The Taming of the Shrew

Ballet by John Cranko after William Shakespeare

The Taming of the Shrew

Ballet by John Cranko after William Shakespeare
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

Revival
The Taming of the Shrew
Sat 7. May
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

The Taming of the Shrew
Fri 13. May
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

The Taming of the Shrew
Sat 14. May
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

For families
The Taming of the Shrew
Sun 15. May
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

For families
The Taming of the Shrew
Sun 22. May / aft
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

The Taming of the Shrew
Sun 22. May / eve
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

For schools
The Taming of the Shrew
Wed 1. Jun / School event
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

For families
The Taming of the Shrew
Sun 5. Jun
Opernhaus
https://www.stuttgarter-ballett.de/ Stuttgarter Ballett Oberer Schloßgarten 6, 70173 Stuttgart

The Taming of the Shrew
Tue 7. Jun
Opernhaus
Further dates
The Taming of the Shrew
Choreography and Production
John Cranko
Music
Kurt-Heinz Stolze nach Domenico Scarlatti
Stage and Costumes
Elisabeth Dalton
Wolrd Premiere
16. März 1969, Stuttgarter Ballett
Musical Direction
Mikhail Agrest / Wolfgang Heinz, Staatsorchester Stuttgart
John Cranko’s The Taming of the Shrew is one of the great ballet comedies of the 20th century. Inspired by William Shakespeare’s world-famous play, Cranko brings to vivid life the story of the shrewish Katharina whom no one wants to marry and the dashing and clever Petrucchio who makes her his wife and “tames” her. Cranko, a master at creating characters whose inner motivations are believable and instantly understandable to the audience, has provided many subsequent generations of dancers with two spectacular roles in which both acting and dancing ability can be sublimely combined. Katharina’s character undergoes a profound change during the course of the ballet as she lets her defenses down and realizes that Petrucchio loves her for herself. The utterly lovable Petrucchio is given two bravura solos which leave the audience breathless and cheering. Using three ingenious pas de deux which are in turns hilarious, touching and utterly human, Cranko ensures that the audience has fallen in love with his two main characters by the time the final curtain falls. Set to cheerful and boisterous music by Domenico Scarlatti and with colourful costumes and a charming set by Elisabeth Dalton, The Taming of the Shrew evokes the sunlit streets and gardens of Italy and is a perfect ballet for the whole family.

Synopsis

Act I
Outside Baptista’s House
Hortensio, a fop, Lucentio a student, and Gremio, an elderly roué, serenade the beautiful Bianca. Their love songs are brusquely interrupted by Katherina, Bianca’s older sister. Their father Baptista explains to the suitors that Katherina, as the elder of his two daughters, must marry first. Neighbours, awakened by the noise, chase the thwarted lovers away.

A Tavern
Petrucchio, a gentleman of more generosity than means, is stripped of his last penny by two ladies of the streets. Bianca’s three suitors suggest that he might be interested in the charms and the fortune of Katherina. He agrees.

Inside Baptista’s House
Bianca muses about her preferences among her three suitors; she is interrupted by a jealous outburst from Katherina who calls her a scheming flirt. This dispute is interrupted by the arrival of Petrucchio accompanied by Gremio, Lucentio and Hortensio, disguised as teachers of singing, dancing and music. Petrucchio is none too favourably received by Katherina. Alone with Bianca the suitors doff their disguises and continue their wooing in the form of lessons. Bianca soon recognizes Lucentio as the most desirable. Katherina reacts violently against Petrucchio’s protestations of passion, thinking that they are a false mockery, but something in his manner convinces her enough to agree to the marriage.

A Street
The neighbours, on their way to Katherina’s nuptials, treat the matter as a huge joke. The three suitors join them, now in high hopes that Bianca will soon be won.

Baptista’s House
The guests have arrived. Katherina is in her bridal array, but the bridegroom appears to have forgotten the day. When he does appear, in fantastic garb, Petrucchio misbehaves, illtreats the priest, and carries-off the bride before the wedding festivities have begun.
Act II
The journey to Petrucchio’s house
Petrucchio proceeds with his taming of Katherina by extinguishing the fire and finding fault with the food. Katherina spends a hard, cold, hungry night.

The Carnival
A masked and cloaked stranger appears to Hortensio and Gremio during the carnival. Both of them, believing her to be Bianca, are only too eager to take their marriage vows. Too late they discover that they have been duped and married the two ladies of the streets, suitably briefed, bribed, and disguised by Lucentio.

Petrucchio’s house
Katherina is still hungry and freezing. Although Petrucchio continues to tease Katherina, her weary resistance finally crumbles and she capitulates to her master; only to find that Petrucchio is a kinder, wittier husband than she has imagined.

The journey to Bianca’s wedding
Petrucchio indulges in a few more whims and fancies, but Katherina has learned her lesson, and joins in the fun.

Bianca’s wedding
Gremio and Hortensio have found out that the joys of marriage are a mixed blessing, and even Lucentio has reason to fear that Bianca is not the angel that she appeared to be. Katherina, on the other hand, and to everybody’s astonishment, turns out to be the truest, most obedient, most loving of wives. Which only goes to show that women are not always what they appear to be, or never judge a book by its cover.

Further productions this season

Quadruple Bill

Angels and Demons

Kylián / Petit / Béjart