1911 ballet by Igor Stravinsky
Petrushka (; ) is a ballet by Russian composer Igor Stravinsky. It was written for the 1911 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine and stage designs and costumes by Alexandre Benois, who assisted Stravinsky with the libretto. The ballet premiered at the Théâtre du Châtelet on 13 June 1911 with Vaslav Nijinsky as Petrushka, Tamara Karsavina as the lead ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti the charlatan.
"Petrushka" tells the story of the loves and jealousies of three puppets. The three are brought to life by the Charlatan during the 1830 Shrovetide Fair ("Maslenitsa") in Saint Petersburg. Petrushka is in love with the Ballerina, but she rejects him as she prefers the Moor. Petrushka is angry and hurt, and curses the Charlatan for bringing him into the world with only pain and suffering in his miserable life. Because of his anger, he challenges the Moor as a result. The Moor, who is both bigger and stronger than Petrushka, kills him with his sword (scimitar). The crowd watching is horrified, and the Charlatan is called to the scene as well as a police officer. The Charlatan reminds everyone that Petrushka is nothing but a puppet made of straw and cloth, and that he has no real emotion nor 'life'. As the crowd disperses, the Charlatan is left alone on the stage. At that moment, Petrushka's ghost rises above the puppet theatre as night falls. He shakes his fist and thumbs his nose at the Charlatan, making him flee, terrified. Petrushka then collapses in a second death.
"Petrushka" brings music, dance, and design together in a unified whole. It is one of the most popular of the Ballets Russes productions. It is usually performed today using the original designs and choreography. Grace Robert wrote in 1946, "Although more than thirty years have elapsed since "Petrushka" was first performed, its position as one of the greatest ballets remains unassailed. Its perfect fusion of music, choreography, and décor and its theme—the timeless tragedy of the human spirit—unite to make its appeal universal".
Russian puppets.
Petrushka is a puppet. He is a character known across Europe under different names: Punch in England, Polichinelle in France, Pulcinella in Italy, Kasperle in Germany, and Petrushka in Russia. Whatever his name, he is a trickster, a rebel, and a wife beater. He enforces moral justice with a wooden club, speaks in a high-pitched, squeaky voice, and argues with the devil. His plays are formulaic and subversive. They repeat key scenes from one play to another. The plays usually end with a dog, a policeman, or the devil dragging him away.
Empress Anna Ivanovna brought marionettes to Russia in the 18th century. These puppets were an amusement for the aristocracy. Rod puppets were an Asian import. They performed religious plays, mostly at Christmas. Petrushka, however, was a hand puppet. He was loved by the common people. He performed in street theatres and other open air venues in small portable booths or behind screens that could be easily assembled and just as easily disassembled. After the Russian Revolution, Soviet authorities forced Petrushka indoors. They wanted to be better able to monitor his subversiveness.
Composition.
The gestation of "Petrushka" was not a straightforward matter. While completing "The Firebird" during the spring of 1910, Stravinsky had a "vision" of a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of "The Rite of Spring." Immediately following the stunning success of "The Firebird" in June 1910, Diaghilev approached Stravinsky about a new ballet; the composer proposed the "Rite" theme. Diaghilev accepted in principle and suggested that the premiere might take place during the Paris season of the Ballets Russes during the spring of 1912.
At the end of September 1910, Diaghilev went to visit Stravinsky in Clarens, Switzerland, where he was living at the time. Expecting to discuss the new ballet, Diaghilev was astonished to find Stravinsky hard at work on a totally different project. Stravinsky, it seems, had had another vision: "I saw a man in evening dress, with long hair, the musician or poet of the romantic tradition. He placed several heteroclite objects on the keyboard and rolled them up and down. At this the orchestra exploded with the most vehement protestations – hammer blows, in fact …"
Later, Stravinsky wrote: "[i]n composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts." Although Stravinsky had conceived the music as a pure concert work—a "Konzertstück", Diaghilev immediately realized its theatrical potential. The notion of a puppet put Diaghilev in mind of Petrushka, the Russian version of Punch and Judy puppetry that had formed a traditional part of the pre-Lenten Carnival festivities in 1830s St. Petersburg.
Stravinsky composed the music during the winter of 1910–11 for Diaghilev's Ballets Russes. It was premièred in Paris at the Théâtre du Châtelet on 13 June 1911 the Orchestre Colonne under conductor Pierre Monteux, with choreography by Michel Fokine and sets by Alexandre Benois. The title role was danced by Vaslav Nijinsky. The work is characterized by the so-called Petrushka chord (consisting of C major and F♯ major triads played together), a bitonality device heralding the appearance of the main character.
Instrumentation.
1911 original version.
This is scored as follows: 
 ;templatestyles src="Col-begin/styles.css"/ ;
1946 revised version.
Stravinsky's 1946 version, published in 1947, is for a smaller orchestra.
 ;templatestyles src="Col-begin/styles.css"/ ;
Libretto and story.
While the original idea was Stravinsky's, Alexandre Benois provided the ethnographic details of the Shrovetide Fair and the traditions of the Russian puppet theater. And although "Petrushka" is frequently cited as an example of the complete integration of libretto, music, choreography, and scenic design, Stravinsky had composed significant portions of the music (chiefly the second tableau) before Benois became involved with the project.
First tableau: "The Shrovetide Fair".
"Petrushka" begins with a festive orchestral introduction based, in part, on historical Russian street-hawkers' cries. The curtain rises to reveal St. Petersburg's Admiralty Square during the 1830s. The stage set (also by Benois) depicts several hucksters' booths, a ferris-wheel, a carousel, and (upstage center) a puppet theater. A crowd has gathered for the Shrovetide Fair (known as "Maslenitsa"), the carnival (analogous to Mardi Gras) preceding Lent.
