Carmen Suit content. Chief ballet Maya Plisetsk

Carmen Suit content. Chief ballet Maya Plisetsk
Carmen Suit content. Chief ballet Maya Plisetsk
14.06.2019

With a request to put ballet for her about Carmen on the story of Prosper Merim to Cuban Balletmaster Alberto Alonso, who was touring in Moscow, asked Maya Plisetskaya.

Her cherished idea coincided with a long-standing Alonso's dream, and he very quickly composed the choreography of the future performance.

The question arose about music. Plisetskaya asked to write music to "Carmen" Dmitry Shostakovich, but the composer refused, not wanting, he said, compete with George Biza. Another refusal followed by Aram Khachaturian.

"Make on Biza!" - advised Alonso ...

The deadlines were pressed, the music was needed "yesterday." Then Shchedrin, who perfectly owned the profession of orchestration, significantly recomposed the musical material of the opera Biza. Music to the ballet consisted of melodic fragments of the opera "Carmen" and "Arlezianki" Georges Bizet. Rehearsals began under the piano. In record deadlines - for twenty days - Shchedrin made the transcription of Opera J. Bizet. In the scorerian score, the drum tools, various drums and bells and bells were given ... In the thirteen numbers, the suite turned out the idea of \u200b\u200bopposing two worlds: a light, impetuous, filled with human feelings and suffering and cold, impassive, inexorable masks.

In his brilliant orchestral, the composer took the main role of string and shock tools. The drum group was intended to mimic the Spanish folk instruments, the string group, in turn, performed the role of voice.

Although in a hurry, still the performance was prepared. But the workshops did not sleep, the costumes were delivered only by the morning of the Premiere Day. On the general rehearsal (it is an orchestral, light and montituing) on \u200b\u200bthe main scene allocated only one day.

Gorgeous, metaphorically accurate scenery to the spectrum, the main idea of \u200b\u200bwhich the balletmaster formulated the capacious phrase: "The whole life of Carmen - Corrida," created a famous theater artist, a cousin Plisetskaya Boris Messer.

The world premiere took place on April 20, 1967 in the Bolshoi Theater, Conducted Gennady Christmas.

An extremely passionate, erotic nature of the formulation caused a rejection from the Soviet leadership, besides, the USSR ballet Alonso went in censored form. According to the memoirs of Maya Plisetskoy: "... The Soviet power of the Alonso's Soviet power only because he was" his ", from the island of freedom, but this" islander "just took and put a performance not only about love passions, but also about That is not on the light of anything higher than freedom. And, of course, this ballet was so cool not only for erotica and my "walking" on the whole foot, but also for a policy that prisred clearly in it. " A discouraged novelty ballet, the public reacted to the premiere of cool. One of the few spectators who unconditionally accepted a new performance was D. D. Shostakovich. The creators of "Carmen-suite", too unusual, erotic, (obviously, it understood that he was politically not quite trusty) needed support, because they immediately got into opal. "You are a traitor to the classic ballet," the Minister of Culture of the USSR E.A. will say in rage. Furtseva. After the premiere performance in the director's bed, Furtsev did not turn out: she left the theater. The performance was not similar to the "short" Don Quixote "," as she expected, and was raw. The second performance was supposed to go to the "evening of the one-acting ballet" ("Trochikka"), April 22, but was canceled: "This is a big failure, comrades. Performance raw. Solid erotica. Music Opera isometric ... I have big doubts if you can modify my ballet. " Furtseva suggested Plisetskaya through the press to obey his mistake with Carmen-Sitoy.

The most expensive for Plcetsk was the recognition of the Spanish public:

"When the Spaniards cried me" Ole! ", I realized that I won."

Libretto "Carmen-Suite" wrote Alberto Alonso. In the center of the ballet - the tragic fate of Gypsy Carmen and who loved her soldier Hose, whom Carmen leaves for the sake of the young Torreo. The relationship between the heroes and the death of Carmen from the hands of Hose is predetermined by rock. Thus, the story of Carmen (in comparison with the literary source and Opera Bizet), it was decided in a symbolic plan, which is strengthened by the unity of the point of action (corridium platform).

