Russian ballet seasons. Theater `Russian ballet seasons`

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"Russian seasons" Sergey Pavlovich Dyagileva

"And what are you, dear, do it? - Once asked Sergey Dyagileva King of Spain Alfonso during a meeting with the famous entrepreneur "Russian seasons". - You are not conducted by the orchestra and do not play on a musical instrument, do not draw the scenery and do not dance. So what are you doing? " What he answered: "We look like your Majesty! I do not work. I do nothing. But without me could not do. "

Organized by Dyagilev "Russian seasons" were not just propaganda of Russian art in Europe, they became an integral part of the European culture of the beginning of the twentieth century. and an invaluable contribution to the development of ballet art.

History "Russian seasons" Dyagileva And read many interesting facts on our page.

Background "Russian seasons"

The combination of legal education and interest in music developed in Sergey Dyagilev brilliant organizational abilities and the ability to see the talent even in a novice artist, supplemented, speaking by modern language, a resident of the manager.

A close acquaintance of Dyagilev with the theater began with the editing of the "Yearbook of Imperial Theaters" in 1899, when he served at the Mariinsky Theater in St. Petersburg. Thanks to the promotion of artists of the World of Arts Group, to which the official belonged to the special instructions of S. Dyagilev, he turned the publication from a missed statistical arch in a real art magazine.

When a year later, the editor of the "Yearbook" of Dyagilev was instructed to organize ballet L. Delibe "Sylvia, or Nimify Diana", a scandal occurred due to modern decorations, which did not fit into the conservative atmosphere of theater of the time. Dyagilev was fired and he returned to painting, organizing exhibitions on the territory of Russia, the exhibitions of European artists and Miriskussnikov. The signal art exhibition in the Paris Autumn Salon became a logical continuation of this activity in 1906. From this event, the history of the seasons and began ...

Ups and downs…

Inspired by the success of the autumn salon, Dyagilev did not want to stop and, having decided to establish Russian artists in Paris, he first preferred music. So, in 1907, Sergei Pavlovich organizes "historical Russian concerts", the program of which included 5 symphony concerts of the Russian classics, which have been reserved for the "Seasons" of the Paris Grand Opera. High Bass Shalyapin, Bolshoi Theater Choir, Conducting Mastery Nikisha and the delightful Piano Gofman game captured the Paris public. In addition, a carefully selected repertoire, which includes excerpts from "Ruslana and Lyudmila" Glinka, "Nights under Christmas", "Sadko" and "Snow Maiden" Roman Corsakov, " Charger »Tchaikovsky," Hovhanchy "And" Boris Godunova "Mussorgsky, produced a real exterior.

In the spring of 1908, Dyagilev goes again to conquer the hearts Parishan: this time the opera. but "Boris Godunov" Assembled far from the full hall and the revenue money barely covered troupe costs. It was necessary to urgently solve something.

Knowing what to like the present to the public, Dyagilev went on a compromise with his own principles. He despised ballet, considering that primitive entertainment for the same primitive minds, but in 1909, the entreprenere brought 5 ballets to the sentiments of the public: "Pavilion Armida", "Cleopatra", "Polovtsy dance", " Sylphide "And" Pier. " The striking success of the performances performed by the Great Hope of Horeographer M. Fokin confirmed the correctness of the choice of Dyagilev. The best ballet artists from Moscow and St. Petersburg - V. Nizhinsky, A. Pavlova, I. Rubinstein, M. Kshesinskaya, T. Karsavin and others - amounted to the core of the ballet troupe. Although after a year Pavlova Leaves the troupe due to disagreements from the impresario, the "Russian seasons" will be in her life of those springboard, after which the glory of the ballerina will only grow. Poster of the work of V. Serov, made for the tour of 1909 and containing the image of Pavlova frozen in the graceful pose, became a prophecy of glory for the artist.

It was the ballet that brought the "Russian seasons" a loud glory, and it was the troupe of Dyagilev influenced the history of the development of this type of art in all countries where they had to speak with tour. Since 1911, "Russian seasons" contained exclusively ballet numbers, the troupe began to perform in a relatively stable composition and got the name "Russian ballet Dyagileev". Now they speak not only in the Parisian seasons, but also go to tour in Monaco (Monte Carlo), England (London), USA, Austria (Vienna), Germany (Berlin, Budapest), Italy (Venice, Rome).

From the very beginning, the desire for synthesis of music, singing, dance and fine art was traced from the very beginning, subordinate to the overall concept. It was this trait that was a revolutionary for that time and just because of this feature of the speech of the Russian ballet Dyagileev caused the storm of applause, then the squalls of criticism. Being in the search for new forms, experimenting with plastic, scenery, musical design, Antpuriza Dyagilev was significantly averaged her time.

