"Russian Seasons" Dyagilev: History, interesting facts, video, films. Great ballet producer (Dyagilev S.P.) Sayings about Repin and work in the "Yearbook of Imperial Theaters"
"Russian seasons" Sergey Dyagilev in Europe is one of the most famous theater events of the beginning of the twentieth century. In order to understand the reasons for the revival of the Russian ballet at the beginning of the twentieth century and to realize the value of the educational work of Sergey Dyagilev in the world of art, it is necessary to familiarize themselves with the biography of the great entrepreneur, to understand his personal motives, let them even talk about them out loud.
The work of art is not important in itself, but only as an expression of the personality of the Creator.
Sergey Dyagilev
Sergey Pavlovich Dyagilev Born in the noble family 19 (March 31) of 1872 in Selshekhov Novgorod province. Mother died shortly after his birth, and Sergey He was brought up by a stepmother formed by an intelligent woman. Russian Father's Military Service Dyagilevy Lives in St. Petersburg, then in Perm. After graduating from Perm Gymnasium in 1890, 18-year-old Sergey Dyagilevdeparts to Petersburg and enters the Faculty of Law, parallel to the music of music from N.A. Roman Corsakov. In the house of his father, Anna Philosophical, he finds his friend-peers - Cousin Dima Philosophian, who becomes his lover for the next 10 years.
Dmitry Philosophers, work L. Bakst
Lawyer out Dyagilev It did not work, a few years later, after graduating from the university, he together with the philosopher and his school friend A.N. Beno'a creates the first artist "World of Art" in Russia, which brought together such prominent artists, like Vrubel, Serov, Levitan and others around him. In parallel with that Sergey Dyagilev And the company organizes resonant exhibitions: in 1897 - the exhibition of German watercolors, later - the exhibition of Scandinavian artists, the exhibition of Russian and Finnish artists in the Museum of the Stiglitz (1898) and others.
Since 1899, potential since Dyagilev manifests itself in the branch sphere. Director of Imperial Theaters Prince Sergey Volkonsky appoints Sergey Dyagilev An official on special instructions and trusts him editing the "Yearbook of Imperial Theaters". Sergey Dyagilev not only turns it into an art edition, but also attracts to the imperial theaters A.M. Vasnetsova, A.N. Beno'a, L.S. Baksta, A.V. Serov, K.A. Korovina and others. But this cooperation also has no continuation due to disagreements Sergey Dyagilev With the bosses during the preparation of the ballet "Silvia". In addition, the relationship with the philosopher also went to no because of the interference of the poetess Zinaida Hippius, which was trying to lure the philosophian to live one family with her and her husband Dmitry Merezhkovsky. These dramatic events ended with relocation Sergey Dyagilev From St. Petersburg and the cessation of the existence of the magazine "World of Art" in 1904.
B. Kustodiev. Group portrait of the participants of the "World of Art"
And if the rupture of the long relationship has become a blow to Dyagilev, he accurately went to the benefit of the popularization of Russian art in Europe. Since 1907, it is the same page of the biographies of the Great Impresario, thanks to which Sergey Dyagilev And became famous. Namely, the annual foreign concerts of Russian artists begins - "Russian seasons". The first season was purely musical, N.A. took part in it. Roman Korsakov, F.I. Shalyapin, A.K. Glazunov, S.V. Rachmaninov et al.
In 1908, Europe as part of "Russian seasons" I saw the Russian opera: "Boris Godunov" M.P. Mussorgsky, "Ruslan and Lyudmila" M.I. Glinka and others. But these events became unprofitable, despite the visible success, which was finally convicted Sergey Dyagilev Follow the tastes of the public and show Europe the ballet, to which he relate to frankly dismissively, as a non-delayed and low-implication of art.
But it is in the organization of ballet "seasons" and an outstanding gift manifested Sergey Dyagilev As a talent discoverer. In 1908, he meets the young dancer Vaclav Nizhinsky and, inspired by love, becomes his patron and creates the greatest ballets especially for him. For overseas tour, famous artists were also invited: A.P. Pavlova, TP Karsavina, E.V. Gelzer and M.M. Fokin. Choreographic efforts of the latter under the leadership Dyagilev The role of a dancer's man on stage radically changed. If earlier men performed the secondary, supporting role of "crutch" for the ballerin, performing support for them, now the protigeant Sergey Dyagilev They began to shine, they performed complex elements, creating bold performances on the confrontation of male and female. Organized Sergey Dyagilev Ballets saw in Paris, London, Rome and even in the United States. Ballet "Seasons" ended in 1913, coinciding with the rupture of relations Dyagilev and Nizhinsky (again because of a woman).
Vaclav Nizhinsky
With the beginning of the First World War Sergey Dyagilev Finally migrates to Europe. He appears a new beloved - the young dancer Leonid Mezin, and a new stage of work begins. Dyagilev Engaged in the development of ballet troupe created by him in 1911 Russian ballet Dyagilev", Which existed to the death of the creator in 1929. Within 20 years in Antenpuriz Sergey Dyagilev The famous artists worked, including Serge Lifar, and the performances were drawn up, L.S. Bakst, A.N. Benois, N.K. Roerich, A.Ya. Golovin, M.F. Larionov, Henri Matisse, Pablo Picasso, and music wrote Claude Debussy, Maurice Ravel, Eric Sati, Igor Stravinsky and Sergey Prokofiev.
Leonid Mysin
Died Sergey Dyagilev August 19, 1929 in Venice as a result of complications due to diabetes and furuncoolose. Buried on the island of San Michele.
The funeral Sergey Dyagilev in Venice
Death mask Sergey Dyagilev
Mogila Sergey Dyagilev On the island of San Michele
Many have heard that Sergey Dyagilev Somehow connected with the ballet, but few knows that the Russian ballet reborn them - it was nothing more than the expression of love for men. He admired them, he patronized them. Many contemporaries remember that the backstage atmosphere of Dyagilev ballet was frankly homosexual. But it is the homosexual side of the person Sergey Dyagilev It was the most creative, in the root changing the essence and attitude towards the ballet, raising and giving the world of the greatest ballersters, dancers and other artists, turning the position of entrepreneur to art.
Portrait Sergey Dyagilev Brush Valentina Serov
St. Petersburg State University of Culture and Arts
(St. Petersburg Thick)
Faculty of cultural studies. Group 137-D
The subject "History of the SCD"
ESSAY
on the topic:
S. P. Dyagilev and his "Russian seasons"
2005
Introduction
S.P. Dyagilev was an outstanding leader of Russian art, a propagandist and organizer of Russian art tour abroad. He was neither a dancer nor the choreographer nor the playwright, nor the artist, and, however, his name is known to millions of ballet lovers in Russia, Europe. Dyagilev opened Russian ballet, he demonstrated that while in the European capitals the ballet came to decline and died, he strengthened in St. Petersburg and became a very significant art.
C 1907 to 1922 S. P. Dyagilev organized 70 performances from Russian classics to modern authors. At least 50 performances were musical innovations. Behind him "Ever followed eight decoration cars and three thousand costumes." "Russian ballet" toured in Europe, the United States, forever meeting stormy ovations.
The most famous performances, pleaseing the audience in Europe and America for almost two decades were: "Armid's Pavilion" (N. Cherepanin, A. Benua, M. Fokin); "Firebird" (I. Stravinsky, A. Golovin, L. Bakst, M. Fokin); "Narcissus and Echo" (N. Cherepanin, L. Bakst, V. Nizhinsky); "Spring Sacred" (I. Stravinsky, N. Rerich, V. Nizhinsky); Petrushka (I. Stravinsky, A. Benua, M. Fokin); Midas (M. Steinberg, L. Bakst, M. Dobuzhinsky); "Jester" (S. Prokofiev, M. Lermontov, T. Slavinsky), etc.
