How the ballet "Carmen Suite" was created. Tickets to the Bolshoi Theater of Russia Carmen Suite characters
STEP ONE
In the town square in Seville, near the cigar factory, there is a guard post. Soldiers, street boys, cigar factory workers with their lovers flicker in the lively crowd. Carmen appears. Temperamental and courageous, she is used to rule over everyone. Meeting with the dragoon José awakens passion in her. Her habanera is a song free love- sounds like a challenge to Jose, and a flower thrown at his feet promises love. The arrival of José's fiancee, Michaela, temporarily makes him forget about the impudent gypsy. He recalls his native village, home, mother, indulges in bright dreams. Once again, Carmen disturbs the peace. This time, she turns out to be the culprit of a quarrel at the factory, and José must deliver her to prison. But the spell of the gypsy is omnipotent. Subdued by them, José disobeys orders and helps Carmen escape.
ACT TWO
In the Lilas-Pastya tavern, the fun is in full swing. This is a secret meeting place for smugglers assisted by Carmen. Together with her friends, Frasquita and Mercedes, she has fun here. The welcome guest of the tavern is the bullfighter Escamillo. He is always cheerful, confident and bold. His life is full of worries, the fight in the arena is dangerous, but the hero's reward is sweet - the glory and love of beauties. It's getting dark. Customers leave the tavern. Under the cover of night, smugglers gather for a risky trade. This time, Carmen refuses to go with them. She is waiting for José. The sergeant arrives, but the joy of their meeting is short-lived. The war horn summons a dragoon to the barracks. In his soul, passion fights duty. A quarrel breaks out between lovers. Zuniga suddenly appears - Jose's boss. He hopes for the favor of Carmen. In a fit of jealousy, José draws his saber. The military oath has been broken, the way to return to the barracks has been cut off. José stays with Carmen.
ACT THREE
In the dead of night, in the mountains, the smugglers made a halt. With them - Carmen and José. But the quarrel in the tavern is not forgotten. There is too much difference between lovers. Dreaming of a quiet life, the peasant Jose suffers from betrayal of duty, from longing for home. Only passionate love for Carmen keeps him in the camp of smugglers. But Carmen no longer loves him, the gap between them is inevitable. What will the cards tell her? She predicted happiness to her friends, but fate does not bode well for Carmen herself: she read her death sentence in the cards. She contemplates the future with deep sorrow. Escamillo suddenly arrives - he hurries to a date with Carmen. José blocks his way. Jealousy and resentment flare up in his soul. Carmen stops the duel of rivals. At this moment, Jose notices Michaela, who, overcoming her fear, came to the smugglers' camp to take Jose away. But he does not heed her words. Only the news of his mother's fatal illness makes Jose leave Carmen. But their meeting is ahead ...
ACT FOUR
Bright sunny day. The square in Seville is full of people. The audience is looking forward to the start of the bullfight. Noisily and joyfully they greet the procession of bullfighting heroes, led by the universal favorite Escamillo. Greets him and Carmen. She is attracted to the cheerful, courageous Escamillo. Frasquita and Mercedes warn Carmen of impending danger: José is following her relentlessly. But Carmen does not listen to them, she rushes to the bullfight. Jose stops her. Gently, with love, he addresses his beloved. But Carmen is relentless: everything is over between them. “I was born free - I will die free,” she proudly throws in the face of Jose. In a fit of anger, he stabs Carmen to death. By death, she asserts her freedom.
Maya Mikhailovna Plisetskaya(November 20, 1925, Moscow) - the great Soviet and Russian ballet dancer, choreographer, writer.
The most outstanding roles: Odette-Odile in "Swan Lake", Aurora in Tchaikovsky's "Sleeping Beauty", Mistress of the Copper Mountain in " stone flower» Prokofiev, Raymond in the ballet of the same name by Glazunov.
Especially for Plisetskaya, the Cuban choreographer Alberto Alonso staged the ballet Carmen Suite. Other choreographers who created ballets for her were Roland Petit and Maurice Béjart.
Plisetskaya and Shchedrin spent a lot of time abroad, where she worked artistic director Rome Opera and Ballet Theatre, as well as the Spanish national ballet in Madrid.
At the age of 65, she left creativity, leaving Grand Theatre as a soloist. On the day of her 70th birthday, she made her debut in a number specially written for her by Maurice Béjart called "Ave Maria".
For more than fifteen years, she has been the chairman of the annual international ballet competition called Maya.
Rodion Shchedrin and Maya Plisetskaya were granted citizenship of the Republic of Lithuania as an exception for outstanding services, where they often lived and were engaged in creative work.