In proof of this, you can bring the fact that held in Paris (theater on the Champs Elysees) in 1913 the premiere "Spring sacred" - ballet based on Russian pagan rituals , - was muffled by whistles and screams of the outrageous public, and in 1929 in London (Covent Garden Theater), her production was crowned with enthusiastic exclamations and frantic applause.

Invertible experiments gave rise to such peculiar performances as "games" (fantasy on the topic of tennis), "Blue God" (fantasy on the theme of Indian motives), 8-minute ballet "Afternoon rest of Favna, called the public in the most obscene phenomenon in the theater due to Frankly erotic plastics Corryon, "choreographic symphony" "Daphnis and Chloe" on the music of M. Ravel, etc.

Dyagilev - reformer and modernist ballet art

When Dyagileev's troupe came to the ballet, there was a complete checker in academic conservatism. The great impresario had to destroy the existing canons, and on the European stage it, of course, was much easier to do than in Russia. In the productions of Dyagilev direct participation did not accept, but he was the organizing force, thanks to which his troupe had achieved world recognition.

Dyagilev intuitively understood that the main thing in the ballet is a talented balletmaster. He could see the organizational gift even in the beginning of the choreographer, as it was in the case of M. Fokin, and knew how to educate the quality items to work with his body, as it happened with 19-year-old V. Mean. He also invited Serge Lifeary to his team first as a performer, and later made a new star in the pleyad of the balletmaster of the Russian ballet troupe.

The productions of the "Russian seasons" were under the powerful influence of artists-modernist artists. Artists worked on the scenery and costumes to the symbol of the unification of the world of arts by A. Benua, N. Rerich, B. Anisfeld, L. Bakst, S. Sudayikin, M. Dobuzhinsky, as well as the avant-gardists N. Goncharova, M. Larionov, Spanish Monumentalist H.-M. SERT, Italian futurist D. Ball, Cubists P. Picasso, H. Gras and J. Marriage, French Impressionist A. Matisse, Neoclassicist L. Survazh. Such famous personalities as K. Chanel, A. Laurent and others were also involved as decorators and artists in costumes in the Dyagilet productions. As you know, the form always affects the maintenance that the public of the "Russian seasons" was observed. Not only the scenery, costumes and curtain were struck by their artistic expressiveness, dipping, play lines: the entire formulation of one or another ballet was permeated with modernist trends, plastic gradually pushed the plot from the center of attention of the viewer.

Music to the production of Russian ballet Dyagilev used a variety of: from world classics F. Chopen , R. Schuman, K. Weber , D. Scarlatti, R. Strauss and Russian Classics N. Rimsky-Korsakov , A. Glazunov, M. Mussorgsky, P. Tchaikovsky , M. Glinka to impressionists K. Debussy and M. Ravel, as well as modern Russian composers I. Stravinsky and N. Cherepnin.

The European ballet, who was worried at the beginning of the twentieth century, the crisis of his development was gifted by the young talents of the Russian ballet Dyagilev, refreshed by its new performance techniques, new plastic, unsurpassed synthesis of various types of arts, from which something completely unlike the familiar classic ballet was born.

Interesting Facts

• Although "historical Russian concerts" and rank to the "Russian seasons", only the 1908 poster first contained this name. There were 20 more such seasons ahead, but the tour of 1908 was the last attempt by the entrepreneur to do without ballet.
• To put the "afternoon rest of the Faun" durability of only 8 minutes, Nizhinsky needed 90 rehearsals.
• The avid collector, Dyagilev dreamed of getting unpublished letters A. Pushkin to Natalia Goncharova. When he finally passed them in June 1929, the entrepreneur was late for the train - the tour was to be tours in Venice. Dyagilev put letters to the safe to read them after arriving home ... But he was no longer judged from Venice. The land of Italy accepted the Great Impresario.
• During the execution of the solo party in the ballet "Orientali" in 1910, V. Nizhinsky made his famous leap that glorified him as a "flying dancer."
• Before each execution of the ballet "Ghost of Rose", the costumeumer re-sewd rose petals to a suit of Nizhinsky, because after another presentation he broke them off and crushed them with numerous fans of the dancer.

Films about S. Dyagilev and his activities

• In the film "Red Shoes" (1948), the identity of Dyagilev received artistic rethinking in the character under the name of Lermontov. In the role of Dyagileva - A. Walbrook.
• In the art films "Nizhinsky" (1980) and "Anna Pavlova" (1983), the identity of Dyagilev also paid attention. In his role - A. Bates and V. Larionov, respectively.