Communication S. P. Dyagilev with a period of silver century
The turn of the XIX-XX is noted as the "silver age." The change in the moods of stability common in the 80s. Some psychological tension comes, the expectation of the "great coup" (L. N. Tolstoy).
Understanding the "rubleness" of time was distributed in the public consciousness - both among politicians, and among the artistic intelligentsia.
"The time was amazing," recalled Z. N. Hippius. - Something in Russia broke, something remained behind, something ... sought forward ... where? It was not known to anyone, but even then, at the turn of the centuries, it was felt in the air. Oh, not all. But very many, in very many. "
The framework of realistic vision of life is expanding, the search for self-expression paths in literature and art is being found. The characteristic features of art become synthesis, indirect reflection of life, in contrast to the critical realism of the XIX century, with a specific reflection of reality inherent in it.
A feature of that time was the development of various associations of cultural figures (i.e. circles: there were about 40 in the capitals, about 30 in the provinces). The idea of \u200b\u200bthe synthesis of arts, widespread in the artistic consciousness contributed to this, combining the new forms of artistic activities of representatives of different directions of art.
"Emergency" of character, domestic warehouse and eventually the fate of Dyagilev is largely akin to the epoch in which he lived and worked. Twenty-two years of energetic and rich activity on the Niva of Russian culture left a deep furrow.
In 1905, at the opening of the "historical and artistic exhibition of Russian portraits" in the Tauride Palace in St. Petersburg, Dyagilev prophetically stated: "We are witnesses to the greatest historical moment of the results and ends in the name of the new unknown culture that we arise, but we will also note. And therefore, without fear and disbelief, I lift the glass for the destroyed walls of beautiful palaces! Just as for the new covenants of the new aesthetics, "(Dyagilev S.P. per hour of results ... // Libra, 1905, No. 4. P. 46-47).
In the arranged exhibition, he joined the old portraits of the XIX century and new ones. Comparing the "old" portraits with the "new", the author of the note in the journal "Spectator" wrote: "... What is the difference in relation to old and new masters to your models. The old people believed in the uniform and sincerely inspired them ... that neither the portrait, then masterpiece and reverence. All these dignitaries, ministers, figures, their wives and daughters - all this breathes the power of agriculture and uniformity. Not that new artists closest to us. Mundir is the same .... but there is no inspirational reverence to the uniform. There is a face in uniform, an ordinary, weak, human face "(Sternov G. Ye. Art Life of Russia 1890-1910s. M., 1988. P. 198). This is no longer a "cesar" and not "hero." The sad human face is a harbinger of unpredictable steep changes.
About S. P. Dyagilev. His characteristics of contemporaries
S. P. Dyagileva can be called the administrator, an entrepreneur, the organizer of exhibitions and all sorts of artistic shares - these all definitions are suitable for him, but the main thing in it is his ministry of Russian culture. S. P. Dyagilev brought everything that without him and in itself could take place or already existed independently - the work of different artists, artists, musicians, Russia and the West, the past and the present, and only thanks to him all this was joined and confused with each other , acquiring a new value in unity.
"Dyagilev combined the tastes of diverse, they are completely conflicting, claiming art perception, eclecticism.<…> Awe in the masters of the "Great Century" and the century Rococo, he was delighted and from Russian Dichkov, like Malyutin, E. Polyakova, Yakunchikov ..., Lyutitan's landscapes and the skill of Repin, and when he looked at the Parisian "constructive" innovations, then The closest came out with Picasso, Deren, leached<…> Slightly given such an ability to feel the beauty ... "- from the memories of contemporaries.
He was richly gifted musically, sensitive to beauty in all its manifestations, perfectly disassembled in music, vocal, painting, from orphanage showed himself a big fan of theater, opera, ballet; Subsequently, he became a skillful and enterprising organizer, a tireless worker who miserable to force people to embody their ideas. Of course, he "enjoyed" by, taking from comrades that he was needed, but at the same time forced his blooming talents, fascinated and attracted their hearts. True, he knew how to equal charm the mercilessness and exploit people, and parted with them.
The Dyagilevsky wide sense of beauty attracted people to him extraordinary, individualities and individualists. And he knew how to communicate with them. "Dyagilev had a property to force a particularly shipping subject or a person in which he paid his attention. He knew how to show things from their best. He knew how to evoke the best qualities of people and things. "
He was a born organizer, a leader with the inclinations of the dictator and knew the price. He did not tolerate anyone who could compete with him, and nothing that could stand him across the road. He had a complex and controversial nature, he knew how to lavish among intrigues, envy, slander and gossip, which abounds the artistic environment.
"His intuition, his sensitivity and his phenomenal memory allowed him to remember the innumerable many masterpieces (paintings), and never forget them again.
He had an exceptional visual memory and who surprised us all the iconographic flair, "recalled Igor Grabar, his coster for the university. "Quick, categorical in judgments, he, of course, became mistaken, but became mistaken much less frequently than others, and no longer irreparable."
"It was a genius, the most great organizer, a seeker and a talent discoverer, endowed with the soul of the artist and the manners of noble Velmazby, the only comprehensive developed person, whom I could compare with Leonardo da Vinci" - such an assessment was awarded S. P. Dyagilev from VF . Nizhinsky (T. 1.- p. 449).
His activities and "Russian seasons"
S.P. Dyagilev received a good musical education. Even in the student circle, A. N. Benua he gained fan of fan and music connoisseur. D. V. Philosov recalled: "His interests were then mainly musical. Tchaikovsky and Borodin were his favorites. For all day, he was sitting at the piano, sowing Aria Igor. He sang without a special school, but with a born ability. " His musical mentors were called A. K. Ice, N. A. Rimsky-Korsakov. In any case, he received good preparations not to be a "stranger" in the composer's environment; He felt the specifics of the musical composition, he himself possessed the composer's gift, as evidenced by the preserved manuscripts of his youthful writings, owned musical and theoretical knowledge.
In 1896 He graduated from the Faculty of Law of the St. Petersburg University (she studied at the St. Petersburg Conservatory for some time at N.A. Rimsky - Korsakov). Engaged in painting, theater, history of artistic styles. In 1897, he arranged the first exhibition in the St. Petersburg Academy, dedicated to the works of English and German watercolorists. In the autumn of the same year, the exhibition of Scandinavian artists was arranged. By purchasing a steady reputation as a connoisseur of art and diploma of the Rizvdow, received a place of assistant director of the imperial theaters.
In 1898 It was one of the founders of the Unification of the "World of Art", in 1899-1904 - together with A. Benua was the editor of the magazine of the same name. Our activities on promoting Russian art - painting, classical music, operas - S.P. Dyagilev began in 1906. In 1906-1907. Organized in Paris, Berlin, Monte Carlo, Venice of the exhibition of Russian artists, among which were Benois, Dobuzhinsky, Larion, Roerich, Vrubel, etc.
The exhibitions of Russian visual art was revealing for the West who did not suspect the existence of such a high artistic culture.
Supported by the circles of Russian artistic intelligentsia ("World of Art", Muses Belyaevsky Circle, etc.) In 1907, Dyagilev organized the annual performances of Russian artists opera and ballet "Russian seasons", which began in Paris from historical concerts.
In that year, he organized 5 symphonic concerts in Paris ("Historical Russian Concerts"), introducing Western Europe with musical treasures of Russia, presenting Russian music from Glinka to Scriabin: S. V. Rakhmaninov, A. K. Glazunov, F. and . Shalyapin, Roman Korsakov, and others.
Russian music-theatrical art began his victorious procession on May 6, 1908, the premieres of the Russian opera were held: "Boris Godunov" M. Mussorgsky, "Pskovtyanka" N.A. Roman Corsakov, "Judith" A. Serov, "Prince Igor" A. Borodina. Party B. Godnova performed F. I. Shalyapin. The audience were conquered by the unique voice of the Shalyapin voice, his game, full tragedy and restrained strength.