All the movements of Carmen-Plisetska carried a special meaning, a challenge, protest: and mocking shoulder movement, and retired her thigh, and a sharp turn of the head, and the piercing look so much ... As if frozen Sphinx, I watched Carmen Plisetsk for the Toreador dance, and her whole static pose Transmitted a colossal internal voltage. Wrapping the audience, she trimmed attention to himself, unwittingly (or consciously?) Distracting from spectacular solo toroidor.

The premiere (and for a long time is the only one), in addition to Maya Plisetsk, included NB. Fade Neck (Hose), S.N. Radchenko (Toro), N.D. Kasatkin (Rock), A.A. Lavrenyuk (Correchidor).

Alexander Godun became a new hose. His house is restrained, alert and incredulous. It seems to be all the time in anticipation of human betrayal, troubles, the impact of fate. He is injured and proud. Khoreography Hose begins a foot frame, Hose stands face in the hall. Live portrait of a house, blonde and light-eyed (in accordance with the portrait created by Merim). Large strict face features, a cold look expresses alienation. However, the True human essence is guessed behind the mask - the vicestness of the soul thrown into the cruel world. Portrait is psychologically interesting in itself, but the movement begins. Sinking "speech" perceived by Godunov exactly and organically. Carefully worked nuances folded the scenic nature relief and image.

In the role of Torero made the brilliant characteristic dancer of the Bolshoi Theater Sergey Radchenko. The artist is stylish, thinly knowing the features of the Spanish dance, temperamental and scenicly charming, created an image of an externally dazzlingly spectacular, but empty winner of the Corrida.

The triumphal march "Carmen-suite" on theatrical scenes of the world continues to the present.

Municipal General Education

cities of Janko Republic of Crimea

"High School No. 8"

Theme lesson:

Prepared:

music teacher

Pekar A. S.

2016

Theme lesson: "Ballet R. K. Shchedrina" Carmen-Suite ""

Objectives: Disclose the features of the musical drama of the ballet R. Shchedrin as a symphony method of reading the literary plot based on music J. Bizet; Find out the question of modernity affected in the music of love theme.

Tasks:

To acquaint with the work of outstanding composers: J. Bize and R. Shchedrin;

Conduct an intonational-shaped music analysis and identify the principle of its development;

Identify the features of the interaction of music with various types of arts;

Develop intonation-shaped thinking, musical memory, rhythm feeling, timbre rumor, vocal choir skills;

Educate the musical culture of students, form aesthetic taste on the examples of the music of the theater genre;

Contribute to becoming a positive attitude towards classical music.

Music material:

1. Opera "Carmen" J. Bizet (fragments);

2. Ballet "Carmen-Suite" R.chenina.

3. Entry to the ballet "Carmen-Suite"

4. Marsh Toreadora

5. "The output of Carmen and Khabanner"

6. "This world is invented not by us."

Equipment: Tape recorder, CD- records, piano, portraits of classic composers, presentation.

During the classes:

  1. Organizing time.

Teacher's introductory word.

Teacher: Guys, today I again invite everyone to the wonderful world of music.

The world of this amazingly aid and diverse, it contains various genres. This is vocal and instrumental music, it is a chamber music, sounding in small rooms, music of concert halls-symphonies, concerts, suite, etc. Today we turn tomusic theatrical genre.

Let's remember which works treat this genre?

(Answers)

1. The hour will sound a music fragment of a friend to you. Listen and name it.

Sounds an excerpt from the opera "Carmen" J. Bizet

II. Actualization of knowledge.

Teacher: Which of you will name the work, the passage of which now sounded?

Opera "Carmen".

Teacher: Yes, a fragment of the most popular opera "Carmen" sounded in the world.