• Documentary film A. Vasilyeva "The fate of the devotee. Sergey Dyagilev "(2002) tells about the founder of the magazine" The World of Arts "and the entrepreneur" Russian seasons ".
• A very interesting and exciting film "Genius and villains of the outgoing era. Sergey Dyagilev "(2007) talks about little-known facts associated with the Dyagilev and its production activities.
• In 2008, the film "Ballet and Power" was devoted to the films Vaclav Nuzhinsky and Sergey Dyagilev, however, their ambiguous relationships and the talent of a young dancer became the object of attention of many films that deserve a separate review.
• In the film "Coco Chanel and Igor Stravinsky" (2009) affected the theme of the relationship of the entrepreser with the composer, who wrote music to many of his performances.
• Documentary film "Paris Sergey Dyagileva" (2010) is the most fundamental filmmaker on the life and activities of a talented entrepreneur.
• The first of the films of the Cycle "Historic Travel Ivan Tolstoy" is dedicated to Sergey Dyagilev - "Precious Bunch of Letters" (2011).
• Sergey Dyagilev is dedicated to one transmission from the "Oblosts" from the cycle. Russia. Century XX "(2012).
• The documentary "Ballet in the USSR" (2013) (the transmission "Made in the USSR") partially affects the theme of the "Russian seasons".
• The release of TV "Absolute rumor" dated 13.02.2013 tells about the Dyagilev and the art of the XX century, and dated January 14, 2015 - on the first productions of the ballet "Afternoon rest of Favna."
• As part of the transmission cycle, two films were published - "Sergey Dyagilev - Art Man" (2014) and "Sergey Dyagilev - from painting to ballet" (2015).

You can rightly consider the ancestor of the domestic show business. He managed to play on the outrageousness of the ideas of his troupe and purposefully satuned by the performances by various modernist receptions at all levels of the composition: scenery, costumes, music, plastic - everything broke the imprint of the most fashionable trends of the era. In the Russian ballet of the beginning of the twentieth century, as in the remaining directions of the art of this time, the dynamics from the active searches of the silver age of new means of expressiveness to the obscure intonations and the broken lines of the art of avant-garde were clearly visible. " Russian seasons"We raised European art to a qualitatively new level of development and to this day do not cease to inspire the creative God in search of new ideas.

Video: Watch a film about the "Russian seasons" Dyagileva

"Russian seasons" - such a name received annual foreign (in Paris, London, Berlin, Rome, Monte Carlo, USA and in South America) tour of Russian artists, organized by Talented Angele Sergey Pavlovich Dyagilev, starting from 1907 to 1929 year year.

in the photo: Sketch of Leon Baksta to the suit of Ida Rubinstein in the ballet "Cleopatra". 1909.

"Russian seasons" Sergey Dyagileva. art

Forerun "Russian seasons" The exhibition of Russian artists in the Paris Autumn Salon, brought by Dyagilev in 1906. It was the first step of a 20-year-old path of powerful and elegant propaganda of Russian art in Europe. In a few years, the famous European ballerina will take Russian pseudonyms, just to dance in "Russian seasons" Sergey Dygiev.

"Russian seasons" Sergey Dyagileva. Music

Further, in 1907, with the support of the Imperial Yard of Russia and the influential persons of France, Sergey Dyagilev organizes five symphony concerts of Russian music in the Paris - the so-called "Historical Russian concerts"where they played their works N.A. Rimsky-Korsakov, S.V. Rachmaninov, A.K. Glazunov et al., And also sang Fedor Shalyapin.

Participants of "Russian historical concerts", Paris, 1907

"Russian seasons" Sergey Dyagilev. Opera

In 1908, within "Russian seasons" The Russian Opera Boris Godunov was presented for the first time the Paris public. But despite the success, this genre of art on "Russian seasons" I was present only until 1914. Assessing the preferences of the public, the sensitive entrepreneur Sergei Dyagilev came to the conclusion that it was more cost-effective to put ballet, although he himself belonged to the ballet in the lack of intellectual component in him.

"Russian seasons" Sergey Dyagileva. Ballet

In 1909, Sergey Dyagilev begins preparations for the next "Russian season", going to focus on the speech of the Russian ballet. Artists A. Benua and L. Bakst, composer N. Cherepnin and others helped him. Dyagilev and his team sought to achieve the harmony of artistic design and execution. By the way, the ballet troupe was the leading dancers of the Big (Moscow) and Mariinsky (Petersburg) of theaters: Mikhail Fokin, Anna Pavlova, Tamara Karsavina, Ida Rubinstein, Matilda Kshesinskaya, Vaclav Nizhinsky and others. But the preparation of the first ballet seasons was almost torn because of the spontaneous refusal of the Russian government to support "Russian seasons" Financially. The situation was saved by the influential friends of Dyagilev, collecting the necessary amount. Subsequently "Russian seasons" They will exist precisely thanks to the support of the patrons, which Sergey Dyagilev found.