A troupe, M. Murdhn, T. Karsavin, Later, O. Svetisvseva, S. Lifar, J. Balanchin, M. Fokin, were part of the Dyagilev for overseas tour. M. Fokin was appointed the balletmaster and artistic director. The performances were drawn up by artists: A. Benois, L. Bakst, A. Golovin, N. Roerich, and in later years M. V. Dobudzhinsky, M.F. Larionov, P. Picasso, A. Deren, M. Utrillo, J. Marriage.
For the first time, the "Miriskusnisnisnic" ballet was presented by no means in Paris, but in St. Petersburg, in the Mariinsky Theater. These were ballets for music N. Cherepnin "The lively tapestry" and "Pavilion Armid" (artist A. N. Benua, choreographer M. M. Fokin). But there is no prophet in her fatherland. The new one has encountered an ocherist Russian officials. The press flew illiterate hostile editions. In the atmosphere of frank trauma, artists, artists, could not work. And then the happy idea of \u200b\u200b"ballet exports" was born. Ballet was taken abroad for the first time in 1909. May 19, 1909 In Paris, M. Fokine was shown in the Shatle theater: "Polovtsy dances" from OP. A. Borodina, "Pavilion Armid" to the music. Cherepnin, "Sylphides" on the muses. F. Chopin, Suite - the divertiment "Festival" on the music. M.I. Glinka, P.I. Tchaikovsky, A. Glazunova, M.P. Mussorgsky.
"Revelation", "Revolution", and the beginning of a new era in ballet called Paris chronicles and critics Russian "surprise".
Dyagilev, like an entrepreneur, expect for the preparedness of Parisians to the perception of new art, but not only. He predicted interest in the original Russian national essence of those works that Paris was going to "open". He said: "The whole post-felt Russian culture seems to be a cosmopolitan, and it is necessary to be a subtle and sensitive judge to note the precious elements of peculiarity in it; It is necessary to be a foreigner to understand Russian Russian; They are much deeper than those who start "we", that is, they see what is all more expensive for them, and what we are positively blind "(, T. 2.- p. 325).
For each performance, M. Fokin picked up special means of expressiveness. Costumes and scenery corresponded to the style of the era during which the action took place. The classic dance has taken a certain color depending on developing events. Fokin sought that the pantomime was dance, and the dance is faithfully expressive. The dance in its productions carried a concrete semantic load. Fokin did a lot to upgrade the Russian ballet, but never refused to classic dance, believing that only the real artist-balletmaster, the artist dancer-balletmaster, artist dancer can be educated.
The successive expressiveness of the ideas of Fokina was T. P. Karsavina (1885-1978). In its execution, "Miriskusniki" especially appreciated the amazing ability to transmit beauty to the inner essence of the past images, whether the sorrowful nymph Echo ("Narcissus and Echo"), or the Armid, who came down from the tapestry ("Pavilion Armid"). The theme of the male, but an elusive perfect ideal embodied the ballerina in the "Fire-Bird", subdued the development of this exotic image is purely decorative, "picturesque" ideas of a new synthetic ballet.
Fokina ballets are more consistent with the ideas and motives of the Silver Age culture. The most important thing, drawing new in kindred muses, Fokin found such new choreographic techniques, revealing the dance, taking the "naturalness".
Since 1910, the Russian seasons have passed without the participation of the Opera.
The best productions in 1910. There were "Shehherazada" on MUZ N.A. Roman Corsakov and Ballet Fairy Tale "Fire-Bird" on Music. I.F. Stravinsky.
In 1911 Dyagilev decided to create a permanent troupe, which was finally formed by 1913 and received the name "Russian ballet" Dyagilev, existed until 1929.
The 1911 season began performing performances in Monte Carlo (continued in Paris, Rome, London). Fokina ballets were supplied: "Vision of Rose" on MUZ. Weber, Narcissus on Muses. Cherepnin, "Underwater Kingdom" on Music from the Opera "Sadko" N. A. Rimsky - Korsakov, "Swan Lake" (a reduced version with the participation of M. Kshesinskaya and V. Nizhinsky).
Special success caused ballet "Parsley" to the music. I. Stravinsky, and drawn ballet A. Benua. A huge share of the success of this production belongs to the Contractor of the Main Party, the Party of Parsley, the ingenious Russian dancer Wenceslas Nizhinsky. This ballet was the top of Fokina's ballet master creativity in Dyagilev, he marked the beginning of world recognition I.F. Stravinsky, the role of parsley became one of the best roles of V. Nizhinsky. Its depoted technique, phenomenal jumping-flights entered the history of choreography. However, not only the technique attracted this brilliant artist, but first of all its amazing ability with the help of plastics transfer the inner world of its heroes. Nizhinsky-Parsley in the dreams of contemporaries appears that he faded in the powerless anger, then a helpless doll, frozen on the tips of the fingers with pressed to the chest with short hands in rude mittens ...
The art policy of Dyagilev changed, his entrepreneurs was no longer aimed at promoting Russian art abroad, but became an enterprise that was largely focused on the interests of the public, commercial purposes.
With the beginning of the 1st World Warriors, the speeches of the "Russian Ballet" are interrupted for a while.
Season from 1915-16. Troupe conducted in the tour in Spain, Switzerland and the United States.
In the troupe, then the ballets "Spring sacred", "Wedding", "Apollo Musaget", "Steel Skok", "The Blind Son", "Daphnis and Chloe", "Cat", etc.
After the death of S.P. Dyagileva troupe broke up. In 1932 On the basis of ballet troupe opera Monte Carlo and the Russian opera in Paris, created after the death of S.P. Dyagileva, organized de Basil "Rys de Monte Carlo".
Russian ballets have become an integral part of the cultural life of Europe 1900 - 1920, a significant impact on all art spheres; Perhaps, never before, Russian art did not have such a large-scale and deep influence on European culture, as in the years of the Russian seasons.
Works of Russian composers, talent and skill of Russian performers, scenery and costumes created by Russian artists - all this caused the admiration of the foreign public, musical and artistic public. Due to the enormous success of the Paris Russian season in 1909, A. Benua pointed out that the entire Russian culture was in Paris in Paris, the whole feature of Russian art, his conviction, freshness and immediacy.
Afterword
Working troupe "Russian ballet" S.P. Dyagileva amounted to an era in the history of the ballet theater, which unfolded against the background of the universal decline of choreographic art.
"Russian ballet", in fact, remained hardly the only carrier of high performing culture and the keeper of the heritage of the past.
Within two decades, being in the center of attention of the West Art Life, "Russian Ballet" served as an incentive for the revival of this type of art.
The reformist activities of choreographers and artists of the Dyagilet troupe influenced the further development of global ballet. J. Balanchine in 1933. He moved to America and became a classic of the American ballet, Serge Lifer headed the ballet troupe of the Paris Opera.
Growing millions and having support for creditors such as Emperor Nicholas 1, Entrepreneurs Eliseev, Grand Duke Vladimir Alexandrovich, and others, owner of the famous "Pushkin Collection", he lived on credit and "one died, in a hotel room, poor, which was always "
He is buried in the Sao Michel Cemetery, next to the grave of Stravinsky, on the means of French charities.
Literature
- S. Dyagilev and Russian art / I. S. Zilberstein, V. A. Samkov. - M., 1982.- T. 1-2;
- Nestlev I.V. / Dyagilev and the Music Theater of the XX century. - M., 1994;
- Pozhayskaya M. N. / Russian seasons in Paris.- M., 1988;
- Rapatskaya L. A. / The art of "Silver Century" .- M.: Education: "Vlados", 1996;
- Fedorovsky V. / Sergey Dyagilev or the backlash story of Russian ballet. - M.: ZKSMO, 2003.
