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Introduction………………
1. Creative biography S. Prokofieva………………
2. The history of the creation of the ballet “Cinderella”……………….
2.1. Brief summary of the ballet…………….
3. Conclusion…………………..
Bibliography…………………………………
Introduction
Cinderella - ballet by Sergei Prokofiev (opus 87). Libretto by Nikolai Volkov based on the tale of the same name by Charles Perrault. The music for the ballet was written between 1940 and 1944. The ballet's choreography had many editions.
Other ballets on the same plot are also known: “Cinderella” - Cinderella by composer F. Sor (productions: 1822 - London, 1823 - Paris, choreographer for both productions Albert, 1824 - Moscow, choreographer F. Gyullen-Sor, transfer of Albert's production) and “Cinderella” by composer B.A. Fitingof-Shel (premiere on December 17, 1893 at the Mariinsky Theater, St. Petersburg, choreographers: M. Petipa, E. Cecchetti and L. Ivanov).
Prokofiev's Cinderella was first staged on November 21, 1945 Bolshoi Theater. Its director was Rostislav Zakharov, and main role performed by ballerinas Olga Lepeshinskaya, Galina Ulanova and Raisa Struchkova.
Charles Perrault's famous story is about an unfortunate orphan who is tyrannized by her stepmother and two daughters, and then she goes to a ball, loses her shoe and finds her love. This story is considered the most beloved fairy tale of all time. After all, classic fairy tales do not age, since they resonate with our lives even now.
1. Creative biography of S. Prokofiev
Sergei Sergeevich Prokofiev (1891-1953) - Soviet composer, pianist, conductor. National artist RSFSR (1947). From 1902 he studied composition with R. M. Gliere. From 1904 he studied at the St. Petersburg Conservatory with N. A. Rimsky-Korsakov (instrumentation), A. K. Lyadov (composition), J. Vitol (music theoretical disciplines), A. N. Esipova (piano), N. N. Tcherepnina (conducting); graduated from it as a composer (1909) and pianist (1914). During his years of study at the conservatory he began concert activities. In 1918–33 he lived abroad; successfully toured in Europe and America. In 1927, 1929 and 1932 he undertook concert trips to the USSR.
Music by Prokofiev - greatest composer 20th century — embodies a harmonious and joyful feeling of life, imbued with the spirit of active energy. It is diverse in content, combining epic and lyricism, drama and humor, characterization and psychologism. Firmly connected to the traditions of the past, Prokofiev's work pushed the boundaries musical art in the field of language, content, means of expression, representing an advanced and innovative phenomenon of the modern era.
Opera and ballet creativity Prokofiev, covering wide circle non-traditional plots, new principles and techniques of musical drama, belongs to the reformist achievements of musical theater (collaborated with S. P. Diaghilev, V. E. Meyerhold, A. Ya. Tairov). Already in operas of the 1910-1920s. (“The Player”, “The Love for Three Oranges”, “Fire Angel”) peculiarities emerged creative method Prokofiev - tension and continuity of musical and dramatic development, lyricism combined with acute characterization, flexibility and accuracy of vocal recitation. From “The Player” and “Fire Angel”, which developed the traditions of Russian recitative opera (A. S. Dargomyzhsky, M. P. Mussorgsky), threads stretch to the opera “Semyon Kotko” - a folk drama about events Civil War and the military intervention of 1918–20 in Ukraine, in which declamation is enriched by national folk song.
The experience of working on national historical and heroic themes in the genre of film music (the film “Alexander Nevsky”, “Ivan the Terrible”, in collaboration with director S. M. Eisenstein) had a great influence on the composer’s style (penetration of film drama techniques into music) and prepared a patriotic opera - the epic “War and Peace”. Character traits folk musical drama, including extensive folk and battle scenes with a large role for the choir, is fused in it with the traditions of lyrical opera - the psychologism of recitative scenes, developed arias and ensembles. In it, as well as in the last opera, “The Tale of a Real Man” (which uses authentic folk melodies) most clearly embodied the connection between Prokofiev’s style and Russian musical folklore characteristic of most of his works. The opera “Betrothal in a Monastery” completed Prokofiev’s search in the field of modern comic opera.
Plot and genre diversity distinguishes Prokofiev's ballets of the 20s and early 30s. (“The Tale of the Jester...”, “Leap of Steel”, “Prodigal Son”, “On the Dnieper”). Prokofiev's ballets of the 2nd half of the 30s - early 50s. (“Romeo and Juliet”, “Cinderella”, “The Tale of the Stone Flower”) brought world fame to the Soviet ballet theater. The richness of Shakespeare's images of Romeo and Juliet, the depth tragic conflict determined the breadth of symphonic development in ballet, innovative interpretation of choreography and music, prominence musical characteristics. Continuing the traditions of P. I. Tchaikovsky’s ballets, Prokofiev created modern classical examples of the genre.
