The action takes place in the Polovtsovsky Fine in 1185.

History of creation

In the spring of 1869, a prominent art historian and music critic V. V. Stasov (1824-1906), a former mug of St. Petersburg musicians, who called the mighty bunch, offered Borodin, by that time the author of the symphony and romances, write to the opera. As a plot, he offered a respondent, in his opinion, creative nature of a young composer an epic topic from ancient Russian history. The basis of the libretto, the initial sketch of which was made by Stasov, was laid a monument of the ancient Russian literature "Word about the regiment of Igor" (1185-1187). Borodin decided to endure this advice, taking the sketch of Stasov as a basis. To the creation of libretto, he approached as a scientist: he studied many different historical sources, including the chronicles, ancient story "Zadonshchyna" and "Mamaevo Boy", historical studies, epics, music of the descendants of the Polovtsy, and even visited the places of those long-time events.

The content of the opera was an unsuccessful campaign at the Polovtsy Novgorod-Severskius Prince Igor Svyatoslavich, his capture and escape from captivity. The action happened both in Putuft, the location of the reign of Igor, and in the Polovtsy Fish. Opera has been created for many years, since work went only by urabs, in short intervals between numerous official duties: pedagogical activities, research, administrative and public activities. In general, "Prince Igor" was devoted to 18 years. Polovtsy dance composer created in the summer of 1875, during the rest in Moscow. Falls shown in the fall in a circle of friends, they, according to Borodin, in letters, produced a furor. Fully opera has not been completed. Her after the death of the composer on the basis of the remaining sketches, finished glazing, and Roman-korsakov orchestrated most of the keypad. Prime Minister "Prince Igor" took place on October 23 (November 4) of 1890 in the St. Petersburg Mariinsky Theater. Polovtsy dances were delivered by L. Ivanov and made a tremendous impression on public.

In 1909, he turned to the music of Borodin and M. Fokin (1880-1942), an outstanding Russian choreographer-innovator, persistently looking for ways to replenish the repertoire of Russian seasons in Paris organized by Dyagilev. Fokin put Polovtsy dancing re-rebuilding, intentionally did not take anything from the opera stage of L. Ivanov. He managed not only with brilliance to embody his frantic choreographic fantasies in the dance, but also convincingly reveal musical images. "Fierce on appearance, with fluttering with soot and mud, in green robes, made by red and brown-yellow spots, in bright striped pants, their gathering more resembled the lair of wild animals than the human camp." The beautiful is the beautiful first dance - girls - smooth, wave, full of extras. Her dance of men, based on a mad vortex movement sweeping. Polovtsy rushing, "swapping into the air with legs pursed in her knees. In their violent dance, the horses, the flight of steppe eagles, ringing "(V. Krasovskaya) arose. Impressive and dance boys - dyed-rhythmic, with a twistful-changing group pattern. The final common dance captures the natural pressure, barbaric powder. All previously sounding topics are combined here, woven in the aggregate movement. "... a synchronous stream ... poured the scene, riding the waves, when the running crowd sharply shot down to another direction, so that, shouting, repeating the motive of the raid - surf ... Body was swinging in a powerful unison-spell, as if the second choru, Slavs Khan. Witchcraft, Shamanskoye was in the repetitions of a hurried rummy, cut off sudden, in the same surge of hands, in the same madness of the dance. The curtain descended at the time of its full rampage "(V. Krasovskaya). Polovtsy in the final impulse rushed avalanche right to the public.

The performance first passed through the Russian seasons in the Paris Theater "Shatle" on May 19, 1909, and on September 22, the same year was used when the "Prince Igor" was renewed on the stage of the Mariinsky Theater. The new formulation was perceived with enthusiasm as criticism and theatrical circles.

Plot

The plot is not available. The action takes place in the Polovtsy camp, in the steppe, which is violated only the tents of nomads. Girls are squeezed by a wide dance, the swirl flew by the swirl in them, everyone chooses a victim. They are trying to obscure young men, but the running crowd sweeps them. In the witchcraft movement dances, the Khan is very famous.

Music

Music of Polovtsy dancer differs by convincing embodiment of oriental images, natural strength, truly dazzling colorful, and at the same time - grace and plasticity. Four variekteric scenes merge in continuous action. The smooth dance of girls, the unbridled men's, rapid and light boys alternate, contrast. The scene ends with a common riveted, temperamental vortex dance.

L. Mikheeva

The premiere took place on May 19, 1909 within the framework of the "Russian Season", Paris.

The world premiere of Opera Alexander Borodina "Prince Igor" took place in the St. Petersburg Mariinsky Theater in 1890. Then the balletmaster Lev Ivanov composed and set, relying on the plot, dancing in this opera. The choreography is not preserved, the opinions of the participants are very disgraced. But it is clear that these dances did not attract special attention to themselves. Therefore, when Sergey Dyagilev planned the Parisian "Russian Season" of 1909, in which the opera and ballet part were almost equal, he suggested the director Alexander Sanin to put the second act of "Prince Igor", and Mikhail Fokine to compose the dancing there.

The balletmaster was so recalled about his plan: "In" Polovtsy dances "I tried to give an example of expressive mass dance. Before the task of the core land in the play, it was completed mainly to the background for dancing ballerina or soloists, to accompaniment. There were dances of the core fee completely without the participation of soloists. All His tasks were reduced to the ornament in motion, to the unification of dancing in one rhythm. There were caressing eyes and groupings. But about the expression of the feelings, about ecstasy, they did not speak about the spiritual lift with the corpsoretol. Create a dance - an exciting, exciting - was for me An interesting task ... "Polovtsy dances" I consider one of the most important works. "

The second act of the opera, as is well known, occurs in the Polovtsy Mill. The prince of Igor, his son, Vladimir and other Russian soldiers, will be tomited. The captivity is not physically not heavy, but rather "sweets". The owners, dreaming to become not enemies, but the friends of the Russians, in every way please and entertain them. The dances of Polovtsy themselves conclude an action filled with dances of the captives "because of the Caspian Sea", the love stage of Conchakovna and Vladimir, the arias of Konchak and Igor (the last in Paris stopped). Borodin's music did not strive for ethnographic truth, and where it could be found. But the image of the steppe-raid, the unbridled will richly racing wild riders was transferred to the composer with an amazing rhythmic freedom for his time. The choreographer tried to coincide with the composer in the figurative structure, derivating it with powerful patterns.

