Lady with camellias. State Academic Theater of Classical Ballet N. Kasatkina and V. Vasilyov. Theater poster - reviews of the performance

To retell the story of A. Dumas in the language of ballet seemed to many choreographers an impossible task. But American director John Neumeier would not be himself if he failed to do this. Critics have already called “The Lady of the Camellias” more than once “Giselle of the 20th century.” Any viewer with any knowledge of art will understand that best compliment it is simply impossible to come up with an address to the choreographer and the performance as a whole.

Age limit: 16+

Duration: 3 hours 5 minutes

Choreography, staging and lighting— John Neumeier
Scenography and costumes— Jurgen Rose
Stage conductor— Pavel Sorokin

Schedule

Summary

Reviews

The ballet begins with an auction held in the apartment of a deceased courtesan and develops as a series of flashbacks different people- Armand, his father Monsieur Duval and Marguerite Gautier.
(The story about past events is highlighted in bold in the text.)

PROLOGUE

Marguerite Gautier, one of the most desirable courtesans in Paris, dies. All the furniture from her luxurious apartment, as well as personal belongings and jewelry, are being auctioned off. Nanina, Margarita’s devoted servant, holds the deceased’s diary in her hands; she mentally says goodbye to her mistress. Among the guests viewing the valuables being sold is Monsieur Duval; his son Armand bursts into the house in a state of frenzy. Overwhelmed by memories, he collapses in exhaustion.
Largo Theme from Sonata No. 3, op. 58 (1844)

ACT I
Concerto No. 2 for piano and orchestra, op. 21 (1829)

Monsieur Duval calms his son down and Armand tells his story.

It begins at the Variety Theater at a performance of the ballet “Manon Lescaut,” in which the famous courtesan of the Rococo era, Manon, deceives Des Grieux with numerous admirers. In public, Marguerite Gautier is outraged by Manon's frivolous behavior. Armand Duval, who has long admired Marguerite, is introduced to her by Gaston Rieu. Margarita chuckles at Armand’s naivety and sincerity. As the action of the ballet develops, Armand realizes with horror that he can repeat the sad fate of Des Grieux.

After the performance, Margarita invites Armand to her apartment along with his friend Gaston, the courtesan Prudence and her own companion, the boring young Count N. Irritated by the Count's jealousy, Margarita breaks into a coughing fit. Armand accompanies her to the bedroom, offers to help and declares his love. Margarita is touched by his sincere passion. However, realizing that her illness is incurable and she needs luxury and comfort, Margarita insists that their relationship must remain secret.

While Margarita continues to lead a chaotic lifestyle, rushing from one ball to another, from one admirer to another, from the old Duke to the young Count, Armand is always there - he is waiting. Armand follows Margarita to Vacation home, placed at her complete disposal by the Duke.

ACT II

The sight of Margarita's summer straw hat prompts Armand to continue the story...
Surrounded by carousing friends and ardent admirers, Margarita leads a stormy social life and in the village.
Waltz No. 1 from Three Brilliant Waltzes, op. 34 (1831)
Three ecosaises from a nocturne, a funeral march and three ecosaises, op. 72 (1826) Waltz No. 3, op. 34

The conflict between Armand and the Duke is inevitable, and the moment comes when Margarita must make a decision. She publicly declares her love for Armand. Finally, Armand and Margarita are left alone.
Largo from Sonata No. 3

Monsieur Duval recalls with regret his role in this story.
Burning with shame that his son is cohabiting with a courtesan, Monsieur Duval visits Marguerite in the village. He says that their relationship will destroy Armand. Margarita is shocked, she protests, but the image of Manon and her fans appears in her memory.
An image that, like a mirror, reflects her own past and confirms the truth of Monsieur Duval's accusations. He demands that she leave Armand. Driven by a feeling of deep and sincere love, Margarita gives in.
Preludes No. 2, No. 17 and No. 15 from “24 Preludes”, op. 28 (1836-39)
Largo Theme from Sonata No. 3

Armand tells his father how he returned to find the house empty.
He waits in vain until Nanina brings him a letter in which Margarita writes that she is returning to her old life. Not believing, Armand hurries to Paris and finds Margarita in the arms of the Duke.
Preludes No. 2 and No. 24, op. 28

ACT III

Armand tells his father how, after a while, they met on the Champs Elysees.
Margarita is accompanied by the charming young courtesan Olympia. To take revenge on the woman who hurt him so deeply, Armand courtes Olympia and seduces her.
Fantasia on Polish themes for piano and orchestra, op. 13 (1828), Largo non troppo, Andantino, Vivace

Mortally ill Margarita visits Armand and begs him not to hurt her feelings by flaunting his relationship with Olympia. Their passion flares up with renewed vigor.
Ballad No. 1, op. 23 (1831-35)

But As she falls asleep, a vision of Manon appears, calling Marguerite to return to her past life. Waking up, she remembers the promise she made to Armand's father, and for the second time leaves the young man without saying a word.
Andante spianato, op. 22

At a lavish ball, Armand publicly humiliates Margarita, throwing money in her face as payment for her services. Margarita falls unconscious.
Polonaise for piano with orchestra, op. 22 (1830-31/1834)

Arman's story comes to an end. He will never see Margarita again. Monsieur Duval leaves moved. Nanina returns and gives Arman Margarita’s diary.
While reading, Armand mentally accompanies Margarita during her last visit to the theater. She again sees a scene from the ballet Manon Lescaut. This is the moment when Manon, reduced to poverty like Marguerite, dies in the arms of her devoted lover Des Grieux.
Romance from Concerto No. 1 for piano and orchestra, op. 11 (1830)

Suffering from illness, Margarita leaves the theater in despair, but the ballet characters haunt her in a feverish dream. The phantom lovers merge with her own real memories, and her identification with Manon becomes complete. Abandoned Margarita passionately wants to see Armand, she trusts her feelings to the diary and asks Nanina to give it to Armand.
Largo Theme from Sonata No. 3

Margarita dies abandoned by everyone.

Arman silently closes the diary.

“...life is a wonderful thing, my friend, it all depends on what glasses you look at it through.”
Alexandre Dumas son "Lady with Camellias".

"The Lady of the Camellias" is the love story of the Parisian courtesan Marguerite Gautier young man Armand Duval. The prototype of Margarita was Dumas's beloved Marie Duplessis, who died of tuberculosis at the age of 23.
The novel was first published back in 1848. Later, Dumas the son reworked it into a play and fought with censorship for several years before it was staged. The plot was bold for that time. Times have changed, but even now, the topic raised by the author is quite sensitive for many, especially if they are not just talking about it from the stage, but “telling” the story without uttering a word. “The Lady with Camellias” staged by Sergei Zemlyansky at the Theater. Pushkin is positioned as a plastic performance, and this is a completely special, amazing silent world, where instead of words there is body language, where actors express their feelings with gestures. There are quite a lot of piquant scenes in the play, but Zemlyansky knows how to present them without unnecessary vulgarity. However, unprepared spectators who do not understand what is being said, what is happening on stage is perceived ambiguously. In reality, this is an incredible drama, a touching story about great love, about sacrificing oneself for the happiness of a loved one and his family. The acting is beyond praise, the duet of Arman (Anton Feoktistov) and Margarita (Anastasia Panina) is incredibly beautiful and sensual. The sets and costumes are magnificent. A bright, dynamic performance that evokes a storm of emotions, but the emotions of the audience are different. For some this performance will be interesting and understandable, but for others it will remain incomprehensible... “it all depends on what glasses you look through”...
That's why, Once again I insist that before watching a plastic performance you simply need to familiarize yourself with the work or at least read the libretto.

Healthy

She is a lady of the demimonde, a brilliant and vicious courtesan of Marguerite Gautier. He is a trembling and loving young man, naive and ardent Armand Duval.
Next, director Sergei Zemlyansky, starting from the original source, actually created new play, and an excellent play I must say.
But in order to understand what is happening on stage, be sure to read the libretto before the start of the performance. The Lady with Camellias is a plastic drama without words. And besides, it abounds in allegories.
These roses irritated me to no end. There were three types of roses: red, white and pink.
And after all, every color means something, if only we could understand what?
The heroes solemnly handed roses to each other, wore them in their buttonholes, threw them away, kissed them, crushed them, and held the flowers in their mouths.

But I really liked the idea of ​​a doll that replaced a live actress in some scenes. This was also a scene of cruel games with Margarita, in which her body rather than her mind or soul participated. And the death scene, when Armand is left with only her empty shell, and the living and breathing Margarita, unnoticed by him, leaves.

Very a beautiful couple The main characters are Anastasia Panina and Anton Feoktistov.
You believe them to the end - and in the scene of reverent touching tenderness for each other,
and in a frenzied fit of passion, and in the desire to trample and humiliate another.

Inna Kara-Mosko in the role of Destiny is brilliant. Strict, unforgiving... and yet it is clear that deep down she sympathizes with the lovers.

By the end of the performance, it finally became clear to me that words were not needed.
The dancing movements of the characters, the flying movements of velvet, fans and feathers, the endless whirling of the glass pavilion with its spiral staircases (representing either a railway station, a country residence, or a Parisian salon), the flickering light of forged lanterns - all this fascinates, involves the viewer, and does not let go to end.

The plastic performance based on the work of the same name by Alexandre Dumas son is not just a reproduction of the famous story about the brilliant courtesan Marguerite Gautier, but a conversation of the soul performed by the body. Choreographer and director Sergei Zemlyansky managed to translate the word into movement to the immortal music of Giuseppe Verdi. Magnificent costumes of the 19th century and elegant scenery of that era harmoniously frame the performance, where the unearthly love of a woman, whose destiny is to be only a luxurious frame for her companion, becomes her reward and at the same time a curse. The love story of Armand Duval and Marguerite Gautier is autobiographical and has never ceased to excite the imagination of choreographers and directors for more than a century and a half.

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The performance is incredibly beautiful, the actors are wonderful, the scenery, costumes are all A+. But if you are sitting in the hall and have no idea what they are talking about and who all these people are on stage, then the impression will clearly be “blurred”, or even irritation will appear. So I strongly recommend everyone to buy the program (only 50 rubles!) - it very helpfully contains a libretto, like a ballet. But in order:) Right away: I liked it. The performance was staged as a plastic one: dances, movements, music. The best thing is that the performers are dramatic artists, not dancers. Maybe the latter would have been more precise in their dancing, but they would hardly have been able to express such a range of feelings! And here everything worked out. And, most importantly, we were able to fully empathize with the heroes! At some point, the realization that there are no words even went away - you are so immersed in what is happening. Here Armand is escorted to Paris by his father and sister. Here he is, still quite a “non-Parisian”, confused and a little embarrassed, meeting with friends and joining Parisian life. This is the first time he sees Margarita... I won’t retell everything - there’s no point. This is a must see, in fact, “The Lady of the Camellias” is one of the most stylish performances in my memory. Everything is thought out, beautiful, in place, no negligence or “cheapness” in the scenery, costumes, or movements. Despite the 18+ qualification, there is no vulgarity either - there is honesty, but everything is very decently beautiful, even artistic. It is remarkable that behind the visuals and plasticity, sensuality, emotions, the suffering of the characters are not missed - everything that is inherent in a “regular” performance, and what we, the audience, actually come to the Theater for. If people go to ballet and opera, for the most part, to experience beauty in the most literal sense - to enjoy dance and voices, professionalism in these areas, then they come to the drama theater for empathy. I personally always feel a certain disappointment if there is not enough truth or feelings in what is happening on stage, if I manage to admire the “spectacle”, but cannot experience it with the characters of the play. So, here, with experiences, not like in ballet, everything is fine. The actors for the main roles were very well chosen - I can’t imagine anyone else, it seems to me! Margarita Gautier - Anastasia Panina, Armand Duval - Anton Feoktistov. Wonderful couple! I have already seen Anastasia in “The House That Swift Built”, and Anton in both “The House...” and “The Mousetrap”. What is typical, now I want to see both of them in other performances too :) It was very nice to see Artyom Eshkin - I recognized him from a play at the Mossovet Theater, and Artyom is, in fact, an artist of the Pushkin Theater :) Here he plays Gaston, one of two of Armand's friends. The most interesting character was introduced by the creators - Rock. Rock is played by Inna Kara-Mosko. In general, there are a lot of symbols here. Red flowers are an elegant symbol of consumption. Beautiful beads as payment for certain services (oh, how Armand offends his beloved!...). Dolls...Many thanks to the Pushkin Theater for the wonderful performance!