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Russian seasons in paris message. "Russian Seasons" by Sergei Diaghilev - the revival of Russian ballet

theater ballet degilev

Classical Russian ballet has transformed the world ballet art. He was famous for many decades and is still famous today. But at the beginning of the 20th century, the star of the new Russian choreography flared up, laying down its traditions - and these traditions not only live on to this day, but have become the harbinger of a new world art. Russian ballet of the early 20th century is a completely unexpected word in the art of ballet, and ballet culture seems to have been waiting for it for a long time.

Until now, the world ballet is nourished by the discoveries and innovations of the Russian troupe, which performed in Europe in the 1910s and 1920s, develops and transforms the traditions laid down by it. By a strange fate, the new Russian ballet was born and gained world fame outside of Russia, but it was created by Russian artists, Russian choreographers, artists, composers. It was no coincidence that the troupe was called the Russian Ballet of Sergei Diaghilev. Diaghilev's ballet seasons not only presented the world with a new Russian ballet, but also most fully revealed the talents of many Russian artists, here they came to world fame.

It all started in 1907, when Sergei Pavlovich Diaghilev opened a Russian entreprise called "Russian Seasons" in Paris. Europe already knew Diaghilev's name. An unusually energetic entrepreneur, also known in Russia as a serious connoisseur of world culture, author of works on the history of Russian painting, one of the organizers of the art association "World of Art", editor of the magazines "World of Art" and "Yearbook of Imperial Theaters", organizer art exhibitions, a theatrical figure, a person close both to ballet circles and to the circle of artists, composers, by that time Diaghilev managed to organize in Europe more than one exhibition of works by Russian artists, representatives of that new Russian art, which would later be called art Silver Age, modern art.

Diaghilev began his “Russian Seasons” in Paris with “Historical Concerts”, in which S. V. Rakhmanov, N. A. Rimsky-Korsakov, A. K. Glazunov, F. I. Chaliapin, the choir of the marine Bolshoi Theater. The following year, Diaghilev brought Russian opera to Paris, introducing the European audience to the masterpieces of productions of works by M. P. Mussorsky, A. P. Borodin, N. A. Rimsky-Korsakov (Fyodor Chaliapin sang the main parts). In the 1909 season, ballet appeared in Diaghilev's entreprise. Ballet performances were interspersed with opera performances. He brought to Europe the color of Russian theatrical culture - dancers V.F. Nizhinsky, A.P. Pavlova, T.P. Karsavina, choreographer M.M. Fokin, invites artists A.N. Benois, L.S. Bakst, N.K. Roerich, A. Ya. Golovin.

The success of the ballet productions was so resounding that the following year Diaghilev abandoned the opera and brought only ballet to Paris. It can be said that since 1910 he has become exclusively a "ballet entrepreneur". Diaghilev devotes the rest of his life to ballet.

Sergei Pavlovich Diaghilev has long had a passion for ballet theatre. In 1899-1901. he directed the production of L. Delibes' Silvia at the Mariinsky Theatre. Diaghilev tried to update the scenography of the ballet, but met resistance from the theater management and was fired "for undermining academic traditions." As we can see, Diaghilev's desire to find new ways in ballet appeared long before his Parisian "seasons".

In 1910, Diaghilev brought to Paris Fokine's ballets, staged by this choreographer at the Mariinsky Theater - Scheherazade by N. A. Rimsky-Korsakov, Cleopard by A. S. Arensky, Pavilion of Armida by N. N. Cherepnin, "Giselle" A. Adam. Polovtsian dances from the opera "Prince Igor" by A. P. Borodin were also presented. Preparation of the season began in St. Petersburg. Here, the outstanding talent of Diaghilev the entrepreneur appeared in full measure. First of all, the St. Petersburg productions were edited in the direction of complicating the choreography. With the help of M. F. Kshesinskaya, a member of the troupe close to the court, Diaghilev managed to get a solid subsidy for this season (the emperor Nicholas 2 was among the “sponsors”). Diaghilev managed to find patrons among French patrons as well.

He gathered an entrepreneurial troupe from young people, primarily from supporters of Fokine's choreography - these were Pavlova, Karsavina, Bolm, Nijinsky. From Moscow, he invited Coralli, Geltser, Mordkin. The French were shocked by the Russian ballet - both by the originality of the choreography, and the performing brilliance, and the painting of the scenery, and spectacular costumes. Each performance was a spectacle of amazing beauty and perfection. Nijinsky, Pavlova, Karsavina became a discovery for Europe.

