St. Petersburg in the context of October Revolution

Don Quixote is a ballet in three acts, based on episodes taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by Moscow's Bolshoi Ballet on 26 December [O.S. 14 December] 1869. Petipa and Minkus revised the ballet into a more elaborate and expansive version in five acts and eleven scenes for the Mariinsky Ballet, first presented on 21 November [O.S. 9 November] 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg.

All modern productions of the Petipa/Minkus ballet are derived from the version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900, a production the ballet master staged for the Imperial Ballet of St. Petersburg in 1902.

Phanagoria (Ancient Greek: Φαναγόρεια, romanized: Phanagóreia; Russian: Фанагория, romanized: Fanagoriya) was the largest ancient Greek city on the Taman peninsula, spread over two plateaus along the eastern shore of the Cimmerian Bosporus.

The city was a large emporium for all the traffic between the coast of the Maeotian marshes and the countries on the southern side of the Caucasus. It was the eastern capital of the Bosporan Kingdom, with Panticapaeum being the western capital. Strabo described it as a noteworthy city which was renowned for its trade. It was briefly a Catholic Metropolitan Archdiocese while a medieval Genoese colony under the name Matrega, it remains a Latin Catholic titular see.

Konrad Wallenrod is an 1828 narrative poem, in Polish, by Adam Mickiewicz, set in the 14th-century Grand Duchy of Lithuania.

Mickiewicz wrote it, while living in St. Petersburg, Russia, in protest against the late-18th-century partitions of the Polish–Lithuanian Commonwealth by the Russian Empire, the Kingdom of Prussia, and the Habsburg monarchy.

The history of Russia begins with the histories of the East Slavs. The traditional start date of specifically Russian history is the establishment of the Rus' state in the north in the year 862, ruled by Varangians. In 882, Prince Oleg of Novgorod seized Kiev, uniting the northern and southern lands of the Eastern Slavs under one authority, moving the governance center to Kiev by the end of the 10th century, and maintaining northern and southern parts with significant autonomy from each other. The state adopted Christianity from the Byzantine Empire in 988, beginning the synthesis of Byzantine, Slavic and Scandinavian cultures that defined Russian culture for the next millennium. Kievan Rus' ultimately disintegrated as a state due to the Mongol invasions in 1237–1240. After the 13th century, Moscow emerged as a significant political and cultural force, driving the unification of Russian territories. By the end of the 15th century, many of the petty principalities around Moscow had been united with the Grand Duchy of Moscow, which took full control of its own sovereignty under Ivan the Great.

Ivan the Terrible transformed the Grand Duchy into the Tsardom of Russia in 1547. However, the death of Ivan's son Feodor I without issue in 1598 created a succession crisis and led Russia into a period of chaos and civil war known as the Time of Troubles, ending with the coronation of Michael Romanov as the first Tsar of the Romanov dynasty in 1613. During the rest of the seventeenth century, Russia completed the exploration and conquest of Siberia, claiming lands as far as the Pacific Ocean by the end of the century. Domestically, Russia faced numerous uprisings of the various ethnic groups under their control, as exemplified by the Cossack leader Stenka Razin, who led a revolt in 1670–1671. In 1721, in the wake of the Great Northern War, Tsar Peter the Great renamed the state as the Russian Empire; he is also noted for establishing St. Petersburg as the new capital of his Empire, and for his introducing Western European culture to Russia. In 1762, Russia came under the control of Catherine the Great, who continued the westernizing policies of Peter the Great, and ushered in the era of the Russian Enlightenment. Catherine's grandson, Alexander I, repulsed an invasion by the French Emperor Napoleon, leading Russia into the status of one of the great powers.

Wladimir Petrovich Köppen (/ˈkɜːpən/ KUR-pən; German: [ˈkœpn̩]; Russian: Влади́мир Петро́вич Кёппен, romanized: Vladímir Petróvich Kyoppen, IPA: [vlɐˈdʲimʲɪr pʲɪˈtrovʲɪtɕ ˈkʲɵp(ː)ʲɪn]; 25 September 1846 – 22 June 1940) was a Russian–German geographer, meteorologist, climatologist and botanist. After studies in St. Petersburg, he spent the bulk of his life and professional career in Germany and Austria. The Köppen climate classification system, named after a proposal he first made in 1884, with some modifications, is still widely used. Köppen made significant contributions to several branches of science, and coined the name aerology for the science of the upper atmosphere.

The Treaty of Nystad, or the Treaty of Uusikaupunki, was the last peace treaty of the Great Northern War of 1700–1721. It was concluded between the Tsardom of Russia and the Swedish Empire on 10 September [O.S. 30 August] 1721 in the then Swedish town of Nystad (Uusikaupunki, in the south-west of present-day Finland). Sweden had settled with the other parties in Stockholm (1719 and 1720) and in Frederiksborg (1720).

During the war Peter I of Russia had occupied all Swedish possessions on the eastern Baltic coast: Swedish Ingria (where he began to build the soon-to-be Russian capital of St. Petersburg in 1703), Swedish Estonia and Swedish Livonia (which had capitulated in 1710), and Finland.

