Ballet in three acts after William Shakespeare - 1962

Choreography John Cranko · Composer Sergej Prokofjew

Tuesday, 28. February 2017
07:30 pm – 10:15 pm

Duration est. 2 hours 45 minutes · 1. Akt (est. 07:30 pm - 08:30 pm ) · Interval (est. 08:30 pm - 09:00 pm ) · 2. Akt (est. 09:00 pm - 09:40 pm ) · 3. Akt (est. 09:40 pm - 10:14 pm )

Prices G


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Robertas Šervenikas
John Cranko
John Cranko
Production Assistant
Georgette Tsinguirides
Set Design
Jürgen Rose

Tigran Mikayelyan
Julias Amme
Elaine Underwood
Pater Lorenzo
Peter Jolesch
Ksenia Ryzhkova
Jonah Cook
Graf Paris
Matteo Dilaghi
Alexey Popov
Alexander Omelchenko
Graf Capulet
Norbert Graf
Gräfin Capulet
Séverine Ferrolier
Luiza Bernardes Bertho, Evgenia Dolmatova, Mia Rudić
Wentao Li
  • Ensemble of the Bayerisches Staatsballett
  • Bayerisches Staatsorchester
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Even though John Cranko is South African, he counts as one of the most significant English choreographers of the 20th century. Furthermore, he is a central figure in German ballet history – after all, he contributed greatly to the fact that Germany returned to the forefront of the ballet world in the 1960s. In particular his version of Romeo and Juliet, created in 1962, directed the eyes of the ballet world back to the "Dance Country Germany" after it had been the catalyst of "Ausdruckstanz" and Modern Dance during the first third of the 20th century.
Cranko's Romeo and Juliet is told in the most clear and concise way, making explanations in the program book almost completely redundant. In his choreographic handwriting, each movement resembles an emotion. It is purely classical, but combines different styles and influences: from the near acrobatic virtuosity of the soviet ballet to the subtle elegance of the English style. This mixture is especially evident in his pas de deux between lovers. Ever since 1968, the ballet has been in the repertory of the Bavarian State Ballet. Every new generation of audiences and dancer alike is enchanted and devastated by the drama of this Piece.



Act I
Scene 1The Market Place.

As day breaks, Romeo, son of Montague, is found declaring his love to the fair Rosaline. With the sunrise the market place fills with townspeople among whom are members of the two rival families, the Capulets and the Montagues. Tempers flare and a quarrel develops. The Duke of Verona appears and warns the two fractions that death will the ultimate punishment if the feud does not stop. Romeo and his friends, Benvolio and Mercutio, make reluctant peace with Tybalt, a kinsman of the Capulets.

Scene 2Juliet’s anteroom in the Capulets’ house.
Juliet receives her first ball dress from her mother, Lady Capulet, and learns that she is to meet the noble Paris to whom she will be betrothed on the following day. Now she must bid farewell to her childhood.

Scene 3Outside the Capulets’ house.
Guests appear for the Capulets’ ball, among them Rosaline. Romeo and his friends, masked, follow her to the hall.

Scene 4 The ballroom.
Juliet dances with Paris but suddenly she and Romeo behold each other, and it is love at first sight. Tybalt, suspecting Romeo’s identity, tries to start an argument, but is prevented by Juliet’s father who abides by the laws of hospitality.

Scene 5Juliet’s balcony.
On the balcony outside her bedroom Juliet dreams of Romeo. He appears below in the garden. They declare their eternal love.

Act II
Scene 1The Market Place.
A carnival is in progress in the main square. Romeo, indifferent to the gaiety around him, is discovered by Juliet’s nurse, who brings him a letter from her. She asks Romeo to meet Juliet in the chapel of Friar Laurence.

Scene 2 The Chapel.
In his cloister, Friar Laurence joins the young lovers in marriage.

Scene 3The Market Place.
At the height of the carnival, Romeo returns to the square. Tybalt accosts him but Romeo declines to fight. Mercutio, angered, engages in a duel with Tybalt, and dies at his hands. Romeo, distraught, turns on Tybalt and kills him.

Scene 1
The Bedroom.
In Juliet’s bedroom the lovers are awakened by the sunrise, and Romeo, under sentence of exile, must leave Juliet and Verona. Lord and Lady Capulet enter with Paris, but Juliet rejects him.