Prokofiev's achievements in other genre areas are no less significant. These are, first of all, his 7 symphonies, which uniquely synthesize and develop the traditions of epic and lyrical-genre symphonism. The 1st symphony originally embodies the features of Haydn's symphonism, the 2nd symphony (2-part) combines dramatic tension and rigidity with the beauty of Russian chant, subjected to inventive variational development. Closely related to theatrical creativity are the lyrical-dramatic 3rd (thematic theme of “Fire Angel”) and the lyrical-genre 4th (“ Prodigal Son") symphonies. Epic, full of modern content, the 5th (according to Prokofiev, “a symphony of greatness human spirit"") and the lyrical-dramatic 6th symphony are inspired by the events of the Great Patriotic War 1941-45. The musical and figurative structure of the lyrical-contemplative, enlightened 7th symphony is distinguished by its clarity and harmony.
The original style of Prokofiev's piano works (9 sonatas and 5 concertos, cycles), with its percussive interpretation of the instrument and the refraction of early classicist textural techniques, played a significant role in the formation of new pianism in the music of the 20th century. Prokofiev's music, having gained enormous popularity throughout the world, has had significant influence on the work of many Soviet and foreign composers.
"Cinderella" belongs to the largest creative success composer. And at the same time, it occupies a special place among them.
The ballet was written by the hand of S. Prokofiev - already a mature master. The composer himself wrote about his new ballet: “It was very important for me that the ballet “Cinderella” turned out to be the most danceable, that the dances flowed from the plot outline, were varied and that the ballet dancers had sufficient opportunity to dance and show their art.”
2. The history of the creation of the ballet "Cinderella"
Prokofiev came up with the idea for the ballet in the winter of 1940. In the summer of 1943, in Perm, where the Kirov Theater operated at that time, “Cinderella” was completed in close collaboration with librettist N. Volkov and choreographer K. Sergeev.
Prokofiev in this work follows the best traditions of Russian ballet music, the score of “Cinderella” is distinguished by its authentic danceability and melody, classical ballet forms are combined with the “waltz element”, so characteristic of Russian ballets. But the most important thing is that Prokofiev strove to reveal the themes of the old fairy tale as humanely as possible. “I see Cinderella herself not only as fairy tale character, but also as a living person who feels, experiences and excites us,” the composer wrote.
It so happened that she saw the stage light in Moscow on the stage of the Bolshoi Theater in the memorable year 1945. How festive fireworks This performance, glorifying the triumph of justice and humanism over evil and hatred, was perceived as a victory. And it was staged on a grand scale, with unprecedented generosity... The production was carried out by R. Zakharov.
Five months after the Moscow premiere in April 1946, “Cinderella” was shown in Leningrad, at the Theater. S. M. Kirova (choreographer K. Sergeev).
“Cinderella” is distinguished by its intimacy, transparency, amazing tenderness and softness of colors. The ballet attracts with its subtle, heartfelt lyricism and captivating sincerity. musical language, filigree finishing details.
The music of “Cinderella” captivates with the beauty of the melodies; it is humane and sublime.
During a discussion of the premiere of the ballet in 1945, the famous director A. Tairov said: “Cinderella” is one of those works that, as soon as they are born, immediately become classics.”
Prokofiev has wealth inner world Cinderella is inexhaustible. Looking into her heart, the composer admired the always mysterious and always natural, eternal, but each time unique birth of love.
Ballet can tell not only about a poor and kind little woman who became a princess. The content of Prokofiev's music is broader than a simple-minded parable. This was confirmed by a new interpretation of Prokofiev’s “Cinderella” in 1964 in Novosibirsk, proposed by the then beginning choreographer Oleg Vinogradov. The debutant did not follow the path of an illustrative and edifying choreographic retelling, and, relying on the experience of E. Schwartz’s dramaturgy, created a modern and poetic version of the fairy tale. The parable about rewarded virtue and punished vices has turned into a reflection on beauty and ugliness, talent and mediocrity, spirituality and inner emptiness.
2.1. Brief summary of the ballet
Act one
In the house of the evil stepmother, she herself and her two daughters Khudyshka and Kubyshka try on a shawl. Cinderella appears. She remembers her dead mother. Tries to find solace from his father, but he is completely under the influence of his new wife. A beggar woman comes to the house. The sisters chase her away, but Cinderella secretly invites the old lady to rest and feeds her. The stepmother and sisters are preparing to leave for the royal ball. They try on new outfits. The dance teacher gives the clumsy sisters their last lesson before the ball. Finally, the stepmother and sisters leave. Cinderella is left alone. She dreams of a ball and dances alone. The beggar woman returns. Suddenly she is transformed - this is the fairy who will reward Cinderella for her kind heart. With the help of the fairies of the seasons, Cinderella gets ready for the ball. The only condition is that she must leave there at midnight.