Slowly begin their batch of girls. They, moving smoothly and languidly, gradually grouping two circles, between which three soloists dance. The music sharply changes its pace - the remark of Borodin: "Dance of men, wild". In a high jump with bent legs, the first departs half-man, his bow rises threateningly up. After it, the combination is repeated for four more archers. The rhythm of dance increases, the archers fill the scene, the girls pumped to the Kulis. The throw to the ramp is accompanied by blows of onions about the Earth. The choir sings glory Khan. The general dance begins. Archers, then carry towards each other, then Zorko, as on the hunt, look out for prey.

"Mining" - Girls - appears, Pugishly Medal Step. In the circle formed by them invaded the Polovchanin, and behind it other hunters. Couples are formed, then scattered. At suddenly interrupted music, every warrior crossed his chosen sacrifice over his shoulder. They are obscured by slender young men. The dance of young polovtsy, grooming on the stage, rhythmically hit themselves on their knees and heels begins rapidly. Jumping in different directions, whimsical dance patterns end in a fall on the floor on an extercase. The bodies have already exhaled, and the legs and hands still cut the air, did not have time to obey the orders of the brain. The final was built on the principle of choreographic codes. The stream of dacies captured the entire scene, the waves continuously changed the direction, again and again pulling out everything in their path. Witchcraft, shaman repetitions of movements merged with cholar spells. Madness dance is incredible, and the curtain descended at the time of the full rampage of a well-organized element.

Alexander Benoit, as an eyewitness of the Parisian tour, reported home: "Polovtsy Stan" from Borodino "Prince Igor" was especially successful, in some central play. And this is not so much because the choir sang softly, was beautiful Petrenko in the role of Conquakovens, and Smirnov delightfully fulfilled her affectionate Aria, not so much thanks to the poetic, spacious, wild scenery of Roerich, with smoke, stretching from Yurt to the burning evening sky, not so much Due to the successful selection of costumes. No, "Polovtsy Stan" "won Paris" thanks to the ingenuity of Fokin and the presence on the stage of our essential ballet artists (this ballet youth - in most hot fans who are the Gorsky, who Fokina), who have so surrendered their role (we can say that everyone One role), so we experienced it, so reincarnated in some ancient heroic savages and sensitive steppe girls, which was not to believe what happened on the stage was impossible. "

Director of the Dyagilevskaya Troupe Sergei Grigoriev confirms: "At the end of the act, there were dances under the accompaniment of the full orchestra and the large choir of the Moscow opera. The impression of this scene and from music was so huge that the stormy applause was repeatedly interrupted, and when the curtain was lowered, the excitement was indescribable. For a while, I even forgot about Shalyapin, who had singers. The party of the chief warrior performed Adolf Pacifics, and no one could compare with it in this role. Sophia Fedorova flashed the Polovtsian girl, and the entire troupe surpassed himself. "

Imperial Mariinsky Theater On September 22, the same 1909 showed a new formulation of the Opera Borodin, which also entered the "Polovsky Dance" Fokina. The decorations and costumes of Konstantin Korovin were recognized as successful, although it was in a Polovtsy act, they, by a general opinion, were inferior to the Roerichovsky, who were famous all over the world, thanks to the tours of Dyagileev's troupe. In subsequent productions, "Prince Igor" also tried to maintain Fokina choreography. Now they are performed in some evenings, together with the "Ghost of Roses", "Dying Swan" and other Fokin masterpieces. In Moscow, Alexander Gorsky (1914), Kasyan Golayovsky (1934) and Igor Moiseev (1971) demonstrated their original "Polovtsy dances".

A. Degen, I. Serenov

Abstract on the topic:

Polovtsy dances (ballet)

Plan:

Introduction

• 1 Content fragment
• 2 sets
• 3 Statement of Golayovsky
• 4 Music
• 5 Music recording
• 6 HISTORY OF RESULTS IN RUSSIA
• 7 Fokina
Notes
Literature

Introduction

"Polovtsy dances" - Ballet fragment of the 2nd action of the opera "Prince Igor" of the Russian composer A. P. Borodina.

The source for libretto, written by the author himself with the participation of V. V. Stasov, served a monument of the ancient Russian literature "Word about the regiment of Igor", telling about the unsuccessful campaign of Prince Igor against Polovtsy.

1. Content of fragment

Polovtsian camp. Sketch of scenery I. Balina

Polovtsy Stan. Evening. Girls-polovchanki dance and sing a song in which a flower, thirsting moisture, with a girl, hoping for a date with her beloved. Khan Konchak offers printed prince Igor Freedom in exchange for a promise not to raise a sword. But Igor honestly says that if Khan will let go of him, he will immediately collect the shelves and hit again. Konchak regrets that they are not allied with Igor, and calls prisoners and captives, so that they have fun.

The scene begins "Polovtsy Dance". First, girls dance and sing (fucking "Fly on the wings of the wind"). The choreographic effect is delivered to the amazing and melodiousness of the Aria of Polovtsy Girl and Konchakov.

Then the common dance of Polovtsy begins. The action ends with a common culmination dasya.

• Ballet fragment "Polovtsy dances" From the opera "Prince Igor" became a separate ballet performance.
• In Opera, he goes at the beginning and at the end of the second action:
• Action Second (second act)

Scene	Time	Music	Ballet participation
1 Choir of Polovtsy Girls	6"10	"On an annemy, day in the sun", Polovtsian girl, choir	corps de ballet
2 dances of Polovtsy girls	2"21
3 Cavatorian Konchakovna	5"56	"Furnits the light of earth", Konchakin, Khor.
4 scene and choir	2"50	"Girlfriends-girls, send prisoners", Konchakin, Khor.
5 Recatative and Cavatina Vladimir	5"41	"Slowly a day Ugasal", Vladimir Igorevich
6 duet	5"25	"Lee Vladimir MY", Konchakin, Vladimir Igorevich
7 Aria Prince Igor	6"49	"Nor sleep, no rest to the exhausted soul", Prince Igor
8 Scene Prince Igor with Ovwar	4"07	"Let me, princess, word to pray," Kn. Igor, Ovlur
9 Aria Konchaka	6"57	"His prince", Konchak and Prince Igor
10 Rechitative	3"22	"Gay, prisoners bring here", Konchak, Prince Igor
11 Polovtsaya Dance with Choir	10"55

2. RESULTS

• Setting ballet action:

Date of production	Theatre	Choreography	Creators	Performers, troupe	Film
October 23 1890	Mariinsky Theater, Petersburg	Lev Ivanov		Ballet troupe of the Mariinsky Theater
May 19 1909	theater Shatle, Paris. "Russian seasons"	Mikhail Fokin	Conductor: E.A.Kuper. Artist: N.K.rerich	A.R. Bolm, E.A.Smirnova, S.F. Fedorova
September 22nd 1909	Mariinsky Theater, Petersburg	Mikhail Fokin	Conductor: E.A. Krushevsky, artist: K.A. Korovin	V.P. Fokina L.F.Sollar, B.F. Nizhinskaya, S.F. Fedorova, A.R. Bolm
November 5 1914	Big Theater, Moscow	A.A.Gorsky
January 19, 1934.	Big Theater, Moscow	Kasyan Goleyovsky	Artist F.F. Fedorovsky	Big Theater Ballet Trud	1951 - "Big Concert"
1953	Big Theater, Moscow	Kasyan Goleyovsky	Artist: Fedorovsky Conductor: M.N. Zhukov	Big Theater Ballet Trud	1972 - E-shielding
1971	Palais des Sports, Paris. Moscow, Petersburg.	Igor Moiseev		Ensemble of the People's Dance of the USSR, Moscow	- Activity

3. Staging Golayovsky

When creating its production, Goleyovsky thoroughly studied the story. As is known, the content of the brilliant opera of Borodin "Prince Igor" serves as an unsuccessful campaign of the North Principles of Igor and Vsevolod Svyatoslavichi in the Polovtsy, which is shot in the famous "Word about the regiment of Igor". The appearance of Polovtsy in Russia refers to the second half of the XI century, more precisely by 1061. For one hundred and fifty years, up to 1210 there are about fifty major Polovtsy raids, and not counting small.

Mixing styles of Kasyan Yaroslavovich explains that the tribes gradually poured into the Polovetsky hordes, they struggled with them. Such a phenomenon had an impact on the formation of peculiar dance techniques of Polovtsy.

• In Borodin, East in music is genuine, spontaneous.

Kasyan Goleyovsky - "Elements in dances":

1. Syncopa, stressed in the "dance of men wild", "dance of boys", "chagach" and finals
2. Melody, clouding, charming with his Neho - "Dance of girls smooth"
3. Harmony - Famous Kwints Borodin, successfully and boldly emphasizing the overall drawing
4. Dynamics - Accelerating Movement from Moderato to Presto
5. Nuunting is the power of sound. On accents and pauses.

4. Music

Fragments of those "Polovtsy dance"

• Act begins S. Choir Polovtsy Girls and Aria Konchakovna
• Dance of Polovtsy girls - First Dance (No. 8, Presto, 6/8, F Major)
• Polovtsaya Dance with Choir - (No. 17. Introduction: Andantino, 4/4, a Major)
• Slow dance of Polovytsky girls (Andantino, 4/4, a Major)
• Dating men wild (Allegro Vivo, 4/4, F Major)
• Total dance (Allegro, 3/4, D Major)
• Dance boys (Presto, 6/8, D MINOR)
• Dance of girls, "sliding" (in reprise music (REPRISE) in combination with boys dance in a fast pace (Moderato Alla Breve, 2/2)
• Dance of boys and dance of Polovtsy (REPRISE, PRESTO, 6/8, D MINOR)
• Final Culminated Dance (Allegro CON Spirito, 4/4, a Major)

5. Recording music

1. 1970 - "Melody"
2. 1978-1979 - Gabt: Ivan Petrov, Tatyana Tugarinova, Vladimir Atlantov, Arthur Eisen, Alexander Verdnikov, Elena Exodzova
3. 1997 - Jimmy Ltd. - BSA - Jimmy Music Group "Jimmy Classic" Add / OM 03 - 122-124 (Swiden)

6. History of productions in Russia

On October 23, 1890, Balletmister L. I. Ivanov created an independent one-act ballet in the Mariinsky Theater, as part of an opera performance

November 5, 1914 - Balletmaster Alexander Alekseevich Gorsky, Bolshoy Theater, as part of the opera play)

1971 - Name Ballet Ballet Moiseeeva Ballet Moiseyuser in the Ensemble of the USSR Public Dance. Premieres: Sports Palace at Versailles Gate in Paris, Moscow, Tchaikovsky Concert Hall, Leningrad and other USSR cities.

7. Fokina

On November 5, 1914, Mikhail Fokin created his choreographic version of "Polovtsy dance" in the Dyagilevsky Russian seasons, the premiere was held at the "Shatle" theater, Paris. With the scenery of N. K. Roerich, Conductor E. A. Cooper; Roles were performed - A. R. Param, E. A. Smirnova, S. V. Fedorova (Fedorova 2nd)

Vera Krasovskaya wrote about how Fokin embodied his choreographic fantasies in the dance and convincingly revealed musical images:

"Fierce on appearance, with perepantsuannye and mud people, their gathering more resembled the lair of wild animals than the human camp ... Possivily-wonderful, full of East of the wave dance of girls, sweeps the mad vortex dance of the Polovtsy, which rushing, swimming into the air. The curtain descended at the time of full rampant and madness of dances. "

Since October 2008, Andris Liepa has prepared a program for the Century of the Jubilee of the Dyagilev "Russian Seasons" with the droupe of the Kremlin Palace.

In March / April 2011, a sophisticated Paris spectator saw in the Teatrera of the Elysees Fields.

"In 1906, Dyagilev brought to France" Exhibition of Russian Portrait ", 1907 - became a musical season when Scriabin, Roman Korsakov and Fedor Shalyapin left for the first time. And in the 1908/1909 season, a ballet appeared, who conquered the entire European audience, and this began a solemn procession of Russian culture in Western Europe. I think "Russian seasons. The XXI century "is the continuation of the triumphal march of Russian art, started by Sergei Dyagilev. The influence that the Dyagilevsky seasons had to develop European art as a whole, it is simply impossible to overestimate. " - A. M. Liepa

Notes

1. According to the records of A. P. Borodin, Alexander Glazunov and Nikolay Rimsky-Korsakov were completed. Alexander Glazunov in memory restored the overture, which he heard in the author's execution on the piano, finished and orchestrated the third action. N. A. Rimsky-Korsakov orchestrated prologue, first, second and fourth action and Polovtsy march
2. Kasyan Goleyovsky Head "On Polovtsy Dats" // "Life and art". - Moscow: WTO, 1984.
3. "Russian Ballet: Encyclopedia" - www.ballet-enc.ru/html/p/poloveckie-pl8ski.html. - m .: "Large Russian encyclopedia; Consent, 1981. - 632 p.
4. "Russian Ballet: Encyclopedia" - www.pro-ballet.ru/html/p/poloveckie-pl8ski.html. - m .: "Large Russian encyclopedia; Consent, 1997. - 632 p. - 10,000 copies. - ISBN 5-85370-099-1
5. "Polovtsy dances" - www.belcanto.ru/ballet_polovtsian.html. - El.Entz. "Belkato".
6. "Third seasons of Russian ballets opened in Paris with anchlage" - www.rian.ru/culture/2010401/359870407.html. - RIA Novosti, 04/01/2011.
7. "Russian seasons of the XXI century opened in Paris" - rus.ruvr.ru/2011/04/01/48273690.html. - "ITAR-TASS", 04/01/2011.
8. Irina Korneeva "For 100 years, Dyagilev not aged" - www.rg.ru/2008/10/21/balet.html. - "Russian newspaper", 10/21/2008. - V. federal. - № 4776.

