The love of a respectable gentleman, perhaps even an aristocrat, and a woman of “low” rank and occupation, who can be admired to a certain extent, but at the same time despised... what could be more romantic and tragic! First of all, I remember, of course, Verdi’s “La Traviata” with its piercing denouement - but operetta has its own laws, it is a wonderful world in which the most dramatic story can be brought to a happy denouement! The Hungarian composer Imre Kalman - one of the recognized “kings of operetta” - turned to a similar plot more than once: in 1915, “The Queen of Csardas” was born, also known under the title “Silva”, and in 1921 this theme was embodied in a new work - “Bayadere.” Here the situation has become even more acute, and the social gap separating the lovers has become even wider: they belong not only to different classes, but also to different peoples, and the hero is not just an aristocrat, but the Prince of Lahore, and marriage for love means for him not only shame in the eyes of people in his circle - he is forced to make a choice between his beloved woman and his homeland.

The idea was proposed by two young playwrights - Alfred Grünwald and Julius Brammer. At first, everything was quite simple: a certain manager of a rich estate dreams of celebrating his birthday in Vienna, surrounded by beautiful women. Kalman - as always - was in search of a suitable plot, but this idea did not seem attractive to him, and it was risky to start collaborating with new co-authors, and he gave preference to proven librettists - Leo Stein and Bela Jenbach, as a result of which the operetta “Dutch Girl” was born, withstood more than four hundred performances. However, Brammer and Grunwald were persistent: they again offered Kalman the same plot - and the composer again rejected it, he wanted something more original, and Brammer suggested turning to oriental exoticism: “Bayadera” - great name for operetta! And La Bayadère was written. Kalman did not regret agreeing to collaborate with Grunwald and Brammer - in collaboration with them he subsequently created several more works: “Countess Maritza”, “Circus Princess”, “Duchess from Chicago”, “Violet of Montmartre”.

So, Prince Rajami of Lahore, who lives in Paris as a diplomat, is in love with a bayadera... of course, we are not talking about a real bayadera - an Indian dancer, but about the Parisian Odette, and she dances not in a temple during religious ceremonies, but in a variety show, which Rajami visits, not losing hope of meeting the beauty. But this is not easy - Odette, unlike other prima donnas, is distinguished by a fair amount of modesty, and for now Rajami can only dream of his beloved, listening to the romance she performs in the oriental spirit (“Oh, come, call”). Meanwhile, in the foyer of the variety show, another love story is playing out: the young Parisian Napoleon

Saint-Cloche is trying to achieve the love of Mariette, the wife of the chocolate manufacturer Louis-Philippe la Tourette, but in the elegant waltz-like duet (“Dear Friend”) and in the second duet his efforts do not achieve their goal - the young woman loves her husband too much to notice the feelings of the admirer. At this time, impresario Pimprinetti still manages to persuade the shy star to come out to the public after the performance - to the great delight of fans, including Rajami. In his duet with Odette the melody returns oriental romance, gradually acquiring a waltz rhythm. Rajami does not want to part with his beloved and comes up with ways to prolong communication with her - all artists and spectators are invited to the embassy for a reception. An extensive choral scene ends the first act.

At the reception at the embassy, ​​the cheerful choir gives way to the languid dance of the bayaderes. Louis-Philippe wastes no time establishing business connections with eastern country through embassy employee Umphir. Marietta is upset by the news that her husband will have to travel so far on business, and Napoleon is happy to console her - their duet (“You don’t have to leave Paris”) is full of grace and coquetry. Meanwhile, Rajami fulfills his dream - he proposes to Odette and receives her consent. One after another, their two waltz-like duets sound, the lovers are happy, but as soon as Rajami leaves the bride alone, Umphir explains to the girl what Rajami’s marriage with her threatens: he will be dishonored and will never be able to return to his homeland, because according to the law, the Prince of Lahore has the right marry only with a compatriot. Odette does not want to ruin the life of her beloved - she declares to the returning Rajami that her consent to the marriage was just an acting game, and now the “performance” is over.

Shocked by these events, Odette left the stage, and Pimprinetti, bankrupt because of this, leaves the capital. In the bar at the station, where he is supposed to catch the train, Marietta, waiting for her husband, persuades the impresario to do a revue with her participation - after all, she has long dreamed of a stage career. But, seeing her husband return, the woman rushes to him, forgetting about everything. Louis-Philippe tells her about the fashionable new shimmy dance - their duet follows the rhythm of this dance (“If you want to be modern”). Rajami leaves Paris - ironically, this happens on the very day he received his home country permission to marry a foreigner... Hearing about this, Marietta immediately searches for and brings Odette. The girl explains to Rajami why she refused him - and now nothing interferes with the happiness of the lovers. For Pimprinetti, too, everything ends well - Louis-Philippe and Rajami promise him financial assistance. The lyrical duet of Odette and Rajami (“Roses of the East”) turns into an ensemble with the participation of three other characters.

The operetta “Bayadera” was first presented in Vienna - at the Karltheater - in December 1921. Vera Kalman notes in her book that it “brought box office success, but did not gain world fame” - this looks like a clear exaggeration. The public fell in love with the operetta, which combines oriental intonations with popular dance rhythms of the era - shimmy, two-step, waltz-Boston, foxtrot (but one of the constant “ special signs"Kalman's operettas - there were practically no Hungarian intonations in it, because the plot did not lend itself to this).

"Bayadera" gained fame both in Austria and abroad. The Soviet premiere took place in 1923.

All rights reserved. Copying is prohibited.

YuriDIMITRIN Libretto of an operetta in two acts, three scenes (according to Yu. Brammer and A. Grunwald) Music by Imre Kalman Saint Petersburg This play was created in 2005. Its storyline regarding Odette and Rajami remains the same as in the original play by librettists Kalman. The plot involving other characters has been significantly reworked (in the real play, Louis-Philippe is the half-brother of Prince Rajami). The dispute between career, everyday vanity and eternal value love unfolds in the play on the destinies of three couples - Rajami and Odette, Philip and Marietta, Parker and Margarette. Moreover, the image of diplomat Parker, Rajami’s adviser “on petty intrigues and eternal values,” is very unconventional for a classical operetta. Throughout the entire play, he conducts a “dialogue” with a character absent from the stage (and from the play), Margarett. This technique, introduced into operetta from drama theater, suggests a bright, experienced actor in the role of Parker. The play is equirhythmic to the clavier published in Leningrad in 1926. Some discrepancies between the Leningrad clavier and the German one (1922) have been eliminated. Napoleon's song from the third act of the German clavier (No. 16), missing from the 1926 edition, in this story version is moved to the first act under No. 1½ and given to Louis-Philippe. There are no other permutations of additions or any significant cuts in the clavier of this version of La Bayadère. ________________________________________________________________________________ Characters. Odette Darimont, actress Achiles Primprinetti, theater director Prince Rajami of Lagore Louis-Philippe Saint-Lagore brother of Prince Rajami Mariette, wife of Louis Philippe Colonel Parker, Advisor to Prince Rajami Napoleon de Pchic, chef of the Parisian claque Sing-Sing the Immaculate, High Priest of Lagore The audience of the Chatelet theater, employees of the Lagore embassy, ​​airport passengers. The action takes place in Paris in the early 30s of the twentieth century

Act one Scene one

№ 1. INTRODUCTION.

Foyer of the Chatelet Theater in Paris. An enthusiastic audience pours out of the doors of the boxes and surrounds the theater director Primprinetti.

The first act was so beautiful!

Bravo, Primprinetti!

Roses trembling motif

Tender, young, and bright.

And the gallery and the balcony,

And the rows of the stalls -

The whole theater is intoxicated

Charm Bayadera!

Ah, distant Hindustan -

Spicy world of the East.

Bravo, encore, bon ton, organ!

We are filled with delight.

What a delight! What a success!

And a song of love... in everyone’s hearts!

PRIMPRINETTI.

The tune of the eastern rose -

Sounds in everyone's hearts!

Napoleon appears among the audience.

- "Lotus, lotus, love flower,

I love so passionately.

Give me the answer, I pray."

- “Listen, my beloved traveler,

This prophetic motive.

Who wants to be loved

He is patient in love."

Who wants to be loved

He is patient in love."

Scene No. 1

NAPOLEON (Primrinetti, mockingly). How nice it is to listen to your goat tenor, Mr. Director.

PRIMPRINETTI. Ah, Monsieur Napoleon de Zhik! The chef of the Parisian claque himself honored us with his attention. (Mockingly.) I hasten to apologize, Monsieur Napoleon, for the incident at yesterday's performance. A clacker from your gang, who supposedly fell asleep from boredom, was kicked out of the hall on the third snoring to the indignant cries of the audience.

NAPOLEON. This was a young specialist. He snored insufficiently. And he's already fired.

PRIMPRINETTI. Already fired! And the collective yawn of your gang at the exit of Bayadera, drowned in a flurry of applause? There were twelve yawners, I counted them myself.

NAPOLEON. You, as always, made a mistake in the count, Mr. Director. Prince Rajami of Lagore, who has not yet missed a single performance, was the thirteenth yawner yesterday.

PRIMPRINETTI. You know very well that Prince Rajami is delighted with Odette Darimont... (Colonel Parker appears.)...and doesn’t take his eyes off her Bayadère.

NAPOLEON. Yesterday, after a yawn, I brought it together. And today he is brilliantly absent. Which will immediately affect the financial position of the theater. And the theater can go to a director who never makes a mistake in counting.

PARKER (to the hall). This is interesting.

PRIMPRINETTI (noticing Parker). Oh, Colonel! Allow me to introduce you to my bosom friend, the head of the Paris theater clique...

PARKER. (Introduces himself.) Colonel Parker, advisor to His Highness Prince Rajami on matters of petty intrigue and eternal values.

NAPOLEON (introduces himself). Napoleon de Pshick. President of the Company for the Exchange of Banknotes for Stage Successes.

PRIMPRINETTI. Mr. Parker, satisfy the curiosity of the Parisian claque. Why is Prince Rajami absent from today's performance?

PARKER. The reason is very serious. A series of petty intrigues occurred in the kingdom of Lagore, which called into question the eternal values ​​of the kingdom. And, being busy with state affairs, His Highness will arrive at the performance later.

PRIMPRINETTI (To Napoleon, with triumph). Are you satisfied?

PARKER (Primrinetti). In addition, the prince hopes that you will facilitate his meeting with your Bayadere. One-on-one. In return for your kindness, the Kingdom of Lagore guarantees you the Order of the Blue Turtle, third degree.

PRIMPRINETTI. Blue Turtle is a great honor. But I must admit, I don’t remember that Mademoiselle Odette... ever responded to such invitations...

NAPOLEON (to Parker). I’ll tell you a secret, Colonel... Mademoiselle Odette Darimont is the subject of Monsieur Primprinetti’s affections. Moreover, for a long time and hopelessly.

PRIMPRINETTI. Insolent.

PARKER. Yes, but the Blue Turtle is also, as we diplomats say, not a big deal.

PRIMPRINETTI. Don't be silly. I'll do everything I can, Mr. Councilor. (To a passing attendant.) Give the signal for the beginning of the second act. (Leaves.)

PARKER (to Napoleon). I see that you are a great expert in matters of the heart, Mr. de Pszyk. We will talk to you about this topic later.

The bell rings, signaling the start of the second act.

№ 1a. Reminiscence.

What will act two tell us?

The Mystery of Primprinetti.

Will it bring peace

Fairytale Odette?

And the gallery and the balcony,

And the rows of the stalls -

The hall is intoxicated

Stunned

Charm Bayadera!

The audience leaves the foyer. Colonel Parker is in the empty foyer.

SCENE 1A.

PARKER (on the proscenium). Well, Colonel Parker. Today is your time. Finally, your career becomes of eternal value. (Looks around the auditorium, then, as if looking for someone in the transcendental distance, calls softly.) Margaret... Margaret... Can you hear me? Today is exactly one year since we parted, my love. But not a day goes by that I don’t long to finally clarify our relationship. You rejected me, Margot, considering love to be an eternal value, and the career of your beloved man to be petty intrigues. Today it's time to decide which of us is right. Today all of Paris is looking at my career... What?.. I’m not exaggerating anything... All of Paris plus the small kingdom of Lagore. I'll explain. The ruler of Lagore - the Great Maharajah - for no apparent reason fell in love with a visiting Russian princess. Yes, just imagine, Margot. Fell in love and ran away with this Russian emigrant on the wings of love to God knows where. What does "Did it right" mean? Margaret, just a minute... Margaret, don't get angry... The throne is empty, Margaret. What does "Love is always right" mean? The kingdom, eight wives and two dozen minor sons of both sexes are abandoned to the mercy of fate. ...Margaret, speak slowly, the acoustics are bad here... Yes, there are adult heirs. These are the nephews of the escaped Maharajah. There are two of them - Prince Rajami and his half-brother Louis-Philippe - who have been married to a Parisian woman for three years. What? "Why did you get married?" How do I know? Well, I fell in love and got married. Wait a minute, Margaret (To the hall.) Well, what are you going to do with her?! If you “fell in love”, it means “eternal value”! (Margaret.) You should look at this eternal value. Well, an idiot is not an idiot, but he can’t invent gunpowder. Wait a minute, Margaret, what are you talking about? (To the hall.) She asks “why does a man in love need gunpowder”? (Margaret.) Margot, this Philip’s only passion is catching dragonflies, ground beetles and other cockroaches. And I wouldn’t be surprised if he now appears in the theater with a net in his hands.

Philip appears in short breeches, a Panama hat and a net in his hands.