  • French composer Georges Bizet. (Slide 1)

Teacher: What product was the impetus for the creation of the opera?

  • Novel of Proster Merim "Carmen". (Slide 2.)

Teacher: Let's remember the plot of the opera.

The action takes place in the Spanish city of Seville at the beginning of 19 months.

I action. (Slide 3.)

The tobacco factory stands in the guard of soldiers, among them Sergeant Hose.

Surrounded by young people, the factory workers appear Gypsy Carmen and begins to talk about love.

Soldiers, Cavalers give it signs of attention, but she does not pay any attention to them, comes to Hose and throws him a flower. Rings the factory bell, hearing on the start of work.

Workers and Carmen go to the factory, but after a while between Carmen and workers there is a serious oversight. Carmen are arrested and under the convict leaded, but she pushed Sergeant Hose, he fell, and Carmen, taking advantage of the moment, ran away.

II action. (Slide 4.)

Two months have passed. In the carman's tavern, together with friends, entertains visitors, among them and the captain of Xuniga. He reports that Hose was demolished in soldiers because of the escape Carmen. The Toreador Escamilo appears and the beauty of Carmen is surprised, falling in love with her at first glance.

It includes a house, but the sounds of a pipe calling on the evening checking is heard.

Contrary to the orders of the captain, Hose remains with Carmen and becomes a deserter, engaging in touch with smugglers. Captain disarming and removed.

III action. (Slide 5.)

It happens in the mountains near the border. Smugglers are going to the next case. Hose does not like this occupation.

Between him and Carmen, who already cooled to his beloved, began taking place and scandals. Smuggler leave the host to the goods and go.

Soon, loved in Carmen Toreador Escamilo appears. A quarrel occurs between him and Hose, turning into a duel at the daggers. Returning smugglers and stop the fight.

IV action. (Slide 6.)

The area in front of the circus in Seville. There is a preparation for the battle of bulls.

Pets appear Public Toreador Escamilo. The crowd almost contributes to the circus.

Girlfriends inform Carmen that he watches Hose behind her, but she doesn't care, because Carmen loves an escamilo. Hose appears. When finding out the relationship, he kills Carmen. So tragically ends the opera.

Teacher: Today we will try to answer the question: why the image of Carmen has also attracted poets, and artists, and composers for more than several centuries.

Yes, composers, you did not hear.

The fact is that the Russian composer Rodion Konstantinovich Shchedrin also conceived to create an image of Carmen on the stage, only not opera, like a bise, but on a ballet stage. Let's remember once again what is the opera? (Answer)

What is ballet? (Ballet Ballet. , otfallo-dancing) -vid scenicart ; Performance, maintenance of the contents of musical and choreographic images).

Here we are with you and approached the topic of today's lesson. (Slide 7.)

Ballet "Carmen-Suite"

New reading Opera Bizet.

What goals, do we task today at the lesson? What would you like to find out from this lesson?

Joint goal.

Sh. Study and explanation of the new material.

Brief biography and characteristics of Creativity R. Shchedrin. (Students)

Let's pay attention to the topic of our lesson "Ballet Carmen-Suite." What is "Suite"?

(Answer. Suite-instrumental work, which consists of several different numbers.) (Slide 9.)

So, in Carmen-Site Shchedrin 13 rooms and all of them are created using transcription.

Remember what transcription is?

(Answer. Transcription - from the Latin word Transcription- rewriting, recycling, translating the musical work.)

The composer moved the action on the circus arena. The history of love and death Carmen, her life is perceived as a kind of corrida, the rate of which-life.

All ballet drampecies are built on the development of three main images:

Carmen, Hose and Toreador Escamilo (Slide 10), revealing a strong, freedom-loving and dismissed girl of gypsy.

Unlike the opera, there are no mass scenes in the ballet. Instead of concrete people, insensitive masks that surround the main characters.