Literature

• Encyclopedia "Russian Ballet". Scientific Publishing House "Big Russian Encyclopedia". Publishing "Consent", page 365.
• Book "Big Theater of the USSR". State Music Publishing House, Moscow, 1958, page 57

Written by the author with the participation of V. V. Stasov, served as a monument of the ancient Russian literature "The Word about the regiment of Igor", telling about the unsuccessful campaign of Prince Igor against Polovtsy. To write Opera Borodin met with the preserved in Hungary at the descendants of Polovtsy Polovtsy Folklore. According to the family legend, the genus of Borodin was from the princes of Polovtsy assimilated by Georgians.

Polovtsy Stan. Evening. Girls-polovchanki dance and sing a song in which a flower, thirsting moisture, with a girl, hoping for a date with her beloved.

Khan Konchak offers printed prince Igor Freedom in exchange for a promise not to raise a sword. But Igor honestly says that if Khan will let go of him, he will immediately collect the shelves and hit again. Konchak regrets that they are not allied with Igor, and calls prisoners and captives, so that they have fun.

The scene begins "Polovtsy Dance". First, girls dance and sing (fucking "Fly on the wings of the wind"). The choreographic effect is delivered to the amazing and melodiousness of the Aria of Polovtsy Girl and Konchakov.

Then the common dance of Polovtsy begins. The action ends with a common culmination dasya.

• Setting ballet action:
• October 23, the Mariinsky Theater, St. Petersburg - Balletmister Lev Ivanov created an independent one-act ballet in the Mariinsky Theater, as part of the opera performance
• May 19, Russian Seasons, Shatle Theater, Paris - Mikhail Fokina. Conductor: E. A. Cooper, Scenography: N. K. Roerich. Artists: A. R. Param, E. A. Smirnova, S. F. Fedorova
• September 22, 1909 - Mariinsky Theater, St. Petersburg. Balletmaster Mikhail Fokin. Conductor: E. A. Kruzhevsky, artist: K. A. Korovin. Artists: V. P. Fokina L. F. Shollar, B. F. Nizhinskaya, S. F. Fyodorova, A. R. Param
• November 5, a large theater. Balletmaster A. A. Gorsky, as part of an opera play.
• January 19, a large theater. Balletmaster Kasyan Goleyovsky. Artist F. F. Fedorovsky. In 1951, special - "Big Concert"
• Year - Balletmaster Kasyan Goleyovsky. Setting in Donetsk
• Year is a large theater. Balletmaster Kasyan Goleyovsky. Artist: F. F. Fedorovsky. Conductor: M. N. Zhukov. Equipped in 1972.
• Year - Balletmaster Kasyan Goleyovsky in the theater. Kirov, in Leningrad.
• The year is a single-act balletmaster ballet Moiseeva in the ensemble of the USSR Public Dance. Premieres: Sports Palace at Versailles Gate in Paris, Moscow, Tchaikovsky Concert Hall, Leningrad and other USSR cities. Ballet is fused.

Statement of Golayovsky

When creating its production, Goleyovsky thoroughly studied the story. As is known, the content of the brilliant opera of Borodin "Prince Igor" serves as an unsuccessful campaign of the North Principles of Igor and Vsevolod Svyatoslavichi in the Polovtsy, which is shot in the famous "Word about the regiment of Igor". The appearance of Polovtsy in Russia refers to the second half of the XI century, more precisely by 1061. For one hundred and fifty years, up to 1210 there are about fifty major Polovtsy raids, and not counting small.

Ballet was put by Golayovsky by score. Each drawing was built in coordination with rhythm, melody and timbre of orchestral paints. In Borodin, East in music is genuine, spontaneous.

Kasyan Goleyovsky - "Elements in dances":

1. Syncopa, stressed in the "dance of men wild", "dance of boys", "chagach" and finals
2. Melody, clouding, charming with his Neho - "Dance of girls smooth"
3. Harmony - Famous Kwints Borodin, successfully and boldly emphasizing the overall drawing
4. Dynamics - Accelerating Movement from Moderato to Presto
5. Nuunting is the power of sound. On accents and pauses.

Fokina

Music

• Act begins S. Choir Polovtsy Girls and Aria Konchakovna
• Dance of Polovtsy girls - First Dance (No. 8, Presto, 6/8, F Major)
• Polovtsaya Dance with Choir - (No. 17. Introduction: Andantino, 4/4, a Major)
• Slow dance of Polovytsky girls (Andantino, 4/4, a Major)
• Dating men wild (Allegro Vivo, 4/4, F Major)
• Total dance (Allegro, 3/4, D Major)
• Dance boys (Presto, 6/8, D MINOR)
• Dance of girls, "sliding" (in reprise music (REPRISE) in combination with boys dance in a fast pace (Moderato Alla Breve, 2/2)
• Dance of boys and dance of Polovtsy (REPRISE, PRESTO, 6/8, D MINOR)
• Final Culminated Dance (Allegro CON Spirito, 4/4, a Major)

Recording music

1. - "Melody"
2. - - Gabt: Ivan Petrov, Tatyana Tugarinova, Vladimir Atlantov, Arthur Eisen, Alexander Verdnikov, Elena Exodzova
3. - Jimmy Ltd. - BSA - Jimmy Music Group "Jimmy Classic" Add / OM 03 - 122-124 (Swiden)

Arrangement of Music Borodin

He recorded a song in English Sarah Brightman.

Excerpt characterizing Polovtsian dances

- Yes, here ... (Anatol looked at the clock) now and go. Look, Baiga. BUT? Do you want?
- Yes, how will the departure - will it be happy, and then why not hate? - said Baiga. - Delivered to Tver, slept at seven hours. Remember I suppose, your fortification.
"You know whether I rode from Tver from Tver," said Anatole with a smile of memories, referring to Makarina, who looked at Kuragin in all his eyes. - Do you believe, Makarka, that the spirit captured, as we flew. They drove into travels, after two bureaucrats crossed. BUT?
- Oh horses were! - continued the story of Baiga. - I am then the precenty to the wagon of the waters, "he turned to Dolokhov," Do you believe, Fyodor Ivanovich, 60 miles of animals flew; It is impossible to keep your hands, frost was. I threw the entrance, keep, they say, your shyness, myself, so in Sani and fell. So because it is not that it is impossible to drive, it is impossible to keep the place. At three o'clock they came the devils. Frake left only.