Act two
The royal ball is in full swing at the palace. Ladies and gentlemen dance. The stepmother arrives with her sisters. The sisters attract attention with their clumsiness. The prince appears. The guests dance the mazurka. Solemn music accompanies the arrival of a mysterious stranger. This is Cinderella. The prince admires her and invites her to dance (great waltz). The sisters try to attract the prince's attention (duet with oranges), but to no avail. The prince does not leave Cinderella. They don't notice how time flies. Suddenly the romantic waltz coda is interrupted by the striking of the clock. It's midnight. Cinderella runs away after losing her glass slipper, which the prince picks up.
Act three
The prince is in despair. With the help of shoemakers, he tried on the shoe for all the ladies in the kingdom, but it didn’t fit anyone. The prince goes in search of a stranger to distant lands, but to no avail. And in her stepmother’s house, Cinderella is still busy with household chores and remembers the ball. Suddenly the prince arrives. He demands that all women try on the shoe. But in vain the sisters and then the stepmother try to put on the shoe - it is hopelessly too small for them. Noticing Cinderella, the prince offers to try on the shoe for her too. Cinderella refuses, but then her second shoe falls out of her pocket. The prince looks into the girl’s face - this is his beloved. Now nothing will separate them.
3. Conclusion
The fairy tale by Charles Perrault has become one of the most favorite themes of choreographic art. Over the years, in various theaters around the world, outstanding choreographers have turned to the music of S. Prokofiev and the fairy tale of Charles Perrault, finding new choreographic solutions.
The main theme of Charles Perrault's fairy tale - the theme of justice and love - found a response in the hearts of many generations of artists and choreographers and became beloved by viewers and listeners.
The performance is based on S. Prokofiev’s epigraph: “Shoes only make sense when they are a pair.” So are people. Each person has his own idea of happiness, but if these ideas coincide, then we say: “Two boots are a match.” You just need to not be afraid and embark on a fabulous journey through magical land your dreams - and your half, your match, will definitely be found.
It is impossible not to recognize each other, because in the hands of your half there will probably be a dream crystal slipper, a twin of your crystal slipper. And if shoes are united, then hearts are united. And it doesn’t matter who the owner of the shoe is - a poor girl or a noble nobleman. If two people have the same ideas about happiness, then they will definitely fall in love with each other. And love, as you know, knows no barriers.
Bibliography
1. http://ru.wikipedia.org
2. http://www.classicalballet.ru/ballets/cinderel/libretto/
3. N. Boyarchikov, M. Bolshakova “A few words about S. Prokofiev’s ballet “Cinderella”
And the title role was performed by ballerinas Olga Lepeshinskaya, Galina Ulanova and Raisa Struchkova.
Wikimedia Foundation. 2010.
See what "Cinderella (Prokofiev's ballet)" is in other dictionaries:
This term has other meanings, see Cinderella (meanings). Cinderella Cinderella Composer Sergei Prokofiev Libretto author Nikolai Volkov Plot source ... Wikipedia
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Cinderella: Cinderella (French Cendrillon) is a fairy-tale character and a collective image, under different names appearing in the legends and literary works of most peoples of the world. Cinderella (French Cendrillon, German Aschenputtel) ... Wikipedia
USSR postage stamp (1969): I international competition ballet dancers in Moscow The theme of ballet in philately is one of the areas of thematic collecting postage stamps and other philatelic materials dedicated to ballet... ... Wikipedia
Great Britain. Before the tour of the troupe of Diaghilev and Anna Pavlova in London in the 1910s and 1920s, ballet was represented in England mainly by individual performances famous ballerinas on the stages of music halls, for example, the Danish Adeline Genet (1878 1970) ... Collier's Encyclopedia
- (French ballet, from Italian balletto, from late Latin ballo I dance) type of stage performance. lawsuit va; performance, the content of which is embodied in music. choreographic images Based on the general dramaturgical plan (scenario) B. combines music, choreography... ... Music Encyclopedia
The first ballet performance in Moscow, “The Ballet of Orpheus and Eurydice,” was staged in 1673 (or 1675) by the Swede N. Lim. In 1773, a ballet department was opened at the Moscow Orphanage. Along with those who performed in Moscow from the middle of the 18th century... ... Moscow (encyclopedia)
In three acts, six scenes. Libretto by N. Volkov (based on the fairy tale by C. Perrault). Choreographer R. Zakharov, artist P. Williams, conductor Yu. Faier.