Now we will listen to an overture from the opera "Carmen" J. Bizé and the joining the ballet p of the generrine "Carmen-Suita" and compare them. But before-question: What is an overture?

(Answer. Overture - Introduction to Opera, Ballet, Spec Club, Film.

Hearing: Overture to the opera "Carmen" Biza

What did you want to show a biza in an overture?

(Character of the heroes and the plot of the opera).

What topics heard? Their character?

Hearing. Entry to the ballet "Carmen-Suite"

Does generin repeats in its ballet themes from the opera Bizet?

What new topic appears in joining the ballet?

What tools used generin? (Bells)

Why? (To remind about the tragic finals)

(Slide11)

Still generin used a musical instrument calledvibraphone,

to highlight the melody. (Vibephone- music. A tool similar to xylophone, but differs in its own way of construction and sound)

Fizminutka

Task: Choose the right movement corresponding to the music.

(Sounds Toreador Marsh)

Guys, I now suggest remembering the topics of Carmen from the opera Biza.

Now listen to the music characteristics of Carmen in the ballet.

Teacher: What familiar topics did you hear?

What means of musical expressive pains generin

image Carmen?

What distinguishes the sound of music generous from opera numbers?

What is the originality of the orchestra sound?

What the main topic reveal both works: and opera, and ballet?

(Love theme)

There will be our choral singing to the continuation of this topic.

  1. Choral singing

Reflection. And now I want to know with what mood you leave the lesson of music. It's not a secret for anyone that the symbol of love is the heart. Today I suggest you lay out a heart here's such chips. If you liked the lesson, lay out the contour with red chips, if you feel unsatisfyed blue.

  1. The outcome of the lesson. Generalization.

1. With what musical works did we meet today?

3. What product was taken as the basis for writing a ballet?

4. What history opens the opera, and ballet? (The history of love and death of ordinary people from the nation-soldier of the host and gypsy carmen)

5. What does the main topic reveals the music of Bizé and Generin? (Love)

Rodion Shchedrin. Biography

Rodion Shchedrin was born on December 16, 1932 in Moscow. Shchedrin's film was a musician. In his pre-war childhood, Rodion Shchedrin often heard, as a father musitis with two brothers: For his own contentment, they beat many piano trio. In short, we can say that generin grew in the musical environment. Nevertheless, no particular interest to music showed.

Then the difficult years of war began, evacuation, and the question of musical classes Shchedrin arose only after returning to Moscow. Shchedrin became a student of the Central Music School at the Moscow Conservatory. In 1943, Shchedrin drew to the front and, despite the difficulties, I got to Kronstadt. Such "shares" finally overwhelmed the cup of patience and teachers, and the father, who decided that only the boarding discipline could lead the boy to normal: Rodion's documents were filed in the Nakhimov school.

However, the case in the fate of the future military intervened. At the end of 1944, the Moscow Choral School was opened. Chucking the staff of teachers, Alexander Vasilyevich Sveshnikov invited his father to lead the story and the theory of music. Shchedrin-Sr. agreed, but he asked Alexander Vasilyevich to enroll her son with a pupil: It was the last chance to draw tang on the path of music. The admission to the music of a young generrine came through choir. Singing in the choir captured it, affected some depth inner strings. And the first composer experiences were associated with the choir.

In the evenings, the largest composers and performers were repeatedly arrived in the evenings - Dmitry Dmitrievich Shostakovich, Aram Ilyich Khachaturian, Ginzburg, Richter, Kozlovsky, Giless, Flier. In 1947, a composer competition was held in the school, whose jury was headed by Aram Ilyich Khachaturian. Shchedrin turned out to be the winner of the competition - it was probably his first success in the composition.

In 1950, Shchedrin became a student of the Moscow Conservatory. In the Conservatory, Shchedrin was engaged in two faculties - piano and composer.

From the very beginning of its creativity, Shchedrin prefers access to all new and new "orbits". The experimenter and the "risky person" by nature, Rodion Shchedrin began with the most important thing: with comprehending the artistic thinking of his people. He stubbornly learned to think and speak his native musical language, and the language of good gone to him for love and perseverance.