Sergey Pavlovich Dyagilev Russian Theater and Artistic Worker, Writer, Petshenate, First Ballet Impresario of the 20th Century.
Sergey Pavlovich Dyagilev was born (19) on March 31, 1872 in the Novgorod province, in the nobility family of personnel military. In 1896 he graduated from the Faculty of Law of the University of St. Petersburg, in parallel, studying at the St. Petersburg Conservatory in Roman Corsakov. He was fond of painting, theater, history of artistic styles.
In 1898, Dyagilev, together with the artist A. Benua, created the Unification of the World of Art and became the dedicator of the magazine of the same name, where he published the latest works of writers and artists, and wrote articles and reviews on performances, exhibitions, books. And soon became the organizer of exhibitions of Russian artists abroad.
But the main business of the life of Dyagileev became the "Russian seasons" of 1909-1929, where he gathered a creative team from the greatest artists of the beginning of the 20th century and made a huge contribution to propaganda abroad of Russian opera and ballet art.
In the first season - "Historical Russian concerts" - N. Rimsky-Korsakov, S. Rashmaninov, A.Lazunov, F. Shaliapin. Then there was a Russian ballet in Paris, who fascinated all the high level of performing skills and choreography, brilliant scenery and spectacular costumes.
In 1910, Sergey Dyagilev noted: "The revolution that we made in ballet concerns may be of a total of a less special area of \u200b\u200bdance, and most of all scenery and costumes." In fact, the Russian seasons demonstrated an invisible synthesis of three arts, where painting became dominant, and the dance was considered as a "live manifestation of theatrical scenery."
The performances of Dyagilev radically changed the world of dance. It seems incredible that he managed to bring together such famous figures as I. Stravinsky, K. Trydsey, M. Ravel, L. Bust, P. Picasso, A. Benua, A. Matisse,
N. Goncharova, M. Fokin, L. Miesin, A. Benua, V. Nizhinsky, M. Kshesinskaya, Ida Rubinstein, K. Chanel, M. Larionov, J. Kokteo, A. Pavlova, F. Shalyapin, S. Lifhar , J. Balanchine, V. Serov. T. Karsavina, N. Roerich ... How it was incredibly difficult to organize the joint creative work of artists belonging to such various areas of art.
"Russian ballet" toured in Europe, the USA and South America, seeking increasing success.
Dyagilev knew how to not only recognize the talent and collect a magnificent troupe, which had an international composition, but also to raise the choreographer. Thanks to the freshness of the balletmaster ideas, ballet Dyagilev was in the center of attention of the ballet world. 
Despite the tremendous success of the Russian ballet, Dyagilev experienced material difficulties and resorted to the help of patrons. In the ability to combine art with entrepreneurship, the creative genius of Dyagileev, his gift Impresario. And the flexibility of financial policies has become the key to the successful work of the troupe for many years.
The speeches of the Russian Ballet Dyagilev, which existed until 1929 was the triumph of Russian ballet art and contributed to the development and revival of ballet theaters in other countries. Over the years, the troupe has delivered more than 20 ballets (domestic and foreign composers), which are still decorating the largest ballet scenes of the world.
Sergey Pavlovich Dyagilev passed away on August 19, 1929. The Great Impresario buried next to the grave of Stravinsky in Venice on the island of Saint-Michel.
Valentin Gross. Tamara Karsavina and Vaclav Nezhinsky in the ballet "Vision of Rose"
Sergey Petrovich Dyagilev (1872-1929) - a very special Russian European, to all European Europeans. He did for Russia to enter Europe, into the world cultural space, if not more, then as much as Peter is great. With that, of course, a clear difference that the converter put Russia in a number of European primary powers as political force, and Dyagilev made the world's property of domestic cultural power.
Recently, in 2005, in Russia, finally, the full text of the book about Dyagilev Sergey Lifery - the last premiere and balletmaster ("choreavator", as he says) Dyagilevsky ballet, pet and cultural heir to the great master of culture. Sergey ("Serge") Blinder - For thirty years, the chief balleraster of the Paris Grand Opera and to Nureyev is the main figure of the ballet in the West. His book is the first thing to read about Dyagilev. Who is Dyagilev, know everything and long ago, even in the Soviet Union did not try to disavow this emigrant unwittingly - but it was knowledge, in general, dry-informative; From the pages of the Book of Lifeer gets alive Dyagilev. At the same time, the author, Sergey Mikhailovich Lifar, - a person is high-cultural and knowing what he writes about, first-hand.
Leo Bakst "Portrait of Sergey Pavlovich Dyagilev with nanny" 1906
The main truth about Dyagilev:
Sergei Petrovich loved that the "Petrovskaya" blood flows in his veins, loved to do everything "Petrovsky" and loved when they said that he was like Peter the Great. They had a common one - and in motion, and in hot love for Russia. But Peter the Great produced his state reforms in Russia, transplanting Western European culture to Russian soil, - Dyagilev wanted to produce reforms in world art, transporting Russian art to Western Europe.
Dyagilev began as a promoter of new art - art of modernism, he introduced modernism to Russia as a new word of world artistic practice. This case was devoted to the magazine "World of Art", who was found in 1898-1904. Of course, he was not the first: there was a magazine "Northern Vestnik", in which a similar artistic propaganda led Akim Volynsky and in which he began to print his, already mature, things of Chekhov, there was a Moscow symbolism led by Valery Bryusov and the Libra "created by him . But Dyagilev, starting to do something, did it epically-large - and brought to the end. He was by nature the organizer, and the brilliant organizer; The fact that now, from the practice of cinema, got the name producer. Dyagilev is a producer of a global scale and unprecedented earlier, and even after the scope and coverage of cultural topics. If not in the literature, then in painting and in the music of Dyagilev - the organizer and leader of Russian artistic modernism. He created an era.
And responding to those who claimed that Dyagilev with other "Miriskusniki" eradicates the classical tradition in favor of the transient fashion, Dyagilev wrote:
Who reproaches us in the blind enthusiasm of the novelty and non-recognition of history, he has nothing to do with us. I say and repeat that we have brought up on Jotto, on Shakespeare and on Bakha, that these are the very first and most great gods of our mythology.
The task of Life Dyagilev was - to introduce Russia into the world classic Pantheon, Russian National Art:
The only possible nationalism is the unconscious nationalism of the blood. And this treasure is rare and most valuable. Natural itself should be folk, must involuntarily, maybe against the will forever reflect the glitter of indigenous nationality. It is necessary to make a nation, be, so to speak, her generic descendant, with ancient, clean blood nation. Then it has the price and the price is immeasurable.
The phrase "Russian nationalism", and even next to the "blood", today is discredited today, which does not prevent these words to Dyagilev, from the same text. He writes about Levitan, who "managed to teach us that we did not know how to appreciate and have not seen the Russian nature with Russian eyes ... It is worthwhile to get out of the suffocating chad of dusty cities for a minute and at least a little closer to nature to remember with gratitude great artist lessons Russian land. "
The second in the chronological series a grandiose act of Dyagilev is a collection of treasures of Russian historical painting, especially the XVIII century. In general, it can be said, discovered this period in Russian painting, he himself wrote a book about Levitsky. And this task was no longer narrow-artistic, but widespread cultural and historical: to collect images of Russia, as they fixed in the works of painting - and not only Russian. It was something equal to Karamzin's work with his story of the Russian state, which Pushkin said: Karamzin - Columbus, who opened Russia. So Dyagilev restored and gathered her living plastic image in the most glorious period of its existence - from the eighteenth century and further. These invaluable treasures were covered with dust and disappeared in countless, declining noble estates. He managed to convince the owners to give these treasures to the state, the nation is to at least preserve them in the early agricultural unrest of 1905. And he succeeded - in February 1906, this grand exhibition opened, at which 6,000 paintings were presented in the huge halls of the Tauride - Potemkinsky - Palace. It can be said that it was the last parade of the Great Russia before her disappearance in the storms of the new era. Fate ordered it ironically: it was in the Tauride Palace that the first State Duma was located - the then brainchild of revolutionary days. Dyagilevsky paintings returned to previous places - and, mostly died: both in the ongoing peasant riots of the first revolution, and finally - in the second revolution. What now is in museums is a small part compared to the fact that I collected Dyagilev then.