Characters:
- Cinderella
- Cinderella's father
- Cinderella's stepmother
- Krivlyaka and Zlyuka (in another version - Khudyshka and Kubyshka), daughters of the stepmother
- Prince
- Fairy Grandmother
- Fairies of the seasons (Spring, Summer, Autumn, Winter)
- Dancemaster
- Cavaliers, foreign princesses, masters of ceremonies, dressmakers, hairdressers, gnomes, birds, grasshoppers, snowflakes, arapchat, Ethiopians, musicians
The action takes place in a fairy-tale kingdom in fairy-tale times.
History of creation
After the ballet “Romeo and Juliet” was finally staged at the Leningrad Kirov (Mariinsky) Theater, Prokofiev, who was greatly impressed by the performer of the role of Juliet Galina Ulanova, decided to write a ballet especially for her. The plot served everyone famous fairy tale about a girl who was turned into a maid by her evil stepmother and who, with the help of a good fairy, received her well-deserved good fortune. “Cinderella,” a fairy tale by Charles Perrault (1628-1703) from his collection “Tales of Mother Goose, or Stories and Tales of Bygone Times with Instructions” (1697), has attracted composers of different times many times. Several operas were written on its basis, of which the most famous is Rossini's opera; Ballets were also staged several times. In particular, it was “Cinderella” - “Cendrillona” by composer F. Sora that opened the Moscow Bolshoi Theater on June 6, 1825.
The libretto for Prokofiev was written by theater critic, art critic and playwright, lawyer by training N. D. Volkov (1894-1965). The director of the performance was to be the talented ballet dancer and choreographer V. Chabukiani, who was then working in Leningrad. The writing proceeded successfully: two acts were written by the summer of 1941. However, the beginning of the Great Patriotic War crossed out all plans. Prokofiev wandered around the country; Putting aside ballet, he worked on the idea of the patriotic opera “War and Peace,” which captivated him, and composed instrumental works. Only in 1943, having arrived in Perm, where the evacuated Kirov Theater was located, he discussed all the details of the ballet with the librettist and, returning to Moscow, completed the music in the clavier. “I wrote “Cinderella” in the tradition of the old classical ballet,” the composer reported, “it contains a pas de deux, adagio, gavotte, several waltzes, pavane, paspier, bourre, mazurka, gallop. Each actor has its own variation." The Leningrad Theater no longer attracted him: Chabukiani moved to Tbilisi back in 1941, Ulanova danced on the stage of the Bolshoi Theater. It was there that the ballet was staged by choreographer R. Zakharov (1907-1984). At the premiere, held in Moscow on November 21, 1945, the part of Cinderella was danced by O. Lepeshinskaya. Only at the following performances did Ulanova get into the role. Less than five months later in Leningrad, at the Kirov Theater, K. Sergeev (1910-1992) also staged “Cinderella”. Subsequently, the ballet was performed on many stages around the world in various productions.
Plot
In the house of Cinderella’s father, Zlyuk and Krivlyak are embroidering a scarf, Cinderella sits quietly by the fireplace. The sisters quarrel over the scarf and Stepmother cuts it in half. Having made peace, Zlyuka and Krivlyaka begin to tease Cinderella, but she does not answer the offenders. Everyone disperses, leaving Cinderella behind homework. Turning her thoughts to her deceased mother, Cinderella moves aside the curtain covering her portrait and obscures it with the portrait of her Stepmother. The father returns, he wants to caress his daughter, but his wife and her daughters burst in. Seeing that her portrait is covered, the Stepmother rushes at Cinderella in a rage. An old beggar woman quietly appears in the room, begging for alms. The stepmother and sisters turn away contemptuously, and Cinderella timidly hands her a piece of bread. Unnoticed, the old woman disappears. The room is filled with dressmakers, hairdressers, a dancing master and musicians. After the turmoil caused by the preparations, everyone except Cinderella leaves for the ball at the royal palace. The girl is sad. The same old woman appears. This is Fairy Grandma. She gives Cinderella glass slippers and summons the fairies of the seasons, who gather Cinderella for the ball. The fairy warns the girl: at exactly midnight, the beautiful outfit will disappear, she will again turn into a dirty mess. Twelve gnomes who will appear from an ancient clock will remind her of the onset of midnight. The fairy grandmother leaves. A luxurious carriage drawn by grasshoppers appears in front of Cinderella. Cinderella leaves for the palace.
Ball in the palace, dancing, fun. Cinderella arrives in a luxurious dress and is mistaken for a princess. The prince falls in love with a beautiful stranger. The Arab boys bring Cinderella three oranges, which she treats to her sisters who do not recognize her. Happy Cinderella forgets about time, but the dwarfs appear and Cinderella runs away. Midnight strikes and Cinderella loses her shoe in her haste. The Prince rushes after her, but sees only a shoe on the steps of the palace.
The Prince calls on the shoemakers to tell him who made the found shoe and to whom, but they have no answer, and the Prince decides to go in search of the girl.