For the first time, all this was manifested in the piano concert and in the ballet "Konk-Gorbok", created in the mid-1950s, then many other musical works appeared:ballets:

Konk-Gorbok "(on the fairy tale P. P. Ershova, 1960)

"Carmen-Suite" (transcription of fragments of Opera J. Bize "" Carmen ", 1967)

"Anna Karenina" (lyrical scenes on the novel "Anna Karenina" L. N. Tolstoy, 1972)

Carmen-suite - one-act ballet on the music of Georges Bizé (1875) in the orchestration of Rodion Shchedrin (1967).

Based on the opera "Carmen", the musical material of which the generous is significantly rescined, compressed and re-arranged. Based on the novels of Proster Merim, which was based on the basis of the opera, the libretto of the ballet wrote his first director, Cuban balletmaster Alberto Alonso.

On August 1, 1967, in the national ballet Cuba (Span, Ballet Nacional de Cuba, Havana) Balletmaster Alberto Alonso for Alias \u200b\u200bAlonso in the role of Carmen (was shielded in 1968, 1972 and 1973) and April 20, 1967 in the Bolshoi Theater for Maya Plisetskaya (Equipped in 1969 and 1978).

History of production

At the end of 1966, the Cuban National Ballet (Sp. Ballet Nacional De Cuba) arrived in Moscow to Moscow. Rachel Messer, dreamed of the new development of the original talent of the daughter of Maya Plisetskaya, whose characteristic talent could like Alberto Alonso. She agreed to meet, and Maya came to the performance. Alberto promised back with a ready-made libretto if an official invitation from the Soviet Ministry of Culture comes to the term. During this period, Maya received the Stalinist premium at all for the ballerinarian party of Persica in Opera Khovanshchina. She convinced Catherine Furtsev to invite Alberto to produce the ballet "Carmen", in the plans of which there was already an image of the freedom-loving Spanish gypsy, which he tried to his sister Alias \u200b\u200bAlonso. Ekaterina Alekseevna helped organize this event:

"- One-act ballet for forty minutes in the style of the holiday of Spanish dance, like" Don Quixote ", right?. It can strengthen Soviet-Cuban friendship. "

Alberto remembered several words in Russian with his youth when he danced in the Russian ballet Ballet. He began rehearsing his ballet, the version "for the Soviet scene". The performance was prepared in a record short time, did not sleep workshops, the costumes were delivered to the morning of the Premiere Day. On the general rehearsal (it is an orchestral, light and montituing) on \u200b\u200bthe main scene allocated only one day. In short, the ballet was made in a vouch.

The world premiere took place on April 20, 1967 in the Bolshoi Theater (Designer-producer Boris Messer, Conductor G. N. Christmas). At the same time, an extremely passionate and non-alien eroticism caused a rejection from the Soviet leadership, and in the USSR ballet Alonso walked in a censored form. According to the memoirs of Maya Plisetskaya:

the Soviet authorities allowed to the theater Alonso only because he was "his", from the island of freedom, but this "islander" just took and put a performance not only about love passions, but also that there is nothing above freedom. And, of course, this ballet was so cool not only for erotica and my "walking" on the whole foot, but also for a policy that clearly looked in it.

After the premiere play in the director's bed, Furtsev did not turn out, she left the theater. The performance was not similar to the "short" Don Quixote "," as she expected, and was raw. The second performance was supposed to go to the "evening of the one-acting ballet" ("Trochik"), April 22, but was canceled:

"This is a big failure, comrades. Performance raw. Solid erotica. Music Opera isometric ... I have big doubts if you can modify ballet "

After the arguments that "there will have to cancel the banquet" and the promises "to reduce all the erotic supports shocking you," Furtseva surrendered and allowed the performance that passed in a large 132 times and about two hundred worldwide.