Diaghilev's seasons were called "Russian Seasons Abroad" and were held annually until 1913. The 1910 season was the first season, and in 1911 Diaghilev decided to create a separate ballet troupe, called the Diaghilev Russian Ballet. Fokin became the chief choreographer in it. Here were placed legendary performances"Vision of a Rose" to the music of K. M. Weber, "Narcissus" by N. N. Tcherepnin, "Daphnis and Chloe" by M. Ravel, "Tamara" to the music of M. A. Balakirev.

The main event of the first seasons was the ballet Petrushka staged in 1911 by Fokine to the music of I. F. Stravinsky (the artist was A. N. Benois), where Nijinsky played the main role. This party has become one of the pinnacles in the artist's work.

Since 1912, the Diaghilev troupe began touring the world - London, Rome, Berlin, the cities of America. These tours contributed not only to strengthening the glory of the new Russian ballet, but also to the revival of ballet in a number of European countries, and subsequently to the emergence of ballet theaters in countries that did not yet have their own ballet, for example, in the same United States, in some countries of Latin America.

The Diaghilev troupe was destined to open one of the most remarkable pages in the history of the ballet theater, and thanks to his work in it, Diaghilev was rightfully called later "the creator of a new artistic culture"(The words belong to the dancer and choreographer Sergei Lifar). The troupe existed until 1929, that is, until the death of its founder. Fame always accompanied her, the productions of the Diaghilev troupe were striking in their high artistic level, outstanding talents shone in them, which Diaghilev knew how to find and nurtured.

The activity of the troupe is divided into two periods - from 1911 to 1917. and from 1917 to 1929. The first period is associated with the activities of Fokine, the dancers Nijinsky, Karsavina, Pavlova, as well as with the work of the artists of the "World of Art" - Benois, Dobuzhinsky, Bekst, Sudeikin, Golovin, with Russian classical composers N. A. Rimsky-Korsakov, A. K Lyadov, M. A. Balakirev, P. I. Tchaikovsky to the people with modern Russian composers N. N. Cherepnin, I. F. Stravinsky, K. Debusset.

The second period is associated with the names of choreographers L. F. Myasin, J. Balanchine, dancers Sergei Lifar, Alicia Markova, Anton Dolin, European artists P. Picasso, A. Beauchamp, M. Utrillo, A. Matisse and Russian avant-garde artists - M F. Larionov, N. S. Goncharova, G. B. Yakulov, modern Russians and foreign composers- Stravinsky, Prokofiev, F. Poulenc, E. Satie.

In 1917, Diaghilev invited the famous Ernesto Cecchetti, an admirer and connoisseur of Russian classical ballet, as a teacher-repetiteur: Diaghilev never declared a break with the great traditions of Russian ballet, even in his most “modernist” productions, he still remained within their framework

Rarely has any entreprise troupe been kept at the peak of success for three or three seasons in a row. The Diaghilev troupe held the level of world fame for 20 years. The director of Diaghilev's Ballets Russes, S. L. Grigoriev, wrote: “It is difficult to conquer Paris. Maintaining influence for 20 seasons is a feat." Over the years of the troupe's existence, more than 20 ballets have been staged in it.

It is impossible not to take into account that after 1917 the European ballet theater entered a state of crisis. classical school I chewed myself up, new ideas and names appeared few. It was at such a moment of crisis that the brilliant team of Diaghilev gave the world models high art, endowed the world ballet with new ideas, proposed new ways of its development.

"Russian Seasons" by Sergei Pavlovich Diaghilev

“And what are you, dear, doing here? - King Alfonso of Spain once asked Sergei Diaghilev during a meeting with the famous entrepreneur of the Russian Seasons. – You do not conduct an orchestra and do not play musical instrument, do not draw scenery and do not dance. So what are you doing?" To which he replied: “We are similar to you, Your Majesty! I don't work. I do nothing. But you can't do without me."

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

history "Russian Seasons" Diaghilev and many interesting facts read on our page.

Prehistory of "Russian Seasons"

The combination of legal education and interest in music developed in Sergei Diaghilev brilliant organizational skills and the ability to discern talent even in a novice performer, supplemented by saying modern language, veined manager.

Diaghilev's close acquaintance with the theater began with the editing of the Yearbook of the Imperial Theaters in 1899, when he served at the Mariinsky Theater in St. Petersburg. Thanks to the assistance of the artists of the World of Art group, to which the official for special assignments S. Diaghilev, he turned the publication from a stingy statistical code into a real art magazine.

