A court masquerade, the appearance of a fantastic maiden and her abduction, flying on an airship, a dream in which you can stay if you wish, a journey to the ends of the world in search of beauty, a global catastrophe, the king is not dead, long live the king!
The King’s Command is the title of a firmly forgotten ballet by Marius Petipa who is considered the creator of classical Russian ballet and a master of magnificent ballet extravaganzas. In all other respects, the new King’s Command is nothing like the old one: the script and choreography have been created anew, and the Theatre commissioned Anatoly Korolev, one of the most important Russian composers of the older generation, to write a ballet score. This is an attempt to apply the recipes of the late 19th century to a modern show and, as in the ballets of the past, the core of the production are large classical ensembles on pointe.
And besides, the title and the producton itself are reminiscent of Louis XIV and the Versailles masquerade ballets in which the king-dancer was personally involved and, by his royal, will turned the ballet craft into a high art. A fairytale story about a captain and an enchanted princess is only the beginning of a long chain of associations, a way to boost whimsical theatrical imagination, the starting point of a journey that can only be made at the Ural Opera.