Suite(from French Suite- series, sequence) - cyclic musical form, consisting of several independent contrasting parts, united by a common idea.
www.classic-online.ru(Shchedrin. Carmen Suite - listen)
Carmen Suite is a one-act ballet by choreographer Alberto Alonso based on the opera Carmen by Georges Bizet, orchestrated specially for this production by composer Rodion Shchedrin. The libretto of the ballet based on the novel by Prosper Mérimée was written by its director, Alberto Alonso. At the center of the ballet tragic fate the gypsy Carmen and the soldier Jose who fell in love with her, whom Carmen leaves for the sake of the young Torero. The relationship of the characters and the death of Carmen at the hands of José are predetermined by Fate. Thus, the story of Carmen (in comparison with literary source and Bizet's opera) is solved in a symbolic way, which is strengthened by the unity of the scene.
For the sake of staging the famous "Carmen" by Bizet-Shchedrin, the first choreographer of Plisetskaya, Alberto Alonso, arrived from Cuba.
"Plisetskaya is Carmen. Carmen is Plisetskaya." However, few now realize that main ballet Plisetskoy was born by chance. “So the card lay down,” Maya Mikhailovna recalled. Although I dreamed of this role all my life. Back in 1966, she could not even imagine that she would find the choreographer of her dreams in the middle of winter at Luzhniki at an evening of Cuban ballet. After the very first bars of the incendiary flamenco, Plisetskaya could hardly stay in her chair and literally burst into the backstage during the intermission. All she could say, seeing the choreographer: "Will you put on Carmen for me?" "I dream about it," Alberto Alonso replied with a smile. The production was defiantly innovative, and main character- damn sexy, but no one dared to ban the performance of the choreographer from the Island of Freedom - it meant a quarrel with Fidel Castro. “You are a traitor to ballet,” Minister of Culture Furtseva threw in Plisetskaya’s face. “Your Carmen will die!” "Carmen will live as long as I live," Plisetskaya proudly replied then.
All the movements of Carmen-Plisetskaya carried a special meaning, a challenge, a protest: a mocking movement of the shoulder, and a retracted hip, and a sharp turn of the head, and a piercing look from under the brows ... It is impossible to forget how Carmen Plisetskaya, like a frozen sphinx, looked at the dance of the Toreador, and all her static posture conveyed a colossal inner tension: she fascinated the audience, riveted their attention to herself, involuntarily (or consciously?) distracting from the spectacular solo of the Toreador.
Almost 40 years later, fate laid out a new solitaire. Her last stage partner Alexei Ratmansky became the director of the Bolshoi Ballet. And on the day of the resumption of "Carmen" on main stage countries November 18, 2005 Maya Plisetskaya said: "I will die. Carmen will remain."
Production history
After the premiere performance, Furtseva was not in the director's box, she left the theater. The performance was not like the "short" Don Quixote "as she expected, and was raw. The second performance was to go in the "evening one-act ballets"("troychatka"), April 22, but was canceled:
“This is a big failure, comrades. The performance is raw. Sheer erotica. The music of the opera has been mutilated… I have serious doubts whether the ballet can be improved.” .
After arguing that "have to cancel the banquet" and promises “reduce all erotic supports that shock you”, Furtseva gave in and allowed the performance, which was held at the Bolshoi 132 times and about two hundred around the world.
Music
Screen adaptation
Buenos Aires, Colon Theater () Sverdlovsk, Yekaterinburg Opera and Ballet Theater (May 13 and February 7) Dushanbe () Tbilisi, Opera and Ballet Theater. Paliashvili ()Reviews of criticism
All the movements of Carmen-Plisetskaya carried a special meaning, a challenge, a protest: a mocking movement of the shoulder, and a retracted hip, and a sharp turn of the head, and a piercing glance from under the brows ... It is impossible to forget how Carmen Plisetskaya - like a frozen sphinx - looked at the dance of the Toreador, and all her static pose conveyed a colossal inner tension: she fascinated the audience, riveted their attention to herself, involuntarily (or consciously?) Distracting from the spectacular solo of the Toreador.
The new Jose is very young. But age itself is not an artistic category. And does not allow discounts for inexperience. Godunov played age in subtle psychological manifestations. His Jose is wary and distrustful. Trouble awaits people. From life: - dirty tricks. Vulnerable and selfish. The first exit, the first pose - a freeze-frame, heroically sustained face to face with the audience. A living portrait of a fair-haired and light-eyed (in accordance with the portrait created by Merimee) Jose. Large strict features. The look of the wolf cub is frowning. An expression of alienation. Behind the mask you guess the true human essence- the vulnerability of the soul, thrown into the world and hostile to the world. You contemplate the portrait with interest. And then he came to life and "spoke." The syncopated "speech" was perceived by Godunov accurately and organically. It was not for nothing that he was prepared for his debut by the talented dancer Azary Plisetsky, who knows both the part and the whole ballet perfectly from his own experience. Hence the carefully crafted, carefully polished details that make up the stage life of the image. .