Debut "Russian seasons" In 1909, it consisted of five ballets: "Pavilion Artemis", "Polovtsy dances", "Pier", "Sylphide" and "Cleopatra". And it was a pure triumph! We had success among the public as dancers - Nizhinsky. Karsavina and Pavlova and exquisite costumes of the work of Bakst, Benoit and Roerich, and the music of Mussorgsky, Glinka, Borodin, Roman Corsakov and other composers.

Poster "Russian seasons" In 1909. Depicted ballerina Anna Pavlova

"Russian seasons" The 1910th year is held in the Paris Opera Teater Grand Opera. Ballets "Orientali", "Carnival", "Giselle", "Sherryzad" and "Firebird" were added to the repertoire.

L. Bakst. Decoration to the ballet "Shaherazade"

Preparation K. "Russian seasons" 1911 goes to Monte Carlo, and there will also be a performance, including 5 new Fokina ballets ("Underwater Kingdom"), "Narcissa", "Ghost Rose", "Parsley" (on the music of Igor Stravinsky, who too He became the discovery of Dyagilev). Also in this "Season" Dyagilev put in London "Swan Lake." All ballets were successful .

Vaclav Nizhinsky in the ballet "Shahryzada", 1910

Due to innovative experiments of Dyagilev "Russian seasons" 1912 were adopted by the Paris public negatively. Especially resonant became the ballet "Afternoon rest of Fauna" in the formulation of V. Nizhinsky, his public was overwhelming for the "disgusting movements of erotic animance and gesturing of heavy shamelessness." Dyagileev's ballet were more favorably perceived in London, Vienna, Budapest and Berlin.

1913th marked for "Russian seasons" forming a constant ballet troupe called "Russian ballet"that, however, left M. Fokin, and later - and V. Nizhinsky .

Vaclav Nizhinsky in Ballet "Blue God", 1912

In 1914, a young dancer Leonid Mezin is put by the new favorite of Dyagilev. To work in "Russian seasons" Fokin returns. In the preparation of scenery for the ballet "Golden Cockerel" takes part Russian-artist-avant-gardeist, and the Golden Cockerel becomes the most successful ballet of the season, as a result of which Goncharov was brought to the creation of new ballets not once .

Anna Pavlova in the ballet "Pavilion Artemis", 1909

During the First World War "Russian seasons" Dyagileva goes with varying success, touring Europe, in the United States and even in South America. Many choreographic and musical innovations of his ballet marsters and composers are discouraged to the public, but it happens that the same spectator takes place much better than a few years after the premiere.

In this way "Russian seasons" There are until 1929. At different times, such artists such as Andre Deren, Picasso, Henri Matisse, Huang Miro, Max Ernst and other artists, composers Jean Cockeux, Claude Debussy, Maurice Raven and Igor Stravinsky, Dancers Serge Lifar, Anton Dolin and Olga Svetivtseva . And even Coco Chanel created suits for the ballet "Apollo Musaget," where the serge was solidized.

Serge Blinder and Alicia Nikitin at the rehearsal of the ballet "Romeo and Juliet", 1926

Since Sergey Dyagilev was driving force "Russian seasons", then after his death in August 1929 troupe "Russian ballet" Disintegrate. True, Leonid Massin creates a "Russian ballet in Monte Carlo" - the troupe, which continues the traditions of Dyagilev. And Serge Lifar remains in France, solorates in the Grand Opera than makes an extraordinary contribution to the development of French ballet .

Olga Svetivtsy in the ballet "Nature", 1927

For 20 years of persistent work "Russian seasons" and personally, Dyagilev, the traditional attitude of society to the art of the theater and dance has changed dramatically, and Russian art has become unusually popular in Europe and in the entire Western world, in general, affecting the artistic process of the twentieth century.

In this post, I would like to tell directly about the "Russian Dyagilev seasons" themselves and their influence on world art, especially on Chwer's ballet art.

So, as they were the seasons - these are touring speeches of Russian artists opera and ballet abroad. It all started with Paris in 1908, then in 1912 he continued in the UK (in London), and from 1915 in other countries.

