Beautiful Galatea. Fairy tale, legend, myth ...

An ancient and eternally young story about a statue created and revived by the power of the great talent and great love of its creator.

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The Austrian composer Franz Suppe wrote about the Peretta "Beautiful Galatea" in 1865. The plot is based on the ancient Greek myth of Galatea, a revived statue that its creator, the sculptor Pygmalion, fell in love with. In general, this plot now and then pops up in various works of art. No less famous is the play by Bernard Shaw "Pygmalion", where the illiterate simpleton Eliza Dullitl acts as Galatea, and her "creator" - Professor Higgins - sculpts a lady out of her. In 1964, Hollywood director George Cukor directed Shaw's play My Fair Lady, starring Audrey Hepburn.

The premiere of the operetta by Franz Suppe took place on September 9, 1865 at the Vienna Karl Theater. There are only four heroes in La Belle Galatea! Sparkling, light operetta quickly won the love of audiences in the main musical capitals of the world. In the seventies of the XIX century "Beautiful Galatea" was given in St. Petersburg.

The performance that is offered to your attention was a hit at the Moscow Operetta Theater in the 80s. I must say that the new edition of the libretto contributed a lot to his success. Its author is Andrey Menshikov. In this version, the dialogues of the classical operetta acquired an actual, witty-satirical sound. “I just saw your master at the market, he is behind the grapes. And this, as you know, will last for a long time, ”the patron of Midas informs Pygmalion's assistant Ganymede. The audience bursts into laughter and applauds understandingly: it's the mid-eighties, the era of total scarcity. "Who are you?" - asks when meeting Galatea Midas. "I am a simple, ordinary Greek millionaire." Midas walks around the stage in a tunic and with a diplomat in hand, like a business man. Under a wig and abundant make-up it is difficult to recognize the artist Yuri Vedeneev - but this is him. At that time, his repertoire consisted mainly of romantic roles of the first heroes, so Midas in "Fair Galatea" became a convincing victory for the artist on the field of sharp-character parties.

And Galatea was played and sang by the prima of the Operetta Theater Svetlana Varguzova. In addition to the fact that the artist has excellent vocal abilities, she is good-looking, feminine, flirtatious - she is the ideal Galatea. After all, her heroine is a woman as such. The gods yielded to the sculptor's pleas and revived the statue. Stepping from the pedestal to the ground, Galatea immediately felt the power of her beauty. Men lose their minds, looking at her, and are ready to fulfill all her whims. For example, the philanthropist Midas brings in servants with gifts for Galatea, and she happily tries on bracelets and tunics. "How did she find what to change into? .." - Pygmalion, who has returned, is puzzled. "If you gave a woman consciousness, then she will somehow find the matter herself!" - Ganymede twists. The part of Ganymede was brilliantly performed by Vitaly Michelet, and his mentor Pygmalion was played by Vladimir Nikolaev. The hero of the latter, in the end, is not himself glad that he has revived the beautiful Galatea ... Beauty is beauty, but how many whims! "This is what happens when a woman is put on a pedestal!" Ganymede grumbles. And Pygmalion cannot but agree with him ...

The good old operetta and today, in the bustle and worries of the computer age, excites the hearts of viewers no less than a century ago. And if, among the well-known classical performances of this genre, a little-known one appears in the repertoire, it is always interesting. A pleasant surprise was presented to the fans of the genre by the collective of the Pyatigorsk operetta.

Constantly showing the classics, the theater sometimes returns to its origins. One of the founders of the genre Franz Suppe, exactly 150 years ago, staged the operetta "Beautiful Galatea" in Vienna, resurrecting the ancient Greek myth about the sculptor Pygmalion, who created such a beautiful female statue that he himself fell in love with it and asked the gods to revive it. The love story of Pygmalion and Galatea conquered more than one heart of artists, writers and composers, who sometimes created allegorical works on the theme of "the creator and his object". The musical "My Fair Lady" is a modern interpretation of the famous myth. Operetta Zuppe, without leaving the plot from Ancient Greece, replaced the prosperous ending with a more modern one. Revitalized by the gods, Galatea, not alien to charming female vices, wants to fulfill all her whims, wants everyone to like it, receive expensive gifts from the rich patron Midas, and from Ganymede, the sculptor's servant, wants love. And the suffering Pygmalion begged the gods to turn the windy Galatea back into a statue, after which he sold it to Midas.