The prince travels around the world, meets different beauties, but not a single one is like the one that captivated his heart, not a single shoe fits.
At home, Cinderella sleeps in a corner, clutching a glass slipper to her chest. The rays of the sun wake her up, she remembers the ball, which seems to her a wonderful dream. But the shoe convinces her that it was reality. The sisters appear with donated oranges and begin to quarrel again. Father and Stepmother hastily run in, announcing the arrival of the Prince. He gives the shoe to Krivlyak and Zlyuka to try on, then the Stepmother tries it on, but the shoe is too small for everyone. Suddenly the Prince sees how Cinderella, bending over, accidentally drops a second identical shoe. The Grandmother Fairy slowly passes outside the window, as if blessing Cinderella and the Prince.
Prince and Cinderella wonderful garden. They found their happiness.
Music
“Cinderella” is a typically classical ballet, continuing the traditions of a romantic fairy-tale performance, with an abundance of variations, divertissement and apotheoses built on waltzes, with colorful artistic moments. One of them is the “Scene with the Clock,” where uniform movement and repeated short changes depict the inexorable passage of time. “Cinderella's Departure for the Ball” is a poetic, charming waltz. “The Great Waltz” is one of the brightest Prokofiev waltzes, lush, joyful, with a melody of a huge range. "Treat for Guests" uses a march from the opera "The Love for Three Oranges". The finale of the act - “Midnight” - bursts in, as if awakening from a wonderful dream. The ballet ends with another beautiful waltz with a quiet but triumphant sound of the themes of Cinderella, her dreams and love.
L. Mikheeva
It has long been believed that best stories for ballets - fairy tales. And something like “Cinderella,” told by Charles Perrault, is a real treasure. Magical transformations, a court ball, a mess that looks like the ugly duckling turns into a “beautiful swan”, and then into a real princess. The choreographic theater responded with a variety of “Cenerentolas” (Italy, 1810) and “Cendrillons” (St. Petersburg, 1815; London, 1822; Moscow, 1824). It is known that in 1893 Marius Petipa showed his version of “Cinderella” (music by Boris Fitingof-Chel), where the famous Pierina Legnani demonstrated 32 fouettés in a row for the first time. This production pointed out the first danger - turning a gentle fairy tale into an extravaganza.
This is not what the famous ballet playwright Nikolai Volkov was thinking about: “I felt a sense of inner necessity to return Cinderella to our ballet theater, as a charming “fairy tale for ballet.” It also seemed to me that Russian ballet should remember “Cinderella” also because in working on this plot it will be able to continue the best traditions of Russian classical choreography.” The screenwriter managed to attract Sergei Prokofiev himself as an ally. After the success of Romeo and Juliet, the Kirov Theater tried to consolidate cooperation with the composer, and Prokofiev, captivated by the unique talent of Galina Ulanova, dreamed of creating a new ballet for her.
Already at the beginning of the work, as always, the composer clearly formulated his plan: “I see the ballet “Cinderella” as a modern classical ballet with its characteristic features of form: like a pas d'accion, grand pas, etc. At the same time, I want to see in the heroine is not a fairy-tale, semi-real character, but living face with human experiences, that is, to expand its role as much as possible.”
Work on the new ballet began intensively. Vakhtang Chabukiani was appointed as the choreographer, Simon Virsaladze as the artist. The composer enthusiastically wrote music. The war catches Prokofiev doing this work and forces him to postpone it. Fortunately, the Leningrad theater was persistent, despite the evacuation to the city of Molotov and the departure of both planned directors. Already in the summer, Volkov and Prokofiev meet in Molotov, and by the fall, having generally finished composing the music, the composer writes: “The main thing that I wanted to convey in the music of Cinderella is the poetic love of Cinderella and the Prince: the emergence and flowering of feelings, obstacles in its path , the fulfillment of a dream." In Sergei Prokofiev's choreographic epic, the music of "Cinderella" is a captivating intermezzo between the tragic power of "Romeo and Juliet" and philosophical drama"Stone Flower" The image of the heroine is unusually modest, subtly attractive and clearly inspired by Ulanova’s unique talent. The composer emphasized: “I wrote “Cinderella” in the tradition of ancient classical ballet, it has a pas de deux, a gavotte, several waltzes, a pavane, a paspier, a bure, a mazurka, a gallop. Each character has its own variation.”
Perhaps such an abundance of dances confuses choreographers, and to create a full-fledged dramaturgy, only mocking irony in the depiction is not enough for them negative images? How else can one explain why with enough large number There are so few successful productions of Cinderella that are worthy of Prokofiev’s music.