This list of tallest church buildings ranks church buildings by height. From the Middle Ages until the advent of the skyscraper, Christian church buildings were often the world's tallest buildings. From 1311, when the spire of Lincoln Cathedral surpassed the height of the Great Pyramid of Giza, until the Washington Monument was completed in 1884, a succession of church buildings held this title.

• The tallest church building in the world is the Sagrada Família in Barcelona, which surpassed Ulm Minster (161.53 m) on 30 October 2025 when its central tower reached 162.91 m. The tower is intended to reach 172 m when completed, expected in 2026.
• The tallest church building in the world until 2025 was the Ulm Minster (161.53 m), the main Lutheran congregation in Ulm, Germany.
• The tallest domed church building, and the tallest Catholic church until surpassed by Sagrada Família, is the Basilica of Our Lady of Peace (158 m) in Yamoussoukro, Ivory Coast.
• The tallest cathedral as well as the tallest church building with two steeples is Cologne Cathedral (157.22 m) in Cologne, Germany.
• The tallest domed cathedral as well as the tallest Eastern Orthodox is People's Salvation Cathedral (132 m) in Bucharest, Romania.
• The tallest brickwork church building is St Martin's Church (130.6 m) in Landshut, Germany.
• The tallest brickwork church building with two steeples is St Mary's Church (125 m) in Lübeck, Germany.
• The tallest wooden church building is Săpânța-Peri Monastery church (78 m) in Săpânța, Romania.
• The tallest church building in the Americas is the Cathedral of Maringá (124 m) in Maringá, Brazil.

The cities with the most churches surpassing 99 metres (325 feet) are Hamburg (5 of the 29 tallest churches, with 5 towers overall), Lübeck (4 of the 56 tallest churches, two of which with twin towers → 6 towers overall), Vienna (2), Tallinn (2), St. Petersburg (2), New York City (2), Dortmund (2) and Stralsund (2).

Brandt's cormorant (Urile penicillatus) is a strictly marine bird of the cormorant family of seabirds that inhabits the Pacific coast of North America. It ranges, in the summer, from Alaska to the Gulf of California, but the population north of Vancouver Island migrates south during the winter. Its specific name, penicillatus is Latin for a painter's brush (pencil of hairs), in reference to white plumes on its neck and back during the early breeding season. The common name honors the German naturalist Johann Friedrich von Brandt of the Academy of Sciences at St. Petersburg, who described the species from specimens collected on expeditions to the Pacific during the early 19th century.

Russian formalism was a school of literary theory in Russia from the 1910s to the 1930s. It includes the work of a number of highly influential Russian and Soviet scholars, such as Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eikhenbaum, Roman Jakobson, Boris Tomashevsky, and Grigory Gukovsky, who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman as well as on structuralism as a whole. The movement's members had a large impact on modern literary criticism as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art.

Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours. In fact, "Russian Formalism" describes two distinct movements: the OPOJAZ (Obshchestvo Izucheniia Poeticheskogo Yazyka, Society for the Study of Poetic Language) in St. Petersburg and the Moscow Linguistic Circle. Therefore, it is more precise to refer to the "Russian Formalists," rather than to use the broader and more abstract term of "Formalism."

A Requiem (Latin: rest) or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is a Mass of the Catholic Church offered for the repose of the souls of the deceased, using a particular form of the Roman Missal. It is usually celebrated in the context of a funeral (where in some countries it is often called a Funeral Mass).

Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance.

The Return of the Prodigal Son (Dutch: De terugkeer van de verloren zoon) is an oil painting by Rembrandt, part of the collection of the Hermitage Museum in St. Petersburg. It is among the Dutch master's final works, likely completed within two years of his death in 1669. Depicting the moment of the prodigal son's return to his father in the Biblical parable, it is a renowned work described by art historian Kenneth Clark as "a picture which those who have seen the original in St. Petersburg may be forgiven for claiming as the greatest picture ever painted".

In the painting, the son has returned home in a wretched state from travels in which he has wasted his inheritance and fallen into poverty and despair. He kneels before his father in repentance, wishing for forgiveness and the position of a servant in his father's household, having realized that even his father's servants had a better station in life than he. His father receives him with a tender gesture and welcomes him as his own son. His hands seem to suggest mothering and fathering at once; the left appears larger and more masculine, set on the son's shoulder, while the right is softer and more receptive in gesture. Standing at the right is the prodigal son's older brother, who crosses his hands in judgment; in the parable he objects to the father's compassion for the sinful son:

Notes from Underground (pre-reform Russian: Записки изъ подполья; post-reform Russian: Записки из подполья, Zapíski iz podpólʹya; also translated as Notes from the Underground or Letters from the Underworld) is a novella by Fyodor Dostoevsky first published in the journal Epoch in 1864. It is a first-person narrative in the form of a "confession". The work was originally announced by Dostoevsky in Epoch under the title "A Confession".