If you say quite exactly, the beginning of the "Russian seasons" was laid in 1906 The year when Dyagilev brought the exhibition of Russian artists to Paris. She had an incredible success, so it was decided to expand the horizons and already in 1907 A series of Russian music concerts took place in the Grand Opera ("Historical Russian Concerts"). Actually "Russian seasons" began in 1908 In Paris, when operating Opera Musorgsky "Boris Godunov" Opera "Ruslan and Lyudmila" Mikhail Glinka, "Prince Igor" Alexander Borodina and others. Paris for the first time heard the singing of Shalyapin and the music of the Roman Corsakov, Rakhmaninov and Glazunov. From this point on, the history of the famous "Russian seasons" Dyagilev, who have made all the Russian most fashionable and relevant in the world begins.

Fedor Shalyapin in the opera "Prince Igor"

IN 1909 The first joint opera-ballet representations in Paris took place. In subsequent years, he began to export mostly ballet, who enjoyed tremendous success. From this point on, the period of ballet seasons originates. Nevertheless, the opera was still: in 1913 the year was set by the Opera Khovanshchyna (the Shatapin Party was performed), in 1914 The world premiere of the opera "Nightingale" of Stravinsky was held in the Grand Opera.

The fantastic success of the first seasons, the program of which included the Ballets "Fire-Bird", "Parsley" and "Spring sacred", gave the European public to understand that advanced Russian art is a full and most interesting part of the world artistic process.

Vaclav Nizhinsky in the ballet "Parsley"

Vaclav Nizhinsky in the ballet "Shahryzada", 1910

Ballet Premier Program Sharerazada

The success of the "Russian season" in Paris 1909 The year was truly triumphal. Fashion comes to all Russian. The performances on the scene of the Shatle theater not only became an event in the intellectual life of Paris, but also had a powerful impact on Western culture in various manifestations. The French appreciated the novelty of theatrical and decorative painting and choreography, but the highest praise was awarded the performing skill of the leading dancers of the Mariinsky and Bolshoi Theaters: Anna Pavlova, Tamara Karsavina, Lyudmila Shollar, Fair Fokina, Vaclav Nizhinsky, Mikhail Fokina, Adolf Mikhory, Mikhail Murginni and Gregory Rosta.

Anna Pavlova and Vaclav Nizhinsky in the ballet "Pavilion Armida", 1909

Anna Pavlova

French writer Jean Cocteo so responded about performances:"Red curtain rises over the holidays that turned France and who carried away the crowd in ecstasy after the Kolerator of Dionysus".

IN 1910 The year Dyagilev suggested Igor Stravinsky to write music to the ballet for performing within the "Russian seasons", and the next three years have become hardly the most "star" period in the life of both the first and second. During this time, Stravinsky wrote three great ballet, each of which turned the "Russian seasons" of Dyagileev to a cultural sensation of a global scale - "Fire-Bird" (1910), Parsley (1911) and Spring Sacred (1911-1913).

Interesting fact about the ballet "Fire-Bird": "Firebird" is the first ballet on a Russian theme in the Angrezier of Sergei Dyagilev. The director (Balletmaster) and the Contractor of the Main Male Party - Mikhail Fokin. Understanding that Paris must "be treated" by something invoking Russian, he ordered this name in the first season bill in 1909. But the ballet did not have time to put. The dexterous Impresario began to be traveled - although the Pas de Deux Princess Florine and Blue Birds from the Ballet "Sleeping Beauty", unknown to Parisians, was stated on the poster. Only a year later in Paris there was a real "Fire-Bird" - the first ballet score of Igor Stravinsky, which became the name of the beginning of the novice composer outside Russia.

Sketch of a suit to the ballet "Fire-Bird" of the artistLeon Baksta,1910

Mikhail Fokin in a blue bird costume, ballet "Sleeping Beauty"

In the same 1910, the Repertoire included the already delivered ballets "Giselle" and "Carnival" to the music of Shuman, and then "Shahryzada", Roman Corsakov. The main parties in the Ballet "Giselle" and "Fire-Bird" should have fulfilled Anna Pavlov, but for a number of reasons for her relationship with Dyagilev spoiled, and she left the troupe. Pavlov replaced Tamara Karsavin.

Tamara Karsavina and Mikhail Fokin in ballet "Firebird"

Tamara Karsavina

Dancers.Ballet Igor Stravinsky "Sacred spring" on the Champs Elysees. May 29, 1913

Poster of the play "Russian seasons", sketch of Leon Baksta with Vaclav Nezhinsky

And again deafening success at the Paris public! However, this success was also the opposite side: some artists who became famous thanks to the Dyagilevsky seasons were gone from the troupe to foreign theaters. And after Nizhinsky was fired from the Mariinsky Theater, Dyagilev decided to gain a permanent troupe. Many dancers of the imperial ballet agreed to conclude regular contracts with him, and those who decided to stay in Mariinsky - for example, Karsavin and Kshesinskaya, "agreed to continue cooperation. The city, in which Dyagileev's company was based, where the rehearsals and the preparation of future performances were held, Monte Carlo became.