The world premiere took place at the Bolshoi Theater, where Galina Ulanova had worked since 1944. True, for various reasons, Olga Lepeshinskaya became the first Cinderella, who sculpted her heroine “dashingly and boldly.” And the whole performance was magnificent, festive and pompous. The hero of the extravaganza was the artist Peter Williams. The dazzling brilliance of the theatrical spectacle clearly echoed the recent victory fireworks. The heroes were lost in this “splendor”. Having found Cinderella, the Prince found himself surrounded by gushing fountains and, instead of hugging his beloved in Prokofiev’s “Amoroso,” for some reason he entrusted her to four grasshopper boys. In addition, the Bolshoi Theater allowed itself to abandon Prokofiev’s transparent and deliberately discreet orchestration, strengthening and weighing down the musical fabric of the performance. The composer “answered” in Prokofiev’s style: citing illness, he watched “his” “Cinderella” in three stages - one act each time. Ulanova danced in line with Lepeshinskaya and Marina Semenova and, as later in “The Tale of the Stone Flower,” was unable to overcome the shortcomings of the performance. However, officially the first “Cinderella” was considered almost a triumph. The Pravda newspaper praised the ballet as an outstanding work that “worthily continues and develops...”. The Stalin Prize of the first degree was an award for all the authors of the play; for Prokofiev it was the fourth. Zakharov’s “Cinderella” was in the repertoire until 1951; it was resumed two years later, but soon gave way to new performances. During the period of reassessment of values, she was rightly classified as an example of the decline of the “drama ballet” era, but at the beginning this century the general nostalgia for the “glorious” past again invites fond memories of its artlessly festive character. However, for those who are especially curious, the film-ballet “The Crystal Slipper”, filmed in 1961 by directors Alexander Rowe and Rostislav Zakharov, has been preserved.
For Konstantin Sergeev, the production of “Cinderella” on April 8, 1946 at the Kirov Theater was his choreographer’s debut. In Leningrad, unlike Moscow, the composer's score was played in full, and in the author's instrumentation. The choreographer declared: “Prokofiev’s music required very clear and concise thinking; it provided excellent material for creating relief choreographic images and vivid dramaturgy of a ballet performance.”
A little later, Vera Krasovskaya assessed the result this way: “In contrast to Zakharov, whose “Cinderella” was decided as a setting extravaganza with minimum quantity dances, Sergeev gave dance the leading role in the performance. The task was difficult, since Prokofiev's music made special demands on academic dance forms. And Sergeev succeeded in a lot. In a combination of deliberately angular, sharp ground movements, accentuated jumps and pointed, “spiky” finger techniques, he composed the parts of Cinderella’s unkind sisters: the angry and domineering Zlyuka performed by Alla Shelest and the funny capricious Krivlyaka, as shown by Tatyana Vecheslova. The contrast with their dance was transparent - the crystal dance of Cinderella herself - Natalya Dudinskaya. Sergeev’s role as the Prince was especially interesting. Irony colored this image in the music, irony also appeared in the appearance of the red-haired prince, in the unexpected swiftness of his habits.”
Everyone danced in the Leningrad “Cinderella”: dressmakers, hairdressers, dance master, shoemakers. The children, the gnomes, who danced to depict the passage of the clock, had particular success with the audience. Sergeev's performance was successfully revived in 1956 and 1964; fragments from it are still included in the educational repertoire of the Academy of Russian Ballet. In 1985, a television film was created based on the play.
After Moscow and Leningrad, “Cinderella” was staged in Kyiv and Riga, Yerevan and Gorky. She was admired by ballet lovers in Japan and Yugoslavia, Italy and Poland, France and England. Of the first productions, the most famous is the play by Frederick Ashton (1946, London). It is curious that it was Cinderella that became the first multi-act ballet of the Sadler's Wells Theater (now the famous Royal Ballet). The grotesque roles of the deformed sisters and their mother were played by men. The role of the Jester, introduced into the play, complemented the world of farce and eccentricity, which shaded the lyrical line of the characters.
In 1964, the debut of the young choreographer Oleg Vinogradov took place in Novosibirsk. “Cinderella,” composed by him, amazed not only the audience in Siberia, but also the capital’s critics who came specially. Based on the wonderful music of Prokofiev, the choreographer saw in old fairy tale the idea of two views on life. The world of consumers of life, overwhelmed by vanity and vanity, is opposed by the attitude towards life of gifted and extraordinary people. For a choreographer, Cinderella is, first of all, a talented person. Kind fairy helps the girl not out of duty as a godmother, but because he sees in her an undisclosed but kindred soul. Giving her the world classical dance, The Fairy opens up unknown horizons for Cinderella, accessible only creative personality. In turn, Cinderella, having found the Prince, takes him with her to Magic world. Subsequently, the choreographer moved his performance to various cities and countries, including the Leningrad Maly Opera and Ballet Theater (1977) and the Moscow Stanislavsky and Nemirovich-Danchenko Musical Theater (2006).