It was difficult not only to collect, but also to maintain Russian culture in Russia itself. And Dyagilev leaves to Europe - first again with art exhibitions, and then with the organization of the legendary Russian seasons in Paris. Here him - what is him - Russia! - waited for the greatest triumphs. Dyagilev opened Russian music: Roman-Korsakov, Borodin and, especially, Mussorgsky became generating a seed of new European music. Dyagilev showed Europe Shalyapin in Boris Godunov - and, finally, he showed her a Russian ballet with newly open - by him - a genius: Nizhinsky and a composer Stravinsky; Anna Pavlova took off to the world glory, too, after these performances from Dyagilev.
The rest is history. Dyagileva's ballet troupe turned out to be cut from Russia with the beginning of the First World War. Subsequent Russian events did not favor the return. But Dyagilev watched with great interest in the first steps of new art in Soviet Russia, when artistic freedom was not yet suppressed by the ideological dogma of the regime. The monument of these sentiments is the ballet "Steel Skok" to the music of Prokofiev and the plot of the Leskovskaya "flea". In this formulation, Moscow artist Yakulov and Ilya Erenburg, who worked with others over the libretto took part. This project did not have special success, but Dyagilev, in a wider turn, still outlined new paths of the ballet - towards his approach to the constructive style of the era. As Blinder writes, plastic began to prevail over the dance.
What to say, Dyagilev really returned his ballet in the West, almost already disappeared there. But he left Russia even more - the memory of herself as a person who is capable of not only to learn from Europe, but also to teach it. In this sense, Dyagilev is the same Russian unique as the Lion Tolstoy and Dostoevsky.
Boris Paramonov
Valentin Serov "Portrait of Sergey Dyagileva" 1904
Leo Bakst - "Sketch of a costume to the ballet" Carnival "on the music of Shumanan 
Tamara Karsavin in the part of the colombina. Ballet "Carnival", 1910
Leo Bakst - "Sketch of a costume to the ballet" Carnival "on the music of Shumanan
Leo Bakst "Sketch of costumes to Ballet N. N. Zhetina" Narcissus "1911
Leo Bakst. Sketch of the costume of Ida Rubinstein to the ballet "Salome" - the dance of seven covered
Sketch of a suit for Ida Rubinstein
The poster of the play "Russian seasons" with a sketch of Leo Baksta with Vaclav Nezhinsky
Sketch of the scenery of Alexander Benoit to the opera Igor Stravinsky "Nightingale" 1914
Vaclav Nizhinsky in Parsushki Party, "Petrushka" 1911
Sketch of the scenery of Nikolai Roerich to the ballet "Spring Sacred"
Mikhail and Vera Fokina in the ballet "Shaherazade" 1914
"Mikhail and Vera Fokina in the ballet" Carnival "
Tamara Karsavina in the ballet "Women's Follows" 1920
Sketch of the scenery of Lion Baksta to Ballet "Blue God" 1912
Vaclav Nizhinsky in the party of the blue god
Rehearsal of the ballet "Wedding" to the music of Stravinsky on the roof of Monte Carlo opera, 1923
"Portrait of Anna Pavlova", 1924
Ballet "Firebird" 1910
"Sketch to the ballet" Cleopatra "
Layout of the sketch of Leo Baksta
Pablo Picasso "Sketch of a suit to the ballet" Triangola ", 1919
Pablo Picasso "Sketch of the scenery to the ballet" Triangola ", 1919
Rudolph Nuriev
Special thanks to DIZZY_DO for detailed reproductions and photos in post
Sergey Pavlovich Dyagilev (1872-1929) - the famous theatrical and artisticist of Russia. He was the critic and creator of the magazine "World of Art". Engaged in the organization "Russian seasons" in France, namely in Paris. Sergey Pavlovich Dyagilev discovered for the art of many famous choreographers. Virtually all life devoted to the propaganda of Russian ballet in Western Europe.
Biography
Sergey Pavlovich Dyagilev was born in the noble family on March 31 (according to the Julian calendar on March 19) of 1872. Father - Pavel Pavlovich Dyagilev is an officer. The place of birth is the Novgorod province, namely the town of Selishche. Pavlovich, whose personal life has always attracted attention, grew up without mother. During childbirth, Dyagileev's mother died.
Childhood and family
Grow Sergey Pavlovich had a stepmother. However, she treated him with the same love as to his own children. Such a relationship led to the fact that the death of a brother for Dyagilev became a tragedy. This was the reason that Sergey Pavlovich did not seek to return to his native places.
The father of the figure was a hereditary nobleman. He held the position of Kavalergard. However, numerous debts forced him to throw the army and move to live in Perm. At that time, this city was considered a deep country. The family house became central in the life of Perm. There was no removal from people wishing to visit the house of Dyagilev. Often the family spent evenings on which songs sang for guests. Young Sergey Pavlovich Dyagilev also took music lessons. In general, he managed to get a great and very versatile education. After the young man returned back to St. Petersburg, he did not inferlude intelligents living there. Sergey Pavlovich Dyagilev was very well read than the many of his peers surprised.
Youth
Return to the cultural capital of Russia Dyagilev was able to in 1890. Sergey Pavlovich had a very deceptive appearance. He looked like an ordinary provincial, had the physique of healthy. Despite this, it was very educated, read, and even easily communicated in several languages. All this allowed him to easily fit into the life of the university in which he began learning. He studied in St. Petersburg at the Law Faculty.
Owning the basics of law and jurisprudence, the student began to be interested in theatrical and musical activity. Sergey Pavlovich Dyagilev, whose biography is very saturated, began to take the lessons for playing the piano, as well as attend class at the conservatory. Also, the young man began to write music and studied the history of artistic styles.
The first trip to Europe Dyagilov Sergey Pavlovich committed during the holidays. The young man wanted to find his calling and the scope of activity. At that moment, he began to make friendship with many famous people.
Graduation
Since Dyagilev was very gifted by nature, he managed to undergo a six-year study course in four years. During these years, he began to understand that he must achieve something in life. Despite the successful end of the university, Dyagilev Sergey Pavlovich, whose personal life is quite interesting, realized the fact that he does not entail him to be a lawyer. More and more he begins to dive into art. Soon he makes a choice that left the trail in all Russian culture. He begins to promote art.
Activity
Sergey Pavlovich Dyagilev, interesting facts from whose lives may suffer many, began to engage in public activities. In general, it could be divided into several parts. The first stage of his life is associated with the formation of the organization "World of Art". She appeared in 1898, and was associated with a number of other figures. In 1899 - 1904, he performed in the role of the editor together with Beno'a in the magazine of the same name.
He received funding from large patrons, and a certain period sponsored him by Nicholas II.
Dyagil Sergey Pavlovich, a brief biography of which will not give full information about his life, was also the initiator of a number of exhibitions. Each of them was organized at the highest level.
Sayings about Repin and work in the "Yearbook of Imperial Theaters"
At a certain period of life, Dyagilev decided to create monographs on famous artists. Soon they were written by work on Repin, who, in his opinion, was closer to the "world of art" than to the mobile phone. At that time, few people doubted that the Repein had no gift to the image of realistic paintings. However, the majority did not notice that the artist began to gradually depict the identity, using modernist techniques. His talent was amazingly predugaded by Dyagilev, which was proven by the time himself.