Maya appealed to Dmitry Shostakovich with a request to write music to Carmen, but the composer refused, not wanting, he said to compete with George Biza. She then turned to Aram Khachaturian, but again received a refusal.
- Do on the book! - Alonso said ... Timing was pressed, the music was needed "yesterday." Then Shchedrin, who perfectly owned an orchestration profession, significantly recomposed the musical material of the opera Biza rehearsal began under the piano. Music to the ballet consisted of melodic fragments of the opera "Carmen" and "Arlesian Georges Bizé". In the scorerian score, the drums, various drums and bells

The order of music numbers in R. Stedrin transcription:
Introduction
Dance
First Intermezzo
Divorce Karaula
Carmen and Khabanner
Scene
Second intermezzo
Bolero
Torreo
Toroo and Carmen
Adagio
Divination
The final

In the center of the ballet - the tragic fate of Gypsy Carmen and who loved her soldier Hose, whom Carmen leaves for the sake of the young Torreo. The relationship between the heroes and the death of Carmen from the hands of Hose is predetermined by rock. Thus, the story of Carmen (in comparison with the literary source and opera Bizet), it was decided in a symbolic plan, which is strengthened by the unity of the place of action (the site of the Corida)

Shielding

According to this production in 1969, the film Vadim Derbeenov was filmed with the film with the participation of the first performers: Carmen - Maya Plisetskaya, Hose - Nikolai Fadeechev, Torreo - Sergey Radchenko, Correchidor - Alexander Lavrenyuk, Rock - Natalia Kasatkina.

For the second time, the statement of A. Alonso was shielded in 1978 by the director Felix Slidroker with Maya Plisetskaya (Carmen), Alexander Godunov (Kamen), Sergey Radchenko (Toroo), Viktor Barykin (Correchidor), Loype Araukho (Rock).

In 1974, the choreographer Valentin Elizariev rewrote the libretto on the basis of the cycle of the poems of Alexander Bloka "Carmen" and put a new performance on the music of J. Bizė in the Arrangement of R. Stedrin in the Bolshoi Theater of the Belarusian SSR, Minsk.

Setting in other countries and cities

Alberto Alonso Ballet version was delivered in academic theaters in more than twenty cities A. M. Plisetsky, among them:
Helsinki (1873)
Kharkov, Opera and Ballet Theater. Lysenko (November 4, 1973)
Odessa Opera and Ballet Theater, together with A. M. Plisetsky (1973)
Kazan (1973)
Minsk, Opera and Ballet Theater of the Republic of Belarus (1973)
Kiev, Opera and Ballet Theater of Ukraine. Shevchenko (1973)
Ufa Bashkir Opera and Ballet Theater (April 4, 1974)
Lima, Teatro Segura (1974)
Benos Aires, Colon Theater (1977)
Sverdlovsk, Ekaterinburg Opera and Ballet Theater (May 13, 1978 and February 7, 1980)
Dushanbe (1981)
Tbilisi, Opera and Ballet Theater. Paliashvili (1982)

Critics reviews

All the movements of Carmen-Plisetska carried a special meaning, a challenge, protest: and mocking shoulder movement, and retired her thigh, and a sharp turn of the head, and piercing look so much ... It's impossible to forget how Carmen Plisetskaya - Like the frozen Sphinx - looked at the Toreador dance, and all Her static pose transmitted a colossal internal voltage: she fascinated viewers, caught their attention to themselves, involuntarily (or consciously?) distracting from spectacular timeline solo

New host is very young. But by itself, age is not a category of art. And does not allow discounts to poorlyness. Godunov played age in subtle psychological manifestations. His house is alert and incredulous. From people waiting for trouble. From life: - Priphov. Wound and proud. The first exit, the first posture - a stop-frame, a heroically exist face to face with the hall. A lively portrait of a blonde and light-eyed (in accordance with a portrait created by Merim) Hose. Large strict features. Looking a wolfboard - improber. Expression of alienation. For the mask, you guess the true human essence - vulnerability of the soul, thrown into the world and the world hostile. Portrait contemplate with interest. And now he came to life and "spoke." Sinking "speech" perceived by Godunov exactly and organically. No wonder for his debut, a talented dancer Azary Plisetsky was preparing, perfectly on his own experience knowing and the party, and all ballet. From here - carefully worked out, carefully polished items, of which the scenic life of the image is composed.