PHILIP. Good to see you, Colonel Parker. Would you happen to tell me in which box my precious wife is waiting for me?

PARKER. I have no idea, Your Highness.

PHILIP. What are these ceremonies for? Call me Philip, Or better yet, just Fileya. (Leaves.)

PARKER. Well, you see, Margaret, an ordinary “simp”! Now, Margaret, shut your ears, because I will divulge state secrets. One after another. (She turns around sharply. Having run away, she checks one or two scenes to see if there are anyone listening behind her. She returns to the front of the stage. Lowering her voice, confidentially.) A certain great power entrusted me with looking after the eternal values ​​of the kingdom of Lagor, one of which says: only a born Lagorian married to a native Lagorian can sit on the throne of Lagor. And tonight I receive a secret telegram, which says in black and white that my task is to place just Filya on the empty throne. Because Prince Rajami is too independent. You yourself understand that without any coordination with a great power, falling in love with the local “baiadira” Odette Dorimont is, well, out of the blue. Now, Margot, open one ear and listen carefully. ...I must, firstly, through petty intrigues, ensure the wedding of the prince in love with the non-Lagorean Odette... And secondly, I must replace the Parisian wife, simply Fili, with some truly Lagore bayadera... No, sorry. This is no longer a “petty intrigue”. This is a great intrigue of world politics. This is my career, finally. (Napoleon appears.) Sorry, my love, I have to urgently interrupt communication. I am recruiting a local heart specialist. It's fast. (To Napoleon.) Well, Mr. Heart Expert, how are the successes of the Parisian claque?

NAPOLEON. Very modest, Colonel. Imagine, in the most lyrical place, from the eighth row a light group laugh rushes into the hall: “hee-hee”, “ha-ha”! And like an echo from the balcony: “ho-ho-ho”!

PARKER. And what about the hall?

NAPOLEON. No reaction. A bunch of enthusiastic idiots.

PARKER. I'll try to improve your mood. You know Louis Philippe, brother of Prince Rajami.

NAPOLEON. Of course. A completely harmless creature of six spans in the forehead.

PARKER. Six. I won't argue. Now comes the crux of the matter. A certain great power, whose interests I represent, believes that you are capable of carrying out, frankly speaking, a unique task. You must seduce the wife of a harmless creature - Marietta.

NAPOLEON (after a pause, disappointed). That's all?

PARKER. Not really. Seduce and marry her.

NAPOLEON. ...But this, Colonel, is for a separate reward.

PARKER. A great power will repurchase for you the bills of Monsieur Primprinetti's theater. Enough?

NAPOLEON (after thinking). When to start glaring?

PARKER. Immediately.

Napoleon bravely jumps up, inserts a flower into the buttonhole of his coat, ruffles his hair, does a mind-blowing somersault and skips away.

PARKER (into the distance). Agree, Margaret, the recruitment was executed with virtuoso grace. Why, my love, are you not happy again? (To the hall.) Well, what kind of character!? I say “black”. She is “white”. I say “eternal values”, she says “petty intrigues”. Margaret, calm down. That's it, Margaret. Enough! Enough! All! I can't hear you! (Philip appears.) Moreover, my client is approaching me with his disgusting net. (Philip.) Filya, dear...

PHILIP. I'm listening to you attentively, Colonel.

PARKER. I have long wanted to get to know you better. Tell me, you, a graduate of the Sorbonne, a member of the reigning house of the kingdom living in Paris... would you like to visit Lagore again? Night flight and you're back home!

PHILIP. How is it that I wouldn't want to? Who wouldn’t want to visit the homeland of the furry tropinota?

PARKER. In whose homeland?

PHILIP. My God, haven’t you come across this name? Lagore is known to humanity only by him and nothing else. "Tropinotus Mochnatus" sounds sweeter than the sounds of Mozart. The hairy tropinota is one of the rarest ground beetles.

PARKER. Oh, that's how it is... (Into the distance). Margaret, are you listening? This is the future ruler of Lagore. (Philip.) So why haven't you visited your furry one yet?

PHILIP. Oh, Colonel, the pension Lagore pays me as a member of the royal house is not so great that...

PARKER. Nothing. I undertake to secure a trip to my furry homeland for nothing for a member of the reigning house.

PHILIP. What happiness! I must immediately please my wife. Marietta! Marietta, where are you? We're going to Lagor for nothing!

PARKER. One moment, Monsieur Philippe. I'm afraid that in order to provide two things for nothing, the kingdom will have to double its taxes.

PHILIP. But I cannot be separated from my beloved wife for an entire eternity, Colonel.

PARKER. Filya, my dear. Well, who goes to Lagore with their ground beetle? Believe an experienced man, there are such little paths in Lagora... Moreover, for every taste - shaggy, and hairless, and brunettes, and redheads...

PHILIP. I wouldn't like to upset you, Colonel. But redheads don't excite me anymore. There are seven of them in my collection of ground beetles.

PARKER. I understand you very well . However, we will assume that a two-week visit to Lagore is in your pocket. (Leaving.) Pack your bags.

Parker leaves.

PHILIP. Just like that, to break up with your wife for two weeks out of the blue? A heartbreaking act. But, on the other hand, complete freedom! Exotic! Sun! Blue sky space! And tropinotochki, tropinotochki - one is shaggier than the other.

№ 1½. Song of LOUIS PHILIPPE

The long journey beckons.

It's time to dare your heart,

Sad, sigh,

Be brave and take off!

Open your chest!

Jump into the sky like a free bird.

Long journey

Scary - creepy!

Just don't frighten your heart.

I'm taking off. What miracles!

Feel free to fly!

The soul sings.

Spring in my thoughts!

Goodbye wife!

I want to sing: forever yours!

(Into the hall). Every man - ah, friends -

And those who are faithful husbands,

And even those whose foreheads are high,

They long for freedom for an hour.

My bright angel

You know I'm tame.

The whole world is convinced

That there is no truer spouse.

Your loving look

Believe me, he is a priceless treasure for me!

I'm not to blame for anything

My departure

Not for a year -

A short break from worries.

Two sips of freedom and back.

Feel free to fly!

The soul sings.

Spring in my thoughts!

Goodbye wife!

I want to sing: forever yours!

But a mischievous devil is dancing in my heart.

(To the hall) Every man - you and me -

And those who are faithful husbands,

And even those whose foreheads are high,

They long for freedom for an hour.

SCENE 1½.

Marietta appears, followed by Napoleon.

MARIETTA. Ah, Monsieur Napoleon! There is something about your intelligence that can drive a woman crazy. I'm languishing!

Louis Philippe appears.

NAPOLEON. Even married?

MARIETTA. Keep quiet about this. About your husband - either nothing or good. (Noticing her husband.) Filya, dear, where have you gone? You leave your spouse alone in the crucible of danger.

PHILIP. Where is the crucible here, precious one!

MARIETTA. How is it, where? You know very well that the theater is teeming with men. My God, what shape are you in?! Get into a taxi immediately and quickly return after changing your pants. Do you understand?

PHILIP. Precious... I need to tell you something absolutely mind-blowing. I was just offered...

MARIETTA. What can they offer you when I stand between two men, one of whom is actually... without pants. And remember, if you come back in full dress, but with a net in your hands, don’t catch my eye. Do you understand everything?

NAPOLEON (to the hall). Six spans in the forehead - perhaps I got carried away.

PHILIP. Okay, I won't get caught. (Leaves.)

NAPOLEON (looking after Philip). Two or three - no more.

MARIETTA. Monsieur Napoleon, even you with your intelligence do not realize that among all domestic animals the husband requires the most care.

NAPOLEON. I take your word for it, because I've never been married.

MARIETTA. And we lost a lot, my friend, I assure you. Husband, this is not some petty intrigue. This is an eternal value.

№ 2. DUET

MARIETTA.

My advice...

He is good - no doubt about it.

Having been in my husband's shoes

Will discover

That they chose the right plot.

NAPOLEON.

Oh my light

How wonderful your advice is

Decorate life with a gentle friend,

Become a spouse -

Nothing is truer.

In the whirlpool of marriage,

Into the abyss of darkness -

This is where the light of happiness lies.

MARIETTA.

Yes, my friend, there is a light of happiness there!

How our duet sounds in agreement.

They have delighted my ears more than once,

But now the desired hour has come -

Something has lit up around me, my friend.

The sound of a waltz is born in the soul.

For the evening, or forever?

The call of a waltz beckons somewhere.

NAPOLEON.

Ah, my light.

Answer, yes or no?

Let's sneak away, at least as a joke

Just a minute

To the forest of Boulogne, as if for conversation,

MARIETTA.

My answer:

For a minute, as a joke - no.

Sneak away to a married lady

Even with you -

Indecent pirouette.

Will you call

For an hour -

There's a different story here.

NAPOLEON.

What a sweet story!

How our duet sounds in agreement.

MARIETTA, NAPOLEON.

They have delighted my ears more than once,

But now the desired hour has come -

Something has lit up around me, my friend,

The sound of a waltz is born in the soul.

Something lit up... Oh yes, oh yes...

For the evening, or forever?

As if in a dream - familiar and new -

The call of a waltz beckons somewhere.

After the dance, repeat the last couplet.

SCENE 2.

Primprinetti appears.

PRIMPRINETTI (To Napoleon in triumph) Prince Rajami's car is at the entrance to the theater, Mr. de Pszyk.

MARIETTA. Ah, Mr. Director... for us all these are petty intrigues, nothing more.

NAPOLEON (leaving after Marietta). While eternal values ​​are pecked.

Marietta and Napoleon leave.

Primprinetti (backstage). Odalisques! Are you ready? More alive, more alive! He arrived.

Three ballerinas in pastoral costumes run out and freeze in various heroic poses.

(Looking at them). Mother of God! Who are you? Odalisques or obelisks? What did I teach you? More relaxed, more naked. First, we greet the prince with a foot. Enveloping jerk - towards the guest. Do you think this is an enveloping jerk? You have to jump from the depths of your soul, wide open. (Shows, dancers repeat.) Not that wide open. Prince Rajami is a sighted man. Open up not so much your soul as your body.

Prince Rajami enters. Behind him is Colonel Parker.

PARKER (announcing). His Highness Prince Rajami!

PRIMPRINETTI. Happy to see you, Your Highness. (The dancers do several welcome steps.)

Rajami. Thank you.

PRIMPRINETTI. This is our special greeting dedicated to a small anniversary.

Rajami. Yes? Which one?

№ 2 ½. MELODRAMA.

PRIMPRINETTI. Your Highness visits our theater for the tenth time in a row. (The dancers dance something that opens the body.) Bayadera's exit in four minutes - please come to the box. (To Parker.) Would you like to take a look?

PARKER. Absolutely.

PRIMPRINETTI. Obelisks, you are free. (The dancers run away.)

Parker leaves after Primprinetti.

RAJAMI. Odette... My magical flower... Delicate lotus... Who knew that it was here in Paris that I would meet my destiny? Lagore is waiting for me. Everything demands my immediate departure... But I am unable to tear myself away from the Parisian bayadère. She's in my heart. And every evening I enter my box, close my eyes...

The music of the melodrama ends.

The scene, gradually darkening, becomes surreal...

Song of true love

Or the light of a mirage?..

Ahh! In the starry bliss of the night Exalted by the eternal sky Breathing softly, love sings. The heart asks, the dreams are not hidden: Don't scare away our happiness I'm waiting for you, I'm yours. (Vocalization)

Ahh! The twinkling of stars in the darkness of the night! Like in a mysterious dream Hope sings again. Believes, dreams, calls. In it is the East, where lives full of dreams A blossoming rose is a wonderful flower. Oh my flower, I'm intoxicated by you. You are the pain, and the hope, and the groan of the heart - my sweet dream.

Sings everything about love... The star is calling. Flight with the ardor of dreams. Running dream heart calling into the distance. These are birds of free flight. Dream, dream, calling... Sings everything about love. Flight with the ardor of dreams.

The scene gradually takes on its previous appearance.

Your hot gaze contains sadness and delight.

Oh, Bayadera! Oh, Bayadera!

Your whole appearance... is like the eternal call of the East...

Shadows silver under the moon.

The slow Ganga runs at night.

The waves hit the shore

Bayadere dance -

This is my mysterious dream.

The moon sounds like a silver ringing sound.

The soul is filled with the thrill of love.

It's like the world is in agreement

That there is only happiness

Only happiness is our destiny.

Oh, Bayadera, I am captivated by you.

A star in the darkness of the night

Your image shines on me.

Breathing the fire of love,

Your soul sings.

And without you I have no happiness.

SCENE 3.

RAJAMI. Tonight will decide everything. I have to talk to her...

Rajami heads to the box. Colonel Parker appears.

PARKER. I was informed by the embassy that the High Priest of Lagore - Sing Sing the Immaculate - had arrived on an afternoon flight. A plane with the entire Royal Ballet is expected.

RAJAMI. For what?!

PARKER. So that, without violating the ritual, you would be married here in Paris, and you would arrive in Lagore as a full-fledged maharajah.

RAJAMI. Marry? With whom??

PARKER. I don’t understand why there is such a rush, but... six bayaderes selected by the Supreme Elders arrived in Paris along with the Immaculate. Any of them is your chosen one. ...I'm sorry. Your Highness's request for a meeting with Odette Darimont has been conveyed to the director of the theater.

Philip enters decisively. He is in an immaculate tuxedo, a starched shirt, a bow tie, without a net, but in the same short pants and with a Panama hat on his head.