Interesting fact:Monte Carlo held a special place in the heart of Dyagilev. It is here in 1911 "Russian ballet" It was transformed into a permanent theatrical troupe, here he first showed a number of his most significant productions, and he had consistently conducted here, since 1922, his winters. Thanks to the generosity of the ruling House of Grimaldi and the glory of a casino, which made such generosity, Mote-Carlo has become the 1920s Dyagilev's creative laboratory. The former ballerinas of the imperial theaters, already those who left Russia forever, shared the secrets of skill with the invited degoil rising emigration stars. In Monte Carlo, he was the last time as the temptation of the dream of his life - to live, giving all his art.

IN 1911 the year 5 new ballets were delivered: "Underwater Kingdom" (from the Opera "Sadko"), "Narcissus", "Peri", "Ghost of Rose", which is exquisite pas de Deux Karsavina and Nizhinsky, and the main novelty of the season - the dramatic ballet "Petrushka" Stravinsky, where the leading party of a fair jester, perishing in the final, belonged to Nizhinsky.

Vaclav Nizhinsky in Parsley Party

Sadko, sketch of the scenery of Boris Anisfeld, 1911

But already B. 1912. Dyagillev began to gradually be freed from his Russian like-minded people who brought him world glory. The charismatic leader of Dyagilev did not tolerate confrontation. A person for him is important as a carrier of creative idea: having exhausted the idea, Dyagilev ceases to be interested in them. Having exhausted the ideas of Fokina and Benois, he began to generate ideas of European creators, open new choreographers and dancers. Begging in the Dyagileev team affected the production: unfortunately, the 1912 season did not cause special enthusiasm from the Paris viewer.

All the ballets of this season put Mikhail Fokin, except for one - "Afternoon rest of Fauna" on the suggestion of Dyagileev put his favorite Nizhinsky - this performance was the debut in his short career of the balletmaster.

ballet "Afterfourishment of Favna"

After failure in Paris, Dyagilev showed his productions (plus ballets from the early repertoire) in London, Berlin, Vienna and Budapest, where the public took them more favorably. Then there were touring in South America and again deafening success! It was during these tour between Dyagilev and Nizhinsky there was a conflict, after which Sergey Pavlovich abandoned the dancer services, but for some time they continued to work together, but then the final gap occurred.

In the years World War II Dyagileva's ballet troupe went to the US tour, since at this time the interest in art in Europe slept. There were only charitable concerts, which nevertheless they took part.

Maids of the Tsarevna Swan in the ballet "Russian fairy tales", 1916

Sketches of the scenery of Natalia Goncharova to one of the most prominent Dyagilevsky productions - "Wedding", 1917

The full return of Dyagilevsky seasons at the past position began in 1917 year. Returning to Europe, Dyagilev formed a new troupe. With the quality of the choreographer in the troupe, a young dancer Cord6Leta of the Bolshoi Theater Leonid Mezin took a durable place. The performances they set were saturated with the innovative spirit and were perfect in Paris and Rome.

In the same year, Dyagilev invites Pablo Picasso to issue a ballet "Parade", a few years later, the same Picasso makes scenery and costumes for the ballet "Tripolt". New, the last period of Russian ballet seasons begins when French artists and composers begin to prevail in the Dyagilev team.

The ballet "Parade", delivered in 1917 by Leonid Mezin on the sarcastic music of Eric Sati and in the cubistic design of Picasso, identified a new tendency of Dyagilevskaya troupe - the desire for demi-government all ballet components: the plot, the place of action, acting masks (Parade portrayed the life of a stray circus ) And in place of myth put another phenomenon - fashion. Paris household fashion, pan-European style (in particular, cubism), global fashion for free (to a greater or lesser extent) dance.

