Mayerling: The Tragedy of Crown Prince Rudolf
Mayerling. Sarah Lamb as Mary Vetsera and Steven McRae as Prince Rudolf. Royal Opera House, 2017. Photo by Alice Pennefather.
Warning: This article contains references to subjects of a disturbing nature. The Royal Opera House classifies the ballet Mayerling as suitable for ages 14 +.
This year, the Royal Ballet performed Mayerling to open its 2022/23 season. One of the most iconic British ballets, Mayerling is a three-act ballet that depicts the Mayerling incident that shook the Austrian Empire in the late 19th century. In the 30th anniversary year of Kenneth MacMillan’s death, Mayerling is a fine example of modern ballet’s ability to maintain traditional choreography, but also use contemporary developments to enrich the ballet’s expression.
Set in 19th century Imperial Austria, MacMillan’s ballet features music by Franz Liszt, opulent scenography and costumes by Nicholas Georgiadis, and a libretto full of drama and entertainment. The ballet was choreographed by Kenneth MacMillan in 1977, already after his resignation as artistic director of the Royal Ballet. Mayerling is MacMillan’s fourth three-act ballet. It was the first modern ballet that explored human psychology and tragedy in such a forthright manner.
Mayerling. Steven McRae as Prince Rudolf. Royal Opera House, 2017. Photo by Alice Pennefather.
The Mayerling incident occurred in 1889 and involved the murder-suicide of Rudolph, Crown Prince of Austria and his lover, the baroness Mary Vetsera. The baroness, just seventeen at the time, was one of the recipients who received Rudolph’s proposal to die with him. Rudolph, at the time married to Princess Stephanie of Belgium, had a troublesome streak of extramarital affairs and historians believe he may have suffered from mental health issues. His death destabilised the lineage to the Austrian Empire, and the Mayerling incident served as basis for dramatic adaptations in subsequent decades.
Prior to MacMillan’s ballet, the Mayerling tragedy had been adapted for opera and film. In 1957, Audrey Hepburn starred as the Baroness in the American television adaptation, and Omar Sharif played Prince Rudolph in the British 1968 film, Mayerling. Both films are romantic tragedies that have perpetuated the fascination with the fates of Prince Rudolph and Baroness Mary, but the ballet presents Rudolph’s fate in a new dimension.
With Liszt’s affective music and the backdrop of historical drama, MacMillan grants Rudolph a new tale. The ballet depicts his wedding ceremony, scenes of marital discontent, emotional rejection by his mother, and nights of reckless escapism. Rudolph, as I understood, is portrayed in the ballet as a man of tragic fate resulting from his imperial position. As the dynastic heir Rudolph is subject to filial pressures and an unhappy marriage: MacMillan’s choreography makes it clear that Rudolph feels deeply unsatisfied and trapped in his position. Rudolph’s choreographic sequences reveal his mood at every moment, ranging from forlorn to passionate, allowing the audience to feel his emotional and psychological turbulence. That MacMillan’s ballet focuses on Rudolph not only provides a new spin on the Mayerling incident, but also challenges the narrative norms of ballet.
While many other multi-act ballets feature prominent male dancers, very few ballet librettos focus solely on the male protagonist. Rudolph seldom leaves the stage and dances several solo and pas de deux numbers. Technically, this is highly challenging for the main dancer, as most ballets demand the male dancer to perform one pas de deux per act. The consistent presence of Rudolph onstage further highlights that the ballet revolves around his experience. MacMillan’s expressive choreography and pairing of psyche with movement allows the tragedy to unfold fluidly and immerse the audience.
MacMillan’s ballet is a beautiful showcase of the Royal Ballet dancers’ virtuosity as his choreography is exquisitely neoclassical: the movement rests on the beauty of classical ballet but possesses an even greater depth and fluidity to its expression. In total, Mayerling is the ballet equivalent of Bridgerton—if you’re a fan of period pieces, I recommend you check out this ballet. Beware that it is recommended for ages 14 +.
Whenever the ballet is next live at a theatre near you, I highly recommend going to watch! Also, if there is a movie theatre showing the Royal Opera House’s cinematic version, I recommend watching the film.
Jordan Lian is a PhD student at Cambridge University researching ballet history. She trained as a classical dancer, including at Moscow’s Bolshoi Ballet Academy. In her free time, she enjoys watching dance performances and global art.