When, after a year of work as the editor of the Yearbook, Diaghilev was instructed to organize L. Delibes' ballet "Sylvia, or the Nymph of Diana", there was a scandal because of the modernist scenery, which did not fit into the conservative atmosphere of the theater of that time. Diaghilev was fired and he returned to painting, organizing exhibitions of paintings by European artists and "World of Art" in Russia. The logical continuation of this activity was in 1906 a landmark art exhibition at the Paris Autumn Salon. From this event, the history of the Seasons began ...

Ups and downs…

Inspired by the success of the Salon d'Automne, Diaghilev did not want to stop and, having decided to establish tours of Russian artists in Paris, he first gave preference to music. So, in 1907, Sergei Pavlovich organized "Historical Russian Concerts", the program of which included 5 symphony concerts Russian classics that took place in the Paris Grand Opera, reserved for the Seasons. The high bass of Chaliapin, the choir of the Bolshoi Theatre, the conducting skills of Nikish and the delightful piano playing of Hoffmann captivated the Parisian public. In addition, a carefully selected repertoire, which includes excerpts from "Ruslan and Lyudmila" Glinka, "Christmas Nights" "Sadko" And "Snow Maiden" Rimsky-Korsakov, Enchantress » Tchaikovsky, « Khovanshchina "And" Boris Godunov "by Mussorgsky, made a splash.

In the spring of 1908, Diaghilev again goes to win the hearts of the Parisians: this time with an opera. However "Boris Godunov" gathered far from a full hall and the proceeds barely covered the expenses of the troupe. Something needed to be done urgently.

Knowing what the public of that time liked, Diaghilev compromised his own principles. He despised ballet, considering it to be primitive entertainment for the same primitive minds, but in 1909, the entrepreneur, sensitive to the mood of the public, brought 5 ballets: Armida's Pavilion, Cleopatra, Polovtsian Dances, sylph ” and “Pir”. The amazing success of the productions performed by the promising choreographer M. Fokin confirmed the correctness of Diaghilev's choice. Top Artists ballet from Moscow and St. Petersburg - V. Nizhinsky, A. Pavlova, I. Rubinstein, M. Kshesinskaya, T. Karsavina and others - formed the core of the ballet troupe. Although a year later Pavlova leaves the troupe due to disagreements with the impresario, "Russian Seasons" will become in her life that springboard, after which the ballerina's fame will only grow. The poster by V. Serov, made for the tour in 1909 and containing the image of Pavlova, frozen in a graceful pose, became a prophecy of glory for the artist.

It was the ballet that brought the “Russian Seasons” great fame, and it was the Diaghilev troupe that influenced the history of the development of this art form in all countries where they had to perform on tour. Since 1911, the "Russian Seasons" contained exclusively ballet numbers, the troupe began to perform in a relatively stable composition and was called the "Russian Ballet of Diaghilev". Now they perform not only at the Paris Seasons, but also go on tour to Monaco (Monte Carlo), England (London), USA, Austria (Vienna), Germany (Berlin, Budapest), Italy (Venice, Rome).

In Diaghilev's ballets, from the very beginning, there was a desire for a synthesis of music, singing, dance and visual arts into one whole, subordinated to the general concept. It was this feature that was revolutionary for that time, and it was precisely thanks to this feature that the performances of the Russian Ballet of Diaghilev caused either storms of applause or flurries of criticism. Being in search of new forms, experimenting with plasticity, scenery, musical arrangement, Diaghilev's enterprise was significantly ahead of its time.

As proof of this, we can cite the fact that the premiere held in Paris (Theater on the Champs-Elysées) in 1913 "The Rite of Spring" - a ballet based on Russian pagan rites , - was drowned out by the whistles and screams of an indignant audience, and in 1929 in London (The Covent Garden Theatre) her production was crowned with enthusiastic exclamations and furious applause.

Incessant experiments have given rise to such peculiar performances as "Games" (fantasy on the theme of tennis), "Blue God" (fantasy on the theme of Indian motifs), 8-minute ballet " afternoon rest faun”, called by the public the most obscene phenomenon in the theater because of the frankly erotic plasticity of the luminary, the “choreographic symphony” “Daphnis and Chloe” to the music of M. Ravel and others.

Diaghilev - reformer and modernist of ballet art

When the Diaghilev troupe entered the ballet, there was a complete rigidity in academic conservatism. The great impresario had to destroy the existing canons, and this, of course, was much easier to do on the European stage than in Russia. Diaghilev did not directly participate in productions, but he was the organizing force, thanks to which his troupe achieved world recognition.