PHILIP (Rajami). Rajik! I have amazing news. The colonel won't let you lie. I'm flying to Lagore. By the way, we can fly together.

RAJAMI. I haven't decided yet when I'll fly, or whether I'll fly at all...

PHILIP. How indecisive you are. Take your brother's example. He gathered all his will (clenches fist vigorously) into the net... And now nothing can stop him.

RAJAMI (to Parker). I think I know the reason for my brother's determination... (Philip.) Your Marietta begged me to take you both to Lagore for at least a week.

PHILIP. Rajik, you surprise me. Let's talk man to man. Well, who is driving around Lagori with their ground beetles?! And nothing will happen if Marietta gets bored in Paris for a week or two. (Roars fiercely.) When I don't have a net in my hands, I become merciless. (Quickly leaves.)

RAJAMI (amazed). And what? When he does not have a net in his hands, and his wife is not nearby, he is quite capable of ruling the kingdom.

PARKER. I have no doubt. But it’s still better to change your pants.

Primprinetti appears.

PRIMPRINETTI. Your Highness. Your request was conveyed to me, and I persuaded Odette Dormidont to come into the hall during the intermission, which will begin in (looks at his watch.) five seconds. (Counts.) One, two, three, four...

There is applause behind the scenes. A chandelier flashes in the foyer and the audience appears. Primprinetti leaves.

№ 4. Ensemble and appearance of Odette.

Bravo, our delight is growing

With every new act.

Sultry, sensual East.

Dan with considerable tact.

Right, this is for the season

Best premiere.

Everyone is captivated by her.

Bravo, Bayadera!

Primprinetti enters on the arm of Odette Darimont. She is wearing a cape over the Bayadera costume, and her head is crowned with a diadem.

PRIMPRINETTI.

Here is Odette Darimont -

Our flower, isn't it?

(Odette.) Prince Rajami captured again

The beauty of the performance.

Prince! He's here again!

What news!

At a sign from Parker, two embassy employees place a basket of flowers at Odette’s feet.

Parker (to Odette, introducing the prince) His Highness Prince Rajami.

ODETTE. ...And I thought that princes only exist in fairy tales. What wonderful flowers.

My prince! Thank you for the flowers...

They are ambassadors of beauty for us.

How beautiful these roses are,

How fresh and artless

Simple-minded, like children,

It's like the god of art is wearing roses.

Who should an actress be?

So that, emerging from the shadows,

So that, stepping from behind the scenes,

Immediately become a flower on stage.

How, having calmed the soul's excitement

And having absorbed the silence of the hall,

Make it so that inspiration

Did it give birth to dreams in your souls?

It gave birth to dreams! In your souls!

But suddenly around

There are no backstage or scenes at all.

Flashed up suddenly

Crazy happiness light

And the whole hall in front of me -

He only listens to me.

He catches my every glance, every sound and syllable.

I am his priest, and his magician, and his god.

And for this power of mine

I give you my whole heart.

And as soon as Bayadera comes to bow to you,

Everyone in the room is in love with her.

The night over Paris is tender

Only one shines

Dark moon...

Daydreams and dreams

Tears and love.

When I'm on stage

My soul soars!

A familiar story awaits us all tomorrow -

The box office will dispassionately sell us a ticket.

Again I'm under the ramp, and again...

Dreams and dreams, tears and love.

Once again Bayadera sings to you, friends...

When I'm on stage My soul soars!

Reigns in our hearts. Only her.

Exclamations. Bravo! Bravo! Lovely! Fabulous!

SCENE 4.

PRIMPRINETTI (to the audience). And now, my friends, I ask everyone to go to the lower foyer. His Highness and I must hold important negotiations about the tour in Lagore. And don't be late for the start of the third act. (The audience leaves the foyer. Primprinetti approaches Odette, quietly.) I hope, dear, that the prince's charms...

ODETTE. Don't worry. I know how to behave with fans.

Parker takes Primprinetti away and, taking the order from his bag, attaches it to his chest.

Parker. Congratulations. You are now the honorary Blue Turtle of the kingdom. (Primrinetti takes him by the arm and leads him away.)

RAJAMI. ...Let me say that I admire you. The sound of your voice fills my soul like the water of the Ganges fills the reservoirs of the temple.

ODETTE. What a poetic comparison. Let me thank you in return for these beautiful roses.

RAJAMI. These are the roses of Jaipur. Lagore claims that a long time ago...

№ 5. MELODRAMA AND DUO.

RAJAMI. ...long ago, a hopelessly in love young man planted a bush of white roses and looked after it as his beloved... And the great power of his love was transferred to the roses. And when his beloved inhaled their aroma, her heart opened like a blooming rose. And since then, every loving young man in Jaipur has grown rose bush. We don't talk about our feelings. Roses speak for us.

ODETTE (inhaling the smell of flowers). I can smell them. He's wonderful. But I don’t hear their speech. Otherwise I would probably lose my head and become the most unhappy girl in Paris.

RAJAMI. You can become the happiest.

ODETTE. Really? What is needed for this?

RAJAMI. To fall in love.

ODETTE. Oh, how simple. To fall in love. But who?

RAJAMI. Someone who will be happy to give you his love...

"Lotus, lotus, love flower,

I love so passionately.

Will happiness come soon?

Give me the answer, I pray."

"Listen, my beloved traveler,

This prophetic motive.

Who wants to be loved

I heard it in sweet dreams more than once.

There are summer thunderstorms in it

And a bright hour of hope.

He sings to me: “believe and you will be loved.”

But not yet ripe for love,

Asks us to

Both believed

We both believed in our dreams.

Believes passionately -

The hour of love will find the heart.

ODETTE, RAJAMI.

No, not in vain

We believe in happiness.

Let your heart break

It's torn to pieces...

ODETTE (as if coming to his senses, with sad irony).

Odette quickly leaves. Colonel Parker appears.

RAJAMI (rushing after her). Odette!!

SCENE 5.

PARKER. Well, so far things are moving in the right direction. (Coming to the front of the stage.) Margaret! Did you hear? He's head over heels in love. Two or three more minor intrigues and they will get married. Why are you silent? Are you running out of jokes? How? Are you happy with me? (To the hall.) Go crazy! "I promote the love of two hearts"? Yes, my love, it is noble of me, but it deprives the prince of his right to the throne. Margo, stop cooing! This upsets my peace of mind.

Marietta and Napoleon appear.

MARIETTA. Where is the audience?

NAPOLEON. Well, why do we need a charming audience? (Kisses Marietta’s hand, then wrist, forearm, shoulder...).

PARKER. The audience is in the lower foyer. (Marietta.) And I guess that's where your husband and all his ground beetles are.

MARIETTA. My God! It completely slipped my mind. I'll take a moment. I'll follow it back. (Leaves.)

PARKER. Well, sir? How are you doing? Is there a scam going on?

NAPOLEON. It works, but, you know, it takes time.

PARKER. No, Mister Conqueror. I ask you not to linger. Fluff your tail. Finally, offer her something exotic. And remember: a great power does not like to wait.

Parker leaves.

NAPOLEON. "...something exotic." Well, what kind of exoticism can a Parisian in his prime surprise a Parisian woman who has been married for several years? Although... Why not? A very promising idea.

Marietta returns.

MARIETTA. She took a quick look around the foyer. No one is waving a net. Husband, hasn’t he returned to the theater yet?

NAPOLEON. Marietta, let's think sensibly. Well, why do we need a husband?

MARIETTA. There is absolutely no need. (Lighting a cigarette.) But there are some rules of decency...

NAPOLEON. Marietta, my soul. I remember that when I, observing all the rules of decency, traveled through Hindustan...

MARIETTA. Have you been to India?

NAPOLEON. With my own hand.

MARIETTA. My God! How I dream of traveling. So how is India?

NAPOLEON. A very exotic country. I studied the intimate life of tigers there.

MARIETTA. How romantic! Well, tell me some particularly intimate incident.

NAPOLEON. If you please. I was once sitting in a bistro on the outskirts of Lagore - as you enter India, immediately to the right and diagonally. The jungle is about twenty minutes by tram. I’m sitting, eating broth from a spectacled snake, and suddenly I hear some kind of intimate, gentle growl behind me. I turn around. A charming tigress sits at a table near the door...

MARIETTA. How? Do tigers in India come into bistros?

NAPOLEON. Tigresses – all of them. Absolutely promiscuous predators. So, this vulgar tigress sits. Foot to foot. And he smokes quite intimately in my face.

MARIETTA. Do tigers smoke in India??

NAPOLEON. Females - yes. Males there, as a rule, are non-smokers. They can be understood. Imagine that you, Mariette, kiss your tiger before going to bed. Or someone else's - it doesn't matter. And you blow the smoke of a Havana cigar into his nostrils.

MARIETTA (hurriedly putting out the cigarette). God, what terrible things you say. How I dream of visiting Lagore!!

NAPOLEON. Yes? Why were you silent?

MARIETTA. What would change if I shouted about it left and right?

NAPOLEON. To the right - nothing. And don’t say to the left... My angel! I officially invite you to travel around Lagore. Moreover, one great power I know will be able to finance us. A week or two won’t ruin her.

MARIETTA. Napoleosha!! How sweet you are, how resourceful you are, how intimate you are, finally. I'm absolutely happy!! Absolutely! Wait, what about Philip?

NAPOLEON. Who else is Philip?

MARIETTA. My husband. A week or two is, you know, not a walk through the Bois de Boulogne.

NAPOLEON. My angel, we have already discussed this. Well, tell me, thinking sensibly, why do we need a husband?

MARIETTA. There is absolutely no need. But...

NAPOLEON. What's exotic about it?

MARIETTA. Absolutely nothing. However...

NAPOLEON. What is intimate about it, finally?

MARIETTA. Well, you really are, Napoleosha. What can be intimate about a husband, thinking sensibly?

NAPOLEON. Finally! Well, tell him that you went to see your mother in Marseille. Or to dad in Lyon. Or get treatment for influenza in Nice. Who knows where a sane woman can leave her husband?

MARIETTA. Many.

№ 6. DUET.

MARIETTA.

What is the secret of smart ladies,

And dumb as hell?

Of course we need a husband

But not every day.

Yes, for a variety of needs

Need a husband, need a husband

But everyone who is not too lazy,

Picking fresh lilacs.

NAPOLEON.

If we can tolerate the duet

Previous years.

No urine -

Fresh lilac bouquet

And there was no sign of us.

MARIETTA.

It's not too late for us

They will rush off into the distance,

Where are my dreams fire

Promises warmth to the heart

And where joy will take away sadness.

NAPOLEON.

It's so easy

Catch up with a star.

In the brilliance of lunar mirages.

I'm flying into her arms,

And I'm waiting for the desired luck.

Believing, friend, in your dream,

In vows and flowers.

Know, in the bustle of love -

Twice happy you are.

A wonderful hour of tender meeting -

This time, this time.

And two, when - “Adju!”

Wave your hand and - into the rook.

MARIETTA.

Yes, when to tolerate a duet

Previous years.

Fresh lilac bouquet

And there was no sign of us.

NAPOLEON, MARIETTA.

At evening hour in the starlight

It's not too late for us

They will rush off into the distance,

Where are my dreams fire

Promises warmth to the heart

And where joy will take away sadness.

In the evening hour, in the twinkling moon

It's so easy

Catch up with a star.

In the brilliance of lunar mirages

I'm flying into her arms,

And I'm waiting for the desired luck.

After dancing on a repeat of the last stanza, Marietta and Napoleon leave.

SCENE 6

Rajami appears. Colonel Parker is moving towards him.

Parker. Your Highness, At the embassy everything is ready for the wedding ritual. Lagor demands your wedding today. I prepared a telegram asking to postpone the execution...

RAJAMI (in extreme excitement). So today... I'll lose her forever?!

Philip appears.

PHILIP. Rajik, have you finally decided when we are flying?

PARKER. No. His Highness is still thinking.

PHILIP. Well, as you know. In the end, everyone has their own paths. (To Parker.) Can I fly to Lagore on, say, tomorrow's flight?

PARKER (handing Philip a ticket). Here is your ticket, Mr. Member of the reigning house.

Marietta appears.

Marietta (seeing her husband). God! He's without pants again! (Rajami). I beg you, explain to your brother that appearing in public like this...

PHILIP (Marietta). Leave your brother alone. He is considering an important government decision.

RAJAMI. He's already thought about it. And he won’t take a single step away from him... And now everyone will know about him!!

Primprinetti appears.

PRIMPRINETTI. Monsieur and Madame. This is where the public comes. The signal is given for the start of the third act.

RAJAMI. There will be no third act, Mr. Director. I invite everyone who is present at the performance to a ball at the Lagore embassy.

Primprinentti. This is a great honor for us... But the audience wants to see the wedding, which ends the third act of my play.

RAJAMI. She will see the wedding. We will play it in the palace hall of the embassy! And I ask you to convey to your Parisian bayadère my most ardent desire to see her at this ball.

Primprinetti leaves with a bow. Rajami runs to the front stage in excitement.

№ 7. FINAL OF THE FIRST ACT.

RAJAMI .

My star!

Today you will rise, or never.

Renouncing fate, loving,

I will renounce myself too!

Risk your whole life? Yes, take a risk.

Love dictates this path.

Oh, help me today, my destiny,

Answer me yes

You smiled

When I proposed the idea of ​​a ball to the audience,

And let my move wait for a fiasco.

But I love it.

And I won’t take a step back.

Oh, Bayadera, my mysterious dream.

Oh, Bayadera, I am captivated by you.

A star in the darkness of the night,

Your image shines on me.