New production at the Mariinsky Theater
The performance was resumed by choreographer Viktor Barykin, former soloist of the Bolshoi Ballet and performer of the part Jose.
The first line-up of performers at the Mariinsky: Irma Nioradze - Carmen, Ilya Kuznetsov - Jose, Anton Korsakov - Bullfighter
Alicia Alonso in Moscow
Elizariev's version
“The suite is a picture of the life, or rather, the spiritual fate of Carmen. convention ballet theater easily and naturally displaces them in time, allowing us to trace not external everyday events, but the events of the heroine's inner spiritual life. No, not the seductress, not the femme fatale Carmen! We are attracted in this image by the spiritual beauty of Carmen, the integrity, uncompromising nature of her nature. Conductor Yaroslav Voschak
“Listening to this music, I saw my Carmen, significantly different from Carmen in other performances. For me, she is not only an outstanding woman, proud and uncompromising, and not only a symbol of love. She is a hymn to love, love pure, honest, burning, demanding, love of a colossal flight of feelings, which none of the men she met is capable of. Carmen is not a doll, no beautiful toy, not a street girl, with whom many would not mind having fun. For her, love is the essence of life. No one could appreciate, understand her inner world hidden behind dazzling beauty. Passionately fell in love with Carmen José. Love has transformed the rough, limited soldier, revealed spiritual joys to him, but for Carmen his embrace soon turns into chains. Intoxicated with his feeling, Jose does not try to understand Carmen. He begins to love not Carmen, but his feeling for her ... She could also love Torero, who is not indifferent to her beauty. But Torero - subtly gallant, brilliant and fearless - is internally lazy, cold, he is not able to fight for love. And of course, demanding and proud Carmen cannot love someone like him. And without love there is no happiness in life, and Carmen accepts death from Jose, so as not to embark on the path of compromise or loneliness together. Choreographer Valentin Elizariev
Sources
- Ballet Nacional de Cuba "CARMEN" website. archived
- M.M. Plisetskaya"Reading my life..." - M .: "AST", "Astrel", . - 544 p. - ISBN 978-5-17-068256-0
- Alberto Alonso / Maya Plisetskaya died for the Bolshoi Theater website
- M.M. Plisetskaya/ A. Proskurin. Drawings by V.Shakhmeister. - M .: JSC Publishing House Novosti with the participation of Rosno-Bank, . - S. 340. - 496 p. - 50,000 copies. - ISBN 5-7020-0903-7
- Bizet - Shchedrin - Carmen Suite. Transcriptions of excerpts from the opera "Carmen". . Archived from the original on March 10, 2012. Retrieved April 1, 2011.
- V. A. Mainietse. Article "Carmen Suite" // Ballet: Encyclopedia. / Chief editor. Yu. N. Grigorovich. - M.: Soviet Encyclopedia, 1981. - S. 240-241.
- E. Nikolaev. Ballets Playing Cards and Carmen Suite at the Bolshoi
- E. Lutskaya. Portrait in red
- One-act ballets Carmen Suite. Chopiniana. Carnival". (unavailable link - story) Retrieved April 1, 2011.- website Mariinsky Theater
- "Carmen Suite" at the Mariinsky Theatre. Archived from the original on March 10, 2012. Retrieved April 1, 2011.- Internet TV channel "Art TV", 2010
- A. Firer"Alicia in Balletland". - "Rossiyskaya Gazeta", 08/04/2011, 00:08. - V. 169. - No. 5545.
- Summary of the ballet on the website of the National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus
| Works by Rodion Shchedrin | |||||||
|---|---|---|---|---|---|---|---|
| operas | Boyarynya Morozova (2006) Lolita (1992) Dead Souls (1977) Not only love (1961) The Enchanted Wanderer (2002) |  |
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| ballets | Anna Karenina (1972) Lady with a dog (1985) Carmen Suite 1 (1967) Little Humpbacked Horse (1960) Seagull (1980) | ||||||
| Symphonies | No. 1 (1958) No. 2 "25 Preludes for Orchestra" (1965) No. 3 (2000) | ||||||
| Concerts |
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| Chamber music | Frescoes of Dionysius (1981) Musical Offering (1983) | ||||||
| Note | 1 music arrangement | ||||||
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