Diaghilev intuitively understood that the main thing in ballet is a talented choreographer. He knew how to see an organizational gift even in a novice choreographer, as was the case with M. Fokin, and he knew how to bring up the qualities necessary to work with his troupe, as happened with 19-year-old V. Myasin. He also invited Serge Lifar to his team, first as a performer, and later made him new star in the galaxy of choreographers of the Russian Ballet troupe.

The productions of "Russian Seasons" were under the powerful influence of the work of modernist artists. Sets and costumes were created by A. Benois, N. Roerich, B. Anisfeld, L. Bakst, S. Sudeikin, M. Dobuzhinsky, avant-gardists N. Goncharova, M. Larionov, Spanish muralist H.-M. Sert, Italian futurist D. Balla, cubists P. Picasso, H. Gris and J. Braque, french impressionist A. Matisse, neoclassicist L. Survage. The following were also involved as decorators and costume designers in Diaghilev's productions: famous personalities like K. Chanel, A. Laurent and others. As you know, the form always affects the content, which was observed by the audience of the Russian Seasons. Not only the scenery, costumes and curtain struck with their artistic expressiveness, outrageous, play of lines: the entire production of this or that ballet was permeated with modernist trends, plastic gradually displaced the plot from the viewer's attention.

Diaghilev used the most diverse music for the productions of the Russian Ballet: from world classics F. Chopin , R. Schuman, K. Weber , D. Scarlatti, R. Strauss and Russian classics N. Rimsky-Korsakov , A. Glazunov, M. Mussorgsky, P. Tchaikovsky , M. Glinka to the Impressionists C. Debussy and M. Ravel, as well as contemporary Russian composers I. Stravinsky and N. Cherepnin.

European ballet, which experienced a crisis of its development at the beginning of the 20th century, was gifted with the young talents of Diaghilev's Russian Ballet, refreshed by its new performance techniques, new plastic, unrivaled synthesis various kinds arts, from which something completely different from the usual classical ballet was born.

Interesting Facts

Although the "Historical Russian Concerts" are considered among the "Russian Seasons", only the poster of 1908 contained this name for the first time. There were 20 more such seasons ahead, but the 1908 tour was the last attempt by the entrepreneur to do without ballet.
To stage "Afternoon of a Faun" lasting only 8 minutes, Nijinsky needed 90 rehearsals.
An avid collector, Diaghilev dreamed of getting hold of A. Pushkin's unpublished letters to Natalia Goncharova. When they were finally handed over to him in June 1929, the entrepreneur was late for the train - a tour in Venice was coming. Diaghilev put the letters in the safe to read them after arriving home ... but he was no longer destined to return from Venice. The land of Italy received the great impresario forever.
During the performance of the solo part in the ballet "Orientalia" in 1910, V. Nijinsky made his famous jump, which glorified him as a "flying dancer".
Before each performance of the ballet The Phantom of the Rose, the costume designer re-sewed rose petals to Nijinsky's costume, because after the next performance he tore them off and gave them away to the dancer's numerous admirers.

Films about S. Diaghilev and his activities

In the film The Red Shoes (1948), Diaghilev's personality received an artistic rethinking in the character under the name Lermontov. In the role of Diaghilev - A. Walbrook.
IN feature films"Nijinsky" (1980) and "Anna Pavlova" (1983) Diaghilev's personality is also given attention. In his role - A. Bates and V. Larionov, respectively.

Documentary film by A. Vasiliev “The fate of the ascetic. Sergei Diaghilev” (2002) tells about the founder of the magazine “World of Arts” and the entrepreneur of “Russian Seasons”.
A very interesting and exciting film “Geniuses and villains of the outgoing era. Sergei Diaghilev (2007) talks about little known facts associated with Diaghilev and his production activities.
In 2008, the series "Ballet and Power" was devoted to the films of Vaslav Nijinsky and Sergei Diaghilev, however, their ambiguous relationship and the talent of the young dancer became the object of attention of many films that deserve a separate review.
The film "Coco Chanel and Igor Stravinsky" (2009) touches upon the relationship between the entrepreneur and the composer who wrote the music for many of his performances.
The documentary "Paris of Sergei Diaghilev" (2010) is the most fundamental film work about the life and work of a talented entrepreneur.
The first of the films in the series Historical travels Ivan Tolstoy" is dedicated to Sergei Diaghilev - "A Precious Bunch of Letters" (2011).
Sergei Diaghilev is also dedicated to one program from the cycle “The Chosen Ones. Russia. Century XX" (2012).
The documentary film "Ballet in the USSR" (2013) (Series of programs "Made in the USSR") partially touches on the theme of "Russian Seasons".
TV release " Perfect Pitch” dated February 13, 2013 tells about Diaghilev and the art of the 20th century, and from January 14, 2015 - about the first productions of the ballet “Afternoon of a Faun”.
Two films were released as part of the Terpsichore Mysteries program series - Sergei Diaghilev - a man of art (2014) and Sergei Diaghilev - from painting to ballet (2015).

It can rightly be considered the ancestor of the domestic show business. He managed to play on the outrageous performances of his troupe and purposefully saturate performances with various modernist techniques at all levels of composition: scenery, costumes, music, plasticity - everything bore the imprint of the most fashionable trends of the era. In Russian ballet of the early twentieth century, as in other areas of art of that time, the dynamics from active searches Silver age of new means of expression to hysterical intonations and broken lines of avant-garde art. " Russian seasons» raised European art to a qualitatively new level of development and to this day they do not cease to inspire creative bohemians in search of new ideas.

Video: Watch a film about Diaghilev's Russian Seasons

1. Russian seasons

theater ballet degilev

It all started in 1907, when Sergei Pavlovich Diaghilev opened a Russian entreprise called "Russian Seasons" in Paris. Europe already knew Diaghilev's name. An unusually energetic entrepreneur, also known in Russia as a serious connoisseur of world culture, author of works on the history of Russian painting, one of the organizers of the art association "World of Art", editor of the magazines "World of Art" and "Yearbook of Imperial Theaters", organizer of art exhibitions, theater figure , a person close both to ballet circles and to the circle of artists, composers, Diaghilev by that time managed to organize in Europe more than one exhibition of works by Russian artists, representatives of that new Russian art, which would later be called the art of the Silver Age, the art of the Art Nouveau era.

Diaghilev began his “Russian Seasons” in Paris with “Historical Concerts”, in which S. V. Rakhmanov, N. A. Rimsky-Korsakov, A. K. Glazunov, F. I. Chaliapin, the choir of the Maritime Bolshoi Theater took part. The following year, Diaghilev brought Russian opera to Paris, introducing the European audience to the masterpieces of productions of works by M. P. Mussorsky, A. P. Borodin, N. A. Rimsky-Korsakov (Fyodor Chaliapin sang the main parts). In the 1909 season, ballet appeared in Diaghilev's entreprise. Ballet performances were interspersed with opera performances. He brought to Europe the color of Russian theatrical culture - dancers V.F. Nizhinsky, A.P. Pavlova, T.P. Karsavina, choreographer M.M. Fokin, invites artists A.N. Benois, L.S. Bakst, N.K. Roerich, A. Ya. Golovin.

He gathered an entrepreneurial troupe from young people, primarily from supporters of Fokine's choreography - these were Pavlova, Karsavina, Bolm, Nijinsky. From Moscow, he invited Coralli, Geltser, Mordkin. French ballet was shocked by the originality of choreography, performance brilliance, scenery painting, and spectacular costumes. Each performance was a spectacle of amazing beauty and perfection. Nijinsky, Pavlova, Karsavina became a discovery for Europe.

Diaghilev's seasons were called "Russian Seasons Abroad" and were held annually until 1913. The 1910 season was the first season, and in 1911 Diaghilev decided to create a separate ballet troupe, called the Diaghilev Russian Ballet. Fokin became the chief choreographer in it. Here the legendary performances "Vision of the Rose" to the music of K. M. Weber, "Narcissus" by N. N. Cherepnin, "Daphnis and Chloe" by M. Ravel, "Tamara" to the music of M. A. Balakirev were staged.

The Diaghilev troupe was destined to open one of the most remarkable pages in the history of the ballet theater, and thanks to his work in it, Diaghilev was rightfully called later “the creator of a new artistic culture” (the words belong to the dancer and choreographer Sergei Lifar). The troupe existed until 1929, that is, until the death of its founder. Fame always accompanied her, the productions of the Diaghilev troupe were striking in their high artistic level, outstanding talents shone in them, which Diaghilev knew how to find and nurtured.

The second period is associated with the names of choreographers L. F. Myasin, J. Balanchine, dancers Sergei Lifar, Alicia Markova, Anton Dolin, European artists P. Picasso, A. Beauchamp, M. Utrillo, A. Matisse and Russian avant-garde artists - M F. Larionov, N. S. Goncharova, G. B. Yakulov, contemporary Russian and foreign composers - Stravinsky, Prokofiev, F. Poulenc, E. Satie.

Rarely has any entreprise troupe been kept at the peak of success for three or three seasons in a row. The Diaghilev troupe held the level of world fame for 20 years. The director of Diaghilev's Ballets Russes, S. L. Grigoriev, wrote: “It is difficult to conquer Paris. Maintaining influence for 20 seasons is a feat.” Over the years of the troupe's existence, more than 20 ballets have been staged in it.

It is impossible not to take into account that after 1917 the European ballet theater entered a state of crisis. The classical school chewed itself up, new ideas and names appeared few. It was at such a moment of crisis that Diaghilev's brilliant team gave the world samples of high art, endowed world ballet with new ideas, and suggested new ways of its development.

2. Pages from Diaghilev's ballet

Diaghilev had a rare flair for an entrepreneur and a rare flair for artistic director. He never staged anything himself, did not compose music, did not invent scenery. But he was the soul of the body - he knew how to find talents, he set the tone, taste, he determined the style of productions, the style of the entire enterprise. He knew what to focus on and what it takes to create a genuine work of art.

In the era when Diaghilev began his activity, in classical ballet Reckless faith in the dancer, in his magic, in his power on the stage reigned. Diaghilev was one of the first to understand that the organizing principles ballet performance- is, as you know, a synthetic - the phenomenon of the director-choreographer. "One of the most difficult tasks, - he said, - to open a choreographer. All performances in the Diaghilev troupe are, first of all, staged, choreographer's masterpieces. Diaghilev attracted talented choreographers, and they, in turn, found a wide field of activity for themselves. It is enough to mention the names of Fokine or Balanchine to understand that Diaghilev was not mistaken here, each name is a whole era, a school of direction. He knew how to educate a choreographer, to educate in his own spirit, as was the case with the young L. Myasin, who went to Diaghilev in 1914, or with the experienced Bronislava Nijinsky, who performed in Diaghilev’s ballets in her youth, and in 1922 came to his troupe like a choreographer.

The words will sound strange - Diaghilev's ballets are picturesque. In his ballets, painting is an integral part of the performance, just like dance and music. In their first productions, the Diaghilev troupe grew up on the painting of the "World of Art", and grew not only ideologically - the painting of the World of Art influenced the plasticity, the style of the new choreography.

In the second period of activity in the "Russian Ballet of Diaghilev" the influence of modernism began to increase, the ballets became more complex plastically, the plot left them, or rather, the plastic itself turned into a "plot". At this time, European trends came to Diaghilev's ballet. When Diaghilev began to collaborate with new European artists, and the ballets of modern French, Austrian, Italian composers, this also could not but have an impact on the choreography, on the plastic culture of Diaghilev's ballets. The Diaghilev troupe in the history of ballet was, among other things, a stylistic phenomenon, its style was determined by time - just as time determined its style.

"Russian Seasons" - tour performances of Russian ballet and opera dancers (1908-29), organized by famous figure culture and entrepreneur abroad (from 1908 in Paris, from 1912 in London, from 1915 in other countries). The main activity of the entreprise was ballet. Operas were staged rarely and mostly until 1914.

The Russian Seasons began in 1906, when Diaghilev brought an exhibition of Russian artists to Paris. In 1907, a series of concerts of Russian music ("Historical Russian Concerts") took place at the Grand Opera. The Russian Seasons actually began in 1908 in Paris, when the opera Boris Godunov was performed here (director Sanin, conductor Blumenfeld; set design by A. Golovin, A. Benois, K. Yuon, E. Lansere; costumes by I. Bilibin; soloists Chaliapin, Kastorsky, Smirnov, Ermolenko-Yuzhina and others).

In 1909, Rimsky-Korsakov's The Maid of Pskov was presented to the Parisians under the title Ivan the Terrible (among the soloists were Chaliapin, Lipkovskaya, and Kastorsky). In 1913 Khovanshchina was staged (director Sanin, conductor Cooper, Chaliapin performed the part of Dosifey). In 1914 the Grand Opera hosted the world premiere of Stravinsky's The Nightingale (director Sanin, conductor Monteux). In 1922 Stravinsky's The Mavra was also staged there.

In 1924, three operas by Gounod (The Dove, The Unwilling Doctor, Philemon and Baucis) were staged at the theater in Monte Carlo. We also note the world premiere (concert performance) of Stravinsky's opera-oratorio Oedipus Rex (1927, Paris).

"Russian Seasons" played a huge role in the promotion of Russian art abroad and in the development of the world artistic process in the 20th century.

E. Tsodokov

"Russian Seasons" abroad, opera and ballet performances organized by S. P. Diaghilev. They were supported by the circles of the Russian artistic intelligentsia (“The World of Art”, the musical Belyaevsky circle, etc.). The Russian Seasons began in Paris in 1907 with historic concerts featuring N. A. Rimsky-Korsakov, S. V. Rachmaninov, A. K. Glazunov, and F. I. Chaliapin. In 1908-09, the operas Boris Godunov by Mussorgsky, The Maid of Pskov by Rimsky-Korsakov, Prince Igor by Borodin and others were performed.

In 1909 for the first time, along with opera performances, shows the ballets of M. M. Fokin (previously staged by him in St. Petersburg): “The Pavilion of Armida” (art. A. N. Benois), “Polovtsian Dances” (art. N. K. Roerich); Sylphides (Chopiniana) to music by Chopin, Cleopatra (Egyptian Nights) by Arensky (artist L. S. Bakst) and divertissement Feast to music by Glinka, Tchaikovsky, Glazunov, Mussorgsky.

The ballet troupe consisted of artists from the St. Petersburg Mariinsky and Moscow Bolshoi Theaters. Soloists - A. P. Pavlova, V. F. Nizhinsky, T. P. Karsavina, E. V. Geltser, S. F. Fedorova, M. M. Mordkin, V. A. Karalli, M. P. Froman and Dr. Choreographer - Fokin.

Since 1910, the Russian Seasons have been held without the participation of the opera. In the 2nd season (Paris, Berlin, Brussels), new performances by Fokine were shown - “Carnival” (artist Bakst), “Scheherazade” to the music of Rimsky-Korsakov (the same artist, curtain according to sketches by V. A. Serov), “ The Firebird" (artists A. Ya. Golovin and Bakst), as well as "Giselle" (edited by M. I. Petipa, artist Benois) and "Orientalia" (choreographic miniatures, including fragments from "Cleopatra", "Polovtsian Dances", numbers to the music of Arensky, Glazunov and others, "Siamese Dance" to the music of Sinding and "Kobold" to the music of Grieg, staged by Fokine for Nijinsky ).

In 1911 Diaghilev decided to create permanent troupe, which was finally formed by 1913 and received the name "".

In the twentieth century, Russia was in a rather ambiguous state: unrest within the country and a precarious position on the world stage did their job. But despite all the ambiguity of the period, it was Russian artists who made a huge contribution to the development of European culture, namely thanks to Sergei Diaghilev's Russian Seasons.

Sergei Diaghilev, 1910

Sergei Diaghilev is a major theater and artistic figure, one of the founders of the World of Art group, which included Benois, Bilibin, Vasnetsov, and other famous artists. A legal education and an undoubted talent to see a promising artist in a person helped him “discover” real Russian art in Europe.

After his dismissal from the Mariinsky Theater, Diaghilev organized in 1906 the exhibition The World of Art, which then gradually migrated to the Paris autumn salon. It was this event that launched the conquest of Paris by Russian artists.

In 1908, the opera Boris Godunov was presented in Paris. The scenography was done by A. Benois and E. Lansere, who were already quite well-known from the World of Art. I. Bilibin was responsible for the costumes. But the soloist made a striking impression on the discerning Parisians. The French public appreciated his talent as early as 1907, when Diaghilev brought to Paris Historical Russian Concertos, which were also perceived the best way. So Fyodor Chaliapin became the favorite of the European audience, and later his fame reached the United States, where his work had many in spirit. So in the future, Fyodor Chaliapin expressed his love for art in his autobiography "Pages from my life":

“Remembering this, I can’t help but say: my life is difficult, but good! I experienced moments of great happiness thanks to art, which I passionately loved. Love is always happiness, no matter what we love, but the love of art is the greatest happiness of our life!”

1909 is a landmark year for Diaghilev and his Russian Seasons. It was in this year that five ballet performances were presented: "Pavilion of Armida", "Cleopatra", "Polovtsian Dances", "Sylphide" and "Feast". The production was directed by a young, but already promising choreographer, Mikhail Fokin. The troupe included such stars of the Moscow and St. Petersburg ballet as Nijinsky (Diaghilev was his patron), Rubinstein, Kshesinskaya, Karsavina, who, thanks to the Russian seasons, will get a start into a bright and wonderful future filled with world fame.

The inexplicable glory of Russian ballet, it turns out, has a very logical justification - in ballet there was a synthesis of all types of art, from music to fine art. This is what seduced the aesthetic tastes of the audience.

On next year Orientalia, Carnival, Giselle, Scheherazade and The Firebird were added to the repertoire. And, of course, delight and triumph were provided.

The Russian ballet of Diaghilev was aimed at destroying the existing foundations, and this was done with success only thanks to the talent of Sergei Diaghilev. He did not take part in the production of the ballet, although, as we know, he was not at all far from the world of art (in every sense of the word). In this situation, his talent for choosing suitable and talented people, which may not yet be known to anyone, but they are already making a serious bid for future recognition.

The role of a man became a revolutionary component in ballet. You can guess that this was done because of Diaghilev's favorite - Vaslav Nijinsky - the leading dancer and choreographer of the Diaghilev Russian Ballet troupe. Previously, the man was in the background, but now the ballerina and the ballerina have equalized in positions.

However, not all innovations were received positively. For example, one-act ballet"Afternoon of a Faun", the duration of which is only 8 minutes, in 1912, on stage Parisian Theater Châtelet failed due to negative reviews from viewers. They considered it vulgar and unacceptable for big scene. On the stage, Nijinsky appeared frankly naked: no caftans, camisoles or pants. The tights were complemented only by a small ponytail, a vine wrapped around the waist, and a wicker cap of golden hair with two golden horns. The Parisians booed the production, and a scandal erupted in the press.

L. S. Bakst. Costume design for Vaslav Nijinsky as Faun for the ballet

But it is worth noting that in London the same production did not cause a flurry of indignation.

Important people in the life of Sergei Diaghilev

What can make a person create? Of course love! Love for creativity, art and beauty in all manifestations. The main thing is to meet on your own life path inspiring people. Diaghilev had two favorites, whom he made real ballet stars.

Vaslav Nijinsky is a dancer and choreographer, Diaghilev's muse and the star of the first stage of the Russian Seasons. Outstanding talent, spectacular appearance made a strong impression on the impresario. Nijinsky was born into a family of ballet dancers and has been associated with magical world dance. Also present in his life Mariinskii Opera House, from which he left with a scandal, like Diaghilev himself. But noticed by his future patron, he plunged into a completely different life - luxury and glory.

Vaslav Nijinsky with his wife Romola in Vienna 1945

Popularity in Paris turned the head young talent and Diaghilev himself spoiled his favorite dancer. One would think that this wonderful union cannot have black stripes: one loves, the other allows. But, as expected, they had a crisis, the fault of which was Nijinsky himself. Traveling through South America, he married his admirer and aristocrat Romola Pulskaya. When Diaghilev found out about this, he took it too personally and severed all ties with Nijinsky.

After being expelled from such a famous troupe, Nijinsky was depressed and it was difficult for him to cope with the realities of life, because before he did not know any worries, but simply lived and enjoyed life. All his bills were paid from the pocket of his patron.

In recent years, the Russian ballet star suffered from schizophrenia, but thanks to enhanced treatment, Vaslav Nijinsky still got better and his last years were spent in a calm family circle.

Second important person in the life of the great impresario was Leonid Myasin, who studied at the Imperial School of the Bolshoi Theater. The young man led ballet troupe, and in 1917 there was a grand return of the Russian Seasons. Pablo Picasso himself is working on the scenery for the ballets "Parade" and "Cocked Hat". Myasin gained fame thanks to the phantasmagoria "Parade", where he performed leading role. But already in 1920, a conflict arose here too - the choreographer had to leave the troupe. The new choreographer was, not surprisingly, Nijinsky's sister, Bronislava, who also had a talent for ballet.

Life talented person always in contrast: without losses and failures, great victories are not realized. This is how Sergei Diaghilev lived, his desperate love for his work and professionalism revealed dozens of people whose names everyone knows now.

In 1929, Sergei Diaghilev passed away, his funeral was paid for by Coco Chanel and Misia Sert, who had the most tender feelings for the genius.

His body was transported to the island of San Michele and buried in the Orthodox part of the cemetery.

On marble tombstone the name of Diaghilev is engraved in Russian and in French (Serge de Diaghilew) and the epitaph: “Venice is the constant inspirer of our reassurance” - a phrase written by him shortly before his death in a dedicatory inscription to Serge Lifar. On the pedestal next to the photograph of the impresario, there are almost always ballet shoes (so that they are not blown away by the wind, they are stuffed with sand) and other theatrical paraphernalia. In the same cemetery, next to Diaghilev's grave, there is the grave of his collaborator, the composer Igor Stravinsky, as well as the poet Joseph Brodsky, who called Diaghilev "Citizen of Perm".

Diaghilev's grave on the island of San Michele

It was thanks to the Russian entrepreneur that Europe saw new Russia, which subsequently shaped the tastes and preferences of French high society. It was thanks to Sergei Diaghilev that the 20th century in world art began to be called the Golden Age of Russian ballet!

As in any business, Sergei Diaghilev's "Russian Seasons" had its ups and downs, but only the memory that has survived a century later and lives in immortal productions is a real reward for any figure.

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