New production in the Mariinsky Theater

The performance resumed choreographer-producer Viktor Barykin, in the past, in the past, the Bolshoi Theater Ballet Soloist and the partner of the party Jose.

The first composition of the performers in Mariinsky: Irma Noradze - Carmen, Ilya Kuznetsov - Hose, Anton Korsakov - Tareodor

ELIZARYEV version

"Suite is paintings from life, or rather, the spiritual destiny of Carmen. The conventionality of the ballet theater easily and naturally shifts them in time, allowing you to trace not external household events, but the events of the inner spiritual life of the heroine. No, not seducer, not a rocky woman Carmen! We are attracted in this image the spiritual beauty of Carmen, wholeness, uncompromising her nature. " Conductor Yaroslav Tskar

"Listening to this music, I saw my carmen, significantly different from Carmen in other performances. For me, she is not only an outstanding woman, proud and uncompromising, and not only a symbol of love. She is a hymn of love, love clean, honest, burning, demanding, love of a colossal flight of feelings, who are not capable of any of those who meet her men. Carmen is not a doll, not a beautiful toy, not a street girl, with which many would not mind to be enjoyed. For her, love is the essence of life. No one was able to appreciate, understand her inner world, hidden behind dazzling beauty. Passionately loved Carmen Hose. Love transformed a coarse, limited soldier, discovered spiritual joy, but for Carmen, his arms soon turn into a chain. Joined by his feeling, Hose is not trying to understand Carmen. He begins to love no longer Carmen, but his feeling for her ... She could love and Toroo, who is not indifferent to her beauty. But Toroo - sophisticatedly gallant, brilliant and fearless - internally lazy, is cold, he is not able to fight for love. And naturally, such as he cannot love the demanding and proud Carmen. And without love there is no happiness in life, and Carmen takes death from Hose to not join the path of compromise or loneliness together. "

History of production

After the premiere play in the director's bed, Furtsev did not turn out, she left the theater. The performance was not similar to the "short" Don Quixote "," as she expected, and was raw. The second performance was supposed to go to the "evening of the one-acting ballet" ("Trochik"), April 22, but was canceled:

"This is a big failure, comrades. Performance raw. Solid erotica. Music Opera isometric ... I have big doubts if you can modify ballet " .

After the arguments that "There will have to cancel the banquet" and promises "Reduce all the shocking erotic support"Furseva surrendered and allowed the performance that passed in a large 132 times and about two hundred worldwide.

Music

Shielding

Buenos Aires, Color () Theater Sverdlovsk, Ekaterinburg Opera and Ballet Theater (May 13 and February 7) Dushanbe () Tbilisi, Opera and Ballet Theater. Paliashvili ()

Critics reviews

All the movements of Carmen-Plisetska carried a special meaning, a challenge, protest: and mocking shoulder movement, and retired her thigh, and a sharp turn of the head, and piercing look so much ... It's impossible to forget how Carmen Plisetskaya - Like the frozen Sphinx - looked at the Toreador dance, and all Her static pose passed the colossal internal stress: she fascinated viewers, caught their attention to themselves, involuntarily (or consciously?) distracting from spectacular timeling solo.