Olga Khokhlova, Picasso, Maria Shabelskaya and Jean Coke in Paris on the occasion of the premiere of the ballet "Parade", May 18, 1917

Sketch Pablo Picasso for Parade ballet, 1917

Sketch of scenery and costume to the ballet "Triangola", Pablo Picasso, 1919

Love Chernyshov in the party Cleopatra, 1918

The exacerbated political situation in Europe made it impossible and arrival in France, so the Parisian season in 1918 The year was not, but there were tourists in Spituglia, South America, and then for almost a whole year in the UK. 1918-1919 became complex for Dyagilev: the inability to put ballets in Paris, a creative crisis, departure from the troupe of one of the leading dancers - Felix Fernandez - due to illness (he went crazy). But at the end 1919 the seasons in Paris were resumed. The scenery in one of the ballet shows of this year, the ballet "Nightingale" Stolia, created an artist Henri Matisse, instead of the lost works of Benoit.

The period of 1920-1922 can be called crisis, stagnant time. Choreographer Leonid Myasin collapsed with Sergey Pavlovich, left the troupe. For this reason, in that period, only 2 new production was released - the ballet "Jester" to the music of Sergey Prokofiev and the dance suite Quadro Flamenco with the scenery of Picasso.

In the fall of 1921, Dyagilev brought to London "Sleeping Beauty", inviting to fulfill the leading party Ballerina Olga Svetivtsev. This production was perfectly adopted by the public, but at the same time she put Dyagilev in a catastrophic position: profit from the fees did not reimburse expenses. Dyagilev was on the verge of ruin, the artists began to scatter, and his entrepreneurs almost stopped his existence. Fortunately, a long-standing familiar Dyagileev came to the rescue - Misi Serrt. She was very friendly with Coco Chanel, which was so inspired by Dyagilev's work, which sacrificed to the restoration of his troupe considerable funds. By that time, Bronislav Nizhinsky, the younger sister of Vaclav Nizhinsky, emigrated from Kiev, which Dyagilev decided to make his seasons with a new choreographer. Nizhinsky also proposed to update the composition of the troupe of its Kiev students. In the same period, Dyagilev acquaintance with Boris Kokhno, who became his personal secretaries and the author of the libretto of new ballets.

In the spring of 1923, Bronislav Nizhinskaya put the choreography of one of the most outstanding Dyagileil productions - "Wedding" Stravinsky.

Sketches of the scenery of Natalia Goncharova to the ballet "Wedding"

IN 1923 5 new dancers have replenished troupe at once, including the future favorite of Dyagilev - 18-year-old Serge Lifhar. As Dyagilev said about him: "The Blinder is waiting for his own suitable hour to become a new legend, the most beautiful of the ballet legends".

In the following years, the years of revival of the troupe "Russian ballet", Picasso and Coco Chanel cooperate with Dyagilev, the troupe tours a lot, represents not only ballet, but also opera performances, symphonic and chamber concerts. The balletmaster during this period was George Balanchine. He emigrated from Russia after the end of the theater school at the Mariinsky Theater and, cooperating with Dyagilev, largely enriched the choreography of his seasons.

George Balanchine (he is George Balanchivadze)

Despite the apparent well-being, Dyagilev again encountered financial difficulties. As a result, Dyagilev took a loan and, overcoming depression, took up the new season in Paris and London. So spoke about the season 1926 Year Serge Lifhar: " I will not remember the more triumphal London season for all the years of my life in the Russian ballet Dyagilev: we were literally wore on my hands, threw up with flowers and gifts, all our ballets - and new ones, and old - met enthusiastically and gratefully and caused an endless storm of applause ".

Soon, Dyagilev began to cool down to the ballet, more and more time and strength devoting to the new passion - collecting books.

IN 1928 The very successful stage of the season was the formulation of the Balanchine "Apollo Musaget" on the masterpiece, according to Dyagilev, Stravinsky's music with the scenery of Boshan and Coco Chanel's costumes. The hall arranged a bodie that soloing in this ballet, long-term ovation, and Dyagilev himself also appreciated his dance. In London "Apollo Musaget" was shown 11 times - from the 36 productions of the repertoire.

Alexandra Danilova and Serge Ballet "Apollo Musaget", 1928

1929 The last year of the existence of the Russian Ballet Dyagilev. In the spring and at the beginning of the summer, the troupe actively toured in Europe. Then at the end of July and early August, short tours in Venice passed. There, Dyagileva's health suddenly worsened: because of the exacerbation of diabetes, he had a stroke from which he died on August 19, 1929.

After the death of Dyagilev, his troupe broke up. Balanchar went to the USA, where he became a reformer of the American ballet. Myasin, together with Colonel de Bazil, founded the "Russian Ballet Monte Carlo" troupe, which retained the repertoire of the Russian Ballet Dyagilev and largely continued its tradition. Blinder remained in France and headed the Ballet Troupe of the Grand Opera, making a huge contribution to the development of the French ballet.