In the twenty-first century, choreographers still do not leave the modest Cinderella alone. They are trying to improve the script by “enriching” it with their non-standard finds. So in the play by Maria Bolshakova (2001, Leningrad Opera and Ballet Theater named after M. Mussorgsky), Cinderella does not go to the ball at all, but sees it only in a dream. In the generally interesting “Cinderella” by Alexei Ratmansky (2002, Mariinsky Theatre), instead of the fairies of the seasons, the heroine is punks, and in last act The prince is looking for the owner of the magic shoe in a gay club. In the play by Yuri Posokhov (2006, Bolshoi Theatre), instead of a fairy, the author of the play appears, living on the Moon with a “retinue” of crows. Apparently, Prokofiev’s tender ballet tale is enchanted, and it can be unraveled by a person of special talent who is able to combine the search for something new with respect for the authors of the ballet.
A. Degen, I. Stupnikov
Ballet in 2 acts.
Duration: 1 hour 50 minutes, with one intermission.
Composer: Sergei Prokofiev
Choreography: Sofya Gaidukova-Golovkina
Based on the tale of the same name by Charles Perrault.
About ballet
The premiere of the ballet “Cinderella” by S. Prokofiev based on the fairy tale of the same name by Charles Perrault took place on November 21, 1945 on the stage of the Bolshoi Theater. This is a performance about the victory of childish, naive purity, submissive to circumstances, over the deceit, malice, and greed of the surrounding society. The meekness and kindness of the poor stepdaughter deserved the highest reward. The artists will help the viewer to believe, at least for a moment, that this is possible. The magical dance of fairies, the funny absurdity of the sisters and stepmother, the unusually beautiful romantic duets of Cinderella and the prince - the performance will lift the spirits of both adults and children.
Libretto
Prologue:
Fairies led by Cinderella's godmother appear before the audience. They introduce the viewer to a fairy tale that ends with a happy ending - the prince finds his Cinderella.
Act I:
Picture 1:
A room in Cinderella's family house. Two sisters and the Stepmother scold Cinderella for not lighting the fireplace, reproach her father for the bad upbringing of his daughter, and quarrel among themselves. The unhappy father takes them away, leaving Cinderella alone. She tidies up, picks up a broom and cheerfully performs her usual household chores. The room is clean, the fireplace is lit. But the evil sisters return and scatter the brushwood brought by Cinderella. Triumphantly, they run away. Cinderella is crying.
Mice appear, they collect brushwood, put it in a basket and hide behind a chair. Cinderella stops crying, looks around - what a miracle! All is clear. Who did this? Mice run out of hiding. Cinderella is scared, but the mice are so funny and friendly. The girl thanks the volunteer helpers.
Cinderella's father, the forester, enters the room. He laments his terrible life. His daughter tries to console him. He puts her on a chair. The father sees that Cinderella is poorly dressed and has no shoes. He takes out a pair of clogs that once belonged to Cinderella's mother. The girl tries on shoes, but then her stepmother bursts in shouting: “Oh, he remembers deceased wife, and loves Cinderella more than other daughters.” She clutches her heart and faints. The forester carries away his wife.
The ball is approaching. The indignant sisters and stepmother run into the room, demanding to dress them. Cinderella brings dresses that she sewed herself. The Trinity is delighted. But the sisters start a fight again when choosing outfits. The stepmother and father have difficulty separating them. The prince's friend appears - the ballroom dance manager. He announces the date of the upcoming ball in the royal palace. The stepmother asks him to teach his daughters good manners and offers him money. Classes have begun, but the clumsy students can’t keep up with the teacher, they stumble and fall. Only Cinderella completes his tasks flawlessly. He applauds admiringly, but his stepmother takes his money and forces him to teach only her daughters. Lazy people do not achieve much success, the stepmother refuses to pay, and the teacher leaves indignantly. Grabbing elegant dresses, the stepmother and sisters run away.
The father sneaks into the room. He is wearing a beautiful camisole and hat. Cinderella straightens his clothes, because this is also her job. The father bows to his daughter. He plays the prince, she plays the princess. They are dancing a waltz. Cinderella is sad because she will not go to the ball. Her father consoles her. Cinderella does not know how to grieve for a long time. She places copper pans on her and her father's heads as if they were crowns. The game of prince and princess continues. But the evil Stepmother grabs her husband by the hand and drags him along.
Cinderella is alone. The godmother appears, emitting a magical glow - this is the fairy from her dream. She teaches her to dance along with her retinue - fairies of the seasons (Spring, Summer, Autumn and Winter). With the help of an evil fairytale gnome, the Godmother predicts that the magic will disappear as soon as 12 strikes - Cinderella's beautiful outfit will turn into an everyday one. The fairy presents her goddaughter with shoes and a dress, sending her to the ball.