Anatole came out of the room and a few minutes later returned to the fur coat and sabol with a silver belt, Molttozatu on Beckrane and very smashed to his beautiful face. Looking at the mirror and in the very pose he took in front of the mirror, becoming before Dolokhov, he took a glass of wine.
"Well, Fedya, goodbye, thanks for everything, goodbye," said Anatol. - Well, comrades, friends ... He thought about ... - youth ... I, forgive, - he turned to Makarin and others.
Despite the fact that they all went with him, Anatol apparently wanted to do something touching and solemn appeal to comrades. He spoke slow, loud voice and putting his chest swayed by one foot. - All take glasses; And you, Balag. Well, comrades, my friends of my youth, we smoked, lived, hit. BUT? Now, when you want? abroad will go. Eastern, farewell guys. For health! Hooray! .. He said, drank his glass and slapped him about the Earth.
"Be healthy," said Baiga, also drinking his glass and wrapped with a handkerchief. Makarin with tears in his eyes hugged Anatol. "Eh, Prince, how sad it is to part with you," he said.
- Go, go! - shouted Anatol.
Balag was from the room.
"No, stand," said Anatol. - Cancel the doors, it is necessary to sit down. Like this. - Got the doors, and all sat down.
- Well, now the march guys! - said Anatole getting up.
Joseph Lackey gave an anatoly bag and saber, and everyone went to the front.
- And where is the fur coat? - said Doolokh. - Hey, Ignatka! Look to Matrey Matveyevna, ask a fur coat, Salop Solimi. I heard how to take away, "said Solohov, winning. - After all, she will pop up either alive, nor dead, what was sitting at home; Slightly hesitate, here and tears, and dad, and milf, and now, and back and forth, - and you at the fur coat immediately and carry in Sani.
Lackey brought female Lysis Salop.
"Fool, I told you Soboliy." Hey, Matryoshka, Soboli! He shouted so that his voice came far around the rooms.
Beautiful, thin and pale gypsy, with shiny, black eyes and with black, curly sysoy-linked hair, in the Red Shawl, ran out with a sable salop on her hand.
- Well, I'm not sorry, you take, "she said, apparently Robust in front of his master and regret Salopa.
Shelokhov, not responding to her, took a fur coat, threw her on the matree and climbed it.
"That's it," said Shahov. "And then like this," he said, and raised her collar's head, leaving him only in his face a little open. - Then like this, you see? "And he pulled the head of Anatol to the hole left by the collar, from which the brilliant smile of Matreos could be seen.
"Well, forgive, Matresh," said Anatol, kissing her. - Oh, my gulba is over! Stskey bow. Well, goodbye! Goodbye, Matresh; You wish me happiness.
"Well, give you God, prince, happiness big," said Matresh, with his Gypsy accent.
The porch had two troops, two young people kept them. Balag sat on the front three, and, highly raising his elbows, disassembled leisurely. Anatol and Shahov sat down to him. Makarin, Tails and Laki sat down in another triple.
- Ready, what? - asked Baiga.
- Pushy! - he shouted, soaking around the arms around the hands, and the Troika suffered to beat down the Nikitsky Boulevard.
- TPRRU! Look, hey! ... TPRRU, - just heard a cry of Balags and Well done, who was sitting on goats. On the Arbat Square Troika hooked the carriage, something shook, a cry was heard, and Troika flew along Arbat.
By giving two end to the renovinsky Baiga, he began to restrain and, returning back, stopped the horses at the intersection of the old stable.
Well done jumped to keep horses under the boils, Anatole with Doolov went on the sidewalk. Approaching the goal, Solokhov whistled. The whistle responded to him and after that the maid ran out.
"Enter the yard, otherwise you can see, now it will be released," she said.
Shelahov remained at the gate. Anatol entered the maid on the courtyard, touched the corner and ran into the porch.
Gavrilo, a huge exit Lackey Maryia Dmitrievna, met Anatol.
- To the Baryna, please, - Basa said Lackey, sunbathing the road from the door.
- What la window? Who are you? - I asked anatole with a breathless shop.
- Sick, ordered to give.
- Kuragin! Back, - Shourahov shouted. - treason! Back!
Shard by the wicket, which he stopped, fought with the janitor who tried to locate for the wicket entered Anatola. All the last effort pushed the janitor and grabbing the swollen anatol behind the hand, pulled him out for the gate and ran back to the top three.

Marya Dmitrievna, put a swapping son in the corridor, forced her to admit it. I intercepting Natasha's note and reading it, Marya Dmitrievna, with a note in his hand, rushed to Natasha.
- Bulk, shameless, - she said to her. - I do not want to hear! - pushing in surprised, but with dry eyes looking at her Natasha, she locked her on the key and ordering the janitor to skip into the gate of those people who would come in the evening, but not let them out, and the lacquer ordered to bring these people to themselves, waiting in the living room, waiting kidnappers.
When Gavrilo came to report Marie Dmitrievna, that the coming people ran away, she frowning up and knew her hands back, went through the rooms for a long time, thinking about what she did. At 12 o'clock in the morning, she, sketching the key in his pocket, went to Natasha's room. Sonya, sobbing, sat in the corridor.
- Marya Dmitrievna, let me go to her for God! - she said. Mary Dmitrievna, not answering her, revealed the door and entered. "Gadko, badly ... in my house ... Bulk, Girl ... Only Father is a pity!" Thought Mary Dmitrievna, trying to squeeze his anger. "No matter how difficult it is to be kept to everyone to be silent and hide from the count." Mary Dmitrievna entered the room with decisive steps. Natasha lay on the sofa, closing his head with his hands, and did not move. She lay in the very position in which she left her Mary Dmitrievna.
- Good, very good! - said Marya Dmitrievna. - In my house lovers dates to appoint! It is not necessary to pretend. You are listening when I'm talking to you. - Mary Dmitrievna touched her hand. - You are listening when I say. You dare yourself like the girl is the latest. I would have done with you, yes, I feel sorry for me. I hide. - Natasha did not change the position, but only the whole body it began to boil from the silent, convulsive sobs that stirred it. Marya Dmitrievna looked at Sonya and sat down on the couch beside Natasha.
- Happiness him, that he left me; Yes, I will find him, "she told her rude voice; - Do you hear what I'm saying? - She fisted with her big hand under Natasha's face and turned her to her. And Mary Dmitrievna, and Sonya was surprised to see the face of Natasha. Her eyes were brilliantly and dry, the lips were fastened, the cheeks dropped.
"Leave ... those ... What I ... I ... die ..." she said, an evil force escaped from Maria Dmitrievna and fell into its former position.
"Natalia! ..." said Marya Dmitrievna. - I wish you good. You are lying, well, lying so, I will not throne you, and listen ... I will not say how you are to blame. You know yourself. Well, now your father will come tomorrow, what will I tell him? BUT?
Again the body of Natasha was adjusted from sobs.
- Well, he learns, well, your brother, the groom!
"I have no fiance, I refused," Natasha shouted.
"All the same," Marya Dmitrievna continued. - Well, they learn that they will leave? After all, he, my father, I know him, because he, if his duel causes, it will be good? BUT?
- Oh, leave me, why did you prevent everything! What for? what for? Who asked you? "Natasha shouted, lifted by the sofa and looking viciously on Marjew Dmitrievna."
- Why did you want? - I screamed hot, Maria Dmitrievna, - What did you lock that? Well, who interfered with him to go to the house? Why do you like gypsy what, to carry? ... Well, he would take you, what do you think I would not find it? Your father, or brother, or groom. And he is a bastard, scoundrel, that's what!
"He's better than all of you," Natasha screamed, raising. - If you did not interfere ... oh, my God, that's what it is! Sonya, for what? Get away! ... - And she buried with such despair, with what people mourning only such a mountain, which they feel the reason. Marya Dmitrievna began to talk again; But Natasha shouted: - Get out, leave, you all hate me, despise. - And again rushed to the sofa.
Mary Dmitrievna continued to duplicate Natasha a few more time and inspire that all this should be hidden from the count that no one knows nothing, if only Natasha takes everything to forget everything and not to show anyone to anyone that something happened. Natasha did not answer. She did not sobbing more, but with her the chills and trembling. Marya Dmitrievna put her pillow, covered it with two blankets and brought her a lime color to her, but Natasha had responded to her. "Well, let him sleep," said Marya Dmitrievna, leaving the room, thinking that she was sleeping. But Natasha did not sleep and stopped open eyes from the pale face straight looked before him. All this night Natasha did not sleep, and did not cry, and did not speak with Sonya, several times the ranking and approached her.
The next day to breakfast, as the graph Ilya Andreich promised, he came from near Moscow. He was very fun: the point with the bidder was laid and nothing was delayed now in Moscow and in separation from the Countess, on which he missed. Mary Dmitrievna met him and declared him that Natasha became very unhealthy yesterday that they sent for the doctor, but now she is better. Natasha at that morning did not leave his room. With pursing cracked lips, dryly stopped her eyes, she sat at the window and was resting restlessly in passing down the street and hastily looked around at the room. She obviously waited for news of him, waiting for himself he would come or write her.
When the count climbed to her, she was restlessly fused on the sound of his men's steps, and her face took the old cold and even evil expression. She didn't even rose to meet him.
- What's wrong with you, my angel, sick? - asked the graph. Natasha was silent.
"Yes, sick," she answered.
For restless persisions of the graph about why she was so killed and did something happen to anything with the bridegroom, she assured him that nothing, and asked him not to worry. Mary Dmitrievna confirmed the count of Natasha's assurance that nothing happened. The graph, judging by the imaginary illness, on the disorder of his daughter, on Sony's confused persons and Marya Dmitrievna, clearly saw that in his absence there was something to happen: but he was so scared to think that something shameful happened to his loved her daughter, he So I loved my cheerful calmness that he avoided the questions and tried everything to assure himself that nothing special was and only he was heard that on the occasion of her unhealthy was postponed their departure to the village.

From the date of his wife's arrival in Moscow, Pierre was selected to leave somewhere, only not to be with her. Shortly after the arrival of growth in Moscow, the impression that Natasha made him forced him to hurry to fulfill his intention. He went to Tver to the widow of Joseph Alekseevich, who promised a long time to convey his papers of the deceased.
When Pierre returned to Moscow, he filed a letter from Maryia Dmitrievna, who called him to himself on a very important cause concerning Andrei Bolkonsky and his bride. Pierre avoided Natasha. It seemed to him that he had a stronger feeling for her than something that was supposed to have a married man to the bride of his friend. And some fate constantly reduced him with her.
"What happened? And what is the case before me? He thought, dressed to go to Marie Dmitrievna. Prince Andrei would come as soon as possible and married her! " Thought Pierre dear to Ahrosimova.
On Tver Boulevard, someone called him.
- Pierre! How long have come? - shouted him a familiar voice. Pierre raised his head. In paired sleighs, on two gray fristers, throwing the Sanya's heads snow, flashed anatole with her always macaric comrade. Anatol was sitting directly, in the classic pose of the military scoop, having wrapped the bottom of the face with a beaver collar and burned his head slightly. His face was blushing and fresh, a hat with a white plume was hoping on the side, opening curly, chanted and shrouded with small snow.
"And right, this is a real sage! Pierre thought, nothing sees nothing further than the present moment of pleasure, nothing worries him, and therefore always cheerful, satisfied and calm. What would I give to be like him! " Pierre thought with envy.
In the front Akhrosimova Lackey, removing his fur coat from Pierre, said that Marya Dmitrievna is asked to his bedroom.
Opening the door to the hall, Pierre saw Natasha, who was sitting by the window with a thin, pale and evil face. She looked at him, frowned and with an expression of cold dignity came out of the room.
- What happened? - asked Pierre, entering Marya Dmitrievna.
"Good things," Marya Dmitrievna answered: "Fifty-eight years lived in the world, she did not see such a worm." - And taking a honest word from Pierra to be silent about everything he learns, Mary Dmitrievna informed him that Natasha refused his groom without the knowledge of his parents, that the cause of this refusal was Anatole Kuragin, with whom her wife Pierre was reduced and with whom she wanted to run In the absence of his father, in order to secretly get married.

Theater of Natalia Sats, together with the Russian Seasons Foundation, continues to acquaint the public with the masterpieces of the world famous Balletmister Mikhail Fokina and represents the ballet "Shechherzad", "Shopenian" and "Polovtsy Dance", first shown by the world a hundred years ago within the Russian seasons Sergey Dyagileva in Paris, and now restored by choreographer Andris Liepi.

"We took up this production not in order to become better Mikhail Fokina, but to be in the trends of his innovation. Fokin, in addition to its unconditional genius as a choreographer of a classic dance, was an innovator in a constant search for new forms of interaction between different scenic genres. I am happy to present you a new embodiment of my twenty-year-old dreams and work. There is not a single day so that I do not think about the "Russian seasons", their creators and participants ", "Says Andris Liepa.