And I am forever intoxicated with the dream of happiness.

Oh, Bayadera, my mysterious light...

The audience enters the foyer.

MARIETTA. Gentlemen! Prince Rajami invites the entire audience to a ball at the Lagore embassy.

The prince invites the whole audience to the ball!

Oh, what news!

Who really expected

Such a great honor?

What does such a step conceal?

We don't really know.

But Paris is such a somersault

Will remember for a long time.

Napoleon appears.

MARIETTA (to Napoleon).

The prince invited the whole hall to the ball.

What can I say to this?

NAPOLEON (kneeling in front of Marietta).

I'll go to any ball.

If only with Marietta.

Napoleon falls to Marietta's hand in a long kiss. An indignant Philip approaches him.

PHILIP (melodeclamation). Sorry, monsieur, but...

NAPOLEON. I'm busy.

PHILIP. I'll wait. (End of melodic recitation).

RAJAMI. Yes, I invite you all to the ball.

PHILIP (to Napoleon). I waited.

RAJAMI. Please come to me... This whole hall.

PHILIP (to Napoleon). And I'm tired of waiting!

The Lagorsk wedding ritual will be shown to you.

I want all of Paris to recognize him.

PHILIP (To Napoleon, quietly). Don't bring out the Othello in me!

NAPOLEON (to Philip).

I do not advise, my friend, to interfere with someone who is busy with the body.

RAJAMI. I assure you all...

NAPOLEON (to Philip). And I’m just busy with the body.

What are you, I guarantee with my word, -

You can't go wrong, friends.

NAPOLEON (finishing the kiss without getting up, to Philip).

Did you want to say something?

PHILIP (to Napoleon).

Stay in this position for a week or two. *

That's all you need to know.

MARIETTA. (Rajami).

We all have the same answer.

Well, who will tell you the word “no”?

Parker steps forward.

PARKER (melodeclamation). Margaret, do you understand anything? Me too.

Bravo Prince! Paris doesn't remember

So that the whole hall

I was invited to the ball!!

RAJAMI (on the proscenium).

My first step was successful

My hopes are full of light

But what will Odette answer me?

Will she go to this ball?

Was it not for nothing that I called all of Paris?

But the heart believes more and more boldly -

Love is born in her too.

(Everyone.)

A special ball awaits you all,

Believe me.

Bala didn't know any better

Even Paris itself.

Don't forget this evening

To you until death

Drink a glass of champagne -

And your soul soars.

Hall of mirrors, and next to it an intimate grotto,

A mysterious bouquet of both wines and fashion,

Ballet maidens apotheosis,

The sparkle of eyes, the smell of roses,

Sweet call of love dreams -

Here's what awaits you.

Rajami leaves.

MARIETTA, GUESTS.

Well, if so, why are we delaying, go ahead!

MARIETTA.

This ball was given to us by heaven

Or are the devils joking?

Drink a glass of champagne -

And your soul soars...

NAPOLEON.

Demon or God – we can’t wait.

Believe me.

PHILIP, NAPOLEON.

Let him envy us all

Tomorrow all of Paris.

Hall of mirrors and next to it an intimate grotto,

A mysterious bouquet of both wines and fashion.

Ballet maidens apotheosis

The sparkle of eyes, the smell of roses.

Sweet call of love dreams -

This is what awaits us.

The audience leaves the foyer, passing by Parker, frozen with an inviting gesture. Rajami returns.

RAJAMI (melodeclamation). Where is she? I can't find a place for myself... (To Parker.) Colonel... Today I will propose marriage to Odette. If only she showed up at the ball.

PARKER. Has Your Highness decided to neglect the throne?

RAJAMI. Happiness with the woman you love or bickering with great powers... Which would you choose?

PARKER (in a deep bow). I am proud to be your contemporary, Your Highness? (Still straightening up, raising his head.) Margaret, do you hear? Half the job is done. (Standing still, he leaves. End of melodic recitation.)

Oh, Bayadera, my pain.

Say that your chosen one is me...

You hear the heart's gentle moan.

Forever intoxicated by you!

Answer me - “yes”!

Oh, Bayadera, my mysterious dream...

Lotus, lotus, love flower,

Give me, give me the answer.

ODETTE (behind the stage).

Wait and happiness will come,

Night, giving way to dawn.

May he give me the thirst to live

Hearts tender motive

ODETTE (behind the stage).

Who wants to be loved

He is patient in love."

These are not dreams.

Oh no! It's real!

This is the call of the beautiful rose!

Odette appears, without makeup, in a coat with a bouquet of roses in her hands. Rajami extends his hand to her.

The heart believes... And the soul is full of fire.

ODETTE, RAJAMI. The hour of making fabulous dreams come true.

The fiery call is understood by the hearts.

In secret doubts

In dreams, visions

Words melt.

And life is always right.

Primprinetti appears and, standing at the back of the stage, looks at Odette and Rajami with a sad smile.

ODETTE, RAJAMI.

No, not in vain

We believe in happiness.

Let your heart break

It's torn to pieces

Echoing the tunes of roses

In a chorus of heady dreams.

Odette and Rajami leave hand in hand. Primprinetti slowly follows them.

End of the first act

SECOND ACT.

Scene two

Palace hall of the embassy. Eastern interior. Lampions, incense burners, sofas... The audience from the Chatelet theater, Primprinetti, Marietta, Colonel Parker.

№ 8. Introduction and BALLET

Six bayaderas appear and begin a dance number.

BAYADERS.

Our caravan wanders slowly

The Indian Ocean is behind us.

Hindustan! Hindustan!

A sunny diamond among the southern countries.

The eternal talisman was given to us by heaven -

The young bayadera has a tender figure.

Tender figure, gentle figure -

Here is our eternal talisman.

Continuing the ballet, six Hindu youths join the bayaders.

EXCLUSIONS (after the number is completed). Charming! Exquisite! East!

The ballet leaves the stage.

PARKER. And now, gentlemen, in anticipation of the ritual of the Lagore wedding, I invite you to the banquet hall.

Leads guests away.

MARIETTA. Where did my Napoleosha go? On the way to the embassy, ​​I stopped by Mademoiselle Tricot to order a straw hat for Lagore. I arrive, rushing around all the halls... Where did he go?

Philip appears. He is in an immaculate dress suit without a net, but wearing a Panama hat.

PHILIP (taking a spectacular pose). Marietta. Here I am!

MARIETTA (after a pause, doomed). Philip, dear. Tell a secret to a woman who cares about you. What do you think about when you look in the mirror before leaving the house?

PHILIP. In front of the mirror, I thought that I could become the first European to describe the intimate life of tropinota.

MARIETTA. What tropinota?

PHILIP. Of course, furry. The rest are described. ...Is something wrong?

MARIETTA. You are wearing Panama, my precious one.

PHILIP. Yes? (Tearing off the Panama hat.) What horror!

MARIETTA. And how are you going to get acquainted with the intimate life of this monster?

PHILIP. This lovely insect is found only in Lagore. And I just... (catching himself)... I just persuaded Colonel Parker to catch me a couple of specimens. A man and a woman... Imagine, they will move into our bedroom, and we will be able to observe...

MARIETTA. Good God, he wants me to watch these furry creatures in my bedroom!? Philippe, your behavior will lead to the fact that I will have to go to Nice for treatment tomorrow. For two weeks. Tomorrow! And now... I need to be alone to come to my senses. I'm languishing. (Leaves.)

PHILIP (going the other way). To Nice! For two weeks. A very laudable intention.

Odette and Rajami appear.

№ 9. DUET.

ODETTE (melodeclamation.) I'm glad I accepted your invitation. But, to be honest, I don’t quite understand why you need this noisy, crowded evening.

Everything is for you.

Believe me, I was in such a hurry for this hour,

A leisurely hour of meeting,

An evening filled with you.

How often both night and day

My heart dreamed of him.

Into the desired happiness.

The heart believed

Flashed with genuine fire.

ODETTE (looking around). This hall, with its oriental decoration and mysterious light, for some reason reminds me of a theater, a stage... And you and I are characters conducting a dialogue in front of a silent audience.

RAJAMI. But theater is a game. And I want to talk about life.

ODETTE. Whose life?

RAJAMI. About ours. Because mine is in your hands.

When you are here, words are bold...

But if confessions don’t warm you up -

I am guilty of trusting words.

I believe... I want to believe you...

And not words - words are a mirage. To the eyes.

It sounds like a waltz. Rajami approaches Odette. Before they start dancing, they look at each other for a few moments...

ODETTE (dancing with the Rajas).

Waltz, magical waltz,

Calling the heart to forget about bad weather -

Alluring waltz.

Waltz calling us

Somewhere in the distance, to the land of bottomless happiness -

Heady waltz.

Waltz, spring waltz -

The rose blooms, and, leaving the heart,

The storm has passed.

Blue skies - the whole world has disappeared,

And only dreams in the rays of spring

Spinning in a waltz

Eyes to eyes.

The quiet ball floated away.

We and this room are left...

And the waltz that bewitched us.

Sounds breathe love

And they melt as if in a dream.

Hearts and hands intertwined

Whispering about happiness to me.

ODETTE. RAJAMI.

And the gentle scent of roses

It intoxicates us again and again.

Like reality and fiction

Twinkle in the sky

Hope and love.

Whirling in a waltz, Odette and Rajami leave the stage. Colonel Parker appears.

SCENE 9

PARKER. Well? What do you say, Margaret!? It would seem like a petty intrigue. And the end result is two cooing doves.

Primprinetti appears. He's tipsy.

PRIMPRINETTI (approaching Parker and looking at him for a few moments). Damn it, I think I took too much.

PARKER. It doesn't matter, Mr. Director. You are at a wedding.

PRIMPRINETTI. No, this is important, Colonel. When I drink an extra glass, my attitude towards a person changes to the opposite. And looking at you, I am convinced that there was an extra glass. I don't like you. Do you look, Mr. Colonel, as if you have started some petty, dirty intrigue?

PARKER (dry). Have you tried drinking less? It helps some.

Parker leaves. Napoleon appears with a large package in his hand.

PRIMPRINETTI. Bah! Chief clacky! (Looking at him.) Imagine, Monsieur Napoleon, your unpleasant face seems very attractive to me now. Let me hold your package, otherwise it’s hard for you.

Marietta appears.

MARIETTA. Napoleosha! Where did you go, I searched all the halls...

NAPOLEON. Charming. On the way to the embassy, ​​I stopped by my place. And so ... (Unfolding the package.) I present this trophy from India to you.

Spreads a tiger skin in front of Marietta.

MARIETTA. My God! What splendor! (Sniffs.) Why does it smell like fresh mothballs from a fur shop on Place Pigalle?

Primprinetti (winking at Napoleon). This fashionable mothball, madam, is used by all the tigers of Hindustan. (Napoleon gratefully shakes Primprinetti's hand.)

MARIETTA. My God! How I want to go to Hindustan. Have you already talked about the trip with your great power?

Colonel Parker appears.

NAPOLEON. I haven't had time yet. ABOUT! By the way, here is the power. Mister Colonel. (Brings Marietta to Parker.) Take a closer look at us. Well? You see?

PARKER. What should I see?

NAPOLEON. That we are not entirely happy, Mr. Colonel. Just a minute, Marietta... (Marietta steps aside.) I promised my client a trip to Lagore.

PARKER. Why is this still necessary?

NAPOLEON. To complete the scam there, away from my husband. I suppose that a two-week journey would not be too burdensome for a great power?

PARKER. ...I will convey your proposal to the great power. And now... (To everyone.) Gentlemen, the guests have been in the banquet hall for a long time. You don’t want to say, gentlemen, that you have no desire to taste oriental wines?

PRIMPRINETTI (staggering). We have a desire. We want. But we hardly can.

PARKER. Then please.

Having made an inviting gesture, Parker leaves. Primprinetti staggers after him.

NAPOLEON (Marietta). Do we have a desire?

MARIETTA. How could it be otherwise?

NAPOLEON. Do we want?

MARIETTA. Yes!

№ 10. DUET.

MARIETTA.

The world works in such a way that our desires have no number.

This is not praise for desires, but not blasphemy either.

This is our life to become.

NAPOLEON. We want... But the answer is a ban.

MARIETTA. We are waiting... The light is red again.

MASRIETTA, NAPOLEON. We ask... The answer is “no” again.

MARIETTA.

But don't stop anyone

Sing for a friend, drink with guests.

It is impossible for anyone to prohibit living beautifully.

Our world learned this a long time ago.

MARIETTA, NAPOLEON.

The flight of hearts will not be prohibited.

They want to take off - they are already flying.

They soar on the wings of love.

NAPOLEON.

Oh, how much we want, all at once and now,

Not agreeing to wait a day.

If only everything we long for would fall on us.

There would be no need to wish.

There is a deep ditch on the path to desires.

He will save us from sweet dreams.

MARIETTA. We want! But the answer is a ban.

NAPOLEON. We are waiting! Red light again.

MARIETTA, NAPOLEON. Please! The answer is again “no”.

NAPOLEON.

But don't stop anyone

Sing with a smile, drink with caution.

No one can be forbidden to live beautifully.

Our world learned this a long time ago.

MARIETTA, NAPOLEON.

The flight of hearts will not be prohibited.

They want to take off - they are already flying.

And there is no way back, no matter what you call them, -

They soar on the wings of love.

Marietta and Napoleon leave, passing Primprinetti as he enters. Philip appears on the other side.

SCENE No. 10

PHILIP. Mister Director. Have you met my wife?

PRIMPRINETTI. That's all I did. Your wife just now hobbled into the banquet hall with the handsome Napoleon. Moreover, Monsieur Napoleon managed to go to India and bring a tigress skin with a fashionable smell of mothballs as a gift to your wife. Here she is. Admire it.

PHILIP. What horror! She accepts expensive gifts from this ladies' man?!

PRIMPRINETTI. Moreover. Napoleon and your wife will soon leave for Lagore.

PHILIP. How!?!

PRIMPRINETTI. But without a net. (Looking into the curtains). Our lovebirds are returning. You can ask them for details.

PHILIP. Yes! I'll find out. Every single one! (He grabs the skin and lies down on the sofa, covering his head with the skin.)

Marietta and Napoleon return with glasses of champagne in their hands.

MARIETTA. Your stories about India literally hypnotize me.

NAPOLEON. Nothing surprising. While traveling around Hindustan, I took several lessons on hypnosis and reincarnation. This is the transmigration of souls.

MARIETTA. My God! And you can hypnotize me and move me?

Napoleon. Nothing is easier.

MARIETTA. So what are you waiting for?

Philip pokes his head out from under the skin.

NAPOLEON. If you please. Let's start by moving your soul, say, onto this couch. To begin with, together with the body.

Philip covers himself with the skin and moves to make room for Marietta. She lies down on the sofa next to Philip.

MARIETTA. Lay down.

NAPOLEON (making passes). You only hear the sound of my voice. Your front and hind limbs become cold.

MARIETTA. It's already cold.

NAPOLEON. Now sleep! Sleep! Sleep! Sleep!

MARIETTA (as if in a drowsiness). I fell asleep.

Napoleon takes Marietta's hand, kisses her wrist, forearm, shoulder... He lets go of his hand. The hand falls "lifelessly". Napoleon kisses Marietta on the lips. Marietta, as if half asleep, hugs Napoleon. Long kiss. Philip pokes his head out.

PRIMPRINETTI (Philip). I also want to go to Hindustan. What about you?

Napoleon breaks away from Marietta's lips and stands up.

MARIETTA (with closed eyes, stretching out his hands to Napoleon). Where are you going? I'm still sleeping.

Napoleon takes Marietta in his arms and, holding her in his arms, sits on Philippe.

PHILIP (still covered with the skin, he takes a sitting position). Be careful!!

MARIETTA (instantly “waking up” and retreating from the skin). My God! She's alive!!

PHILIP. She's dead. But I’m barely alive... And to behave in front of my barely alive wife...

MARIETTA. Philip, we were engaged in the transmigration of souls. Just...

PHILIP. Just... While I'm studying insects, you move this reptile closer to your soul.

PRIMPRINETTI (staggering). And to the body.

NAPOLEON (throwing out his chest to Philip). You will have to answer for the reptile according to the laws of honor!

PHILIP. What an honor it can be when you and someone else’s wife intend to go to Lagore!

NAPOLEON. And whose other wife does decent people go on pleasure trips with? With yours or what?

MARIETTA. Napoleosha! What are you saying?

PRIMPRINETTI. Madam. This cute girl speaks the honest truth. And I don’t approve of you either, Mr. Husband. Well, let the lady ventilate for a week or two.

PHILIP. ...But maybe you are right. (Marietta) Get some air

MARIETTA. How? Your wife is invited to Lagore, but are you calm?

PHILIP. Like a sphinx! When I don't have a net in my hands, I become merciless.

NAPOLEON. Marietta, you see what monster I am delivering you from.

MARIETTA. I see. And happy!

NAPOLEON. And I'm happy!

PHILIP. And I'm even happier!

PRIMPRINETTI. There are only lucky people around! This should be celebrated. (Leaves.)

№ 11. TERZETT

PHILIP (Marietta).

Would you like to join new marriage to bloom like a rose.

If so, goodbye, forgive me.

And bon voyage.

NAPOLEON (Marietta).

Now I see how your life was not easy.

Your ex-husband

I ate too many pears

And he fell out of the net.

PHILIP (To Napoleon.)

I give you my wife and bills for my hat and veil.

And how I don’t feel sorry for you -

For a mink shawl. (Hands over the bills to Napoleon.)

MARIETTA.

A ticket to new happiness.

New style, new color...

Why not?

However, why doubt?

Let's hide the souls of excitement,

Believing that happiness is our friend.

NAPOLEON (Philip).

Happy to stay here, and we are attracted by Lagor

(to the hall) There is a special flair in life,

If you go over the hill.

PHILIP (to Napoleon).

You don't know who will go where and why.

And my flair is

What are you doing

Take it for good.

NAPOLEON (to the hall).

This idiot, no matter how stupid he is, is still a scoundrel.

He cheated my wife

Easy and hassle-free.

MARIETTA.

Why should I rush to change my spouse?! I'll take a risk!

Maybe the heart will meet spring again!

New marriage is an unknown light,

A ticket to new happiness.

New style, new color.

Why not?

Still, a slight fear crept into my soul.

Will he be able to become obedient? new spouse?

MARIETTA, NAPOLEON, PHILIP.

However, why doubt?

Let's hide our souls of excitement...

Believing that happiness is our friend.

After the dance, Marietta and Napoleon go in one direction, Philip in the other.

SCENE No. 11

Colonel Parker quickly walks across the stage. Primprinetti appears with a filled glass in his hand.

PRIMPRINETTI. Colonel, where is everyone?

PARKER. Sorry, I'm busy right now. The wedding ritual is about to begin. (Wants to leave, stops with annoyance, looking into the distance.) Sorry, Margaret. Not a second of time. You see what's going on. (Leaves.)

PRIMPRINETTI (bending unnaturally, trying to see Parker’s interlocutor). One of the colonel and I got seriously screwed.

Backing away, Colonel Parker returns, pressed by Napoleon and Marietta.

MARIETTA. Sorry, we're talking about Lagore. I'm languishing.

NAPOLEON. Have you already received a great power response?

PARKER. Yes, I received it. (Looking into the distance again with annoyance) Margot, I'm busy. (Primrinetti, Marietta and Napoleon bend synchronously and try to see Parker’s interlocutor). What does "don't destroy the family" mean? I'm on duty, Margot. (to Napoleon). The great power's answer is negative.

MARIETTA. How negative? A power cannot be such a miser if it is great.

PARKER. ...Margot, I don't have time. (Marietta.) And I advise you, languishing, to think more carefully about your words.

MARIETTA. I'm not going to languish next to you for one extra second. (Leaves.)

PARKER (after) Languish wherever you want. But a great power has its own interests! And if she sends not you, but your husband to Lagore... Margaret, understand, I have no time.

NAPOLEON. Philippa? Well, you know, this is no longer an option. Your state has become completely insolent. Some get divorced using her money, others get married. I suspect that this whole ball was her idea. And at the same time skimp on a two-week trip... Outrageous. (Leaves, returns.) And don't forget about my fee. Our marriage is a done deal. (Leaves.)

PARKER (after). Don't worry, Mr. Seducer - your services are included in the estimate! ...Margaret, you distract me from government affairs, I am all about work. Not now! (Sound of a slap. Parker clutches his cheek.) And please, no hands!! (He leaves in anger, holding his cheek.)

PRIMPRINETTI (coming to the front of the stage and draining the glass in one gulp). After such news you instantly sober up. So this whole ball... And the prince... He doesn't like... Is he a pawn in the game of some great power? And we all play other people's roles here... (Into the wings.) Odette! Odette! (Runs away.)

Odette appears. Rajami comes out from the other side.

№ 12. DUET.

RAJAMI (melodeclamation). Odette... I must tell you the most important words of my life. And I beg you to believe them. I love you. You are my happiness, my life, my destiny.

These words... There is nothing to measure them.

Do I believe? Oh, how I want to believe!

RAJAMI. Trust me. Believe, my angel...

ODETTE. I believe you.

RAJAMI. A welcome moment!

ODETTE. A welcome moment!

Odette! What nectar am I drinking?

In what garden, in what paradise?

ODETTE. ... Yes, prince, I love you.. I love you.

RAJAMI (as if realizing for the first time, with delight).

"I love you!!"

Oh, a moment of happiness!

Happiness when the eyes reflect

Ardent hearted agreement.

ODETTE. ... Ardent hearted agreement.

RAJAMI. A moment of happiness, a dream victory...

There is only you in my heart!

And only for you I...

I believed, lovingly.

Not daring to believe...

I was waiting for you.

(Melodeclamation.), Odette... If today,.. exactly today, here, now we do not get married according to all the laws of my country, I will be made the ruler of Lagore. And we will lose each other forever. Don't ask me anything, Odette. Just trust me. Today, here, now...

ODETTE. I love... which means I believe... as only a loving heart can believe. And let everything be as you ask. Today, here, now.

Oh, Bayadera!

Breathing the fire of love,

My soul sings.

And you are forever my destiny!

Oh, my ancient fatherland,

Know that I am your son, as before.

Believe me, believe and give your heart

Happiness replaces hope.

May Ganga, a faithful friend of lovers,

Drives its own wave.

And the gong is the supreme sound

Fates will weave into one.

Know, my magical prince, -

I'm full of you.

Loving you and being loved -

This is my only lot.

ODETTE, RAJAMI.

Let fate take off

On a rainbow new day

He will believe in happiness, promising

SCENE No. 12

Colonel Parker enters. Behind him, at a respectful distance, are two Lagorsk dancers.

PARKER. Your Highness. Sorry, but it's time to get dressed for the wedding ritual.

RAJAMI. Yes, I'm coming. (Odette.) My love. I swear this will be our last separation. (Leaves.)

Primprinetti appears.

PARKER. Madam. I ask you to deign to participate in the ritual in national clothes. These dancers will help you dress up as a Lagore bayadera. Follow them, madam. (Leaves with a respectful bow)

PRIMPRINETTI. Odette!

ODETTE. My friend... I completely lost my head from happiness.

PRIMPRINETTI. Odette... Listen to me... I unwittingly overheard the conversation... An unworthy game is being played around you. This whole ball, all this love of the prince is not love, but a performance started for the sake of the political interests of some great power, which also pays for all this. Odette... We must leave the embassy immediately. Immediately.

ODETTE. ...Is the love of a prince a game?

PRIMPRINETTI. A game and nothing more.

ODETTE. So... he lied to me?

PRIMPRINETTI. Yes. That's right, Odette.

ODETTE (after a pause). No, we will not leave the embassy. The wedding will take place.

PRIMPRINETTI. Odette...

ODETTE. I know what I'm doing. (To the dancers.) Come on, I'm ready. (Primrinetti.) Don't worry. I know how to behave with fans. (He leaves after the dancers.)

№ 13. FINAL.

The hall is filled with guests. Among them are Marietta, Napoleon, Philip. At a sign from Colonel Parker, Lagore dancers and dancers appear.

We are promised a ritual

Unusual wedding.

What is he wearing, don’t show up to the ball,

We wouldn't even know.

Prince - of course he is the groom

Everyone knows this.

But by whom, by whom was it taken?

Who is his fiancee?

We are waiting for you, come maiden,

Your time is coming, -

Queen of beautiful roses,

Royal flower.

The one who was marked by the prince

Show us your tender gaze.

Let him be – young and eternal –

A symbol of love.

The priest of Sing Sing comes out solemnly. On either side of him are Rajami and Odette, whose face is hidden under an oriental cape. At a distance, in the back of the stage, is Colonel Parker.

Here she is.

And how folded! But who is she?

Wedding – a bright, festive path

Oh, holiday of love - be sunny!

To you, my bride,

I am devoted with all my soul.

Hearts forever together...

ODETTE. Love is forever with me.

Sing Sing, GUESTS (ABOUT Dette ) .

Open your face

Decorating the world with beauty.

Odette takes off her cape.

GUESTS. Darimont! Goddess of the stage!..

Sing Sing.

Oh, she whose face is so perfect.

Let us know. (With a gesture towards the prince.) Is he your chosen one?

To the roses of Hindustan

Always bringing back dreams.

Roses, dreams, The heart sings about love. No, not in vain The flight of love is eternal. No, not in vain We believe in happiness. Let your heart break It's torn to pieces... And the moment of happiness will come. And love will find us!

Roses of Hindustan... The heart sings about love, Like composing an ode to love. The heart sings about love. No, it’s not in vain We believe in happiness. Let your heart break It's torn to pieces... And the moment of happiness will come. And love will find us!

PARKER. GUESTS. Roses of Hindustan... The heart sings about love, sings about love. Roses, dreams, Tears of happiness... The heart sings about love. No, not in vain believed in happiness. And the moment of happiness will come. And love will find us!

SING SING.

Give her your hand, groom.

(Rajami extends his hand to Odette, who takes it in hers.)

(To the dancers.) Tie them with a scarlet ribbon.

The groom gave his hand to the bride.

The ribbon of happiness will tie their hands...

SING SING (Odette).

Final. And its essence is simple.

Press your lips to your lips for a moment.

CHORUS (Odette).

The last moment of the wedding.

Press his lips to your lips.

My angel, what's wrong with you?

This request is so simple.

ODETTE (tearing the ribbon, he takes a step away from the prince).

And the play is a lie. And the role is empty.

(Rajami.)

You asked me to play along with you -

I didn't dare refuse.

I dressed for you

I'm someone else's outfit.

She played, sang and managed

Make your wedding ceremony worthy.

RAJAMI. Odette!

Your whole plan, my king,

I did it.

But really, I like the roles

A little more honest than this role is mine.

RAJAMI. Odette!!

What is the finale in the magnificent hall of the palace?

There are no roses, no love, no crown in it.

RAJAMI (Odette).

Vows of love... hearts of delight and pain...

Is this all your role text?

My friend. playing with love is my destiny.

Let me remind you, my prince, I am an actress.

RAJAMI. The sparkle of the eyes, the trembling of the lips - a complete calculation?

ODETTE. Role and experience, everything that attracts you.

RAJAMI. Full of tender gaze of love...

ODETTE. This trick is in the blood of all actresses.

RAJIMI. And there are no dreams or tears in the soul, well, at least at the bottom?

ODETTE. These roles work well for me.

RAJAMI. You let out a fake groan...

ODETTE. And you go out to bow.

Your talent can cause a fire in the heart of an amorous person.

Acting is your great gift.

And may the flower on the stage not last forever.

Each performance is completed on time.

RAJAMI. The night over Paris is dark...

ODETTE. There is only one languid moon in the sky...

But tomorrow a familiar story awaits you -

The box office will dispassionately sell you a ticket.

Selling for pennies again

And the flight of love, and the dream of the soul.

Odette, accompanied by Primprinetti, quickly leaves. Colonel Parker moves towards the front of the stage.

PARKER (in prostration).What's going on, Margot?!

What exactly are you unhappy with, Colonel?

The ritual of the Lagore wedding is now recognized by Paris.

Wine, courage, fun - and your soul soars!

Feel free to pour champagne into your glass!

And let this ball intoxicate us!

Eastern maidens apotheosis,

The sparkle of eyes, the smell of roses,

Sweet call of love dreams -

Here it is, our ball.

ALL (in a frantic dance).

Eastern maidens apotheosis

The sparkle of eyes, the smell of roses,

Sweet call of love dreams -

Here it is, our ball.

So pour champagne into a glass

Wine, fun - this is our ball!!

The sideshow curtain comes down. End of the second picture.

Picture three.

№ 14. MELODRAMA

Before the sideshow curtain Primprinetti.

PRIMPRINETTI (putting on a company employee’s jacket into the hall).

This is what we have come to, Mr. Theater Director. (Button by button buttons the jacket.) Goodbye stage, goodbye art! Odette Darimont, my prima donna, after this ill-fated ball does not leave the house, does not answer calls. There have been no performances for two weeks now. My bills are expiring. I called the embassy, ​​but the prince did not deign to come down for a conversation. They say he should finally fly to Lagore today. Colonel Parker is nowhere at all. They say he should return to Paris today. (Putting on a branded cap with a visor.) Everything around is vague, unsteady, nothing eternal. Except, perhaps, the eternal lack of money and happiness. Only with me everything is clear. (Glues on a mustache and introduces himself.) Bartender at Paris airport. I direct cocktails. Boredom makes my cheekbones and ends meet. I walk around with a mustache so as not to be recognized - it’s a shame. This is what we have come to, Mr. Theater Director.

The sideshow curtain rises. Bar at Paris airport. Staircase leading to the gallery. Behind it you can see the lights of signal masts and planes on the starting tracks. Primprinetti is behind the bar.

PRIMPRINETTI. Prince Rajami is supposed to fly on this flight.

Napoleon appears. In his hands are countless shopping bags.

PRIMPRINETTI. Have a seat. How can I serve you?

NAPOLEON. Give me something stronger, Mr. mustachioed director...

PRIMPRINETTI. I found out, you bastard. (To Napoleon.) I can suggest the latest New York recipes - "Gold Rush", "Bachelor's Dreams" ... This is no longer for you. ABOUT!! "Knife to the Throat" I highly recommend it.

NAPOLEON. Let's "Knife". I heard that Colonel Parker is returning to Paris today. This scoundrel owes a small debt.

Primprinetti hands him a filled glass. He drinks in one gulp.

PRIMPRINETTI. Well, how's "The Knife"?

NAPOLEON. In the throat. Repeat.

PRIMPRINETTI. Moment. And what is this horde of boxes and bags you have, Mr. Chief Clucky?

NAPOLEON. No performances, no clacking. And no profits. Just expenses. I'm exhausted, Mr. Director.

PRIMPRINETTI (Giving him a glass). So, your marriage with the charming Marietta turned out to be... not so happy?

NAPOLEON (having drained the glass). Yes, really... There is no complete happiness. (Looks at his watch.) All. Ordered to meet my wife. She decided to accompany the prince in order to beg him for a trip to Lagore. One hope is that the prince will offer her one ticket, not two. And, preferably, one way. (Leaves.)

PRIMPRINETTI (to the hall). There is no complete happiness. ...Sorry! How about paying, Mr. Pshik!? Nah... (Into the hall). It has long been noticed that if a person there is no complete happiness, he believes that it is not necessary to pay. (Marietta appears.) ABOUT! Mrs Marietta. And your new husband has just gone to meet you.

MARIETTA (clasping hands). My God! This reptile always gets everything mixed up. He's so clueless! How did you tolerate it?

PRIMPRINETTI. I? Yes, I couldn’t stomach him.

MARIETTA. Here! I won’t complain to anyone – all in one word! And tomorrow is our official wedding at the city hall.

MARIETTA. From Lagore... How is my Filya? (Dreamily.) I suppose I caught some furry ones... Here was my husband. I remember it like it was yesterday.

PRIMPRINETTI. Therefore, your new marriage... uh... in the sense of complete happiness...

MARIETTA. Complete - no!

PRIMPRINETTI. By the way, your new spouse drank two servings of cocktails and, in pursuit of complete happiness, did not pay for it.

MARIETTA. So find him and tell me what I think about him. No, better bring him here. I'll do it myself.

PRIMPRINETTI. With pleasure. In the meantime, stay at the bar. Now the passengers will fall down. I'll be there in a jiffy. (Leaves.)

Several arriving passengers descend the stairs. The last of them is Philip. He is wearing the same short breeches and a Panama hat. In one hand he holds a travel bag, in the other a net. All this is bright tiger in color.

PHILIP (stopping near the bar). Something to drink. And stronger.

MARIETTA. Filya! He's back!

PHILIP. Marietta... Are you here?!

MARIETTA. How exotic you are, Filya!! Well, completely!

PHILIP. You... came to meet me?!

MARIETTA. And who else, Filippun. Well, how?.. Did you manage to catch it?

PHILIP. Whom?

MARIETTA. Well, these furry ones!

PHILIP. It was a success. Moreover, two! A blonde and a blue-black young man. Trust my instinct - there will be offspring.

MARIETTA. What happiness!! But I missed you, Philip.

PHILIP. Marietta! But I missed you too. In fact, there is nothing to do in Lagore except ground beetles. You run around the jungle with a net all day. You arrive at the hotel, barely dragging your feet, and have nowhere to go. Frankly, the shimmy alone saved me.

MARIETTA. Shimmy?

PHILIP. Shimmy is a chimpanese dance. They say he was born in Las Vegas, but gets to Europe by a roundabout route, through Hindustan. Las Vegas, Lagore, Zhmerinka, and only then Paris... I was attracted to this chimpanese by one little path. By the way, not too shaggy, even rather bald.

MARIETTA. Interesting. Well, you chimp shimmy with this bald one, and what do you think?

PHILIP. I think, how is my fluffy-haired Marietta chic there in Paris with her de Zhik?

MARIETTA. Filya! Well, what does de Pszyk have to do with it? Realize! You and I can be the first to dance the shimmy right away in Paris. Overtaking Zhmerinka! I'm languishing.

PHILIP. Great idea!

№15. DUET.

Get ready, ladies and gentlemen, -

We invite all of Paris to the premiere.

And, wanting to amuse the white world,

Introducing our dance duet.

MARIETTA.

Shimmy is a new dance for sure here.

For Paris, he is still a foreigner.

Defiantly decent and a little wild.

But believe me, everyone will talk about him:

Shimmy is the kindest dance

One step back.

MARIETTA.

A gentle soul is ready to love,

Old treasure.

Shimmy is the dance of return

Dance of reconciliation and forgiveness.

In honor of love.

MARIETTA.

Lightly sprinkle the head with ashes.

What a c'est la vie.

You can object to us, but you shouldn’t.

The shimmy dance will forgive us, it will arrange everything.

He will teach everyone what to sing to which friend,

And it will make you wiser out of fear.

You can learn to become smarter foolishly.

Try to climb into this skin yourself.

And, after walking for two weeks without a rudder and without sails,

MARIETTA, PHILIP.

Shimmy is the kindest dance

A messenger to a lost heart.

Shimmy dance of those who could do it

One step back.

A small step back, and again

The wise soul is ready to love,

Having found within myself again - how new it is -

Old treasure.

MARIETTA.

Shimmy is the dance of return

Dance of reconciliation and forgiveness

Where is your every gesture, will merge with singing

In honor of love.

MARIETTA. PHILIP.

A quarrel has brought love to ashes,

Lightly sprinkle the head with ashes.

You look, and love has grown stronger again.

What a c'est la vie.

They leave after dancing. Primprinetti returns with Napoleon.

SCENE No. 15

PRIMPRINETTI. Damn it, where is your wife?

NAPOLEON. This worries me less than the arrival of the plane from Lagore. Colonel Parker was not there. Great-power swindler!

PRIMPRINETTI. Mr. Chief Claki, enlighten me. Well, why did the great power need all this ball? For what?

NAPOLEON. Why did you decide that this was an invention of a great power?

PRIMPRINETTI. So these are your words.

NAPOLEON. My words?! And you better believe me. I spoke speculatively.

PRIMPRINETTI. Your innocent assumption, Mr. de Pshick, has led to the fact that my prima donna has not been able to come to her senses for two weeks now... Excuse me... So that means the prince has nothing to do with it at all.

NAPOLEON. I didn't say a word about the prince.

PRIMPRINETTI. Knife to the throat! We must immediately inform Odette about this. That's it. I'll go and try to get through to her, and you will replace me at the counter...

NAPOLEON. I assume that everyone will immediately understand that I am not you.

PRIMPRINETTI. Your assumptions are already quite enough. (He takes off his jacket and hat.) Here, put it on. (He wants to leave, lingers, peels off his mustache, hands it to Napoleon.) Sculpt. I'll be there in a jiffy.

NAPOLEON. Without a mustache?

PRIMPRINETTI. Don't worry. Theater directors are thrifty people. (Takes a new mustache out of his pocket, much more magnificent than the previous one, sticks it on, leaves.)

NAPOLEON. Yes. Theater is magic! (He gets into his jacket, puts on a hat, and puts on a mustache.)

Marietta and Philip return.

MARIETTE. Filya, dear, let's have a cocktail. Do you mind?

PHILIP (to the bartender). Two cocktails. Be gentle.

NAPOLEON. Which one do you prefer?

PHILIP. Well, let's say "Kiss of Love".

MARIETTA. Now your brother prince should appear here. I deliberately detained you at the airport so that you could say goodbye to him. And then we will return to our nest... and I will listen with pleasure to the stories about the intimate life of the Lagorsk Torpinots. I'm languishing.

NAPOLEON (holding out two cocktails). Here are your kisses.

PHILIP. By the way, about insects. How did you pass the time here with this de Pszyk?

MARIETTA. Philip, dear. What have I not experienced with this reptile! This is some kind of slow-thinking alligator. I tell him: “Aligator, don’t you see that I’m languishing? Well, sit down, concentrate, finally come up with some kind of gunpowder.”

Both drink cocktails and, choking and clearing their throats, jump up.

PHILIP. Reptile!

NAPOLEON. Yes, that's her. And she is not so slow in thinking that she would not immediately return your ever-languishing wife to you.

MARIETTA. How? Are you letting me go? Insolent! Let's go, Philippunch. Give me the net. I will carry it as the most precious thing in our family. (Taking the net, she leaves. Philip, grabbing the bag, follows her.)

NAPOLEON. No, wait, Mr. Insect. In addition to your wife, I am returning to you eleven checks for this entire collection. (hangs a bunch of boxes and bags on Napoleon’s shoulder). And this will be especially dear to you. Your favorite mink shawl check. The same one!

PHILIP. Miser! (Leaves).

NAPOLEON. Freedom... Freedom! Freedom!! (He jumps up bravely, inserts a flower into the buttonhole of his coat, ruffles his hair, does a mind-blowing somersault and skips off).

№ 16. MELODRAMA.

RajAmi (going down the stairs). That's it. In half an hour I will board the plane and leave Paris forever. I'll leave my dream, my heart. Where is she? What's wrong with her? Will we never meet again? I can't come to terms with this!

"Lotus, lotus, love flower,

I love so passionately.

Will happiness come soon?

Give me the answer, I pray."

Oh, Bayadera, my mysterious dream.

Oh, Bayadera, I am captivated by you.

A star in the darkness of the night

Your image shines on me.

And I am forever intoxicated with the dream of happiness.

Oh, Bayadera, my mysterious light.

Oh, Bayadera, hearts eternal dawn.

Breathing the fire of love,

Your soul sings.

And without you I have no happiness. ( U walks.)

Primprinetti appears.

PRIMPRINETTI. It's all in vain. She doesn't answer calls. Where is this damn clack? Hanging around the airport, leaving the bar unattended. Disgusting talker! You see, he assumed! He assumes. Odette doesn't answer calls. The stage is empty. And the term of my bills is skipping towards my death. Scoundrel!

Passengers arriving from Moscow descend the stairs and, upon seeing the bar, immediately line up in front of it.