Scene 2The Chapel.
Juliet, appealing for help to Friar Laurence, receives a potion from him that will place her in a death – like sleep. He explains that Romeo will find her in the family tomb and from there they can escape together.

Scene 3The Bedroom.
Juliet agrees to her marriage with Paris. After he leaves with her parents, she takes the sleeping draught and is thought to be dead when her family and friends discover her.

Scene 4The Capulet family crypt.
Romeo, who has never received Friar Laurence’s message revealing the plan, believes Juliet to be dead and rushes to her tomb. There he finds the mourning Paris and kills him. Embracing Juliet for the last time, he plunges his dagger into his heart. Juliet awakens to find Romeo Dead. Grief-stricken, she kills herself.

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Tigran Mikayelyan was born in Yerevan/Armenia and trained at the Armenian Ballet school Yerevan from 1989 to 1997. In 1997 he got a scholarship from the Nurejev Foundation and joined the Suisse Ballet Academy SBBS in Zurich. Having graduated in 1998 he was engaged with the Zurich Ballet where he was promoted to soloist in 1999 and to first soloist in 2003. In 2005/2006 he joined the Bayerisches Staatsballett as a First Soloist and was promoted to Principal at the beginning of the season 2007/2008.
With the end of the 2017/18 season Tigran Mikayelyan left the Bayerisches Staatsballett.


  • First prize in the Armenian Ballet Competition Amadeus
  • Prix Niveau Professional
  • Honoured Artist of Armenia
  • Theatre Award of the Münchner Merkur

Debuts with the Bayerisches Staatsballett

Béranger in Raymonda (R. Barra)
Golden Idol in La Bayadère (P. Bart)
Mercutio in Romeo and Juliet (J. Cranko)
Elemental (J. Godani), creation
Limb's Theorem (W. Forsythe)
Prince Siegfried in Swan Lake (R. Barra)
Romeo in Romeo and Juliet (J. Cranko)
Ali and Konrad in Le Corsaire (M. Petipa/I. Liška)
Sylvia Pas de deux (G. Balanchine)
The Eternal in Song of the Earth (K. MacMillan)
Antonio in Der Sturm (J. Mannes), creation
Große Fuge (H. v. Manen)
Solor in La Bayadère (P. Bart)
Adagio Hammerklavier (H. v. Manen)
Ghost Birds in A Cinderella Story (J. Neumeier)
First variation in Once Upon An Ever After (T. Kohler), creation
Des Grieux and Gaston Rieux in Lady of the Camellias (J. Neumeier)
Zugvögel (J. Kylián), Kreation
Faun in L'Après-midi d'un faune (V. Nijinsky)
Béranger in Raymonda (M. Petipa)
Lenski in Onegin (J. Cranko)
Abderakhman in Raymonda (M. Petipa)
Pas de deux 1 in Artifact (W. Forsythe)
First soloist in Série Noire - A choreographic murder mystery (T. Kohler)
Sylvia Pas de deux (G. Balanchine)
Man 1 in My Ravel: Whichever Way he Looks... (J. Mannes)
Briaxis in My Ravel: Daphnis and Chloé (T. Kohler)
Prince Désire in Sleeping Beauty (M. Petipa/I. Liška)
The King in Illusions - like Swan Lake (J. Neumeier)
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition
Drosselmeier in The Nutcracker (J. Neumeier)
Petrucchio in The Taming of the Shrew (J. Cranko)
3. Pas de deux in Goldberg-Variationen (J. Robbins)
The Moor's friend in The Moor's Pavane (José Limón)
2. Solo-Boy in Choreartium (L. Massine)'
Unitxt (R. Siegal), Creation
Theseus/Oberon in A Midsummer Night's Dream (J. Neumeier)
Leader of the Men in Le Sacre du printemps (M. Wigman)
Lucien d'Hervilly in Paquita (M. Petipa/A. Ratmansky)
In A Landscape (R. Siegal), Kreation
2nd Pas de deux in In the Night (J. Robbins)
Tybalt in Romeo and Juliet (J. Cranko)
Hortensio in The Taming of the Shrew (J. Cranko)
Lewis Carroll / The White Rabbit in Alice's Adventures in Wonderland (C. Wheeldon)
Stiva in Anna Karenina (C. Spuck)

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