In previous seasons, the Natalia Sats Theater together with Andris Liepi and his foundation already released two performances from the heritage of Mikhail Fokina, thanks to which the Metropolitan Theater was the opportunity to see his hot balobs and parsley on the music of Igor Stravinsky. And in 2013, the operating of the Opera Golden Cockerel was carried out, the ballet is played in the scenic version of which the ballet is played. The performance with great success was fulfilled not only on the Moscow stage, but also at the closure of the annual festival "Dyagilev seasons" in Paris in 2013.

In collaboration with the Fund
"Russian seasons - XXI century"

polovtsy dances, Polovtsy dances listen
A. P. Borodin

Source scene

Word about the regiment of Igor

Choreographer

Lev Ivanov

Subsequent editions

MM Fokin, A.A.Gorsky, K.Y. Gollyovsky, I.A. Moiseev

First statement Place of first setting

Mariinsky Theatre

Ballet fragment of the 2nd action of the opera "Prince Igor" of the Russian composer A. P. Borodina.

Choir and Polovtsy dance orchestrated by Alexander Porfiryevich Borodin with the participation of N. A. Rimsky-Korsakov to the concert of free music school on February 27, 1879. Roman Korsakov in his "chronicle" mentions participation in the orchestration A. K. Lyadov, but this is not confirmed by handwritten materials. "Polovtsy dance" have gained great popularity.

The source for libretto, written by the author himself with the participation of V. V. Stasov, served a monument of the ancient Russian literature "Word about the regiment of Igor", telling about the unsuccessful campaign of Prince Igor against Polovtsy. To write Opera Borodin met with the preserved in Hungary at the descendants of Polovtsy Polovtsy Folklore. According to the family legend, the genus of Borodin was from the princes of Polovtsy assimilated by Georgians.

• 1 content of ballet act
• 2 sets
  • 2.1 Statement of Golayovsky
  • 2.2 Fokina
• 3 Music
  • 3.1 Music recording
    • 3.1.1 Arrangement of Borodin Music
• 4 Notes
• 5 literature
• 6 Links

Polovtsy Stan. Evening. Girls-polovchanki dance and sing a song in which a flower, thirsting moisture, with a girl, hoping for a date with her beloved.

Khan Konchak offers printed prince Igor Freedom in exchange for a promise not to raise a sword. But Igor honestly says that if Khan will let go of him, he will immediately collect the shelves and hit again. Konchak regrets that they are not allied with Igor, and calls prisoners and captives, so that they have fun.

The scene begins "Polovtsy Dance". First, girls dance and sing (fucking "Fly on the wings of the wind"). The choreographic effect is delivered to the amazing and melodiousness of the Aria of Polovtsy Girl and Konchakov.

Then the common dance of Polovtsy begins. The action ends with a common culmination dasya.

Ballet fragment from the opera "Prince Igor" became a separate ballet play for 15 minutes.

In Opera, he goes at the beginning and at the end of the second act.

Scene	Time	Music	Ballet participation
1 Choir of Polovtsy Girls	6"10	"On an annemy, day in the sun", Polovtsy girl, choir	corps de ballet
2 dances of Polovtsy girls	2"21
3 Cavatorian Konchakovna	5"56	"Flashing light", Konchakin, Choir
4 scene and choir	2"50	"Girlfriends-girls, send prisoners", Konchakin, Choir
5 Recatative and Cavatina Vladimir	5"41	"Slowly Ugasal Day", Vladimir Igorevich
6 duet	5"25	"Do you Vladimir MY", Konchakovna, Vladimir Igorevich
7 Aria Prince Igor	6"49	"Neither sleep, no rest of the exhausted soul", Prince Igor
8 Scene Prince Igor with Ovwar	4"07	"Let me, prince, the word to pray," KN. Igor, Ovlur
9 Aria Konchaka	6"57	"His prince", Konchak and Prince Igor
10 Rechitative	3"22	"Gay, prisoners bring here", Konchak, Prince Igor
11 Polovtsaya Dance with Choir	10"55		Polovtsian girl, chaga, corps

Settings

• Setting ballet action:
• October 23, 1890 - Mariinsky Theater, St. Petersburg - Balletmister Lev Ivanov created an independent one-act ballet in the Mariinsky Theater, as part of an opera performance
• May 19, 1909 - "Russian Seasons", theater Shatle, Paris - Staging Mikhail Fokina. Conductor: E. A. Cooper, Scenography: N. K. Roerich. Artists: A. R. Param, E. A. Smirnova, S. F. Fedorova
• September 22, 1909 - Mariinsky Theater, St. Petersburg. Balletmaster Mikhail Fokin. Conductor: E. A. Kruzhevsky, artist: K. A. Korovin. Artists: V. P. Fokina L. F. Shollar, B. F. Nizhinskaya, S. F. Fyodorova, A. R. Param
• November 5, 1914 - Big Theater. Balletmaster A. A. Gorsky, as part of an opera play.
• January 19, 1934 - Big Theater. Balletmaster Kasyan Goleyovsky. Artist F. F. Fedorovsky. 1951 was specialized - "Big Concert"
• 1943 - Balletmaster Kasyan Goleyovsky. Setting in Donetsk
• 1953 - Big Theater. Balletmaster Kasyan Goleyovsky. Artist: F. F. Fedorovsky. Conductor: M. N. Zhukov. Equipped in 1972.
• 1955 - Balletmaster Kasyan Goleyovsky in the theater. Kirov, in Leningrad.
• 1971 - Name Ballet Ballet Moiseeeva Ballet Moiseyuser in the Ensemble of the USSR Public Dance. Premieres: Sports Palace at Versailles Gate in Paris, Moscow, Tchaikovsky Concert Hall, Leningrad and other USSR cities. Ballet is fused.

Statement of Golayovsky

When creating its production, Goleyovsky thoroughly studied the story. As is known, the content of the brilliant opera of Borodin "Prince Igor" serves as an unsuccessful campaign of the North Principles of Igor and Vsevolod Svyatoslavichi in the Polovtsy, which is shot in the famous "Word about the regiment of Igor". The appearance of Polovtsy in Russia refers to the second half of the XI century, more precisely by 1061. For one hundred and fifty years, up to 1210 there are about fifty major Polovtsy raids, and not counting small.

Mixing styles Kasyan Yaroslavich explains that the tribes gradually poured into the Polovytsky hordes, they struggled with them. Such a phenomenon had an impact on the formation of peculiar dance techniques of Polovtsy.

Ballet was put by Golayovsky by score. Each drawing was built in coordination with rhythm, melody and timbre of orchestral paints. In Borodin, East in music is genuine, spontaneous.