Act II:
Super curtain. Against its background, guests are rushing to the ball: the Prince of Spain, the Prince of China, the Prince of Chukotka.
Picture 1.
Ballroom of the royal palace. Guests and courtiers dance the mazurka. Everything is managed by the Ballroom Dance Director. Three princes of friendly powers enter the hall: Spain, China, Chukotka. All ladies try to please eligible bachelors. But then the Prince himself appears. He is young and beautiful. The stepmother and sisters, accompanied by the father of the family, also arrive at the ball. The Minister of Jokes and Entertainment, dressed as an executioner, scares the trio with an ax. The ballroom dance director announces the mazurka again, but... it sounds magical music, fantastic light streams, a golden carriage flies into the hall. A beautiful princess emerges from her - this is Cinderella. The prince is enchanted. The ballroom dance director announces a waltz. The prince is embarrassed, the manager himself begins to dance with the princess, delicately handing her over to his pupil.
The Spaniard, the Chinese, and the Prince of Chukotka dance with the princess. All guests are in a romantic mood. Cinderella is left alone in the hall for a short moment. Her father comes out to meet her. He bows without recognizing his daughter. Cinderella, laughing, explains to dad that it is her, but transformed. The father finally believed in a miracle. He's completely happy. At this moment the prince enters the hall, and the father retreats with a low bow. The Spaniard, the Chinese and the Prince of Chukotka give Cinderella a Spanish cloak, a Chinese robe and Chukotka furs. The ballroom dance manager asks Cinderella to dance. The prince admires her and takes her out of the hall when, in response, foreign princes in love with the mysterious princess begin their dance. Eligible bachelors are literally attacked by Cinderella's sisters and stepmother. The “grooms” retreat in horror, and the “brides” grab the cloak, robe and furs lying on the throne and rush after them.
Cinderella is alone in the palace hall. She examines herself in the mirrors, not believing that it is she who is reflected in them. The prince, who has been looking for the mysterious stranger for a long time, touches her hand. Both are happy. The prince offers Cinderella his hand, heart and crown. Imagination takes lovers to a magical garden. Together with Cinderella and the Prince, fairies dance the waltz, surrounded by fantastic ladies in crinolines. Suddenly the twelfth month - December - runs into the hall. He has a watch in his hands. There are only a few minutes left until midnight.
The prince continues his dance of happiness. Cinderella runs away. Fairies circle around the prince and the clock begins to strike. The prince runs to look for the mysterious princess. Twelve months appear. Horses turn into mice before our eyes. Cinderella is back in her beggar's dress. She has a crystal slipper on one foot, but she has lost the other. Cinderella rushes to the carriage, but it turns into a pumpkin. The prince does not recognize his princess in the pitiful beggar. Cinderella runs away. The prince still holds the crystal slipper in his hands. The prince notices his stepmother and sisters running out of the palace along with the foreign princes. The prince does not recognize them from the back, especially since they are dressed in a Spanish cloak, a Chinese robe and Chukchi furs. The prince decides that Cinderella could be one of them.
Picture 2.
The prince's room in the palace. The prince, in love and unhappy, is trying to find his beloved. He begins his journey to different corners Sveta.
In Spain he is met by a passionate Spanish woman dancing surrounded by her retinue. The dance teacher is subdued and believes that she is Cinderella. But the shoe doesn't fit. They rush on, love carries the prince to the East.
Seeing the stunning oriental beauties, the dance teacher completely loses his head. They dance to the enchanting flute, and the prince thinks that central girl- his love, but he tries in vain to put on the shoe. .The dance teacher suggests going to Russia. Russian girls rush by like a whirlwind, but again there is no one among them. The search continues.
Picture 3.
Cinderella's room. The stepmother and her daughters return from the ball. They show off to Cinderella the Chinese robe, Spanish cloak and Chukchi furs stolen from the palace. After his daughter's success at the ball, the father began to behave like the head of the family. He takes an armful of brushwood from Cinderella and gives it to one of the Sisters. The broom goes to someone else. The stepmother tries to pretend to be hysterical again, but the father no longer succumbs to the deception. The inconsolable Prince wanders into the house, accompanied by his friends. Seeing the crystal slipper in the Prince’s hand, the sisters grab it and try it on in turn. Unsuccessfully. Then the stepmother tries to squeeze her foot into the shoe. The Minister of Entertainment transforms into an executioner again and tries to shrink her leg with an axe. Cinderella runs in. She took the joke seriously and stops the “executioner.” At that moment the second one falls out of her pocket. glass slipper. Everyone is amazed. The prince compares two crystal slippers and looks into the poor girl's face. Yes, she is his princess. With the wave of the Fairy's magic wand, the prince's godfather sees the one he loves.
Epilogue.
The Prince and Cinderella are happy. They feel like they are floating in the sky. They are accompanied by fairies, stars and planets.