«Синяя борода», Sinjaja boroda) is a ballet-féerie in three acts and seven scenes, originally choreographed by Marius Petipa to the music of Pyotr Schenk.

The libretto was created by the author and dramatist Countess Lydia Pashkova from the fairy tale Bluebeard by Charles Perrault.

[1][2] Marius Petipa created the ballet Bluebeard for his own benefit performance given in honor of his 50th anniversary of service to the St. Petersburg Imperial Theatres.

The ballet was given a lavish production of the most sumptuous costumes and décor, with the Mariinsky Theatre's machinists creating complex and rapid stage metamorphoses.

The critic from the St. Petersburg Gazette commented on the danced numbers in Bluebeard: ...(Petipa) shows an endless variety ltaste, with his work for the corps de ballet being masterfully executed.

In 1901, the first and third acts of the ballet were given as part of a program staged for the farewell benefit of Legnani before retiring to her native Italy.

A revival of Bluebeard was mounted for the Imperial Ballet in 1910 by the premier danseur and pedagogue Nikolai Legat.

Nevertheless, the large cast the ballet required and in particular the complex stage effects were impossible to produce by the outset of World War I in 1914.

In 2009, the Russian choreographers Yuri Burlaka and Vasily Medvedev utilized several pieces of Pyotr Schenk's score for Bluebeard in their revival of La Esmeralda for the Bolshoi Ballet, with the music accompanying a new Grand pas des fleurs in the second act.

In 2014, Vasily Medvedev staged a new version of the Grand Pas de deux électrique from Bluebeard for the Dance Open Festival Gala at the Alexandrinsky Theatre in St. Petersburg.

The performance featured Kristina Kretova and Semyon Chudin from the Bolshoi Ballet in the leads and framed by four couples.

In the depths of the garden is an elaborate gate and railing, through which can be seen a beautiful landscape dominated by Bluebeard's cast.

It is a morning in early spring Arthur, a page, who is in love with Ysaure de Renoualle, steals into the castle belonging to her brothers.

Having made certain that he has entered unobserved, he signs to his fellow pages, who creep in masked and bearing musical instruments.

A dance is formed in which the lovers take part and at this point, the brothers enter and the merriment abruptly ceases.

Arthur admits his lack of wealth, but continues to urge his love, which only arouses the brothers' laughter.

Raymond and Ebremard go to their sister and inform her that Bluebeard, a wealthy neighbor, is a suitor for her hand; they counsel her to accept him.

Ysaure is filled with grief, but accedes to her brothers' wishes and enters the castle to prepare for her suitor's visit.

Act II Scene 1 - Ysaure's Chamber The rear wall is adorned with a large mirror screened by a curtain.

Scene 3 - The Second Underground Chamber Here the walls are covered with wonderful materials of all shapes and sizes and from every country All these precious things come to life.

The room is in semi-darkness, but gradually, it lightens and is seen to contain heaps of precious stones, which come to life and begin to dance.

Next follows a variation and finally comes another waltz where the Jewels disappear and complete darkness ensues.

Then she takes a candle and, lighting it, moves towards the chamber, which is seen to contain the bodies of Bluebeard's numerous wives, whom he killed as a punishment for their disobedience.

Act III Scene 1 - The Terrace of Bluebeard's Castle To the right, a large tower with steps leading to the top of it.

She, trying to maintain outward calm, expresses joy at his return, but he observes her nervous manner and is filled with suspicion.

The contest is waged with varying fortunes, until finally, Ebremard mortally wounds his opponent, who topples over the wall into the moat.

The page again asks for Ysaure's hand, which is granted and the curtain falls on the happiness of the reunited lovers.

At the sides are staircases leading to these temples, which are decorated with fantastic marble sphinxes The wedding guests enter in a splendid ensemble.

The door of the Temple of the Past opens and there emerges a procession of characters typical of an ancient period of France, who render several early dances such as the Gaillarde.

Finally, the door of the Temple of the Future opens and Ysaure and Arthur present the Grand Pas de deux éléctrique.