Having a brilliant artistic intuition to predicate everything new or discover as the new forgotten art of the past epochs, Dyagilev with fantastic perseverance could realize each idea. Holding his name to the card, his condition, fascinating friends, Russian merchants and industrialists, he lent money and invests them into new projects. For Sergey Dyagilev, there were only two idols, which he worshiped his whole life - success and glory.

An outstanding personality, owner of a unique gift to open talents and surprise the world of novelty, Sergey Dyagilev brought the world of art new names of outstanding choreographers - Fokina, Myasin, Nizhinsky, Balanchine; Dancers and dancers - Nizhinsky, Viltzaka, Vojotochovsky, Valley, Lifery, Pavlova, Karsavina, Rubinstein, Spesivtseva, Nemchinova, Danilova. He created and swallowed a wonderful troupe of talented cord6allic artists.

Many contemporaries, as well as researchers of the life and creativity of Dyagilev, agree on the fact that the main merit of Sergey Pavlovich became the fact that, having organized his "Russian seasons", he actually launched the process of the revival of ballet art not only in Russia, but in everything world. Ballets created in his entrepreneur to this day are the pride of the largest ballet scenes of the world and successfully go to Moscow, St. Petersburg, London, Paris and many other cities.

July 1, when summer off-season comes in the record of repertoire theaters, a unique ballet marathon starts in Moscow - "Summer ballet seasons" in Moscow. This is a classic non-stop in the very center of the capital: daily for two months on stage - pearls of world ballet art accompanied by orchestra.

The first performance of the "Summer Ballet Seasons" by tradition will be the main Russian ballet - Swan Lake, performed by a new member of the project - the Samara Academic Opera and Ballet Theater (Satob). One of the largest Russian musical theaters brings 4 performances to Moscow and dances on the "seasons" from July 1 to July 7. The main balletmaster of the collective - Yuri Burlaka.

On July 1 and 2, spectators have a unique opportunity to see the Swan Lake in the version of the Bolshoi Theater 1901-1922 (duration 3 hours 15 minutes). The editorial board of the choreography of Alexander Gorsky created the chief balletmaster Satob Yuri Burlaka.

On July 4 and 5, the Samara Ballet Troupe will present "Sleeping Beauty" in the formulation of the laureate of the National Theater Prize "Golden Mask" Gabriely Comleva.

On July 6 and 7, the Samara Academic Opera and Ballet Theater will show the ballet "Esmeralda", in 2019 the "Golden Mask" National Theater Award for the "best work of the balletmaster". At the base of the plot - the famous Roman V. Hugo "Cathedral of the Paris Mother of God." Music of the Italian composer Caesar Puni, Libretto Jules Perra.

This year, in the repertoire of the "seasons" 10 famous classic ballets - "Swan Lake", "Nutcracker", "Cinderella", "Don Quixote", "Sleeping Beauty", "Giselle", "Romeo and Juliet" - produced by the legendary choreographers of Marius Petipa, Asaph Messer, Leonid Lavrovsky, Vasily Winonen, Alexander Gorsky.

The name is Rare for the metropolitan scene - the ballet "Snow White and the Seven Dwarfs" to the music of Bogdan Pavlovsky - present the theater of the ballet "Art-yes" - a promising team, whose performances with delight were met by the public in the past seasons. A troupe having a high creative potential both in the classical and in modern areas, works under the motto "talent and dedication to the classical traditions of Russian ballet."

Again in the repertoire of the "Summer Ballet Seasons" will appear Ballet Marius Petipa "Bayaderka" - performed by the National Classical Ballet. A young troupe, founded in 2010, touring a lot in Russia and the world, carefully retains the traditions of Russian ballet and has already established itself as a zealous keeper of classical ballet art.

This year, the soloists of the Paris Opera Garnier (Grand Opéra) again participate in the project performance. Young, talented dancers of the Paris Opera Eloz Bourdon and Zheremi Lu Ker will perform the main parties in the ballet "Giselle" on July 21 and the Swan Lake July 23.

For 18 years, more than 800,000 people visited the play of "summer ballet seasons". Initially, the project was conceived for foreign tourists visiting Moscow after the closure of the theater and concert season. But the residents of the capital showed no less interest in summer performances, and very soon "seasons" became a noticeable event, and now the good tradition of the cultural life of Summer Moscow.

The project's mission is to preserve the rich traditions of the Russian ballet - one of the most important and brightest parts of the cultural heritage of Russia. An equally important task is to attach to the art of classical ballet the widest audience. The organizers of the Summer Ballet Seasons are in constant search for new professional teams and bright performances that preserve the continuity of generations in the art of ballet dance.

All performances are accompanied by an orchestra.