The Pyatigorsk theater already addressed this operetta 30 years ago, staging it, naturally, in the spirit of the realities of the past, the twentieth century. And now the director and artistic director of the theater, the honored worker of culture of the Russian Federation Svetlana Kalinskaya, the director Inna Khachaturova, the honorary artists of the SC conductor Vasily Remchukov and the choreographer Tatyana Shabanova were again attracted by melodies full of virtuoso brilliance, and it was decided to modernize the cheerful, unassuming plot even more. They managed to ignite the whole team with their idea, and a bright, memorable performance was born, full of fascinating twists and turns and interesting characters.

The audience was expecting surprises even before the start of the performance. The director's idea was creatively embodied by the honorary cultural worker of the SC, set designer Inna Avgustinovich, who placed Greek statues among the antique columns and even on the proscenium, which, in the course of the performance, began to revive to the genuine delight of the audience. Galatea (honorary art worker of the SK Oksana Klimenko), so coveted by Pygmalion (Alexei Yakovlev), an idealist hovering in the clouds, also revived. About the work of A. Yakovlev, it should be said that in his expressive play there is a lot of charm, liveliness, sincere faith in love and in everything that he does on stage, visually drawing us a hero living in his own little world. This is immediately used by Midas (Dmitry Patrov), a simple ancient Greek oligarch, who showered Galatea with jewels, trying in vain to attract her, but realizing that he was interesting to her while gifts flowed in a stream. D. Patrov created a memorable image of a greedy, selfish rich man, and this role is undoubtedly another creative success of the artist. But the dexterous, resourceful, striving to snatch more profit Ganymede (Nikita Rykunov) fell in love with the eccentric beauty. The performer of this characteristic role freely, temperamentally copes with both the vocal side and the art of stage plastic.

But Galatea! .. The role on which the whole action rests was not only successful for Oksana Klimenko, the artist developed it, made it much deeper, more significant, combining the mythological situation with quite modern realities. The scene of the revival of Galatea, her “duet of kisses” with Ganymede are played as romances about love, and the scene of the daring “bacchanalia” warmly received by the audience is a truly creative find of the artist. She is musical, graceful, plastic, leads the role with great emotional fullness and subtle humor.

And the artists who created the stage costumes accurately caught the director's idea: the classic tunics of the heroes contrast with the luxurious, "enticing" outfits of Galatea and the frivolous, "on the verge of foul", dresses of nymphs performed by ballet dancers.

By the way, the ballet also made a truly invaluable contribution to the success of the performance: lyrical dance scenes, divertissements, the grandiose "Hymn to Love" with satyrs, gods and goddesses - all this filled the performance with an impressively expressive atmosphere of ancient Greek bliss, successfully emphasized by a light background of unfolding intrigue.

And over all this splendor, Suppe's music reigns with its inherent soft Viennese melodies and rhythms, uniting the plot and its embodiment in a unique harmony. Performing this music, the orchestra literally "breathed and lived" in unison with the artists. In a word, the creative team managed to create a light, graceful, ironic performance, in which a bright ensemble of vocalists, dancers, musicians perfectly interact ...

Peering and listening attentively to the twists and turns of the plot of a century and a half operetta, the audience had the opportunity to make sure that it is still relevant, because relations between people have always been and will be the focus of real art. As well as the eternal problem of the difficult choice between feelings and wealth.

Die schöne galathée

(Operette (komisch-mythologische Oper) in 1 Akt)

Lovely Galatea

(operetta (comic-mythological opera) in 1 act)

Libretto by Leonhard Kohl von Coleneg [under the pseudonym Paulie Henrion] and Franz von Suppe after libretto by (Paul-) Jules Barbier and Michel (Antoine-Florentin) Carré to the opera Galatea (1852) by Victor Masset

Premiere: 30.6.1865, "Meisels Theater" [Woltersdorf Theater], Berlin; 9.9.1865, "Carltheater", Vienna

Characters and performers:

Beautiful Galatea! An ancient and eternally young story about a statue, revived by the power of great Talent and the great love of its creator ... Beautiful Galatea! Fairy tale, legend, myth ... And yet, there is so much real here. After all, always, at all times, a woman remains a woman!

Many thanks to the dear Vsevolod Garib (cervus) for the kindly provided content of the operetta!

In the studio of the sculptor Pygmalion, his servant Ganymede is lying on a couch. Its owner, along with other young men and women of the island, went to the temple of Venus. Midas, a fine arts fan, appears. This philanthropist and great connoisseur of "femininity" heard about the new creation of Pygmalion - a marble female statue - and would like to take a look at it. Although Pygmalion strictly forbade the servant to show Galatea to anyone, a few coins are enough to lull his conscience. Midas is in awe of the statue. Pygmalion returns and, catching Midas by surprise, drives him out in a rage. Left alone, he shows passion for his creation and, turning to Venus, asks her to awaken the statue to life. And a miracle happens. But, instead of showing a reciprocal feeling to Pygmalion, the "newborn" shows a feeling of hunger and sends him for food. Left alone with Ganymede, the beauty beckons him to her. She likes him much more than his master, and she begins to flirt with him. The idyll is interrupted by Midas, who at the sight of Galatea cannot hide his delight. He is trying to buy her love, paying for it in advance - with all kinds of jewelry that he takes out of all his pockets. He weights them on Galatea, while not forgetting to name the price of each of them. Galatea remains cold to his passion, and he, demanding the gifts back, gets a slap in the face from her. Pygmalion appears with food and Midas hides behind a curtain. All three sit down at the table. Galatea gets drunk and starts to rave. Midas jumps out of his hideout and confronts Pygmalion. He at first wants to strangle the patron of the arts, but is forced to join him in pursuit of the fleeing Galatea. Galatea manages to knock them off the trail, she returns and, left with Ganymede, continues a love affair with him. Pygmalion and Midas return. Seeing the kissing couple, the sculptor, in anger, grabs an ax to smash his creation. Frightened Galatea runs behind the curtain. In despair, Pygmalion begs Venus to turn her back to stone. Venus listens to his prayer and returns it to its previous state. Midas is horrified: all of his jewelry is petrified along with Galatea. He buys the statue from Pygmalion in order to somehow compensate for his losses. Pygmalion is forever cured of the temptation to fall in love with his creations.

Even marble can be revived by the power of love! At the request of the enamored sculptor, the Gods breathed life into the beautiful statue. But ... The revived beauty turned out to be so capricious that its creator ardently regretted his request. The artists of the Krasnoyarsk Musical Theater will tell the ancient and eternally young story about the statue, the revitalized power of the great Talent and the great love of its creator.

Fairy tale, legend, myth ABOUT LOVE IN MUSIC AND MARBLE ...

An ancient Greek story about the extraordinary power of love that can revive a stone on the stage of the Krasnoyarsk Theater will be presented in a modern way - director Nikolai Pokotylo and artist Yuri Namestnikov chose the middle of the 19th century, when Zuppe himself lived and worked. Spectators enter the world of bohemia - talented men and their beautiful, free, but capricious women. Galatea does not wear a Greek chiton, but fashionable dresses. The retinue of the patron Midas will appear in tailcoats, and the muses - in the costumes of cabaret dancers. Everything that is on the stage: details of the scenery, musical instruments and even the musicians themselves - participate in the action.

