Two Worlds on Stage: My Journey Through Opera and Musical Theatre in Moscow
I do not often manage to escape into the world of theatre, which perhaps makes each occasion particularly meaningful. November, however, proved to be a fortunate exception. During this month, I had the opportunity to attend several performances, each leaving a distinct impression and reminding me why theatre continues to captivate me, even when visits are infrequent.
Although I can call myself a theatregoer, this label reflects less the frequency of attendance than my deep appreciation for the theatrical atmosphere. There is something uniquely compelling about entering a space where everyday reality yields to a carefully constructed world. When the lights dim, a new story unfolds — existing only in the present, shaped by live voices, movement, and emotion. Even rare encounters with theatre feel immersive and memorable because of this intensity.
What fascinates me most is the anticipation before a performance: the quiet murmur of the audience, the subtle tension before the curtain rises, and the collective readiness to engage. Theatre demands presence, offering an experience that cannot be replicated elsewhere.
Opera: The King in Italian
One of the most striking experiences of the month was my visit to the Chamber Stage of the Bolshoi Theatre to see the opera The King, performed in Italian. I purchased the ticket roughly a month in advance, aware that performances on the Chamber Stage tend to sell out quickly. A pleasant surprise was the price: compared to the Historic Stage, tickets here are relatively affordable. My seat, close to the stage, provided an intimate viewing experience.
Although I had attended operas several times before, this was my first encounter with a performance in a foreign language. I was particularly intrigued by how the translation would be presented and whether following the libretto via subtitles would distract from or enhance the experience. Ultimately, the translation added another layer of engagement, encouraging closer attention to both the music and the narrative.
Reviving a Hidden Gem: The King at the Bolshoi Theatre
This production is part of the Bolshoi Theatre’s ongoing effort to revive lesser-known and rarely performed works. The King is the final opera by Italian composer Umberto Giordano, a representative of the verismo tradition. Many music enthusiasts are often surprised to discover it, as the opera has long remained outside the mainstream repertoire.
The work premiered in 1929 at La Scala in Milan and was originally written for the celebrated Italian soprano Toti Dal Monte, whose style belonged to what is often called the “old school” of coloratura singing. While she performed the leading role with considerable success, public interest in the opera gradually waned after her departure from the stage. (Bolshoi Theatre, 2025)
At the Bolshoi Theatre, Giordano remains relatively unfamiliar. Apart from a presentation of his most famous opera, Andrea Chénier, in the late 1800s, his works have rarely appeared on this stage. According to the production’s director, Yuri Muravitsky, the apparent simplicity of The King conceals meaningful dramatic tensions and moral questions, making it surprisingly relevant for contemporary audiences. (Bolshoi Theatre, 2025)
First Impressions: Entering the Chamber Stage
The Chamber Stage of the Bolshoi Theatre is conveniently located in the heart of Moscow, close to the Historical Museum and Red Square, making the journey to the performance part of the overall cultural experience. In the evening, the building immediately draws attention: its numerous small lights create a festive yet refined atmosphere.
Inside, while modest in scale, the space’s elegant design more than compensates. Mirrors and illustrated panels depict vivid scenes from various productions, while deep shades of blue dominate the interior, adding calm sophistication and theatrical intimacy. Rather than overwhelming visitors, the foyer gently prepares the audience for the performance ahead.
The auditorium and stage are relatively compact, with no upper tiers, enhancing the sense of closeness between performers and spectators. At the same time, the layout provides ample space for musicians performing live, an essential component of the experience. The sound fills the hall evenly without being overpowering, contributing to a well-balanced and immersive performance.
An Unconventional Yet Meaningful Story
When choosing a theatre performance, I usually gravitate toward comedies, as they offer an opportunity to relax, recharge emotionally, and prepare for the week ahead. In this case, however, the story proved more than merely amusing. While it contained light and humorous moments, it was also deeply instructive, and its resolution was unexpectedly moving.
After the performance, I was left with a warm feeling mingled with a quiet sense of inspiration. In some ways, the overall message echoed the spirit found in the works of Jules Verne — a belief in human resilience that persists even in difficult circumstances. These subtle undertones of optimism made the narrative especially engaging.
Without revealing plot details for those who might wish to attend, I can say that the story strikes a balance between simplicity and emotional depth. The acting and vocal performances deserve special mention. The singing of Rosalina and her beloved was truly impressive, combining technical precision with emotional sincerity, while the portrayal of the King added nuance and complexity to his character.
Singing in Italian
I do not speak Italian, although I once attempted to learn it. Nevertheless, the performers’ singing rendered the language barrier almost irrelevant. The sound of Italian on stage was unforgettable — melodic, expressive, and remarkably pleasing to the ear. The music flowed naturally, enhancing the emotional impact of each scene.
The translation was conveniently displayed on a screen above the stage, positioned so it was easy to follow without distraction. This arrangement allowed the audience to watch the performance and read the text comfortably, maintaining full engagement with the unfolding story.
Tips for Visitors: Chamber Stage of the Bolshoi Theatre
- Book in advance: Monitor the official website to note when ticket sales begin. Planning one to two months ahead ensures you can select a comfortable seat without rushing, as performances often sell out quickly due to the venue’s relatively low ticket prices.
- Choose the right seat: The middle section, closer to the aisle, offers the most comfortable experience for both viewing the stage and enjoying live music. From there, subtitles are clearly visible, the sound is well balanced, and you do not need to tilt your head for extended periods, as can happen when sitting too close. Seats further back can also provide a pleasant experience; bringing a small theatre binocular is a practical solution.
