Учредитель театра - Министерство культуры, национальной политики и архивного дела Республики Мордовия

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Касса: 23-21-16



86 театральный сезон 

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The Ministry of culture, national politics, tourism and archiving of The Republic of Mordovia 

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named by I. M. YAUSHEV


83 season



Gioachino Rossini «IL BARBIERE DI SIVIGLIA» 12+


Opera in two acts

Libretto by Cesare Sterbini after the comedy of the same name by Pierre-Augustin de Beaumarchais
Music Director: Honoured art worker of Mordovia Nikolay Klinov
Stage Director: Mikhail Trofimov
Stage Director of revival: Honoured artist of Mordovia Alexander Tchelyshev
Set Designer: Honoured culture worker of Russia, Honoured art worker of Mordovia Elena Nikitina
Costume Designer: Juri Alexeev

Seville. Night. Count Almaviva comes to the house of Doctor Bartolo and serenades Rosina. Figaro an old friend of Count explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. The count returns, disguised as a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio. With Bartolo dozing off, Almaviva and Rosina declare their love. Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. While Bartolo gets his shave, Almaviva plots with Rosina to meet at her balcony that night so that they can elope. The maid Berta comments on the crazy household. Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Figaro and the count climb a ladder to Rosina’s balcony. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Figaro, Rosina, and the count celebrate their good fortune.

Gaetano Donizetti «RITA, OR THE BEATEN HUSBAND» 12+
Opéra comique in one act Libretto by Gustave Vaëz The Russian text is by Juri Dimitrin

Opéra comique in one act

Libretto by Gaetano Donizetti


Music Director: Honoured art worker of Mordovia Sergei Kiss
Stage Director: Vyacheslav Egorov

Set Designer: Juri Alekseev Costume Designer: Svetlana Tundavina

Opéras comique in one act Rita or the Beaten Husband (alternative names Pirate Triangle, Broken Cup) and The Doorbell (The Night Bell, The Chemist` Bell) are the classical situation comedies with happy end. These performances give the public an unusual experience of interactive play. The public will feel the atmosphere of Italia of XIX.

The opera Rita tells about the landlady of the tavern who has to decide between two husbands. One of them is unexpectedly resurrected pirate. Another is her actual timid husband. The Doorbell tells about the cunning young man who is in love with young beautiful Serafina. He deceives the old chemist who wants to marry the young woman.

Georges Bizet «CARMEN» 12+


Opera in four acts

Libretto by Henri Meilhac and Ludovic Halévy after the novel of the same name by Prosper Mérimée

Music Director: Medet Turgumbaev Stage Director: Mikhail Trofimov

Set and Costume Designer: Honoured artist of the Chuvash Republic Valentin Fyodorov Choreography: people`s artist of the Chuvash Republic Galina Vasilieva

A square in the city of Seville. Female workers of the tobacco make their way from work through the square. Carmen the gypsy is among them. All the men are fascinated by her. she is drawn to the indifferent one, Don José. Gypsy girls entertain the soldiers at Lillas Pastia’s. Escamillo the toreador praises his dangerous trade, and is in his turn praised by the enrapt crowd. Escamillo is captivated by Carmen, but she is not interested in him. The smugglers tempt Carmen and her friends to assist them. Suddenly Zuniga, José’s senior, arrives at the inn. He goes after Carmen, but the smugglers interfere. Zuniga is overpowered, and José has to join the smugglers. Smugglers’ camp. José is jealous of his lover and ashamed of being a deserter. Escamillo comes to the camp. He wants to see Carmen and declares his love for her. José is ready to kill his rival. As he leaves, Escamillo invites everyone to a bullfight. Micaëla was looking for José to inform him of his mother’s mortal ilness. José has to go with her and leave Carmen. A square in front of an arena where a bullfight is about to start. Carmen and Escamillo arrive together, they are happily in love. She stays behind the crowd and meets José face to face. José implores Carmen to go with him and love him again, but she is adamant: her heart belongs to another. Desperate and enraged, José kills Carmen.