The Beautiful Galatea is one of Suppe's early works. The story of how the sculptor Pygmaleon, having fallen in love with his creation, asks the gods to breathe life into the statue. The living Galatea agrees to bear the name given to her by Pygmalion, but this is the only thing that she agrees to take from the poor artist. She does not need the sincere and sublime love of the sculptor: Galatea longs for fame, wealth, luxury and admirers - a worthy setting for her beauty. In a word, she instantly understands the things around her and turns into a lover of a beautiful life. The romantic Pygmalion is incredibly happy with the revival of his beloved, but he is clearly at a loss: what to do with the headstrong beauty? The sculptor cannot afford the claims of Galatea. She acts simply: since there is no money - goodbye, dear! But the "simple ancient Greek oligarch", the patron of the arts Midas, is needed for the revived statue only as long as it continues to give luxurious gifts. She herself likes Pygmalion's servant, the calculating Ganymede. When the unfortunate Pygmalion, driven to despair by Galatea's behavior, again begs for help from the higher powers, the supreme god personally turns her back into a statue. As the famous ancient Greek saying goes, “Zeus gave - Zeus took”.

The men sincerely regret Galatea's departure. Each in its own way. Pygmalion yearns for his creation and unfulfilled love, Midas - for the jewels that were petrified with Galatea. Only Ganymede, despite the fact that he is also sad without a beauty, is the only one of all who won - with Midas's money!

Note: despite the fact that the operetta was written in 1865, its plot is still relevant - the relationship between people will always be in the spotlight. The eternal problem of choosing between wealth and feelings still continues to be reflected in art.

It is known that the classical operettas by J. Offenbach, C. Lecoq, F. Suppe have never been shown in Russia in the author's edition. The directors either wrote new plays, or altered the original beyond recognition, adapting the libretto to the Russian stage and adding to it a certain amount of topicality. The author of the libretto of "Beautiful Galatea" A. Menshikov created his own version, in which apt "ancient Greek sayings" are now and then flashed: "the road is not a sacrifice, attention is dear", "hope for the goddess, but do not make a mistake", "I gave birth to you - I'll smash you. " There are also associations with the Soviet stage: "Let's sing!" - the tipsy Galatea demands, and Midas, hiding behind the curtain, comments: "Sing, friends." And what about “Okay, Ganymede? “Great, Galatea!” These moments added topicality to the operetta already of the Russian sense. This is how she is - "Beautiful Galatea" - mischievous, sparkling, ironic and a little hooligan - myths still live today if they are about love!

Nikolay POTOTLO “... When I look at operettas and choose one for the performance, the music plays a decisive role ... In Suppé's music there is a place for tenderness, passion, and even the Duet of Kisses; written under the influence of J. Offenbach's creativity and Italian opera music, with magnificent vocal ensembles, sophisticated solos, Galatea allows singers to demonstrate their acting abilities, as well as the technique and beauty of the voice, there is grace in it, there is something to sing, there is where to play, there is something to be ironic about is life. It is interesting. The work of Franz von Suppe is distinguished by a disregard for stage patterns, which is unusual for an operetta. There are almost no stable characters so inherent (sometimes to a toothache ...) to the genre of operetta. Pygmalion's servant Ganymede - sings like a hero, plays like a simpleton. In the operetta there are bel canto episodes where you have to sing for real, and then there are grotesque, playful episodes. Amplua flows into one another, the boundaries between them are blurred, and this makes the performance truly lively and modern. Suppe has written music that not only fits well with the dramatic challenge, but dictates the acting itself. "

The name of the Austrian composer Franz von Suppe (1819-1895) still remains in the shadow of his brilliant contemporary Johann Strauss the son. However, if Suppe had not been, there might not have been an operetta in Vienna. It was Suppe who remained in history as the pioneer of the Viennese operetta, who opened its golden age. Inspired by Jacques Offenbach and his operetta Wedding with Lanterns, the clavier of which came to Vienna from Paris in 1856, Suppe began to work in a new genre. When the star of I. Strauss rose, Suppe did not compete with him, but he did not stop composing operettas. His best creations, "Doña Juanita", "Boccaccio", "The Queen of Spades" were successfully performed on the stages of Europe and Russia.