The novella presents itself as an excerpt from the memoirs of a bitter, isolated, unnamed narrator (generally referred to by critics as the Underground Man), who is a retired civil servant living in St. Petersburg. Although the first part of the novella has the form of a monologue, the narrator's form of address to his reader is acutely dialogized. According to Mikhail Bakhtin, in the Underground Man's confession "there is literally not a single monologically firm, undissociated word". The Underground Man's every word anticipates the words of an other, with whom he enters into an obsessive internal polemic.

The Petrashevsky Circle was a Russian literary discussion group of progressive-minded intellectuals in St. Petersburg in the 1840s. It was organized by Mikhail Petrashevsky, a follower of the French utopian socialist Charles Fourier. Among the members were writers, teachers, students, minor government officials and army officers. While differing in political views, most of them were opponents of the tsarist autocracy and Russian serfdom. Like that of the Lyubomudry group founded earlier in the century, the purpose of the circle was to discuss Western philosophy and literature that was officially banned by the Imperial government of Tsar Nicholas I.Among those connected to the circle were the writers Dostoevsky and Saltykov-Shchedrin, and the poets Aleksey Pleshcheyev, Apollon Maikov, and Taras Shevchenko.

Nicholas I, alarmed at the prospect of the revolutions of 1848 spreading to Russia, saw great danger in organisations like the Petrashevsky Circle. In 1849, members of the Circle were arrested and imprisoned. A large group of prisoners, Dostoevsky among them, were sent to Semyonov Place for execution. As they stood in the square waiting to be shot, a messenger interrupted the proceedings with notice of a reprieve. As part of a pre-planned intentional deception, the Tsar had prepared a letter to general-adjutant Sumarokov, commuting the death sentences to incarceration. Some of the prisoners were sent to Siberia, others to prisons. Dostoevsky's eight-year sentence was later reduced to four years by Nicholas I.

Prince Igor (Russian: Князь Игорь, romanized: Knyaz Igor, listen) is an opera in four acts with a prologue, written and composed by Alexander Borodin.

The composer adapted the libretto from the early Russian epic The Lay of Igor's Host, which recounts the campaign of the 12th-century prince Igor Svyatoslavich against the invading Cuman ("Polovtsian") tribes in 1185. He also incorporated material drawn from two medieval Kievan chronicles. The opera was left unfinished upon the composer's death in 1887 and was edited and completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. It was first performed in St. Petersburg, Russia, in 1890.

The Pavlov First Saint Petersburg State Medical University (Russian: Первый Санкт-Петербургский государственный медицинский университет имени академика И. П. Павлова, ПСПбГМУ им. акад. И. П. Павлова) is a medical school located in St. Petersburg.

The brass section of the orchestra, concert band, and jazz ensemble consist of brass instruments, and is one of the main sections in all three ensembles. The British-style brass band contains only brass and percussion instruments.

They contain instruments given Hornbostel-Sachs classification 423 (brass instruments).

A ballroom or ballhall is a large room inside a building, the primary purpose of which is holding large formal parties called balls. Traditionally, most balls were held in private residences; many mansions and palaces, especially historic mansions and palaces, contain one or more ballrooms. In other large houses, a large room such as the main drawing room, long gallery, or hall may double as a ballroom, but, a good ballroom should have the right type of flooring, such as hardwood flooring or stone flooring (usually marble or stone).. For most styles of modern dance, a wooden sprung floor offers the best surface.

In later times the term ballroom has been used to describe nightclubs where customers dance, the Top Rank Suites in the United Kingdom for example were also often referred to as ballrooms. The phrase "having a ball" has grown to encompass many events where person(s) are having fun, not just dancing.

La Bayadère (lit. 'the temple dancer'; Russian: Баядерка, romanized: Bayaderka) is an 1877 ballet, originally staged in four acts and seven tableaux by the French choreographer Marius Petipa to music by Ludwig Minkus and libretto by Sergei Khudekov [ru]. The ballet was staged for the benefit performance of the Russian Prima ballerina Ekaterina Vazem, who created the principal role of Nikiya. La Bayadère was first presented by the Imperial Ballet at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia, on 4 February [O.S. 23 January] 1877. From the first performance the ballet was hailed by contemporary critics and audiences as one of the choreographer Petipa's masterpieces, particularly the scene of act II The Kingdom of the Shades, which is one of the most celebrated pieces in all of classical ballet.

Nearly all modern versions of La Bayadère are derived from Vladimir Ponomarev [ru] and Vakhtang Chabukiani's redacted version staged for the Kirov/Mariinsky Ballet in 1941 that has remained in the company's repertory to the present day. Outside of the Soviet Union, Natalia Makarova staged the first full-length production of La Bayadère in 1980 for American Ballet Theatre, a version that is itself derived from Ponomarev and Chabukiani's production of 1947.

Arthur Saint-Léon (17 September 1821, in Paris – 2 September 1870) was the Maître de Ballet of St. Petersburg Imperial Ballet from 1859 until 1869 and is famous for creating the choreography of the ballet Coppélia.