- Arrive early: Aim to arrive at least 20–30 minutes before the performance. This allows time to explore the interior, find your seat calmly, and fully immerse yourself in the atmosphere before the music begins.
- Getting there: The Chamber Stage of the Bolshoi Theatre, named after B. A. Pokrovsky, is located at 17 Nikolskaya Street, Building 1, within the Slavyansky Depot Center (courtyard entrance). The nearest metro station is Lubyanka. More information about upcoming performances is available on the official Bolshoi Theatre website: https://bolshoi.ru/
“Cinderella”: A Renewed Premiere at the Moscow Operetta Theatre
For many years, the musical Cinderella, composed by Andrey Semyonov and staged by Zhanna Gerder, has delighted audiences at the Moscow Operetta Theatre. Since its debut in the late 2000s, the production gradually became a cherished family tradition, especially beloved by younger theatregoers (Moscow Operetta Theatre, Cinderella, 2025).
This season, Charles Perrault’s well-known fairy tale returns to the stage in a refreshed and reimagined form. The story receives new visual and artistic treatment: updated stage effects, more vibrant scenery, and a faster-paced narrative bring renewed energy to the familiar plot. The tale of a kind young woman who loses her glass slipper at the ball hardly needs retelling — the noble prince, the strict stepmother, and her envious stepsisters are ingrained in our cultural memory (Moscow Operetta Theatre, Cinderella, 2025).
The creative team has, however, infused the production with a renewed sense of mystery and theatrical wonder. Entirely new choreography, carefully designed illusions, vivid special effects, and dynamic transformations turn the musical into a visually rich spectacle. Flying scenes above rooftops, floating clouds, and the magical appearance of the fairy create moments that feel both playful and impressive, particularly for younger audiences.
The musical score by Andrey Semyonov, combined with the libretto by Zhanna Gerder based on the script by Evgeny Schwartz, and lyrics by Gerder and Schwartz, forms a cohesive and engaging performance that successfully bridges classical storytelling with modern theatrical techniques (Moscow Operetta Theatre, Cinderella, 2025).
First Impressions: The Theatre and the Hall
The auditorium of the Moscow Operetta Theatre is impressive in scale. What immediately captures attention is not only its size but the remarkable beauty of every detail. The chandelier, spanning almost the entire ceiling, is particularly striking — simultaneously grand and elegant. Even after visiting larger theatres, I had rarely encountered a chandelier of such magnitude and refinement, which instantly sets the tone for a festive and immersive experience.
The hall feels ceremonial yet welcoming, creating an atmosphere that prepares the audience for a spectacle in which visual richness plays a crucial role alongside music and performance.
A Lasting Impact: The Visual and Spatial Magic of Cinderella
On the theatre’s official website, special emphasis was placed on the updated set design, which immediately drew my attention — and for good reason. The scenery did not merely appear modern despite the classical fairy-tale storyline; it became an essential participant in the performance itself. The décor functioned as an interactive and dynamic element of the production, seamlessly integrated into the action while remaining visually stunning.
Another memorable feature was the way characters and entire groups entered from different parts of the auditorium. Members of the royal court and other figures made their entrances through aisles and side passages, allowing those seated in the stalls to observe the costumes and intricate details from a very close distance. This spatial use of the hall significantly enhanced the sense of involvement and immersion.
Although the plot of Cinderella is widely known almost by heart, the performance felt fresh and engaging. This effect was achieved through genuinely bold directorial decisions, meticulous attention to detail, and a conscious effort to make the set design an active storytelling tool rather than a static background. The energetic acting style, combined with expressive musical numbers and memorable songs, played a central role in presenting the familiar story in a new and captivating light.
Tips for Visitors: Moscow Operetta Theatre
- Choose the best seats: For the musical, the first row of the dress circle is particularly recommended. From there, the view is expansive and visually impressive while still maintaining a sense of proximity to the stage. Tickets in this section are also often easier to purchase than those in the stalls, making it a practical and rewarding choice.
- Getting there: The Moscow Operetta Theatre is located at 6 Bolshaya Dmitrovka Street, Moscow. The nearest metro stations are Teatralnaya and Okhotny Ryad. Further information about upcoming performances is available on the theatre’s official website: https://mosoperetta.ru/
I am genuinely grateful for the opportunity to experience two such different yet equally inspiring productions in November. The King offered an hour of light humor combined with unexpected depth, introducing a work unfamiliar even to many seasoned opera enthusiasts. In contrast, Cinderella invited young viewers into a vivid world of fantasy while offering adult audiences a sense of warm nostalgia and sincere emotion — a quality only a truly heartfelt fairy tale can evoke.
Together, these performances made for a balanced and memorable theatrical month. The musical, in particular, felt especially fitting for the approaching winter season, subtly evoking a festive, almost New Year’s atmosphere. I would wholeheartedly recommend both productions to anyone interested in theatre that is thoughtful, visually rich, and emotionally engaging.
References
- Bolshoi Theatre. The King. Official performance page. https://bolshoi.ru/performances/opera/il-re?utm_referrer=https%3A%2F%2Fwww.google.com%2F
2. Moscow Operetta Theatre. Cinderella. Repertory page. https://mosoperetta.ru/repertuar/zolushka1/
All photos are taken personally by the author*
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