Giacomo Puccini «MADAMA BUTTERFLY”12+


Opera in two acts
Libretto by
Luigi Illica and Giuseppe Giacosa

Music Director: Medet Turgumbaev
Stage Director: Honoured art worker of Russia and Mordovia, people`s artist of Mordovia Vladimir Dolgov
Set and Costume Designer: Juri Alexeev

U.S. naval Lieutenant Pinkerton marries a young Japanese woman Cio-Cio-san, “Butterfly”. Cio-Cio-san loves her future husband very much. She is willing to adopt Christianity and break off relations with her family. The wedding ceremony begins with help from The Imperial Commissioner. The ceremony is interrupted by the wrathful Bonze, Cio-Cio-san`s uncle curses his niece. Pinkerton left soon after wedding. Cio-Cio-san is looking forward to his comeback. Abandoned by her husband and left by her family, she lives with her servant and little son. Pinkerton doesn`t know about his existence. The Consul Sharpless has received a letter from Pinkerton: he had married an American woman, and he asked the Consul to put it to Butterfly nicely. But Sharpless can`t read the letter to the end. Hearing that her husband is alright and goes to Nagasaki, Cio-Cio-san interrupts the Consul with glad shouting. Prince Jamadori appears. Goro propose him as a husband for

Butterfly. Jamadori gets the mitten from her and takes himself away. Sharpless recommend Butterfly to marry Jamadori. He hints that Pinkerton may not come back, but she holds a strong belief in his love. In excitement Cio-Cio-san decorates her house with flowers and looks at the ship lights waiting for her husband. The servant welcomes Pinkerton and Sharpless along with the unknown lady. Sharpless says to Suzuki that it`s Pinkerton`s wife Kate. Pinkerton learnt he had a son and came to take him away. Cio-Cio-san agrees to give her child up but she can’t get through unfulfilled expectations. Tenderly she says farewell to her son and kills herself with the hara-kiri knife.

Ruggero Leoncavallo “PAGLIACCI”12+


Opera in two acts

Libretto by the composer

Music Director: Danila Serganin
Stage Director: Elena Artyukhina
Set Designer: Juri Alekseev
Costume Designer: Svetlana Tundavina Choreography: Polina Filippova

Before the curtain rises Tonio appears dressed as a clown. He explains to the audience what they are about to see on stage.

A company of travelling comedians arrives in a small Italian village. The villagers joyfully greet Canio, the leader of the company, his actress wife Nedda, Tonio the clown and Beppe the actor. The performance will be in the evening. Tonio is nursing a grievance against the company´s jealous leader for offending him. Canio´s jealousy is justified. Left alone, Nedda dreams.Silvio appears, sincerely and lovingly devoted to Nedda. He implores her to abandon her life on the road and run away with him. Canio having rushed back. Silvio manages to flee unrecognised. Canio insists that Nedda name her lover, but to no avail. Tonio calms him, saying that the fugitive will return for the performance and there he will somehow give himself away. The show will begin soon…

The plot being acted out is similar to the events in the actors´ own lives. Taddeo (Tonio) loves Colombina (Nedda), but she loves Arlecchino (Beppe). Pagliaccio (Canio) interrupts their rendezvous. Canio in a fit of fury he stabs Nedda to death and then Silvio, who leaps onto the stage on hearing his lover´s dying scream. "La commedia è finita!" exclaims Canio.

Pyotr Tchaikovsky «THE QUEEN OF SPADES» 16+


Opera in three acts

Libretto by Modest Tchaikovsky, after the novel by Alexander Pushkin

Music Director: Honoured art worker of Mordovia Sergei Kiss Stage
Director and Set Designer:
Dmitry Belyanushkin

Costume Designer: Svetlana Tundavina Choreography: Alexei Batrakov

A mystical opera about love and demonic temptation. The story of us both now and always.

