One-act ballets evening

07/02 - 18:30

Duration: 2

Georges Bizet - Rodion Shchedrin

«Carmen Suite»

one act ballet

choreography and libretto by Alberto Alonso

according to the novel by Prosper Merime

The plot of the novel by Prosper Merimee is ideal for ballet. It is no coincidence that in 1846, already a year after the novel appeared in print and almost 30 years before the premiere of Bizet’s opera, Marius Petipa staged the one-act ballet «Carmen and the Toreador» in Madrid, which had a huge success.

The idea of ​​staging «Carmen Suite» belongs to the great ballerina Maya Plisetskaya, who dreamed of the role of Carmen.

“I always wanted to dance Carmen. The thought of Carmen lived in me constantly - it was smoldering somewhere in the depths, sometimes imperatively torn out. With whoever spoke of their dreams - the image of Carmen was the first. Started with a libretto. I decided to captivate my idea - what the hell is not joking - Shostakovich. He gently but adamantly refused. His main argument was - “I’m afraid of Bizet” - with half-joking intonation. Then she approached Khachaturian. But the matter didn’t go further than conversations ... And here is a new character. At the end of 1966 the Cuban National Ballet came on tour to Moscow. staged by their chief choreographer Alberto Alonso. From the very first movement it was like a snake sting me. This is Carmen’s tongue. This is her plastic. Her world ... “

Taking as a basis the work of Bizet, Shchedrin proceeded not from Merimee’s short story, but from an opera that won worldwide fame. He narrowed the plot of the opera, excluding the display of the living background, and confined himself to conflicts between Carmen and Jose and the society, conditionally called the “mask society”. Performing a seemingly almost official task at the request of his beloved wife, Shchedrin managed to create a vivid, contrasting essay. «Carmen Suite» is performed on the concert stage no less than on the main stage.

Bright ballet music, an interesting choreographic concept of Alonso, born under the influence of the unique personality of Plisetskaya, created a unique diamond of ballet art of the 20th century.

* ballet is performed by audio recordin 

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Nikolay Andreevich Rimsky-Korsakov

«Scheherazade»

ballet in one act to the music of a symphonic suite

libretto by Alexandre Benois

choreography by Tony Candeloro based on Mikhail Fokine

on the plot of the tale from «A Thousand and One Nights» «On King Shahriyar and His Brother»

The new staging of the ballet «Scheherazade» at the Abay KSATOB serves as a proof of the understanding of modern trends in choreography, which Diaghilev showed to professionals and amateurs of classical ballet with his Russian Ballets Russes in Europe. Such ballets from 1909 to 1929 were a symbol of the avant-garde movement in the culture of the twentieth century.

In the works of Russian ballet, music, poetry, and painting unite around the dance, which for the first time in the history of choreography plays a fundamental role in the cultural and stylistic changes of the new century.

Paris was struck by Leon Bakst's stage ideas. Its chic oriental motifs very strongly influence women's fashion and interior decoration of houses and interiors. Russian art literally hypnotizes Europe.

Dancers were no longer tied to individual technical variations and facial expressions, as in the 19th century. The new genius of choreography Mikhail Fokin creates choreographic dramas, where the interpreter must combine acting technique and style to accurately convey the character of the character he represents.

Thus, new geniuses of our time are born, which Diaghilev brought to Paris during the theater seasons of that time: Nizhinsky, Pavlova, Karsavina and extravagant Ida Rubinstein, scenographers and artists Alexander Benois, Leon Bakst, new musical compositions are created from the traditional Rimsky-Korsakov to the innovator Igor Stravinsky . All these artists will remain associated with Diaghilev’s Russian ballets, but each of them, with his own talent, has made fundamental changes to the culture of the 19th century, which will continue until our time.

«Scheherazade» in this version for the Abay Kazakh Academic Opera and Ballet Theater was staged by Tony Candeloro, who personally knew and worked with some of the artists of the latest generation of Russian ballet.

The performance acquaints the public with one of the main works of the choreographer Mikhail Fokin.