Kasyan Goleyovsky - "Elements in dances":

1. Syncopa, stressed in the "dance of men wild", "dance of boys", "chagach" and finals
2. Melody, clouding, charming with his Neho - "Dance of girls smooth"
3. Harmony - Famous Kwints Borodin, successfully and boldly emphasizing the overall drawing
4. Dynamics - Accelerating Movement from Moderato to Presto
5. Nuunting is the power of sound. On accents and pauses.

Fokina

On November 5, 1914, Mikhail Fokin created his choreographic version of "Polovtsy dance" in the Dyagilevsky Russian seasons, the premiere was held at the "Shatle" theater, Paris. With the scenery of N. K. Roerich, Conductor E. A. Cooper; Roles were performed - A. R. Param, E. A. Smirnova, S. V. Fedorova (Fedorova 2nd)

Vera Krasovskaya wrote about how Fokin embodied his choreographic fantasies in the dance and convincingly revealed musical images:

"Fierce on appearance, with perepantsuannye and mud people, their gathering more resembled the lair of wild animals than the human camp ... Possivily-wonderful, full of East of the wave dance of girls, sweeps the mad vortex dance of the Polovtsy, which rushing, swimming into the air. The curtain descended at the time of full rampant and madness of dances. "

From October 2008, Andris Liepa was preparing a program for the Central Jubilee of the Dyagilevsky "Russian Seasons" with a troupe of the Kremlin Palace.

In March / April 2011, a sophisticated Paris spectator saw in the Teatrera of the Elysees Fields.

"In 1906, Dyagilev brought to France" Exhibition of Russian Portrait ", 1907 - became a musical season when Scriabin, Roman Korsakov and Fedor Shalyapin left for the first time. And in the 1908/1909 season, a ballet appeared, who conquered the entire European audience, and this began a solemn procession of Russian culture in Western Europe. I think "Russian seasons. The XXI century "is the continuation of the triumphal march of Russian art, started by Sergei Dyagilev. The influence that the Dyagilevsky seasons had to develop European art as a whole, it is simply impossible to overestimate. " - A. M. Liepa

Music

Fragments of those "Polovtsy dance"

• Act begins with the choir of Polovtsy Girls and Aria Conchakovna
• Dance of Polovtsy Girls - First Dance (No. 8, Presto, 6/8, F Major)
• Polovtsaya Dance with Choir - (No. 17. Introduction: Andantino, 4/4, a Major)
• Slow Dance of Polovtsy Girls (Andantino, 4/4, a Major)
• Dissament Men Wild (Allegro Vivo, 4/4, F Major)
• Total dance (Allegro, 3/4, D Major)
• Dance boys (Presto, 6/8, D minor)
• Dance of girls, "sliding" (in reprise music (REPRISE) combined with boys dance in a fast pace (Moderato Alla Breve, 2/2)
• Dance of boys and dance of Polovtsy (REPRISE, PRESTO, 6/8, D MINOR)
• Final Culminated Dance (Allegro CON Spirito, 4/4, a Major)

Recording music

1. 1970 - "Melody"
2. 1978-1979 - Gabt: Ivan Petrov, Tatyana Tugarinova, Vladimir Atlantov, Arthur Eisen, Alexander Verdnikov, Elena Exodzova
3. 1997 - Jimmy Ltd. - BSA - Jimmy Music Group "Jimmy Classic" Add / OM 03 - 122-124 (Swiden)

Arrangement of Music Borodin

Unfortunately, JavaScript is disabled in your browser, or there is no required player.
You can download the roller or download the player to play the roller in the browser. "Polovtsy dances" in the arrangement of the Spanish rock guitarist Daniel Bautists (fragment)

A popular melody is performed by many famous modern musicians and jazzmen in their own arrangement: French Pianist Richard Cleiderman, Russian Saxophonist Alexey Kozlov.

He recorded a song in English Sarah Brightman.

In 1953, Musical Kemet was created, the song from which Stranger in Paradise was later released as a separate single Tony Bennett in 1954. She was also recorded in the future and other performers including: The Four Aces, Tony Martin, Ray Conneeff, Sarah Brightman.

The "Niobeth" Sympho group made his own cover version of "Polovtsian Dances" in 2011.

The Russian group "Aria" in the Single "Battle Field" (2009) also recorded its version of the arrangement ("on the wings of the wind").

American rap performer Warren G Together with the Norwegian Star Soprano Sissel Kyrkjjebø, in 1998, recorded The Rapsody Overture Collection, which is a combination of rap and classical music, where he reads rap to music from the opera A.P. Borodin "Prince Igor"

Notes

1. Prince Igor. Opera. http://www.compozitor.spb.ru/catalog/?Element_id\u003d22181
2. "Russian ballet: Encyclopedia." - M.: "Large Russian Encyclopedia; Consent, 1981. - 632 p.
3. Kasyan Goleyovsky, Head "On Polovtsy Dats" in the book "Life and Creativity" (1984).
4. "Russian ballet: Encyclopedia." - M.: "Large Russian Encyclopedia; Consent, 1997. - 632 p. - 10,000 copies. - ISBN 5-85370-099-1.
5. Polovtsy dance. El Island. "Belkato". Archived from primary source June 18, 2012.
6. "Third seasons of Russian ballets opened in Paris with anchlage." - RIA Novosti, 04/01/2011.
7. "Russian seasons of the XXI century opened in Paris." - "ITAR-TASS", 04/01/2011.
8. Irina Korneeva "For 100 years, Dyagilev is not aged." - "Russian newspaper", 10/21/2008. - Vol. Federal. - № 4776.
9. Kenyatta 2000, pp 14

Literature

• Encyclopedia "Russian Ballet". Scientific Publishing House "Big Russian Encyclopedia". Publishing "Consent", page 365.
• Book "Big Theater of the USSR". State Music Publishing House, Moscow, 1958, page 57

Links

• Summary Opera
• Video: Polovtsy Dances
• Video: Polovtsy Dance, Mikhailovsky Theater
• the Rapsody Feat. Warren G Feat. Sissel - Prince Igor (1997) HD

Ballets Mikhail Fokina
	Acyc and Galatea (1905) of the Eucnika (1907) of Chopenian (1907) Pavilion Armida (1907) Swan (1907) (1909) PIR (1909) Cleopatra (1909) Carnival (1910) Sheekharesada (1910) Firebird (1910) Orientali ( 1911) Vision of roses (1911) Narcississ (1911) Martyrdom of St. Sebastian (1911) Underwater kingdom (1911) Parsley (1911) Butterflies (1912) Blue God (1912) Tamara (1912) Daphnis and Chloe (1912) Legend of Joseph (1914 ) Golden Cockerel (1914) Midas (1914) Eros (1915) Faust (1925) Russian Soldier (1941)

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