In Fokine's original choreography, a group of Drunken Revelers emerges from the crowd, dancing to Stravinsky's adaptation of the folk-tune "Song of the Volochobniki" ("Dalalin' Dalalin'" from Rimsky-Korsakov Op. 24 No. 47).
 ;templatestyles src="Block indent/styles.css"/ ;g4 c4
Suddenly, the festive music is interrupted by strident brass announcing the appearance of the Master of Ceremonies on the balcony of his booth. The equivalent of a carnival "barker", he boasts of the attractions to be seen within. 
The squeaks of a street-organ are heard (clarinets and flutes) as an Organ-Grinder and Dancing Girl emerge from the crowd, which at first pays little attention as the barker continues to shout. The Dancer moves downstage and begins to dance to another Russian folk-song, "Toward Evening, in Rainy Autumn", while playing the triangle.
At the other end of the stage, a second Dancing Girl appears, accompanied by a music box (suggested in the orchestra by the celesta). The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois". Both tunes are repeated.
 ;templatestyles src="Block indent/styles.css"/ ;e8) e8 e8 e8 e4 c8 (d8
The Drunken Revelers return (again to the "Song of the Volochobniki") interrupted several times by the Barker's boasts. The street-hawkers' cries of the very opening are heard once more.
Suddenly, two drummers summon the crowd to the puppet theater with deafening drumrolls. The Magician (sometimes called the "Charlatan") appears to mystical groans from the bassoon and contrabassoon. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody. The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. When the Magician touches them with his flute (to chirps in the orchestra), they seem to awaken.
The astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance (based on two more Russian folk-tunes: "A Linden Tree Is in the Field" and "Song for St. John's Eve").
 ;templatestyles src="Block indent/styles.css"/ ;a8 a8 b4
 ;templatestyles src="Block indent/styles.css"/ ;a8 [(b8 a8 gis8)]
In Fokine's choreography, they first begin to move their feet (while still hanging on the wall), then burst forth from the puppet theater into the midst of the crowd. The Moor (resplendent in turban and exaggerated pantaloons) is swashbuckling. The Ballerina dances perpetually "en pointe". Petrushka, on the other hand, is wooden and awkward. It becomes apparent Petrushka loves the Ballerina; but she has eyes only for the Moor. The Magician calls the dance to a halt; the curtain falls rapidly.
Second tableau: "Petrushka's Room".
Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying the night sky with stars and a half-moon; abstract icebergs (or snow-capped mountains), and a prominent portrait of the Magician.
Drumrolls announce the beginning of the second tableau. Without an Introduction, the music begins menacingly. "A foot kicks him onstage; Petrushka falls..."
As Petrushka gradually pulls himself together, we hear a strange arpeggio in the clarinets: this is the famous "Petrushka chord" (consisting of juxtaposed triads of C major and F♯ major). Petrushka gets to his feet (although shakily) to the accompaniment of waves of arpeggios from the piano (revealing the music's origins in Stravinsky's "Konzertstück"). The "Petrushka Chord" returns, now violently scored for trumpets, marked in the score "Petrushka's Curses", directed at the portrait of the Magician.
The music turns lyrical as Petrushka falls to his knees and mimes (in turn) his self-pity, love for the Ballerina, and hatred of the Magician.
The Ballerina (still "en pointe") sneaks into Petrushka's room, at first unnoticed. As soon as Petrushka sees her, he begins a manic, athletic display of leaps and frantic gestures (although he was barely able to stand before she arrived). Frightened by his exuberance, the Ballerina flees. Petrushka falls to the floor to the mocking of the clarinets.
Another passage of arpeggios for piano grows into a second round of curses directed at the Magician, again represented musically by the "Petrushka Chord", this time scored for full orchestra.
For just a moment, Petrushka peers out of his room at the crowd assembled in Admiralty Square (Stravinsky provides a brief reference to the "crowd music" of the first tableau). Then, Petrushka collapses as we hear a taunting reprise of the clarinets playing the "Petrushka Chord", followed by an odd trumpet call signalling "blackout, curtain."
Third tableau: "The Moor's Room".
As before, drumrolls link the third tableau to its predecessor (in the 1911 score, Stravinsky directs that this drumroll should be omitted in concert performance). In sharp contrast to the darkness of Petrushka's Cell, the brilliant colors of the Benois design for the Moor's Room evoke a romanticized desert: palm trees, exotic flowers, sand.
In Fokine's choreography, the Moor reclines on a divan playing with a coconut. He then jumps to his feet and attempts to cut it with his scimitar. When he fails he believes that the coconut must be a god and proceeds to pray to it.
The Charlatan places the Ballerina in the Moor's room. The Ballerina is attracted to the Moor's handsome appearance. She plays a saucy tune on a toy trumpet (represented by a cornet in the original 1911 orchestration) and then dances with the Moor in a waltz (the themes taken from Joseph Lanner's Op. 165 No. 1 and Op. 200 No. 1).
Petrushka finally breaks free from his cell; he interrupts the seduction of the Ballerina. Petrushka attacks the Moor but soon realizes he is too small and weak. The Moor beats Petrushka. The ballerina faints. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room.
Fourth tableau: "The Shrovetide Fair (Toward Evening)".
The fourth and final scene returns to the carnival. Some time has passed; it is now early evening. The orchestra introduces a chain of colourful dances as a series of apparently unrelated characters come and go about the