New host is very young. But by itself, age is not a category of art. And does not allow discounts to poorlyness. Godunov played age in subtle psychological manifestations. His house is alert and incredulous. From people waiting for trouble. From life: - Priphov. Wound and proud. The first exit, the first posture - a stop-frame, a heroically exist face to face with the hall. A lively portrait of a blonde and light-eyed (in accordance with a portrait created by Merim) Hose. Large strict features. Looking a wolfboard - improber. Expression of alienation. For the mask, you guess the true human essence - vulnerability of the soul, thrown into the world and the world hostile. Portrait contemplate with interest. And now he came to life and "spoke." Sinking "speech" perceived by Godunov exactly and organically. No wonder for his debut, a talented dancer Azary Plisetsky was preparing, perfectly on his own experience knowing and the party, and all ballet. From here - carefully worked out, carefully polished items, of which the scenic life of the image is composed. .

New production in the Mariinsky Theater

The performance resumed choreographer-producer Viktor Barykin, in the past, the Bolshoi Theater Ballet Soloist and the Party Artist Jose.

The first composition of the artists in Mariinsky: Irma Nioradze - Carmen, Ilya Kuznetsov - Hose, Anton Korsakov - Bullfighter

Alicia Alonso in Moscow

ELIZARYEV version

"Suite is paintings from life, or rather, the spiritual destiny of Carmen. The conventionality of the ballet theater easily and naturally shifts them in time, allowing you to trace not external household events, but the events of the inner spiritual life of the heroine. No, not seducer, not a rocky woman Carmen! We are attracted in this image the spiritual beauty of Carmen, the wholeness, the uncompromisingity of her nature. " Conductor Yaroslav Tskar

"Listening to this music, I saw my carmen, significantly different from Carmen in other performances. For me, she is not only an outstanding woman, proud and uncompromising, and not only a symbol of love. She is a hymn of love, love clean, honest, burning, demanding, love of a colossal flight of feelings, who are not capable of any of those who meet her men. Carmen is not a doll, not a beautiful toy, not a street girl, with which many would not mind to be enjoyed. For her love is the essence of life. No one was able to appreciate, understand its inner world, hidden for dazzling beauty. Passionately loved Carmen Hose. Love transformed a coarse, limited soldier, discovered spiritual joy, but for Carmen, his arms soon turn into a chain. Joined by his feeling, Hose is not trying to understand Carmen. He begins to love no longer Carmen, but his feeling for her ... She could love and Toroo, who is not indifferent to her beauty. But Toroo - sophisticatedly gallant, brilliant and fearless - internally lazy, is cold, he is not able to fight for love. And naturally, such as he cannot love the demanding and proud Carmen. And without love there is no happiness in life, and Carmen takes death from Hose to not join the path of compromise or loneliness together. " Choreographer Valentin Elizariev

Sources

  1. website Ballet Nacional De Cuba "CARMEN". Archived
  2. M.M. Blisetskaya "Reading your life ...". - m .: "Ast", "Astrel" ,. - 544 p. - ISBN 978-5-17-068256-0
  3. Alberto Alonso / Maya Plisetskaya for the Big Theater site died
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  5. "Bizet - Shchedrin - Carmen-Suite. Transcription of Opera Fragments "Carmen". " . Archived from the original source March 10, 2012. Checked April 1, 2011.
  6. V. A. Maeensee. Article "Carmen-Suite" // Ballet: Encyclopedia. / GL. Yu. N. Grigorovich. - M.: Soviet Encyclopedia, 1981. - P. 240-241.
  7. E. Nikolaev. Ballets "Playing Maps" and "Carmen-Suite" in the big
  8. E. Lutskaya. Portrait in red
  9. One-act ballets "Carmen-Suite. Shopenian. Carnival. " (Inaccessible link - history) Checked April 1, 2011. - The site of the Mariinsky Theater
  10. Carmen-Suite in the Mariinsky Theater. Archived from the original source March 10, 2012. Checked April 1, 2011. - Internet TV channel "Art TV", 2010
  11. A. Fireman "Alicia in the Ballet Country." - "Russian Gazeta", 08/04/2011, 00:08. - V. 169. - № 5545.
  12. Summary of ballet on the website of the National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus