The premiere of the “non-dance” ballet “Romeo and Juliet” to the music of Sergei Prokofiev in the USSR was postponed and banned for five years. For the first time it took place on the stage of the Leningrad Opera and Ballet Theater named after Kirov (today - Mariinsky Theater) in 1940. Today the ballet-symphony is staged at the most famous theater stages peace, and individual works they play it at concerts classical music.
Classic plot and “non-dance” music
Leonid Lavrovsky. Photo: fb.ru
Sergei Prokofiev. Photo: classic-music.ru
Sergei Radlov. Photo: peoples.ru
Sergei Prokofiev, world-famous pianist and composer, participant in the Russian Seasons enterprise of Sergei Diaghilev, returned to the USSR in the 1930s after long tours abroad. At home, the composer decided to write a ballet based on William Shakespeare's tragedy Romeo and Juliet. Usually Prokofiev himself created the libretto for his works and tried to preserve the original plot as much as possible. However, this time a Shakespearean scholar and artistic director Leningrad Kirov Theater Sergei Radlov and Adrian Piotrovsky - playwright and famous theater critic.
In 1935, Prokofiev, Radlov and Piotrovsky completed work on the ballet, and the management of the Kirov Theater approved the music for it. However, the ending piece of music differed from Shakespeare's: in the finale of the ballet the characters not only remained alive, but also retained their romantic relationship. Such an attempt on a classic plot caused bewilderment among the censors. The authors rewrote the script, but the production was still banned - allegedly because of the “non-dance” music.
Soon the newspaper Pravda published critical articles based on two works by Dmitry Shostakovich - the opera Lady Macbeth Mtsensk district"and the ballet "Bright Stream". One of the publications was called “Confusion Instead of Music,” and the second was called “Ballet Falsehood.” After such devastating reviews from the official publication, the management of the Mariinsky Theater could not take risks. The premiere of the ballet could cause not just discontent on the part of the authorities, but real persecution.
Two high-profile premieres
Ballet "Romeo and Juliet". Juliet - Galina Ulanova, Romeo - Konstantin Sergeev. 1939 Photo: mariinsky.ru
On the eve of the premiere: Isaiah Sherman, Galina Ulanova, Peter Williams, Sergei Prokofiev, Leonid Lavrovsky, Konstantin Sergeev. January 10, 1940. Photo: mariinsky.ru
Ballet "Romeo and Juliet". Final. Leningrad State academic theater Opera and Ballet named after S.M. Kirov. 1940 Photo: mariinsky.ru
Culturologist Leonid Maksimenkov later wrote about Romeo and Juliet: “The censorship took place on top level- from the principle of expediency: in 1936, 1938, 1953 and so on. The Kremlin has always proceeded from the question: is such a thing needed in at the moment?» And in fact, the question of staging was raised almost every year, but in the 1930s the ballet was shelved every year.
Its premiere took place only three years after it was written - in December 1938. Not in Moscow or St. Petersburg, but in the Czechoslovak city of Brno. The ballet was choreographed by Ivo Psota, who also danced the role of Romeo. The role of Juliet was performed by the Czech dancer Zora Shemberova.
In Czechoslovakia, the performance to Prokofiev's music was a great success, but for another two years the ballet was banned in the USSR. It was only in 1940 that Romeo and Juliet was allowed to be staged. Serious passions flared up around the ballet. Prokofiev's innovative "non-ballet" music provoked real resistance from artists and musicians. The former could not get used to the new rhythm, and the latter were so afraid of failure that they even refused to play at the premiere - two weeks before the performance. There was even a joke among the creative team: “There is no sadder story in the world than Prokofiev’s music in ballet”. Choreographer Leonid Lavrovsky asked Prokofiev to change the score. After discussions, the composer finally added several new dances and dramatic episodes. New ballet was significantly different from the one staged in Brno.
Leonid Lavrovsky himself was seriously preparing for work. He studied Renaissance artists in the Hermitage and read medieval novels. The choreographer later recalled: “In creating the choreographic image of the performance, I proceeded from the idea of contrasting the world of the Middle Ages with the world of the Renaissance, the collision of two systems of thinking, culture, and worldview.<...>Mercutio's dances in the play were based on the elements folk dance... For the dance at the Capulet ball, I used the description of an authentic English dance of the 16th century, the so-called “Pillow Dance”.
The premiere of "Romeo and Juliet" in the USSR took place in Leningrad - on the stage of the Kirov Theater. The main roles were performed by the star ballet duet of the 1930s and 40s - Galina Ulanova and Konstantin Sergeev. The role of Juliet in Ulanova’s dance career is considered one of the best. The design of the performance corresponded to the high-profile premiere: the scenery for it was created by the famous theater designer Peter Williams. The ballet transported the viewer to the exquisite Renaissance era with antique furniture, tapestries, and dense expensive draperies. The production was awarded the Stalin Prize.
Productions of the Bolshoi Theater and foreign choreographers
Rehearsal of the ballet "Romeo and Juliet". Juliet - Galina Ulanova, Romeo - Yuri Zhdanov, Paris - Alexander Lapauri, chief choreographer- Leonid Lavrovsky. State Academic Bolshoi Theater. 1955 Photo: mariinsky.ru
Ballet "Romeo and Juliet". Juliet - Galina Ulanova, Romeo - Yuri Zhdanov. State Academic Bolshoi Theater. 1954 Photo: theatrehd.ru
Ballet "Romeo and Juliet". Juliet - Irina Kolpakova. Leningrad State Academic Opera and Ballet Theater named after S. M. Kirov. 1975 Photo: mariinsky.ru
The next production of Romeo and Juliet took place after the Great Patriotic War - in December 1946 at the Bolshoi Theater. Two years earlier, by decision of the Central Committee, Galina Ulanova moved to the Bolshoi, and ballet “moved” with her. In total, the ballet was danced more than 200 times on the stage of the country's main theater; the leading female part was performed by Raisa Struchkova, Marina Kondratyeva, Maya Plisetskaya and other famous ballerinas.
In 1954, director Leo Arnstam, together with Leonid Lavrovsky, shot the ballet film “Romeo and Juliet,” which won a prize at the Cannes Film Festival. Two years later, Moscow artists performed the ballet on tour in London and again created a sensation. Prokofiev's music was set to productions by foreign choreographers - Frederick Ashton, Kenneth MacMillan, Rudolf Nureyev, John Neumeier. The ballet was staged in the largest European theaters - Opera de Paris, Milan's La Scala, London's Royal Theater in Covent Garden.
In 1975, the play began to be staged again in Leningrad. In 1980 ballet troupe The Kirov Theater toured in Europe, the USA and Canada.
The original version of the ballet - with a happy ending - was released in 2008. As a result of research by Professor Simon Morrison of Princeton University, the original libretto was made public. The performance based on it was staged by choreographer Mark Morris for music festival Bard College in New York. During the tour, the artists performed the ballet on theater stages in Berkeley, Norfolk, London and Chicago.
Works from Romeo and Juliet, which musicologist Givi Ordzhonikidze calls a ballet-symphony, are often performed at classical music concerts. The numbers “Juliet the Girl”, “Montagues and Capulets”, “Romeo and Juliet before Separation”, “Dance of the Antillean Girls” became popular and independent.
Ballet in three acts with prologue and epilogue
Libretto by L. Lavrovsky, A. Piotrovsky, S. Radlov and S. Prokofiev based on tragedy of the same name W. Shakespeare.
Choreographer L. Lavrovsky.
First performance: Leningrad, Opera and Ballet Theater named after. S. M. Kirov, January 11, 1940
Characters:
Escalus, Duke of Verona. Paris, a young nobleman, Juliet's fiancé. Capulet. Capulet's wife. Juliet, their daughter. Tybalt, Capulet's nephew. Juliet's nurse.
Montagues. Montague's wife. Romeo, their son. Mercutio and Benvolio, friends of Romeo. Lorenzo, monk.
Samsone, Gregorio, Pietro - servants of the Capulet. Abramio, Balthazar - servants of Montague. Paris's page. Page Romeo. Juliet's friends.
The owner of the zucchini. Maids. Beggars. Troubadour. Jester.
A young man in battle. Greengrocer. Townspeople.
In the middle of the orchestral introduction, the curtain opens, revealing to the audience a three-piece triptych picture: on the right is Romeo, on the left is Juliet, in the center is Lorenzo. This is the epigraph to the play.
Verona in the early morning. The city is still dormant. Romeo alone can't sleep. He wanders aimlessly through the deserted streets, immersed in dreams of love.
The streets gradually come to life, early passers-by appear. Stretching lazily, having difficulty losing sleep, the inn maids clear the tables.
The servants Gregorio, Samsone and Pietro leave the Capulet house. They make nice with the maids and start dancing. On the other side of the square, Balthazar and Abramio come out of Montague's house.
Servants of two warring families glance sideways at each other, looking for a reason to quarrel. Stinging jokes turn into bickering, someone pushes someone and a fight breaks out. The weapon is drawn. One of the servants is wounded. Benvolio, Montague's nephew, separates the fighters and orders everyone to disperse. The servants, grumbling dissatisfiedly, obey.
And here comes Tybalt, Capulet's nephew. An adventurer and a bully, he is just waiting for the chance to fight the hated Montagues. Happening
introduced himself. The battle begins. The Montagues and Capulets run out of their houses in response to the noise. The fight is heating up. The whole city was in motion. Heavy sounds of the alarm sound. The Duke of Verona appears. With the movement of his sword, he gives a sign to lay down his weapon. From now on, the Duke announces, anyone who starts a fight with a weapon in their hands will be executed. The people, satisfied with the Duke's order, disperse.
Juliet's room. The naughty Juliet cheerfully teases her nurse, throws pillows at her, runs away from her, and she, clumsily waddling, tries to catch her.
The merry fuss is interrupted by Juliet's mother. Gradually and sternly, she tells her daughter to stop playing pranks: after all, Juliet is already a bride. This one asks for her hand
a worthy young man, like Paris. Juliet laughs in response. Then the mother solemnly brings her daughter to the mirror. Juliet can see for herself - she is quite an adult.
A ball has been announced at the Capulet palace. The nobility of Verona in festive clothes goes to the celebration. Accompanied by singers and musicians, they go to
ball of Juliet's friend and Paris with his page. Mercutio runs by, talking animatedly and laughing. He is dissatisfied with Romeo, he does not understand his sadness. AND
Romeo himself cannot figure out what is happening to him. He is tormented by ominous forebodings.
The action moves to the hall of the Capulet house. Solemnly seated at the tables, the guests conduct a decorous conversation. The dancing begins. The guests ask Juliet to dance. She agrees. Juliet's dance reveals her purity, charm, and poetry. Romeo, who entered the hall, is unable to take his eyes off her.
Wearing a hilarious mask, Mercutio amuses the guests to tears. Taking advantage of the fact that Mercutio has captured everyone's attention, Romeo approaches Juliet and
excitedly tells her about the feeling that has arisen in him. The mask accidentally falls off Romeo's face. Juliet is amazed by Romeo's beauty and nobility. IN
Juliet's heart was also kindled with love.
Tybalt, an involuntary witness to this scene, recognized Romeo. Putting on the mask, Romeo disappears. When the guests leave, the nurse tells Juliet that Romeo belongs to the Montague clan. But nothing can stop Romeo Juliet.
IN moonlit night they meet in the garden. Juliet is completely at the mercy of the feeling that flared up for the first time. Unable to bear even the shortest separation from her beloved, Juliet sends Romeo a letter, which the nurse should give to him. In search of Romeo, the nurse and her accompanying Pietro find themselves in the thick of the carnival fun.
Hundreds of townspeople dance, sing, and frolic in the square. A procession carrying a statue of the Madonna appears to the sounds of an orchestra.
Some mischievous people tease the nurse, but she is busy with one thing - looking for Romeo. And here he is. The letter was delivered. Romeo reverently reads Juliet's message.
She agrees to become his wife.
Romeo comes to Father Lorenzo's cell. He tells Lorenzo about his love for Juliet and asks him to marry them. Touched by the purity and strength of feelings
Romeo and Juliet, Lorenzo agrees. And when Juliet enters the cell, Lorenzo blesses their union.
And in the squares of Verona the carnival is noisy and sparkling. Among the merry Veronese, Romeo's friends are Mercutio and Benvolio. Seeing Mercutio, Tybalt
starts a quarrel and challenges him to a duel. Romeo, who arrived at this time, tries to calm down the quarrels, but Tybalt mocks Romeo, calling
him a coward. And when Romeo withdraws Mercutio's sword to prevent bloodshed, Tybalt deals Mercutio a fatal blow. Overcoming
pain, Mercutio tries to joke; he dances, but his movements weaken and he falls dead.
Not remembering himself from grief, avenging his beloved friend, Romeo enters into battle with Tybalt and kills him.
Juliet's mother runs out of the Capulet house. She calls for revenge. Benvolio takes Romeo away, who must immediately escape. At night, Romeo
secretly sneaks into Juliet's room to see her beloved before separation... Dawn is approaching. Lovers say goodbye for a long time. Finally Romeo
leaves.
Morning. The nurse enters, followed by Juliet's parents. They report that the day of her wedding with Paris has been set. Juliet begs her mother and father
to spare her, not to force her into a union she hates with the unloved. The will of the parents is adamant. The father raises his hand to Juliet. She's desperate
runs to Lorenzo. He gives Juliet a drug, after drinking which she will plunge into deep sleep, like death. Only Romeo will know
the truth. He will return for her and take her away secretly from the open crypt. Juliet happily accepts Lorenzo's plan.
Returning home and pretending to be submissive, she agrees to marry Paris. Left alone, Juliet drinks the drug. When in the morning
Friends come to dress her for the wedding; they find the bride dead. The news of Juliet's death reaches Mantua, where Romeo fled.
Overcome with grief, he hurries to Verona.
The funeral cortege is moving. IN open coffin Juliet rests. The coffin is placed in the family tomb. Everyone leaves.
Night. Romeo runs into the cemetery. He falls to the tomb, says goodbye to Juliet and drinks poison.
Juliet wakes up. Consciousness and memory do not immediately return to her. But when she sees herself in the cemetery, she remembers everything. Her gaze falls on Romeo.
She rushes towards him. Saying goodbye to him, saying goodbye to life, Juliet stabs herself with Romeo's dagger.
Old men Montagues and Capulets approach the grave. They look in horror at the dead children. Then they stretch out their hands to each other and swear in the name of life, in
the memory of two beautiful creatures will forever end the feud.
With a libretto (in French) by Jules Barbier and Michel Carré, based on the tragedy of W. Shakespeare.
Characters:
SIGNOR CAPULET (bass)
JULIET, his daughter (soprano)
GERTRUDE, her nurse (mezzo-soprano)
TYBALD, Capulet's nephew (tenor)
GREGORIO, one of the Capulets (baritone)
ROMEO, one of the Montagues (tenor)
MERCUTIO, another of the Montagues (baritone)
BENVOLIO, another of the Montagues (tenor)
STEFANO, page Romeo (soprano)
DUKE OF VERONA (bass)
SIGNOR PARIS (relative of the Duke of Verona), betrothed to Juliet (baritone)
FATHER LAURENT (bass)
Time period: XIV century.
Location: Verona.
First performance: Paris, Théâtre Lyricique, 27 April 1867.
Of all the literary masterpieces that the “firm” of Barbier & Carré, those extraordinary producers of all kinds of librettos, used for their literary crafts, Shakespeare's tragedy Romeo and Juliet has suffered the least distortion. Although the script turned out to be significantly shortened, especially in the first act, and the character of the low comedy, Pietro, was completely dropped out (but the charming page boy Stefano, who is not at all in Shakespeare, was introduced into the libretto), the general course of the plot was conveyed correctly, and the main characters retained their truly Shakespearean liveliness. The librettists either translated many of the lines literally, or at least paraphrased them. One major concession to the demands of the opera did have to be made by these diligent literary workers: they allowed Juliet to awaken from her drug soon enough that she could sing her love duet with Romeo before he died from the poison he drank. But even for this deviation from Shakespeare there is some justification in the history of literature: A. Brooke, the author of a poem that was one of the main sources for Shakespeare, did the same in his time.
Adeline Patti, the most famous Juliet, also followed the spirit of the text with amazing fidelity in life. In the 1880s, while married to the Marquis de Caux (but not living with him), she performed this role at the Paris Grand Opera. Her partner was the French singer Nicoloni (his real name was Ernest Nicolas, but he changed it due to his admiration for Italy, which valued his voice much more than his own country). These performers of the two main parts were, apparently, as passionately in love with each other as the characters they represented. One cool-headed observer (was he a critic?) counted twenty-nine real kisses that they exchanged during the balcony scene. When Patti finally separated from the Marquis, the opera couple married - they lived happily together for twelve years before the tenor died and the soprano returned to the aristocratic world as Baroness Sedeström.
PROLOGUE
Shakespeare's play is preceded by a prologue in the form of a sonnet, which is entrusted to one actor called "The Chorus". His first well-known lines are:
In two families, equal in nobility and glory,
In Verona the lush flared up again
Feuds days gone by bloody discord...
Gounod's opera begins with the same sonnet, but the lines of the "Chorus" are sung by a truly full choir.
ACT I
The first act opens immediately with the ball scene, which is the fifth in Shakespeare's play. However, the librettists managed to tell us about all the most important things that happened in earlier scenes, and even about things that Shakespeare didn’t have at all! The curtain rises to the music of a waltz, which is performed at a ball hosted by the Capulet family. Tybalt discusses with his relative Juliet's upcoming marriage to Signor Paris. (By the way, no one bothered to tell Juliet that she was already engaged to him. In those days, parents made such transactions in the most domineering way.)
Soon Signor Capulet, Juliet's father, appears. He introduces his daughter to those gathered, and she makes everyone happy with the performance of a small, charming aria. With this aria she demonstrates at least one of her remarkable talents - magnificent coloratura.
It seems, however, that there are several uninvited guests at the celebration - a group of hated Montagues. One of them is Romeo. He naturally falls in love with Juliet at first sight. Mercutio slightly teases him and sings a light baritone aria (ballad) - a French paraphrase of his thoughts about Queen Mab (in Shakespeare - Mab. - AM.), fantastic character, apparently created by Shakespeare himself, but in the spirit folklore images(Shakespeare has this episode in the fourth scene of the first act. - A.M.). What follows is a scene between the nurse and Juliet, and when she hints about the wedding, Juliet declares that she does not want to hear about it. The moment comes for her famous aria - the well-known waltz song “Ah! Live carefree, enjoy.” The irony is that the next moment she meets a man who immediately awakens in her the desire to marry him. And here comes the first of a series of love duets for which this opera is famous, and at the end of it Juliet is as passionately in love with Romeo as he is with her.
But Tybalt, the nephew of Capulet (in Shakespeare - Signora Capulet; since she is absent from the opera, the librettists made her the nephew of Capulet himself. - A.M.), believes that he recognized the voice of one of the Montagues. He's not entirely sure yet, since the guests are wearing masks. However, being a hot-headed young man, he is ready to become a cause of excitement, and only with some difficulty does the owner, Signor Capulet, manage to calm him down and insist that there be no quarrels at the holiday in his house. He calls on everyone to dance, and the action ends where it began - a waltz in which everyone gathered takes part.
ACT II
The second act is the famous balcony scene. It begins - just as this scene begins in Shakespeare - with Romeo being separated from his merry friends, and now he is under Juliet's balcony. “The one who was not wounded jokes about the scar,” he says (as in the Russian translation of Shakespeare, and in response to Mercutio’s frankly ambiguous remark; in the accepted Russian translation of the opera it is different: “I hear Mercutio’s voice. / That’s who is wounded doesn’t know the hearts / And only always jokes”), and then sings his big aria - cavatina “Ah! leve-toi, soleil! (“Sun, quickly rise”). The balance of the whole scene is given by an unusually beautiful love duet. As in Shakespeare, in the opera it is Juliet who proposes marriage - and proposes it very quickly. Romeo, passionately wanting the same thing, agrees. Twice their long duet is interrupted. One day, the Capulets are trying to find members of the Montague clan. Another time the nurse calls Juliet to go to bed. At the end of this action, the famous couplet sounds: “How sad it is for me to repeat the words of farewell,” which the heroes sing together. And then, when Juliet retires into the house after her nurse, Romeo passionately utters a few more phrases (“Let everything whisper to you: I love you!” I love you immensely! / Let the night breeze kiss your lips!
ACT III
Scene 1 very short: this is the secret wedding of Romeo and Juliet. Our heroes came to the cell of good old Father Laurent; Romeo explains to him that they want to get married quickly and secretly; Father Laurent believes that this marriage can put an end to the bitter hereditary feud between the Montagues and the Capulets, and the ceremony is performed. The scene ends with a joyful quartet (“Oh, a wonderful moment!”), in which the nurse joins the heroes.
IN picture 2 Quite a lot of events happen, and one completely new character appears in it, absent from Shakespeare - the page Stefano. This is an elegant, cheerful and fearless young Montague. He is really so young that his role is performed by a soprano. The scene opens with his daring and insulting serenade - “Que fais-tu, blanche tourterelle?” (“Ah, my white dove”). Gregorio, one of the Capulets, tries to attack him with a sword. But the Montagues appear, and the situation instantly becomes serious. Tybalt challenges Romeo, but Romeo, who has just married Tybalt's cousin, refuses to accept the challenge. Instead, the hot-tempered Mercutio accepts this challenge. A duel breaks out, and when Tybalt kills Mercutio, Romeo can no longer stand aside. Older and wiser heads appear, and among them is old Capulet and the Duke of Verona. The Duke, shocked by the shed blood, punishes Romeo: he sends him out of the city (“Until the Day comes, / You will leave the city!”). This is the worst sentence for the young spouse, and now the ensemble sounds, in which he has the leading role and in which he laments over his misfortune (“Oh, mournful day! Expulsion! Expulsion! / No, better death, but I’ll see her!”).
ACT IV
The fourth act begins with the third and fourth love duets, which gently, as if dotted line, pass through this whole sad story. Romeo and Juliet spent their only night together, and now it is time for Romeo to leave his beloved. The Duke gave orders that if Romeo was found in the city, he would be executed. In vain do lovers try to convince themselves that the singing they hear is not a lark singing so “out of tune” (to quote Shakespeare) (the lark sings at dawn and announces the coming of the day when Romeo must leave the city), but a nightingale (the night singer of love). Very “in harmony” the soprano and tenor sing their tragic farewell to each other (“We must part”).
But the worst is yet to come for poor Juliet. Her father arrives to inform her that she must immediately marry Signor Paris. She is completely shocked. Left alone with Father Laurent, Juliet asks him for advice. She's ready for anything. Father Laurent hands her a bottle. It contains, as he explains, a drug. If she drinks it, she will appear dead for exactly forty-two hours. By the end of this period, the monk promises, he will bring Romeo to her. Juliet quickly takes this potion.
Following this, a ballet is performed in several parts. He makes a rather strange impression. I say "quite strange" because it wasn't in the original version of the score. Gounod was forced to add it when the opera was first performed on the stage of the National Opera, a year after its premiere on the stage of the Lyric Theater. Members of the Jockey Club, these young dandies who patronized the young dancers of this theater, demanded that in the middle of any opera given on this stage there should always be ballet numbers. And could a simple composer rebel against this demand of theirs? The ballet here does not carry any dramatic meaning, but its music makes a pleasant impression.
Signor Capulet appears; he came to convince Juliet to marry. Juliet is in despair, she exclaims that her wedding bed will be the grave - and, to the horror of everyone, falls dead. The drug apparently began to work during the ballet.
ACT V
The last short and tragic action consists mainly of the final love duets of the heroes. It begins, however, with a short symphonic poem, describing with sounds Juliet's death-like sleep in the Capulet family crypt. Romeo (who heard that she died - but did not know that it was a hoax) comes to the crypt to last time say goodbye to your beloved (“Oh ma femme! Oh ta bien aimee!” - “Oh Juliet, oh my dear angel!”). He kisses Juliet, then takes out a bottle of poison and drinks it too - but this poison he brought is real, and not just a tranquilizer that Juliet drank. At this moment, Juliet awakens and, to her horror, finds out what Romeo has done. They sing another duet, but the poison acts too quickly and Romeo dies. Juliet draws her dagger - and two of literature's most famous lovers die in each other's arms.
Henry W. Simon (translated by A. Maikapara)
History of creation
Gounod's opera is based on the tragedy of the great English playwright William Shakespeare (1564-1616). “Romeo and Juliet” is one of his earliest works, most likely dating back to 1595 and enjoying wide popularity both during the author’s lifetime and in subsequent centuries. In Italy, the story of the Verona lovers was considered a true incident, and already in the time of Shakespeare, Juliet's tomb appeared. The tomb, like the house with the famous balcony and the statue of the heroine below it, is still shown to tourists. Gounod's librettists were the famous French playwrights Jules Barbier (1819-1872) and Michel Carré (1822-1901). They often worked together, creating about 25 librettos for operas and operettas, including the libretti for Faust and 7 more operas by Gounod. As in other librettos based on works of world literature, Barbier and Carré focused on the love story. In four of the five acts, love duets took center stage. As the French biographer Gounod C. Bellague wittily noted, the opera “consists almost entirely in four duets. If they are removed, the work does not exist; if they exist, it continues to live.” The last duet, significantly expanded in comparison with Shakespeare's tragedy, occupies the entire final act (in Shakespeare's Romeo, having taken poison, dies before Juliet awakens). For librettists, the feud between the Montagues and the Capulets is just a background love story, and it is no coincidence that the opera ends with the death of a loving couple, and not with the reconciliation of warring families. It is no coincidence that the number of crowd scenes and participants in the feud has also been reduced to the limit, and Duke Escalus is not even listed characters. There is neither the head of the Montague family - Romeo's father, nor the mothers of both heroes, the role of Juliet's brother Tybalt is small, and her fiancé Paris is relegated to a character on the mass stage. But the travesty boy beloved by the French opera, the page Romeo Stefano, was introduced.
At the beginning of April 1865, Gounod settled in a villa in the town of Saint-Raphael on the coast Mediterranean Sea, where everything resembled Italy - the outskirts of Naples, the Roman Campania. Rising at five in the morning, the composer greeted the sunrise. Situated in a small house twenty steps from the boiling waves or under a seaside pine tree, he, in his own words, “worked with love” until ten and a half - eleven o’clock, not noticing the passing time: “five hours passed while I listened to Romeo , or Juliet, or Friar Lorenzo, or anyone else, thinking that I’ve only been listening to them for an hour.” “I hear my characters singing as clearly as I see everything around me, and this clarity fills me with bliss.” Nothing disturbed the peace, and in 4-5 days he wrote as much as he would never have composed in the city. Weeks passed like this: “I don’t feel any fatigue, I’m 20 years old, I’m even 10, I feel so much like a child.” On April 9, almost the entire I act was composed with “the first gallant duet of Romeo and Juliet.” The duet on the balcony of Act II was created entirely in one sitting. It was more difficult for the duet to be born in the bedroom: “Finally I grabbed it, this damned duet of Act IV. Oh! I wish I knew if it was really him! It seems to me that this is him. I see them both, I hear them; But Fine do I see Fine can I hear these two lovers? If only they could tell me this themselves and make a “Yes” sign! I read it, this duet, I re-read it, I listen to it with all my attention; I try to find him bad; I’m afraid to find him good and be deceived!” The sketch of the score was completed within a month. The nervous tension was so great that Gounod happily (met his doctor and went with him to Saint-Cloud near Paris. Here, after a two-week break, on May 25, he energetically began work again. There is no information on how it went over the following months until on August 19, 1866, one of the Parisian newspapers announced the start of rehearsals for Romeo and Juliet at the Lyric Theater. However, the premiere, scheduled for the beginning of 1867, could only take place on April 27 (one of the reasons for the postponement was the absence of a tenor). within the framework of the World Exhibition, which opened in Paris a month earlier, Gounod brought the first real success, which exploded, according to a contemporary, like fireworks. Before the end of the year, Romeo and Juliet was shown on many stages in Germany and Belgium, in Milan and even in New York. In Paris, success was long-lasting and growing steadily. Staged after the Lyric Theater in Comic opera and Grand Opera, opera before late XIX century lasted about 500 performances, and in the 50 years since its premiere, their number has approached 1000.
Music
"Romeo and Juliet" is a shining example of French lyric opera. Its main episodes are four duets of lovers and their two small arias with melodic melodies, expressive and memorable.
In Act I, Juliet’s popular waltz “In Unclear Dreams,” with its spectacular brilliant passages, paints the image of a young, carefree girl. The duet of the first meeting of Romeo and Juliet “Heavenly angel, I would like to touch the lovely hand” (the author's title is a madrigal for two voices) is distinguished by its restrained, elegant, somewhat ceremonious character. Act II contains Romeo’s cavatina “Sun, quickly rise,” warmed by sincere and passionate feeling. The duet of confessions on the balcony “Oh, night of bliss!”, consisting of a number of episodes different in tempo and rhythmic pattern, but equally light in mood, is also close to it. In the newlyweds’ duet that opens Act IV, “The Night of Hymen!” O night of holy love! episodes full of delight, intoxication with love, are replaced by anxious, excited ones. Act V is entirely occupied by the dying duet “Hello to you, gloomy and silent coffin.” The most extensive of all, it includes both recitative and melodic sections, in which the themes of the previous duet are heard; The orchestra plays an important role.
A. Koenigsberg
This work by Gounod is the second most important (after Faust) in the composer's work and one of the best (along with Bellini's opera Capulet and the Montagues) among the many versions of Shakespeare's tragedy on the musical stage. The plot is modified and melodramatized. The opera is written in the typically French tradition of lyric opera. As in Faust, the author included ballet in the work.
On the Russian stage for the first time in 1870 (St. Petersburg, in Italian). The first Russian production took place in 1883, also in St. Petersburg (Mariinsky Theater). Among modern productions, we note the performance of the Metropolitan Opera in 1967 (soloists Freni, Corelli). Conductor Lombard recorded with these singers in 1968 at EMI.
Discography: CD - EMI. Dir. Plasson, Romeo (Kraus), Juliet (Malfitano), Father Laurent (Van Damme), Mercutio (Quilico), Capulet (Baquier), Stefano (Marri).
Among the best Soviet ballets gracing the stage of the State Academic Bolshoi Theater The USSR, one of the first places rightfully occupied by the ballet “Romeo and Juliet” by S. Prokofiev. He invariably captivates viewers with his high poetry and genuine humanism, a bright, truthful embodiment of human feelings and thoughts. The ballet premiered in 1940 at the Leningrad Opera and Ballet Theater named after S. M. Kirov. In 1946, this performance was transferred, with some changes, to the stage of the Bolshoi Theater of the USSR.
The ballet “Romeo and Juliet” (libretto by S. Prokofiev and L. Lavrovsky after Shakespeare) staged by choreographer L. Lavrovsky is one of the most significant milestones on the path of the Soviet ballet theater to realism. Requirements of high ideology and realism, common to everything Soviet art, determined the approach of Prokofiev and Lavrovsky to the embodiment of the deep ideological concept of Shakespeare's immortal tragedy. In a lively reproduction of Shakespeare's characters, the authors of the ballet sought to reveal the main idea of the tragedy: the clash between the dark forces nurtured by the Middle Ages, on the one hand, and the feelings, ideas and moods of the people of the era early Renaissance, - on the other. Romeo and Juliet live in a harsh world of cruel medieval morals. A feud that passes from generation to generation divides their ancient patrician families. Under these conditions, the love of Romeo and Juliet was supposed to be tragic for them. Challenging the prejudices of the moribund Middle Ages, Romeo and Juliet died in the struggle for personal freedom and freedom of feeling. By their death they seemed to confirm the triumph of humanistic ideas new era, the dawn of which grew brighter and brighter. Bright lyricism, mournful pathos, amusing buffoonery - everything that makes Shakespeare's tragedy live - finds a bright and characteristic embodiment in the music and choreography of the ballet.
Inspired scenes of the love of Romeo and Juliet, pictures of everyday life and the cruel, inert morals of the Verona aristocracy, episodes of vibrant street life come to life before the viewer. Italian city, where casual fun gives way to bloody fights and funeral processions. The forces of the Middle Ages and the Renaissance are figuratively and artistically convincingly contrasted in the ballet music. The sharp, ominous sounds evoke the idea of gloomy medieval customs that mercilessly suppressed human personality, her desire for freedom. Episodes of the clash between the warring families - the Montagues and the Capulets - are based on such music; it characterizes typical representatives of the world of the Middle Ages .jpg)
- arrogant and evil Tybalt, soulless and cruel Signor and Signora Capulet. The heralds of the Renaissance are portrayed differently. The rich emotional world of Romeo and Juliet is revealed in bright, excited, melodious music.
The image of Juliet is most fully and attractively captured in Prokofiev's music. The carefree and playful girl, as we see her at the beginning of the ballet, shows true selflessness and heroism when, in the struggle for loyalty to her feelings, she rebels against absurd prejudices. The musical development of the image goes from the expression of childish spontaneous fun to the most tender lyrics and deep drama. The character of Romeo is outlined more succinctly in the music. Two contrasting themes - lyrical-contemplative and excitedly passionate - depict the transformation of Romeo under the influence of love for Juliet from a melancholic dreamer to a courageous, purposeful person. The composer also vividly depicts other representatives of the new era. In the witty music, full of cheerful, somewhat rude humor, and sometimes sharp sarcasm, the character of Mercutio, a cheerful merry fellow and joker, is revealed.
Very expressive musical portrait Father Lorenzo - philosopher and humanist. Wise simplicity and calm poise are combined in him with great warmth and humanity. The music that characterizes Lorenzo plays a significant role in creating the general atmosphere that permeates the ballet - an atmosphere of humanity and emotional fullness. Truthfully embodying the content of Shakespeare's tragedy, Prokofiev interprets it in a unique way, which is explained by the peculiarities of his creative individuality.
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Libretto by L. Lavrovsky, A. Piotrovsky, S. Radlov, S. Prokofiev based on the tragedy of the same name by W. Shakespeare. Staged by L. Lavrovsky. Artist P. Williams.
Characters:
Escalus, Duke of Verona.
Paris, a young nobleman, Juliet's fiancé.
Capulet.
Capulet's wife.
Juliet, their daughter.
Tybalt, Capulet's nephew.
Juliet's nurse.
Montagues.
Romeo, their son.
Mercutio and Benvolio, friends of Romeo.
Lorenzo, monk.
Samsone, Gregorio, Pietro - servants of the Capulet.
Abramio, Balthazar - servants of Montague.
Paris's page.
Page Romeo.
Juliet's friends.
The owner of the zucchini.
Maids.
Troubadour.
A young man in battle.
Greengrocer.
Townspeople.
In the middle of the orchestral introduction, the curtain opens, revealing to the audience a three-piece triptych picture: on the right is Romeo, on the left is Juliet, in the center is Lorenzo. This is the epigraph to the play.
Verona in the early morning. The city is still dormant. Romeo alone can't sleep. He wanders aimlessly through the deserted streets, immersed in dreams of love.
The streets gradually come to life, early passers-by appear. Stretching lazily, having difficulty losing sleep, the inn maids clear the tables.
The servants Gregorio, Samsone and Pietro leave the Capulet house. They make nice with the maids and start dancing. On the other side of the square, Balthazar and Abramio come out of Montague's house.
Servants of two warring families glance sideways at each other, looking for a reason to quarrel. Stinging jokes turn into bickering, someone pushes someone, and a fight breaks out. The weapon is drawn. One of the servants is wounded. Benvolio, Montague's nephew, separates the fighters and orders everyone to disperse. The servants, grumbling dissatisfiedly, obey.
And here comes Tybalt, Capulet's nephew. An adventurer and a bully, he is just waiting for the chance to fight the hated Montagues. The opportunity presented itself. The battle begins. The Montagues and Capulets run out of their houses in response to the noise. The fight is heating up.
The whole city was in motion. Heavy bells sound. The Duke of Verona appears. With the movement of his sword, he gives a sign to lay down his weapon. From now on, the Duke announces, anyone who starts a fight with a weapon in their hands will be executed.
The people, satisfied with the Duke's order, disperse.
Juliet's room. The naughty Juliet cheerfully teases her Nurse, throws pillows at her, runs away from her, and she, clumsily waddling, tries to catch her.
The merry fuss is interrupted by Juliet's Mother. Gradually and sternly, she tells her daughter to stop playing pranks: after all, Juliet is already a bride. Such a worthy young man as Paris asks for her hand. Juliet laughs in response. Then the Mother solemnly brings her daughter to the mirror. Juliet can see for herself - she is quite an adult.
A ball has been announced at the Capulet palace. The nobility of Verona in festive clothes goes to the celebration. Accompanied by singers and musicians, Juliet's friends and Paris go to the ball with their page. Mercutio runs by, talking animatedly and laughing. He is dissatisfied with Romeo, he does not understand his sadness. And Romeo himself cannot figure out what is happening to him. He is tormented by ominous forebodings.
The action moves to the hall of the Capulet house. Solemnly seated at the tables, the guests conduct a decorous conversation. The dancing begins. The guests ask Juliet to dance. She agrees. Juliet's dance reveals her purity, charm, and poetry. Romeo, who entered the hall, is unable to take his eyes off her.
Wearing a hilarious mask, Mercutio amuses the guests to tears. Taking advantage of the fact that Mercutio has captured everyone’s attention, Romeo approaches Juliet and excitedly tells her about the feeling that has arisen in him. The mask accidentally falls off Romeo's face. Juliet is amazed by Romeo's beauty and nobility. Love also ignited in Juliet's heart.
Tybalt, an involuntary witness to this scene, recognized Romeo. Putting on the mask, Romeo disappears. When the guests leave, the Nurse tells Juliet that Romeo belongs to the Montague family. But nothing can stop Romeo and Juliet. On a moonlit night they meet in the garden.
Juliet is completely at the mercy of the feeling that flared up for the first time. Unable to bear even the shortest separation from her beloved, Juliet sends Romeo a letter, which the Nurse must give to him. In search of Romeo, the Nurse and her accompanying Pietro find themselves in the thick of the carnival fun.
Hundreds of townspeople are dancing the tarantella, singing, and frolicking in the square. A procession carrying a statue of the Madonna appears to the sounds of an orchestra.
Some mischievous people tease the Nurse, but she is busy with one thing - looking for Romeo. And here he is. The letter was delivered. Romeo reverently reads Juliet's message. She agrees to become his wife.
Romeo comes to Father Lorenzo's cell. He tells Lorenzo about his love for Juliet and asks him to marry them. Touched by the purity and strength of Romeo and Juliet's feelings, Lorenzo agrees. And when Juliet enters the cell, Lorenzo blesses their union.
And in the squares of Verona the carnival is noisy and sparkling. Among the merry Veronese, Romeo's friends are Mercutio and Benvolio. Seeing Mercutio, Tybalt starts a quarrel and challenges him to a duel. Romeo, who arrived at this time, tries to calm the quarrels, but Tybalt mocks Romeo, calling him a coward. And when Romeo withdraws Mercutio's sword to prevent bloodshed, Tybalt deals Mercutio a fatal blow. Overcoming the pain, Mercutio tries to joke, he dances, but his movements weaken and he falls dead.
Not remembering himself from grief, avenging his beloved friend, Romeo enters into battle with Tybalt and kills him.
Juliet's mother runs out of the Capulet house. She calls for revenge. Benvolio takes Romeo away, who must immediately escape.
At night, Romeo secretly sneaks into Juliet's room to see his beloved before separation... Dawn is approaching. Lovers say goodbye for a long time. Finally Romeo leaves.
Morning. The Nurse enters, followed by Juliet's parents. They report that the day of her wedding with Paris has been set. Juliet begs Mother and Father to spare her, not to force her into a union she hates with someone she doesn’t love. The will of the parents is adamant. The father raises his hand to Juliet. She runs to Lorenzo in desperation. He gives Juliet a potion, drinking which she will fall into a deep sleep similar to death. Only Romeo will know the truth. He will return for her and take her away secretly from the open crypt. Juliet happily accepts Lorenzo's plan.
Returning home and pretending to be submissive, she agrees to marry Paris. Left alone, Juliet drinks the drug. When her friends come in the morning to dress her for the wedding, they find the bride dead. The news of Juliet's death reaches Mantua, where Romeo fled. Overcome with grief, he hurries to Verona. The funeral cortege is moving. Juliet rests in an open coffin. The coffin is placed in the family tomb. Everyone leaves. Night. Romeo runs into the cemetery. He falls to the tomb, says goodbye to Juliet and drinks poison.
Juliet wakes up. Consciousness and memory do not immediately return to her. But when she sees herself in the cemetery, she remembers everything. Her gaze falls on Romeo. She rushes towards him. Saying goodbye to him, saying goodbye to life, Juliet stabs herself with Romeo's dagger.
Old men Montagues and Capulets approach the grave. They look in horror at the dead children. Then they stretch out their hands to each other and swear in the name of life, in the memory of two beautiful creatures, to cease hostility forever.
There are two known backgrounds to the appearance of Kenneth MacMillan's ballet Romeo and Juliet: MacMillan created his production after F. Ashton (1955), or the choreographer was inspired by the touring performances of the Bolshoi Theater troupe in October 1956 in London. The likelihood of the second version is indicated, in particular, by the names of S. Prokofiev and S. Radlov (as the authors of the libretto) in the credits of the film-ballet Romeo and Juliet performed by the La Scala troupe with A. Ferri and A. Korea in the main roles. The American critic E. Porter also believed (1973) that K. Macmillan borrowed some structural solutions for the ensembles from J. Cranko (1958).
K. Macmillan initially staged the ballet by L. Seymour and K. Gable at Covent Garden, but the premiere, which took place on February 9, 1965, was danced by M. Fontaine and R. Nureyev. The performance was a great success, the artists were called to bow 43 times.
K. McMillan's version is distinguished by inventive and beautiful duets of Juliet and Romeo, Juliet and Paris, strengthening of Romeo's dance part (sometimes at the expense of other characters, for example, part of the image of Mercutio - both meaningfully and musically - is taken over by Romeo), while variations Romeos consist primarily of jumping, and also enhance the dramatic performance of the actors on stage in the spirit of realism. K. McMillan's production can be called one of the most emotional versions of the ballet Romeo and Juliet.
SCENARIO PLAN FOR THE BALLET ROMEO AND JULIET
[based on a video version of the La Scala ballet]
Ballet in 3 acts, 13 scenes
Music by S. Prokofiev
Choreography by K. McMillan
Sets and costumes by N. Georgiadis
1. INTRODUCTION
(with curtain closed)
ACT ONE
Scene one
2. ROMEO
Market Square Verona. Early morning. Romeo comes out and tries to declare his love to Rosaline, who rejects him. Romeo joins his friends Mercutio and Benvolio.
3. THE STREET WAKES UP
As the day approaches, the square is filled with merchants and peasants. Romeo dreamily watches what is happening.
4. MORNING DANCE
Romeo and his friends dance with street girls and flirt with them. Each of the three pairs has its own little dance. The people of the Capulet house appear.
5. ARGUMENT
Tybalt and his friends insult one of the girls. A fight ensues.
6. FIGHT
Mass scene sword fights. In the finale, the fathers of the Montague and Capulet families appear with swords.
7. ORDER OF THE DUKE
The Duke of Verona appears and orders everyone to stop the quarrel. On both sides they mourn the dead, then drag them into one heap in the middle of the stage.
8. INTERLUDE
The Duke forces the heads of two warring houses to shake hands. At his command, everyone lays down their weapons on the ground, but hostility remains.
Scene two
9. PREPARATION FOR THE BALL
(with curtain closed)
10. JULIET THE GIRL
Juliet's room in the Capulet house. To the right and left are large birdcages. The Nurse is sitting in the room. Juliet runs in with a doll and begins to play with the Nurse. Juliet's father and mother enter along with Paris, who is tipped to be Juliet's groom. A small duet of Juliet and Paris. After the guests leave, Juliet takes up the doll again, but the Nurse reminds her: childhood is already over, she will soon get married.
Scene three
11. CONGRESS OF GUESTS (Minuet)
The area in front of the gates of the Capulet house. The guests invited to the ball pass by. Tybalt meets everyone. Romeo and his masked friends are right there. Rosalina appears. Tybalt gives her a rose. Romeo draws Rosaline's attention to himself. Rosaline leaves with Tybalt, dropping a rose for Romeo.
12. MASKS
Pas de trois Romeo, Mercutio and Benvolio (without masks). The dance is permeated with humor and play. In the finale, the friends put on masks and cloaks again and decide to follow Rosaline to the Capulet house.
Scene four
13. DANCE OF THE KNIGHTS
Ballroom in the Capulet house. In the background in the center is a wide staircase. The guests are dancing, on the proscenium are Tybalt and Paris. Romeo, Mercutio and Benvolio appear on the stairs. After a while - Juliet and the Nurse. Romeo looks for Rosaline and dances with her. Juliet comes to the center of the stage. A duet between Juliet and Paris, in the finale of which Romeo and Juliet meet their gazes. The dance of the knights continues.
48. MORNING SERENADE
The girls start dancing. Next comes the Romeo variation. Romeo's dance is addressed to Juliet, who plays the mandolin. In the finale, Paris takes Juliet away from Romeo.
14. VARIATION OF JULIET
At the end of the variation, Romeo joins Juliet in dancing. All the dancers pay attention to them.
15. MERCUTIO
Variation of Mercutio. In the middle there is an insert - No. 26 (NURSE), Benvolio dances to this music. By the end the stage is empty. Only Tybalt and Mercutio remain, and soon they leave.
16. MADRIGAL
Juliet appears, followed by Romeo. They are drawn to each other. However, the Nurse, Lady Capulet, Tybalt and Paris alternately appear on the stage, and Romeo has to constantly hide from them. Finally the young people are left alone. Romeo takes off his mask. Duet of Romeo and Juliet.
17. TYBALD RECOGNIZES ROMEO
Tybalt appears and tells Romeo to leave. The Capulets appear and, in accordance with the laws of hospitality, allow Romeo to stay. The nurse tells Juliet who Romeo is.
18. GAVOT (Departure of guests)
Ballroom. The ball continues. Romeo dances without a mask among the guests, sometimes meeting either Juliet or Tybalt. Gradually the guests disperse.
Fifth picture
18. GAVOT (Departure of guests)
The gate of the Capulet house from which the guests come out. Tybalt follows Romeo out. But Capulet forbids Tybalt to pursue Romeo.
Sixth picture
19. BALCONY SCENE
Night. Garden at the Capulet house. Juliet goes out onto the balcony. Romeo runs in wearing a cloak. Juliet goes down to him.
20. ROMEO VARIATION
Consists mainly of jumping.
21. LOVE DANCE
Characterized by a variety of supports. Romeo and Juliet declare their love and swear allegiance.
ACT TWO
Seventh picture
22. FOLK DANCE
Verona Market Square. Here life is in full swing, young people are dancing - three girls are soloists.
23. ROMEO AND MERCUTIO
Romeo appears. One of the girls asks him to dance, but he is lost in his thoughts. Mercutio and Benvolio run in.
24. DANCE OF FIVE COUPLES
Romeo nevertheless begins to dance, as if testing his feelings. His friends join him. In the middle is insert No. 31 (FOLK DANCE AGAIN). A wedding procession appears on stage to this music. Romeo thinks.
Continuation of the general dance.
25. DANCE WITH MANDOLINS.
Street musicians and artists dance.
26. NURSE
The nurse is looking for Romeo to give a note from Juliet. Romeo, Mercutio and Benvolio put on masks and make fun of the Nurse.
27. THE NURSE GIVES ROMEO A NOTE FROM JULIET
Romeo happily reads the note and runs away.
Eighth picture
28. ROMEO AT PATER LORENZO
Father Lorenzo's cell. The monk is deep in prayer. Romeo runs in and gives Father Lorenzo Juliet’s note.
29. JULIET AT PATER LORENZO
The Nurse appears, followed by Juliet. Wedding scene.
Ninth picture
30. THE FUN CONTINUES
People continue to have fun in the square. Tybalt and his comrades appear in the background.
31. FOLK DANCE AGAIN
Couples dancing, including the getting married couple (appeared in the 7th scene)
32. MEETING TYBALD WITH MERCUTIO
Tybalt quarrels with Mercutio. Romeo returns and tries to reconcile them. Tybalt bullies Romeo, but he refuses to fight.