The version by Stage Director Dmitry Belyanushkin transfers the story from the end of XVIII to the early nineties of XX in the perestroika period. It was the time when the life philosophy gave birth to the paradigm “live grandly, die young”. Such transformation of the traditional plot are not in disregard for the authentic musical material of Tchaikovsky.

Herman is a poor army officer who loves Liza without response. Liza is a heiress of a rich Countess. And she is Yeletsky` fiancee. Willing to become rich and gain Liza`s love Herman made a deal with the devil. He accidentally heard the story that the Countess knew three cards with mystical power of winning and a hope sprang up within him. At night he breaks into the Countess` house but she doesn`t disclose a secret and dies The death-blow to Herman`s hopes made him mad. The ghost of the Countess appears and names three cards:




The insane hope drives Herman to go gambling. His passion defeats the common sense.

Life is but a game! The unhappy lover got the death as his gain. But eternal love triumphs at the end. The final is unexpected.

Pyotr Tchaikovsky «EUGENE ONEGIN»12+


Opera semi-stage in two acts

Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky (stage version by Sergei Kiss) based on the novel in verses of the same name by Alexander Pushkin

Music Director: Honoured art worker of Mordovia Sergei Kiss
Stage Director: Honoured worker of culture of Mordovia Eduard Hramov
Set Designer: Honoured art worker of Mordovia Vladimir Fursov

Costume Designer: Svetlana Tundavina

The Larins’ estate. In the distance, Tatiana and Olga can be heard singing. Listening to them, Mrs Larina and the nanny recall their own younger days. Visitors appear unexpectedly: Vladimir Lensky, the Larins’ neighbour and Olga’s fiancé, has brought with him his friend Onegin recently come down to the country from the capital. While Lensky declares his love to Olga, the new visitor chats with Tatiana. Tatiana cannot sleep. Tatiana writes a letter to Onegin. Tatiana anxiously awaits a reply. Eugene appears – he is touched by her declaration but is unable to return her love.

A ball in honour of Tatiana’s name day. Lensky has convinced his friend to visit the Larins, but the party and the guests serve to irritate Onegin. Lensky starts a quarrel with Onegin and challenges him to a duel.

Lensky await the arrival of Onegin. At last the rival comes. The former friends are willing to forget any offence caused, but ideals of honour gain the upper hand. A shot rings out and Lensky drops down dead.

Following a lengthy absence, Onegin returns to live in the capital. He finds Tatiana a married woman. Her husband Prince Gremin speaks to Onegin of his happiness.

Gremin’s house. Tatiana reads Onegin’s letter. Suddenly he himself appears. With passionate prayer, Onegin succeeds in extracting a confession that she still loves him. But Tatiana’s decision is resolute: she will remain faithful to her husband.

Mikhail Fomin «PATRIARCH NIKON» 12+


Opera semi-stage in one act

Libretto by Honoured art worker of Russia and Mordovia, people`s artist of Mordovia Vladimir Dolgov based on the novel
by M. Filippov "Patriarch Nikon" (consultant and editor archpriest Alexander Pelin)

Music Director: Honoured art worker of Mordovia Sergei Kiss

Stage Director: Honoured art worker of Mordovia Vladimir Fursov

The opera Patriarch Nikon was produced in the context of federal programme and coincided with 1000 years of the unity of Mordovian people with peoples of the Russian state.

Patriarch Nikon is the famous religious and statesperson, the ecclesiastical teacher of XVII , the best counselor of Tsar Alexei. Patriarch Nikon had Mordovian origins in his genealogic line.

The author of the novel tells about one of the most tragic periods of our history the Great Schism of the Russian Church. Nikon made some church reorganizations and was first who realized the rapprochement of Russian and European cultures. But his ideas and views were untimely progressive and he met the opposition among the Russian Orthodoxy.

The main idea of the producers of this opera is showing Nikon not only as religious and statesperson but as a live person who stood fast and strongly believed in his ideas.

The staging of opera Patriarch Nikon gives the opportunity for perpetuating the memory of this remarkable person for new generations.