The authorities saw that Sergey Pavlovich Dyagilev, whose photo was presented in the article, literally filled with energy. Due to this, in the period from 1899 to 1901, he received the position of the editor in the magazine "Yearbook of Imperial Theaters." However, as many are known, Dyagilev had a kind of character, constantly defended his point of view, often provoked scandals. After one of the hot conflicts, Sergei Pavlovich was fired and lost the opportunity to work in public institutions. Nicholas II came to Dyagileva, who asked Secretary Taneyev to take him to his service.
New projects
Projects that Dyagillev engaged in the last ten years cease to interest him. The next period of time he spends in the roads around the cities of Russia, in which he studies and collects art objects. They decide to submit them to the Russian reader. Soon he begins to speak with articles before interested people, and also writes an overview of the work of Levitsky. At that time, the artist was few known. It was Dyagilev who opened the public talent Levitsky. For this, he was presented to Uvarov's award.
Further, he decided to engage in the organization of the exhibition, at which artists will be presented from 1705 to 1905. In order to gather a collection of paintings, he had to go around many cities of Russia. He managed to collect six thousand works. Sergey Pavlovich also wanted to write the story of painting from the XVIII century. But it did not work this idea. Collecting paintings, Dyagilev was able to deeply tele painting of the pore.
Unfortunately, the exhibition is not preserved for a long time. After its completion, special rooms were not allocated for paintings, and they were destined to go back to their authors. Most of these works were destroyed during the revolution.
Conquest Europe
Dyagilev soon began to understand that in Russia he did everything that could. Here he organized the first art magazine, but could not continue his release. Nevertheless, it did not work out from Sergey Pavlovich to create a National Museum in his homeland, and interesting ideas about Russian ballet and opera were not implemented.
In 1906, he goes to conquer Europe, organized the "Russian art" in Paris. Following them, exhibitions of Russian artists in Venice, Berlin, as well as Monte Carlo.
These demonstrations became the discovery of the "Russian season". Often, Dyagilev mentioned that the blood of Peter I was flowing in his veins. The cases that Dyagilev Sergei Pavlovich performed were truly large-scale and innovative. For example, in the showrooms of the ballet, he managed to combine painting, music, as well as execution. It was Dyagilev who taught the inhabitants of France to the Russian ballet. Thanks to him, the best ballet schools are Russian. In addition, Dyagilev brought a number of new names into world art. He discovered new brilliant dancers for ballet - Vaclav Nizhinsky, and others. It was he who became the founder of a male ballet dance. What was guided by Dyagilev Sergey Pavlovich? The orientation of it became the creative strength that was advocated a figure for the embodiment of bold ideas. Dyagilev was a homosexual. He loved men, admired them, engaged in the career of his lovers.
Climbing
The emergence and activities of Dyagilev in European culture occurred in stages. The first step was the exhibition of paintings by Russian artists, as well as icons. Over time, communications began to appear, thanks to which he was able to organize a large-scale concert of Russian music.
Subsequently, he began to attract the most famous Russian dancers to performances, and after a year and a half he comes to solving the creation of his own troupe.
Lists of performances that were compiled by Dyagilev are amazed. In 1907, five symphonic performances were organized, which were held with the participation of such famous musicians like Shalyapin, Rakhmaninov. The next year was devoted to the Russian operas. The famous "Boris Godunov" was delivered, and in 1909, France saw "Pskovtyanka". The French audience was admired by the speeches, almost all the audience cry and shouted.
After the ballet statements of 1910, many women began to do the hairstyle, similar to those who had artists during performances.
Ballet shows
Ballets that organized Dyagilev had vast popularity in Europe. For twenty years, sixty-eight ballets were shown. Some of them entered world classics, such as "Firebird". Sergey Pavlovich was able to open the world of several talented directors.
Back in 1911, the figure managed to collect the most famous dancers in Moscow and St. Petersburg in his troupe. At a certain point in time, he set off with performances in the United States of America. Soon the First World War began, and soon the revolution of 1917. All these changes prevented the group to return home, but they were not going to part.
All the events that Dyagilev conducted were aimed at success. It happened in many ways due to its energeticness. He could easily persuade, convince, charge comrades with his enthusiasm.
Last years
In the last stages of Life, Dyagilev was less interested in ballet. His new occupation was collecting. Sufficiently long period Sergey Pavlovich did not have a permanent refuge. However, at a certain point he stopped in Monaco. Here he began to collect at home the most valuable works of art, as well as rare autographs, books, manuscripts, and so on. Sergey Pavlovich began serious problems with finance, as well as in relations with the next Lyzhinsky lover.
In 1921, Dyagilev learned that he had diabetes mellitus. However, he did not follow the prescriptions of the doctor and diet. It provoked the development of furunculese. The result of steel infection, a sharp rise in temperature. By the time Penicillin was not yet opened, so the disease was very dangerous. On August 7, 1929, he had blood infection. The following days he did not get out of bed, and at night on August 19, his temperature rose to forty-one degrees. Dyagilev lost consciousness and died at dawn. Sergey Pavlovich in Venice is buried.
The life and fate of Dyagilev is very unusual. All the time he rushed between the choice, in which culture it remains Russian or European. I made bold experiments who almost all became successful, brought a lot of profit to Dyagilev, as well as the recognition and love of the public. Its activity was undoubtedly very influenced not only in Russian, but also on the entire world culture.
Introduction
1. Music "Russian seasons
3. Ballet music
Conclusion
Bibliography
Introduction
S.P. Dyagilev was born on March 19, 1872 in Perm in the Novgorod province in the Rodovitsky noble family. His father was Major General of the Tsarist Army, was fond of singing. As a child, at the insistence of the receiving mother (his native mother died at birth) Dyagilov studied the game on the piano.
In 1906, Dyagilev went to France. There he organized the annual speeches of Russian artists abroad, contributing to the popularization of Russian art, which later entered the history called "Russian seasons". At first, these were exhibitions of Russian art, then "historical Russian concerts" in the premises of the Paris Theater "Grand Opera" and performances with the music of Russian composers. The operating sensation was the Opera Mussorgsky "Hovanshchina" and "Boris Godunov" with F. Shalyapin as King Boris. "Russian seasons" existed in Paris and London until 1914.
In 1909, the Grand Duke Vladimir instructed Dyagilev to establish a Russian ballet in Paris. Dyagilev gathered a creative team from the greatest artists of the beginning of the XX century., And in 1911-13. Based on the "Russian seasons", he created the "Russian ballet Dyagileev" troupe, in which choreographers M. Fokin and L. Myasin worked; Composers K. Trybissi, M. Ravel and I. Stravinsky; Artists L. Bakst, A. Benua, P. Picasso, A. Matisse; Russian ballet dancers from Mariinsky and Big Theaters A. Pavlova, V. Nizhinsky, M. Kshesinskaya, T. Karsavina.
S.P. Dyagilev was an outstanding leader of Russian art, a propagandist and organizer of Russian art tour abroad. He was neither a dancer nor a choreographer nor the playwright, nor the artist, and, however, his name is known to millions of ballet lovers in Russia and Europe. Dyagilev opened Russian ballet, he demonstrated that while in the European capitals the ballet came to decline and died, he strengthened in St. Petersburg and became a very significant art.
C 1907 to 1922. S. P. Dyagilev organized 70 performances from Russian classics to modern authors. At least 50 performances were musical innovations. Behind him "Ever followed eight decoration cars and three thousand costumes." "Russian ballet" toured in Europe, the United States, forever meeting stormy ovations.
