choreography in Russian ballet and was adapted by Rudolf Nureyev.

Most recent performance

There are currently no scheduled performances of Raymonda Act III. It was last on stage 22 December 2012—11 January 2013.


Act III of Raymonda celebrates the wedding of Raymonda and the knight Jean de Brienne, following Jean’s return from the Crusades.


Raymonda was created by Marius Petipa in 1898 for the Mariinsky Theatre in St Petersburg. It contains some of his most spectacular choreography and a magnificent score by Alexander Glazunov, full of spirited rhythms and lilting waltzes – George Balanchine called it ‘some of the finest ballet music we have’. Rudolf Nureyev had an intimate knowledge of Raymonda: he performed in the ballet as a young dancer with the Kirov Theatre and staged a full-length version for The Royal Ballet in 1964, reviving many of the dances from memory.

Nureyev presented an adapted version of Act III at Covent Garden in 1969. Against an opulent setting created by Barry Kay, a Hungarian folkdance opens the wedding celebrations for a ballerina and her cavalier. A lively male pas de quatre is followed by the famous grand pas hongrois, which contains ensembles for all 10 dancers, who wear radiant white costumes. Act III of Raymonda was performed as part of a tribute to Nureyev at the Royal Opera House in 2003.

On Wikipedia


Raymonda (Russian: Раймонда) is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa, with music by Alexander Glazunov, his opus 57. First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently. Today Raymonda is performed by many ballet companies throughout the world with choreography that is derived primarily from the Kirov Ballet's 1948 revival as staged by Konstantin Sergeyev. Sergeyev greatly altered, and in some cases changed entirely, Marius Petipa's choreography, particularly in the dances for the corps de ballet. The choreography as revised by Sergeyev remains the traditional text for most of the world's productions of Raymonda, among them Rudolf Nureyev's version for the Paris Opéra Ballet and Anna-Marie Homes's version for American Ballet Theatre, respectively. The choreography and mise-en-scène of the Imperial Ballet's original production of Raymonda as staged in 1898 was recorded in the method of for performances starring the renowned Russian ballerina Olga Preobrajenskaya in the title role. Today, this notation is part of Harvard University's Sergeyev Collection. In 2011 Sergei Vikharev utilized this notation to stage an almost totally complete reconstruction of the original 1898 production of Raymonda for the Teatro alla Scala.

Read the complete Raymonda article on Wikipedia, available under a Creative Commons license.