What's happened? What is this? Is this money? Open your eyes. These are rubles. Take it. Take it and remember it. Dollars, pounds, francs, marks, lire. What? Smoking area? Right and down. (The queue, huddled in a crowd, jostling and quarreling, moves to the right.) Admission is paid. (The crowd stops.) To the left and up - there's a freebie there. (The crowd immediately turns around, jostling and quarreling, moves to the left and disappears.) Here are cheerful people! Wait, what is this? Mustache! He left his mustache, he's a scoundrel, but he pocketed his jacket and hat, he's a swindler... If I find him, I'll cut off his ears, he's a rascal! (Leaves.)

Parker appears at the top of the stairs.

PARKER (slowly descending, sadly). Well, what do you say, Margaret? Please, Margot, don’t start with a fight. You see another person in front of you. I just came from Moscow. Here, the questions begin. What was I doing there? Well, let's put it this way. I consulted there. What kind of idle curiosity is this, Margot? I advised GePeU there. Yes, that's the same. No, I'm not kidding, Margot. In Moscow they could not find the kingdom of Lagore on the map. And I found him for them in about half an hour. Why do they need Lagor? You see, the runaway Maharajah was so fed up with his beloved emigrant that by the end of the third day of their happy life, he telegraphed this very GPU with a cry to take this bitch away from him. His cry was immediately satisfied. Already yesterday at three o'clock in the afternoon the princess had the honor of having dinner at Lubyanka. And from this morning, the happy monarch, returned to his wives, rules Lagore. And he has already managed to very successfully change the name. Whose? Countries. Now Lagore is called the Kingdom of People's Democracy. For which I was immediately dismissed without the right to a pension and all other petty intrigues. Russian emigrant? Don't worry, this bitch is fine. I was assured that the hereditary estate would be returned to the princess. I forgot what it's called. Oh, I remembered! "Northern Magadan".

Primprinetti returns. He is wearing a branded jacket and hat.

PRIMPRINETTI. Mister Colonel! Finally! By the way, Monsieur Napoleon de Pshick has been looking for you for two weeks now. He dreams of telling you everything he thinks.

PARKER. Is Monsieur de Pchic thinking about marrying Mademoiselle Mariette?

PRIMPRINETTI. Don't think. Half an hour ago he had great happiness. He handed over Mademoiselle Mariette to her former husband. Entirely. According to the description.

PARKER. Margo! Margaret! ...You see how well everything is going. And now, my heart, I ask you not to take your eyes off me and listen carefully. Mr. Director, a great power, recognizing your great contribution to theatrical art, has decided to give you a gift.

PRIMPRINETTI. To me?!?

PARKER. And there is no one else. As a token of gratitude, she presents you with these papers. (Hands over a pile of papers)

PRIMERTIME. Holy Madonna. These are my bills! They're paid!!

PARKER. Moreover, every single one of them, Mr. Director. (Primrinetti, with trembling hands, counts the bills.) Do you understand everything, Margot? Very nice to hear. I'm melting, Margot. I'm turning red. Margo, well, coo some more... Well, two or three phrases. Yes, Margot, you're right. The voice of a beloved woman who has not forgotten you - it is, perhaps, the only eternal value of our life. I'm flying to you, my happiness. Will you accept me? What flight? I don't know, and I don't want to know. I am flying to you on the wings of love!

Parker quickly leaves.

PRIMPRINETTI (listening carefully to the conversation, dreamily). What a woman!.. (Bending unnaturally to see Parker's interlocutor). Margaret... (To the hall.) Silent. (Curving.) I trust you very much, Margaret, and, despite the fact that we don’t know each other closely... Margore... (To the hall.) Silent. (Curving.)...I’ll still risk asking you for a favor. Tell me, Margot, how can I get to Odette and reconcile her with the prince before he flies away. Margo-oh...

Odette appears.

PRIMPRINETTI. Odette!! Thank you, Margot. (Tears off his mustache.) Odette, are you here...

ODETTE. I couldn’t control my heart and came to see for the last time someone I could never forget.

PRIMRINETTI. Odette, darling, listen... The Prince loves you. He convened this ball for you, for you alone, at the call of his love. And no powers are able to cope with it. It's my fault. I believed one unscrupulous talker and decided to save you from humiliation. And saved me from happiness.

ODETTE. So he didn't lie to me?

PRIMPRINETTI. No, Odette. He loves you madly.

Loud noise of a plane taking off.

ODETTE. Is this his flight?

PRIMPRINETTI. Yes. His.

№ 17. FINAL MELODRAMA.

ODETTE. That's all over.

Odette leans her head on Primprinetti's shoulder. He hugs her and they stand like that for a while.

Prince Rajami appears in the gallery.

Primprinetti (facing the prince). Odette... Odette! He's here, Odette. He didn't fly away...

Odette turns around. He rushes to the prince and stops. The prince rushes towards her and stops. They are slowly coming together. Philip and Marietta run in and, seeing Odette and the prince, freeze in indecision. Napoleon appears... Passengers arriving from Russia return and stop in confusion. Parker appears in the gallery. Freeze frame. Rajami and Odette rush to each other and freeze in their arms.

RAJAMI (completing the musical phrase of the melodrama).

Oh, bayadera, you are mine!

Fragments from the operetta “Bayadera”

The plot is based on a touching love story between the actress Odette and the rich prince Rajami. IN new production the characters are presented from a different perspective: the prince turned into a fashionable composer, and the Indian princess Lakshmi became a completely emancipated woman.

"Bayadera" at the Operetta Theater

Golden classic musical genre- “Bayadera” returned to the stage of the Moscow Operetta Theater. For the third year in a row, Imre Kalman's work has been sold out to full houses. The performance takes the viewer into a fairy tale with an oriental flavor about a touching love story with an inevitable happy ending.

History of the production

The operetta “Bayadera” was first staged in Moscow back in 1923, two years after the world premiere in Vienna. Director Grigory Yaron called the performance “La Bayadère”, by analogy with the popular ballet by Ludwig Minkus.

The 2016 version is not a reconstruction, but an innovative interpretation of a famous work. The stage director of the play is Honored Artist of the Russian Federation Inara Guliyeva. Moscow audiences are well acquainted with her work through such musical performances, as: “Silva”, “Woman and Men”, “Countess Maritza”, “Mr.

The poet Evgeny Muravyov revised Alfred Grunwald's libretto and wrote a new Russian text. Musical director performance and the main conductor was Konstantin Khvatynets.

Eastern fairy tale

The plot is based on a touching love story between the actress Odette and the rich prince Rajami. In the new production, the characters are presented from a different perspective: the prince turned into a fashionable composer, and the Indian princess Lakshmi became a completely emancipated woman.

The play contains new words: business, crisis, project, and Indian rupees have been renamed Russian rubles. Individual dance numbers and the final cancan with elements of acrobatics amaze with their eccentricity.

Exotic surroundings

A professional theater team worked on the stage design of the operetta “Bayadera”.

The choreography of Honored Artist of Russia Irina Korneeva captivates the viewer with a combination of Indian, pop and classical techniques dance. Theater visitors can get acquainted with the brilliant work of the choreographer in the musicals “Jane Eyre” and “Monte Cristo”.

Colorful decorations with Indian ornaments and European chic, exotic costumes are the result of the work of Tatyana Tulubieva and Igor Nezhny.

Alexander Sivaev is responsible for stage lighting and colorful effects.

Performers

The 2019 production of La Bayadere features the theater's best soloists: Elena Zaitseva, Olga Kozlova, Yulia Goncharova, Olga Belokhvostova and Svetlana Krinitskaya. The role of the prince is played by Leonid Bakhtalin and Pavel Ivanov.

How to buy tickets for Bayadera

Save your time: buy tickets for La Bayadera from our agency. We will do everything to ensure that visiting the performance gives you only positive emotions:

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Don't miss the vibrant performance, which guarantees you only positive emotions and a great evening in the company of friends. Immerse yourself in the enchanting melodies of La Bayadere, created by the talent of the great Imre Kalman and enjoy the magnificent performances of the actors.

Die Bajadere, from fr. bayadére"Indian dancer", bayadère) is an operetta in three acts by the Hungarian composer Imre Kalman. The libretto was written by J. Brammer and A. Grunwald. Their fruitful collaboration with Kalman began with this operetta; together they published 5 operettas. The operetta premiered at the Vienna Karltheater on December 13, 1921. The operetta was a great success and went around many musical theaters peace.

In the USSR, La Bayadere was first staged in March 1923 by the Moscow Operetta Theater, under the title La Bayadère" The Russian version of the libretto, which is widespread these days, was written by R. I. Tikhomirov and S. B. Fogelson.

The music of the operetta combines oriental motifs with modern ones dance tunes(foxtrot, two-step, shimmy, waltz-Boston, jazz). The Hungarian melody, characteristic of Kalman's earlier operettas, is almost invisible.

Main characters

Character	Original name	Voice
Rajami, Prince of Lahore	Prince Radjami von Lahore	lyric tenor
Odette Darimond, operetta actress	Odette Darimonde	soprano
Louis-Philippe la Tourette, chocolate manufacturer	Louis-Philipp La Tourette	baritone or bass
Marietta, his wife	Marietta	soprano
Napoleon Saint-Cloche	Napoleon St. Cloche	tenor
Count Arman	Count Armand	tenor
Colonel Parker, English Resident at Lahore	Oberst Parker	tenor or baritone
Deva Singh	Dewa Singh	tenor or baritone
Pimprinetti, theater director	Pimprinette

Plot

The operetta is based on the love story of the eastern prince Rajami and the diva of the Parisian variety show Odette Darimond. First action. Theater foyer. Pimprinetti listens to the applause coming from auditorium and testifying to the success of the first act of the revue. With a cheerful chorus in the oriental spirit, “Everything so far tells us - the first act is wonderful,” the audience appears in the foyer. Among the crowd are La Tourette and his wife, Umphir and Saint-Cloche. The latter takes care of Marietta, but she loves her husband and does not give the slightest hope to her admirer. Their duet “Dear Friend” is flirty, turning into a smooth waltz. Rajami enters, who is secretly in love with Odette and does not miss a single one of her performances. His words “She sings, the heart lives with hope” are intertwined with the words of the virtuoso “oriental” romance performed by Odette “Oh, come and call, become my destiny” and the chorus’s replicas “Do you hear a love song.”

Napoleon persuades Marietta, while her husband refreshes himself at the buffet, to go with him to the cafe. Their second duet sounds - “You have been in Paris since childhood.” Rajami asks Pimprinetti to find an opportunity to tactfully introduce him to Odette. This is very difficult, since the actress is modest, reserved, and not at all like other stars. Pimprinetti ensures that Odette comes out to the public during intermission (“You all, I confess, are so kind to me!”). Among the fans who surrounded her was Rajami. The duet between Rajami and Odette “Lotus is my morning flower” sounds, in which the melody of Odette’s romance turns into a melodious waltz.

Act finale. Rajami, in order to prolong the happiness of being close to his beloved, invites everyone present - both the troupe of actors and the public - to a reception at the embassy. The action ends with a large ensemble and choir.

Second action. Hall in the embassy mansion. A cheerful choir sounds, the bayaderes dance languidly. Philippe La Tourette negotiates with Umphir about a trip to his country to sell chocolate. To the upset Marietta, Pimprinetti explains that this is necessary to “test” feelings. Napoleon will remain with her, who will fulfill her every desire. The duet of Marietta and Napoleon “You don’t have to leave Paris anywhere” is flirtatious and elegant.

Rajami proposes to Odette. Their duet “My friend, peace be with you” is full of happiness, as is the next one - “The heart skips a beat.” But when Rajami leaves to make the necessary arrangements related to their engagement, Umphir tells Odette that this marriage will destroy his master. According to the laws of their homeland, Rajami can only marry the daughter of his people, otherwise he will lose everything, his name will be covered in shame, and his homeland will be lost to him. And Odette decides to make a huge sacrifice: after the solemn announcement of the engagement and noisy congratulations (the ensemble finale of the act), the actress announces that all this was just a performance, a role that she played to amuse the guests. Rajami's final words sound with bitter sarcasm and exaggerated amusement - “Oh, Paris, Paris, a cheerful town!”

Third action. A bar at one of the Parisian train stations. Pimprinetti is about to leave, since after a memorable engagement Odette left the stage, the revue broke up, and the impresario went bankrupt. Philip has returned from his colonial trip and is looking forward to meeting his wife. Marietta, who has long dreamed of an artistic career, persuades Pimprinetti to do a revue with her. Seeing her husband, she forgets about everything and joyfully rushes to him. Duet of Marietta and Philip “If you want to be modern” - in a shimmy rhythm.

Rajami leaves France forever. His heart broke here and he never wants to come back here again. But today is like a mockery of fate! - he received permission to marry a foreigner! Hearing about this, Marietta quickly runs away and soon returns with Odette, who reveals the reason for her behavior at the engagement party. The lovers are happy. Rajami and Philip promise to help Pimprinetti. The operetta ends with the tender duet of Rajami and Odette “Roses of the East”, which is taken up by Pimprinetti, Saint-Cloche, Philippe and Marietta.