His grave, which is near the grave of I. Stravinsky on the Island-Cemetery Saint-Michel, are still gathering admirers who leave there red roses and worn ballet shoes there, giving tribute to this person, whose ideas played such an important role in creating Modern dance.
1. Music "Russian seasons"
Dyagilev's merits in the field of Russian and world musical culture are generally accepted. In the monographs dedicated to the "Russian seasons" in Paris, they are talking about casual and resembling, as something of course, says. The main attention is usually paid to ballet or theatrical-decorative painting. Meanwhile, the musical side of the performances of Dyagilevsky Anthrepuriza deserves special lighting, since the special gift of the inspirator inherent in Dyagilev found himself in the sphere of musical not least than in the area of \u200b\u200bchoreography or artistic design.
The effect of Dyagilev on the musical side of the "Russian seasons" was manifested in different forms in accordance with different grades of its dating. He had an amazing ability to identify and initiate those elements in the work of composers, which indicated a certain artistic perspective, on new ways, testified of art, which - regardless of the date of its birth - lives and develops in today's context of culture. Because of the Russian classics, Dyagilev highlighted Mussorgsky, and from among the modern composers - Stravinsky.
2. Opera performances S.P. Dyagilev
For debut, Dyagilev chose two operas - "Boris Godunova" Mussorgsky and Sadko "Roman Corsakov. Both answered the requirement of bright national identity and, in addition, were connected on the principle of genre contrast: a historical and psychological drama and opera-epics. However, the "Sadko" immediately had difficulty and the matter was not so well. One "Boris Godunov" remained in the tour program.
For Dyagilev, it was the first experience of preparing a musical performance, and here his role came out far beyond the limits of the "Intennant". Of course, he still carried out organizational management of all enterprise: attracted the best singing forces of the Mariinskaya scene, led by F. Shayapin, was engaged by the Choir of the Moscow Bolshoi Theater, together with Khmeisister U.Avranek, invited the famous director A.Sanin, with the success of the mass scenes In dramatic theaters, took care of the excellent conductor - F. Blumenefeld, ordered the design of the performance by a group of excellent artists, including Golovin, Yaremich, Benoit. But all this was a half business. The main thing was that Dyagilev proposed his vision to this huge team of performers, his concept of a musical performance.
The first thing that he began was a thorough study of the author's key "Boris" (edition of 1874) and comparing it with the edited by the editors of Rimsky-Korsakov, and its permutations of scenes. The permutations touched into part of the scene of Boris with Kurats, the scene under the chicks, which went down in St. Petersburg production. The turn was included in the Paris play and since that time they were entrenched in many productions of Boris and in Russia, and in the West. Restoring the scene under the chims, which in the author's version was Valved by Opera, Dyagilev made the final scene of the death of Boris, anticipating her strong theatrical effect due to the execution of Shalyapin. Benoit argued that the death scene was the "best concluding chord" Opera, giving a convincing completion of the psychological drama of the King Boris.
Opera Premiere May 20, 1908 has passed with great success. She was called a masterpiece and found her analogy only in the creations of Shakespeare. "Boris Godunov", as the Liberte newspaper wrote the next day after the premiere, "possesses the same (like Shakespeare. - I.V.) intensity of the image of the past, comprehensive universalism, realism, saturation, depth, exciting merciless of feelings, painting And the same unity of the tragic and comic, the same Higherity. " Russian artists showed themselves worthy of this music. Shalyapin shook the tragic power and the striking realism of the game and in the scene of death, and especially in the scene with chimes.
The success of Boris was covered with Dyagilev and prepared the ground for organizing annual "Russian seasons" in Paris. In the 1909 season, Dyagilev intended to show a kind of anthology of the Russian opera classics: "Ruslan and Lyudmila" Glinka, "Judith" Serov, "Prince Igor" Borodina, "Pskovysian" Roman Corsakov, renamed in "Ivan Grozny", and again "Boris Godunova.
Suddenly plans have changed. Friends and comrades of Dyagileev persuaded him to submit to the French, except for the opera, also a new Russian ballet. Four-acting ballet numbers attached to these operations. The grand ideas turned out to be, however, not by means: the highest command of Dyagilev was denied subsidies. I had to shorten the opera repertoire. The whole was delivered only "Pskovtyanka" with Shalyapin as Grozny. The premiere had success among the public. Each of the other operas included in the repertoire was represented by one act.
In the next 1910-1912 Opera generally disappeared from the repertoire of the "Russian seasons".
The 1913 season, which began in the Paris "Theater of the Champs Elysees" and continued in London "Druri Lane", included three operas. In Paris, the newly delivered "Boris" and "Hovhanshchina" were shown. In London, "Pskovtyanka" added to them. Boris accepted with the former enthusiasm, but the focus was focused on Hovhanchye. Among the musicians, she caused fierce disputes, in the center of which turned out to be a figure of Dyagilev. The creative initiative of Dyagileev this time came enough: he proposed not only his concept of performance, but, essentially, his edition of its musical text.
The idea of \u200b\u200b"Hovhanchin" arose from Dyagilev back in 1909. In the winter of the same year, returned to St. Petersburg, Dyagilev, which referred to the published partnership in the editorial office of Rimsky-Korsakov, was convinced that there was almost no one page of the original manuscript without numerous significant amendments and changes made by Roman-Korsakov. At the same time, a banging plan was born - to restore the bills made by Roman-Korsakov, as well as the initial text of those preserved episodes, which were subjected to the most significant editorial corrections, and order a new tool.
In 1912, Dyagilev instructed Stravinsky to re-orchest the opera and compose the final choir. Soon rarely joined the Stravinsky. It was decided that the Stravinsky instrument of the Aria Shaklovitoye ("Sleeping the Streetsky Nest") and write the final chorus, and the raw will take on everything else. In the autumn, Dyagilev ordered the design of the young artist F. Fedorovsky, and at the beginning of 1913, he agreed with the rest of the statements by the director A. Sanin, the Khorosister D. Pokhitonov, the conductor of E. Kupper, and, of course, with Shalyapin - performer of the Dunfée Party.
Messages in the press about the preparing formulation caused angry protests from the partners of the Roman Corsakov. The son of the composer A.N. Rimsky-Korsakov called the Act of Vandalism, outrageous disrespect for the memory of Roman Corsakov and his dedicated work. Ravel was forced to answer him an open letter, in which he assured that the desire to introduce the public with the original text of Mussorgsky does not diminish the meaning of the Roman Corsakov, to which he, Stravinsky and Dyagilev nourish the most sincere love and respect.
Complications arose with Shalyapin. The latter set as a condition for its participation to preserve the entire batch of definition in the editorial office of Rimsky-Korsakov. He refused from the proposal of Dyagileev to include in the batch of Dunfrey Aria Shaklovitoy, which Dyagilev considered more relevant in the definition lips than the "Archluttle", as the Jacklogo himself characterized. As a result, Aria Shaklovitoy was stopped. Dyagilev had to make concessions.
Thus, the new version of the opera turned out to be very compromised: it was based on an orchestral score of the Roman-Korsakov with handwritten inserts of episodes, tooled by the Raveme, and the handwritten score of the final choir written by Stravinsky.
The main conquests of Opera Antrepuriza Dyagileev in the pre-war period remained "Boris Godunov" and "Hovhanshchina".
In the "Russian seasons" 1908-1914 He managed to "exalt in the West" the most unconventional aspects of the brilliant operas of Mussorgsky, and, above all, their choral playground.
3. Ballet music
If the opera performances "Russian seasons" pursued the goal to open the eyes of Europe on the inimitable originality and the intrinsicity of the Russian classical opera, to present it as an integral part of the world musical culture, to show that in addition to the "Tristan" Wagner there is still "Boris" and "Hovhanshchina", then ballet The performances claimed for something more. According to Dyagilev, they had to show the world a new musical theater, who had not yet known either in Russia or in Europe.