33.TYBALD FIGHTS MERCUTIO
This is not a dance episode. Tybalt wounds Mercutio.
34. MERCUTIO DIES
[The scene is extremely similar to a similar one staged by L. Lavrovsky]
In the finale, Mercutio makes a gesture that can be interpreted as Plague take both of your families!
35. ROMEO DECIDES TO Avenge MERCUTIO'S DEATH
Expressive non-dance scene. Romeo kills Tybalt.
36. FINALE OF ACT II
[The stage is also built in the spirit of L. Lavrovsky’s production]
Lady Capulet mourns Tybalt and rushes at Romeo with her sword. Romeo is in despair. In the finale, the Capulet couple are on stage over Tybalt’s body.
ACT THREE
[pantomime predominates in the third act]
Tenth picture
37. INTRODUCTION
(with curtain closed)
38. ROMEO AND JULIET
Juliet's bedroom. Duet of Romeo and Juliet (various supports).
39. FAREWELL BEFORE SEPARATION
The duet smoothly transitions into this musical theme. After a long kiss, Romeo runs away by jumping from the balcony.
40. NURSE
The Nurse enters, then Juliet's parents and Paris. They sound musical themes No. 11 (Minuet) and No. 38 (ROMEO AND JULIET).
41. JULIET REFUSES TO MARRY PARIS
Juliet rejects Paris, angering her father. Theme No. 13 (DANCE OF THE KNIGHTS) sounds
42. JULIET ALONE
Juliet's monologue is built on dramatic play and is emotionally expressive.
43. INTERLUDE
Juliet's Run - Juliet puts on a cloak, runs around the stage in a circle and hides in the left wings.
Eleventh picture
44. AT LORENZO's
Conversation with Father Lorenzo. The monk offers Juliet a sleeping potion.
45. INTERLUDE
Twelfth picture
46. AGAIN AT JULIET'S
Juliet's bedroom. Juliet returns. There is a conversation with her parents, Juliet agrees to marry Paris. Little duet with Paris.
47. JULIET ALONE
Drama, naturalism of experiences. At the end of the scene, Juliet drinks the drink.
49. DANCE OF GIRLS WITH LILIES
Six of Juliet's friends are dancing. They are trying to wake her up.
50. AT JULIET'S BED
The Nurse enters with a dress for Juliet. Then the Capulet mother and father. Everyone understands that Juliet is dead. General despair.
Thirteenth picture
51. JULIET'S FUNERAL
Capulet family crypt. In the middle of it lies Juliet. Torchlight funeral procession. Here are Juliet's parents, Paris and the Nurse. Romeo appears secretly and cries. Everyone leaves, Paris remains in the crypt to say goodbye to Juliet. Romeo kills him. Then he runs to Juliet, holds her close, dances with her, but Juliet does not wake up. Then Romeo drinks the poison and dies.
52. DEATH OF JULIET
Juliet wakes up. Discovers first the dead Paris, then Romeo. Juliet takes Paris's dagger and stabs herself with it.
Final mise-en-scène: Romeo lies on his back, arms outstretched, head down on the stairs near Juliet’s coffin (head towards the audience), Juliet is in the same position on the bed of the coffin, touching Romeo’s hand.
Ekaterina Karavanova
GENERAL PLAN OF THE BALLET “ROMEO AND JULIET” ACCORDING TO THE CLAVIR
S.S. Prokofiev, Op. 64
Ballet in 4 acts, 9 scenes
Score: Music Publishing House, 1991 Moscow.
1. INTRODUCTION (With the curtain closed) Allegro assai
The curtain opens
ACT ONE
Scene one
2. ROMEO (Andante)
3. THE STREET WAKES UP (Allegretto)
4. MORNING DANCE (Allegro) was written by the composer at the request of L. Lavrovsky based on the Scherzo from the Second Piano Sonata.
5. ARGUMENT (Allegro brusco)
6. FIGHT (Presto)
7. ORDER OF THE DUKE (Andante)
8. INTERLUDE (Andante pompozo)
Scene two
9. PREPARATION FOR THE BALL (Juliet and the Nurse) (Andante assai. Scherzando)
10. JULIET THE GIRL (Vivace)
11. CONGRESS OF GUESTS (Minuet) (Assai Moderato)
12. MASKS (Romeo, Mercutio and Benvolio in masks) (Andante marciale)
13. DANCE OF THE KNIGHTS (Allegro pesante. Side theme: Juliet dances with Paris. Poco piu Tranquillo, then repeats main topic“Dance”)
14. VARIATION OF JULIET (Moderato)
15. MERCUTIO
16. MADRIGAL (Andante tenero)
17. TYBALD RECOGNIZES ROMEO (Allegro)
18. GAVOTTE (Allegro)
19. SCENE AT THE BALCONY (Larghetto)
20. VARIATION OF ROMEO (Allegretto amoroso)
21. LOVE DANCE (Andante)
ACT TWO
Scene three
22. FOLK DANCE (Allegro giocoso)
23. ROMEO AND MERCUTIO (Andante tenero)
24. DANCE OF FIVE COUPLES (Vivo)
25. DANCE WITH MANDOLINS (Vavace)
26. NURSE (Adagio scherzoso)
27. THE NURSE GIVES ROMEO A NOTE FROM JULIET (Vivace)
Scene four
28. ROMEO AT PATER LORENZO (Andante espressivo)
29. JULIET AT PATER LORENZO (Lento)
Scene five
30. THE PEOPLE'S FUN CONTINUES (Vivo)
31. AGAIN FOLK DANCE (Allegro giocoso)
32. TYBALD'S MEETING WITH MERCUTIO (During which Romeo
Returns from Lorenzo and tries to reconcile them) (Moderato)
33. TYBALD FIGHTS MERCUTIO (Precipitato)
34. MERCUTIO DIES (Moderato)
35. ROMEO DECIDES TO Avenge MERCUTIO’S DEATH (Andante. Animato)
36. FINALE OF ACT II
ACT THREE
Scene six
37. INTRODUCTION (Andante)
38. ROMEO AND JULIET (Juliet's Bedroom) (Lento)
39. FAREWELL BEFORE SEPARATION (Andante)
40. THE NURSE (Andante assai)
41. JULIET REFUSES TO MARRY PARIS (Vivace)
42. JULIET ALONE (Adagio)
43. INTERLUDE (Adagio)
Scene seven
44. At LORENZO's (Andante)
45. INTERLUDE (L’istesso tempo)
Scene eight
46. AGAIN AT JULIET'S (Moderato tranquillo)
47. JULIET ALONE
48. MORNING SERENADE (Mandolins backstage) (Andante giocoso)
49. DANCE OF GIRLS WITH LILS (Andante con eleganza)
50. AT JULIET'S BED (Andante asai)
ACT FOUR (EPILOGUE)
Scene nine
51. JULIET'S FUNERAL (Adagio funebre)
52. THE DEATH OF JULIET (Juliet wakes up, commits suicide, dies hugging Romeo. The crowd approaches timidly) (Adagio meno mosso del tempo precendente)
NB: No. 18 GAVOT – inserted, taken from the “Classical Symphony”