Musical numbers

In German original

• Ouverture

• Chorus, Ensemble
• Sterne der Buhne, sie strahlen so schön (Odette)
• Lotosblume, ich liebe dich (Zaza, Chorus)
• Wenn die Sterne am Himmel leuchten (Marietta, Napoleon)
• O Bajadere, wie dein Bild mich berauscht (Radjami)
• Rosen aus Djeipur (Odette, Radjami)
• Ensemble, Melodrama
• Lotosblume Duett (Odette, Radjami)

• Entr"acte
• Tanze
• Du, Du, Du, nur Du (Odette, Radjami)
• Waltz (Odette, Radjami)
• Die kleine Bar dort am Boulevard (Marietta, Napoleon)
• Schatzi, ich möchte einen Zobel (Marietta, Napoleon, Louis-Philipp)
• Deine dunklen Augen strahlen durch die Nacht (Odette, Radjami)
• Finale II Akt

• Entr"acte
• Aria (Radjami)
• Shimmy tanzen: Fräulein, bitte, woll"n sie (Marietta, Louis-Philipp)
• Aria (Napoleon)
• Finale

In Russian translation

• Introduction
• 1st duet of Marietta and Napoleon
• Music scene (Rajami)
• Ensemble and song (Odette, Rajami, choir)
• The ensemble and Odette's appearance
• 1st duet of Odette and Rajami
• 2nd duet of Marietta and Napoleon
• Act I finale

• Intermission
• Marietta's dance and foxtrot with choir
• Marietta's Song
• 2nd duet of Odette and Rajami
• 3rd duet of Marietta and Napoleon
• Trio of Marietta, Napoleon and Louis-Philippe
• 3rd duet of Odette and Rajami
• Act II finale

• Intermission
• Introduction, melodrama (Marietta, Napoleon)
• Duet of Marietta and Louis-Philippe (shimmy)
• Musical scene (Rajami), lotus aria
• Song of Napoleon
• Trio of Marietta, Napoleon and Louis-Philippe (repeat)
• Rajami's song and ending

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Literature

• Vladimirskaya A. R.. - L.: Art, 1975. - 136 p.
• Kalman Vera. Do you remember? The Life of Imre Kalman. Ed. "Educational book", 2002, 336 p. ISBN 5-05-005406-0.
• Yuri Nagibin. In the book: Musicians. M.: Sovremennik, 1986. - “New items from Sovremennik.”
• Yaron G. M. M.: Art, 1960.

Links

• // Nezavisimaya Gazeta, April 23, 2007.

Early period (1908-1914) Creative flourishing (1915-1927) Late period (1928-1954)

An excerpt characterizing Bayadere (operetta)

“If you, dear sir,” he spoke shrilly with a slight trembling of his lower jaw, “want to be a jester, then I cannot prevent you from doing so; but I declare to you that if you dare to make fun of yourself in my presence another time, I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this outburst that they silently looked at Bolkonsky with their eyes open.
“Well, I just congratulated,” said Zherkov.
– I’m not joking with you, please remain silent! - Bolkonsky shouted and, taking Nesvitsky by the hand, walked away from Zherkov, who could not find what to answer.
“Well, what are you talking about, brother,” Nesvitsky said calmingly.
- Like what? - Prince Andrei spoke, stopping from excitement. - Yes, you must understand that we are either officers who serve our tsar and fatherland and rejoice at the common success and are sad about the common failure, or we are lackeys who do not care about the master’s business. “Quarante milles hommes massacres et l"ario mee de nos allies detruite, et vous trouvez la le mot pour rire,” he said, as if reinforcing his opinion with this French phrase. “C”est bien pour un garcon de rien, comme cet individu , dont vous avez fait un ami, mais pas pour vous, pas pour vous. [Forty thousand people died and the army allied to us was destroyed, and you can joke about it. This is forgivable for an insignificant boy like this gentleman whom you made your friend, but not for you, not for you.] Boys can only have fun like this,” said Prince Andrei in Russian, pronouncing this word with a French accent, noting that Zherkov could still hear him.
He waited to see if the cornet would answer. But the cornet turned and left the corridor.

The Pavlograd Hussar Regiment was stationed two miles from Braunau. The squadron, in which Nikolai Rostov served as a cadet, was located in the German village of Salzenek. The squadron commander, captain Denisov, known to the entire cavalry division under the name Vaska Denisov, was assigned best apartment in the village. Junker Rostov, ever since he caught up with the regiment in Poland, lived with the squadron commander.
On October 11, the very day when everything in the main apartment was raised to its feet by the news of Mack's defeat, at the squadron headquarters, camp life calmly went on as before. Denisov, who had lost all night at cards, had not yet come home when Rostov returned from foraging early in the morning on horseback. Rostov, in a cadet's uniform, rode up to the porch, pushed his horse, threw off his leg with a flexible, youthful gesture, stood on the stirrup, as if not wanting to part with the horse, finally jumped off and shouted to the messenger.
“Ah, Bondarenko, dear friend,” he said to the hussar who rushed headlong towards his horse. “Lead me out, my friend,” he said with that brotherly, cheerful tenderness with which good young people treat everyone when they are happy.
“I’m listening, your Excellency,” answered the Little Russian, shaking his head cheerfully.
- Look, take it out well!
Another hussar also rushed to the horse, but Bondarenko had already thrown over the reins of the bit. It was obvious that the cadet spent a lot of money on vodka, and that it was profitable to serve him. Rostov stroked the horse's neck, then its rump, and stopped on the porch.
“Nice! This will be the horse!” he said to himself and, smiling and holding his saber, ran up onto the porch, rattling his spurs. The German owner, in a sweatshirt and cap, with a pitchfork with which he was clearing out manure, looked out of the barn. The German's face suddenly brightened as soon as he saw Rostov. He smiled cheerfully and winked: “Schon, gut Morgen!” Schon, gut Morgen! [Wonderful, good morning!] he repeated, apparently finding pleasure in greeting the young man.
- Schon fleissig! [Already at work!] - said Rostov with the same joyful, brotherly smile that never left his animated face. - Hoch Oestreicher! Hoch Russen! Kaiser Alexander hoch! [Hurray Austrians! Hurray Russians! Emperor Alexander, hurray!] - he turned to the German, repeating the words often spoken by the German owner.
The German laughed, walked completely out of the barn door, pulled
cap and, waving it over his head, shouted:
– Und die ganze Welt hoch! [And the whole world cheers!]
Rostov himself, just like a German, waved his cap over his head and, laughing, shouted: “Und Vivat die ganze Welt”! Although there was no reason for special joy either for the German, who was cleaning out his barn, or for Rostov, who was riding with a platoon for hay, both these people looked at each other with happy delight and brotherly love, shook their heads as a sign mutual love and they parted smiling - the German went to the cowshed, and Rostov went to the hut that he and Denisov occupied.
- What is it, master? - he asked Lavrushka, Denisov’s lackey, a rogue known to the entire regiment.
- Haven't been since last night. That’s right, we lost,” Lavrushka answered. “I already know that if they win, they’ll come early to brag, but if they don’t win until morning, that means they’ve lost their minds, and they’ll come angry.” Would you like some coffee?
- Come on, come on.
After 10 minutes, Lavrushka brought coffee. They're coming! - he said, - now there’s trouble. - Rostov looked out the window and saw Denisov returning home. Denisov was a small man with a red face, shiny black eyes, and black tousled mustache and hair. He had an unbuttoned mantle, wide chikchirs lowered in folds, and a crumpled hussar cap on the back of his head. He gloomily, with his head down, approached the porch.
“Lavg’ushka,” he shouted loudly and angrily. “Well, take it off, you idiot!”
“Yes, I’m filming anyway,” Lavrushka’s voice answered.
- A! “You’re already up,” Denisov said, entering the room.
“A long time ago,” said Rostov, “I already went for hay and saw the maid of honor Matilda.”
- That's how it is! And I puffed up, bg "at, why" like a son of a bitch! - Denisov shouted, without pronouncing the word. - Such a misfortune! Such a misfortune! As you left, so it went. Hey, some tea!
Denisov, wrinkling his face, as if smiling and showing his short, strong teeth, began to ruffle his fluffy black thick hair with both hands with short fingers, like a dog.
“Why didn’t I have the money to go to this kg”ysa (the officer’s nickname),” he said, rubbing his forehead and face with both hands. “Can you imagine, not a single one, not a single one?” "You didn't give it.
Denisov took the lit pipe handed to him, clenched it into a fist, and, scattering fire, hit it on the floor, continuing to scream.
- Sempel will give, pag"ol will beat; Sempel will give, pag"ol will beat.
He scattered fire, broke the pipe and threw it away. Denisov paused and suddenly looked cheerfully at Rostov with his sparkling black eyes.
- If only there were women. Otherwise, there’s nothing to do here, just like drinking. If only I could drink and drink.
- Hey, who's there? - he turned to the door, hearing the stopped steps of thick boots with the clanking of spurs and a respectful cough.
- Sergeant! - said Lavrushka.
Denisov wrinkled his face even more.
“Skveg,” he said, throwing away a wallet with several gold pieces. “G’ostov, count, my dear, how much is left there, and put the wallet under the pillow,” he said and went out to the sergeant.
Rostov took the money and, mechanically, putting aside and arranging old and new gold pieces in piles, began to count them.
- A! Telyanin! Zdog "ovo! They blew me away!" – Denisov’s voice was heard from another room.
- Who? At Bykov’s, at the rat’s?... I knew,” said another thin voice, and after that Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw his wallet under the pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard for something before the campaign. He behaved very well in the regiment; but they did not like him, and in particular Rostov could neither overcome nor hide his causeless disgust for this officer.

After an almost 90-year absence, La Bayadera, one of Imre Kalman's most popular operettas, returned to Moscow. Already from the spectacular acrobatic entrance of “The Indian Deity” (Alexander Babenko), which replaced the famous overture, it became clear that surprises awaited us.

The Moscow Operetta Theater has long been trying, with varying degrees of success, to dust off the salon genre, the convention of which is becoming increasingly irrelevant, to save great music for the future. And he had fundamental successes along this path: “Orpheus in Hell” by Offenbach, “Carnival Fairy” by Kalman, “Ball at the Savoy” by Abraham, “The Free Wind of Dreams” - a fantasy to the melody of Dunaevsky. "Bayadera" is a continuation of this search. It is difficult to recognize: the libretto has been thoroughly revised, the characters are not who they said they were.

The mysterious figure of the Indian prince in silks and turban is no longer there. Rajami has become a fashionable composer who has written La Bayadere and is thinking about The Circus Princess - in fact, Kalman himself, though still a Hindu, and, as it turns out, still a prince. Modern words “project” and “crisis” appeared in the text, rupees were melted into a promising currency - rubles. And the theater seems to have finally abandoned classical operatic vocals, which can fill the hall without the help of microphones.

The author of the new libretto, Evgeny Muravyov, and director Inara Guliyeva want to free the plot from archaic molasses, and the “bayadera” herself - the star of the operetta Odetta - has acquired a completely pragmatic mind. The inevitable conflict for operetta has also turned inside out - the main misunderstanding that faces happy ending should separate the lovers. In the original, the heroine, like Violetta from La Traviata, sacrifices herself for the good name of her beloved and his duty of fidelity national customs. IN new version she finds out that he already has a fiancee and cannot bear the deception. Also a convention, but, admittedly, even more unconvincing: by modern standards, an imaginary deception is too easy to dispel to ruin careers and destinies over such a small thing. So the imperfections of the libretto are still a headache for the theatre, and even the actors’ attempts to cheer up the audience with “gags” are awkward, slow down the performance and disrupt its rhythms. Glitches of taste also make themselves felt: the director forces the newlyweds to perch on cute baby elephants - and the supposedly romantic mise-en-scène becomes unintentionally comical.

But in the operetta, it is not the plot, designed to link the favorite arias, duets, ensembles, that takes the lead, but the “material design,” music and stars - and this is all at the signature height. A super curtain, stylized as animated photographs of the early twentieth century, movable panels where Viennese baroque is interspersed with Indian ornaments, inventively designed costumes that refer to old cinema (the “Kitty Salon” is clearly visible) - artists Tatyana Tulubieva (costumes), Igor Nezhny (set design) and Alexander Sivaev (light) create a luxurious theatrical environment, full of light, air and fantasy.

The central couple is vocally good - Elena Zaitseva with her warm, nervous, charming vibrato and Leonid Bakhtalin, the owner of a beautiful and also “warm” baritone. Zaitseva is a real star in the tradition of Tatyana Shmyga, it is more difficult for Bakhtalin: he was given the tenor part, and most importantly, the hero dressed in a private suit is shocking at first European appearance and matter-of-factness, as if Mr. X had thrown off his mask from the first appearance, as if the veil of mystery had been stripped from the riddle. This new game the viewer still needs to tune in, which takes up the entire first act.

The traditionally frivolous pair of soubrette-simpleton also changed their usual appearance: Napoleon (Petr Borisenko) is now a reporter for a yellow newspaper and is even recommended by its editor, although he runs around with a camera; Marietta (Vasilisa Nikolaeva) is no longer the factory owner’s wife, but Odetta’s colleague, an assertive actress with her own mind. It must be said that the “change of role” did not do any good: the vortex overloaded with “super-tasks” musical numbers ceased to be virtuoso actors and acquired unexpected heaviness. In addition, the director decided to equip them with a corps de ballet and transferred all the supposed acrobatics to the likeness of life-size puppets - the performers were left with backup dancers, and they lost some of the traditional delight of the public. In general, if the operetta suffered, it was solely due to distrust of its signature magic - its genre customs.

But a genre is a genre. His champagne still splashes out of the orchestra pit into the hall, his victorious drive overcomes all obstacles. The orchestra under the direction of Konstantin Khvatynets is passionate and sounds dense, at times moving into symphonic-jazz registers, the heroine of the second act, Olga Belokhvostova, in the role of the Indian princess Lakshmi, gives out real operetta courage, and in general the second half of the performance with its cancan, shimmy and step dance looks much more dynamic and brings down the spectators a cascade of first-class cabaret numbers. Even the not very convincingly woven knots of the new plot receive a swift and witty denouement. Which, in fact, was what needed to be proven.