After the "Russian season", 1910, Dyagilev tried to determine the "essence and the mystery" of the new ballet performance. "We wanted to find such an art by which all the complexity of life, all feelings and passions would be expressed in addition to words and concepts not dissoloning, but spontaneously, clearly, undoubtedly," said Dyagilev. "The mystery of our ballet is in the rhythm, - the Bakst ends him. - We found it possible to transfer not feelings and passions, as drama does, and not the form, as painting does, but the most rhythm of feelings and forms. Our dances, and scenery, and costumes - all this is so capturing, because it reflects the most elusive and intimate - rhythm of life. " Neither Dyagilev nor Bakst for some reason do not remember music in this interview, but isn't the direct expression of the "elusive and intimate rhythm of life" there is not a true vocation of music and from here it is a special new function as part of a ballet performance?
Previously, all this was understood by the representative of the "free dance": Loy Fuller, Mod Allan and, above all, Ayedor Duncan. The latter rejected the ballet music of the XIX century. Her dance and plastic improvisations relied on the music of Baha, Gluca, Beethoven, Chopin, for dance not intended, but possessing wealth and a variety of rhythmic content, not cited by genre-metric formulas of classical ballet.
Refusal of traditional "dancers" in the name of the genre and composite variety of classical and modern tool music was one of the main points of Fokin ballet reform. Subsequently, Dyagilev argued that the ideas of updating a ballet performance, including ballet music, belonged to him, and Fokin managed to successfully realize them in practice. Of course, Fokin refuted such allegations with indignation. The famous "dying swan" on the music of Saint-Sansa and Schopenian music, which began the beginning of one of the leading tendencies of the Ballet Theater of the twentieth century, were created by him before exploring Dyagilev, and Fokin remained a fairly independent artist. But it is unfair to deny and Dyagilev (as Fokin does) in the renewing effect on the musical side of ballet performances.
From the very beginning, Dyagilev insisted that the music of ballets in his entrepreneurs would meet the highest artistic requirements. For this, he, as in cases with operations, allows himself the "editorial editor" of the musical text. The degree of its intervention was different. In Sheopenian, for example, which he immediately renamed the "Sylphides", he did not suit the instrumentation of Schopin plays, made by M. Keller. The rewarding was ordered by several composers, among other than the other names of A.Ladov, A.Lazununov, I. Sestavinsky.
With the ballet score of A.Asensky "Egyptian Nights", which Dyagilev found weak, he did much more decisively. Having proposed to give ballet the features of the choreographic drama (tragic final), making Cleopatra's central figure. Dyagilev took care that the most "shock" moments of stage action were supported by the appropriate mood of high quality music and dance in the genre. The spectacular yield of Cleopatra was accompanied by music from the Opera ballet "Mlada" Rimsky-Korsakov ("Vision Cleopatra"). Pa-de-de Slave and Slave Arsinoe from Cleopatra Sweetra, supplied by Fokin specifically for Nizhinsky and Karsavina, was performed under the sounds of "Turkish dance" from the IV Act "Ruslan" Glinka. For the culminating mass dance - the Vakhanlia - used "autumn" Vakhanalia Glazunov from his ballet "Seasons", and the touching mourning of the girl Taor (Anna Pavlova) of his destroyed Cleopater of the groom came under the sounds of "dancers" ("Khovanshchina") performed "dull Nigi "and longing.
In each case, these plug-in episodes performed the function of the decorative amplifier of spectacular effects. In this sense, Dyagilev, despite fair reproaches in unacceptable musical eclecticism, achieved what he wanted. In addition, if you believe the immediate impression of Benua, Dyagilev managed to be so deftly to introduce alien episodes into the musical tissue of the rods, so skillfully drive them to each other, that in the music of the "reinforced" ballet was almost no sutures and a certain compositional integrity was even achieved.
The same feature of the "decorative accompaniment" dance was performed by the music of Roman Corsakov in the ballet "Shehrazada". Dyagilev used the 2nd and 4 parts of the same name symphonic suite, lowering the 3rd part, as less interesting for dance interpretation, the 1st part was performed before the closed curtain as an overture. The performance caused the stormy protests of widows and children of Roman-Korsakov. I indignant the very fact of using music, not had a relationship to the ballet act, and most importantly - the bloody plot imposed on it.
The successes of the first ballet season did not obscure the need to create original ballet scores. Dyagilevsky entrepreneurs like air needed their composers. The first, on whom Dyagilev opted his choice, turned out to be rare. Dyagilev ordered him music to the planned "antique" ballet based on the Hellenistic novel "Daphnis and Chloe". Benouua, who did not expect from the author of the Spanish Rhapsodia and the piano plays, nothing more than "graceful" things, wondered why Dyagilev did not apply to Debussy - the author of the "afternoon recreation of Favna." But, it can be seen, something in the music of Ravel suggested the Dyagilev capabilities of its plastic interpretations. Intuition did not deceive Dyagilev. Score "Daphnis and Chloei", with its strikingly organic compound of archaic monumentality in musical thematism and the nature of orchestral dynamics (religious images) with the sophistication of sound lines in the outcome of the main characters of the shepherd Roman, turned out to be the deepest and kind of sole example of symphonic comprehension of the ancient topic in performances "Russian seasons".
The largest achievement of Dyagilev on the musical Niva "Russian seasons" was the "Opening of Stravinsky". Preparing the 1910 season program, Dyagilev set the goal to include in it the original Russian ballet. Libretto fabulous ballet based on Russian folklore already existed, the future ballet was called "Fire-Bird". The choice of Lyadov as a composer suggested itself. Dyagilev with a full basis called the author of the symphonic paintings "Kimikora", "Baba Yaga", "Magic Lake" and numerous treatments for Russian folk songs "Our first, most interesting and most knowledgeable musical talent." But Lyadov slowed from the beginning of work, and it became clear that he would not have time to date. At some point, Dyagilev flashed the thought about Glazunov. After a short time, "Firebird" was engaged N.Cherepnin, but it all ended in composing symphonic picture "Enchanted Kingdom", as the composer himself, according to Benoit, "suddenly lost interest in the ballet." It was then that Dyagilev was not without a tip B. Asafieva began to look at the young, then Igor Stravinsky's unknown composer.
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"Russkiesezony"zykiotkryvperedkompozitoramivozmozhnostisozdaniyanovyhformprogrammnogosimfonizmaSimfonicheskayasyuitasimfonicheskayakartinasimfonicheskayapoema-votzhanrovyeraznovidnostibaletnyhpartiturMnogiekompozitorynachalaHHvstalisochinyatbaletyspetsialnodlyadyagilevskoyantreprizyZaStravinskimposledovalSProkofevchebaletnoetvorchestvobylotakzheinspirirovanoDyagilevymPostoyannymuchastnikom "Seasons"yliNCherepnin dlyaDyagilevaonnapisalbalety "Narcissus" and "Krasnayamaska" Sdelatchtonibuddlya "Russkihsezonov" pozhelalipredstavitel "vrazhdebnogolagerya" RimskihKorsakovyh-MShteynbe"Metamorphoses" vbalet "Midas"
By 1914 ODU Dyagilevsky Strategic Plan for Europe's conquest was completed. The victory was not "intenant", but "Generalissimus", as joking, called his friend A. Benua.
Describing the pre-war season, Lunacharsky wrote from Paris: "Russian music has become a completely definite concept that includes the characteristic of freshness, originality and, above all, a huge tool skill."
This was the result of the musical conquests of the "Russian seasons" of 1908-1914, at the origins of which - the brilliant intuition of Dyagilev and his rare gift of the inspirator.
Conclusion
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