Olga Preobrazhenskaya. The Vienna State Ballet will reveal the secret of the blue beard

Photo: provided by the press service of Dance Open

The Vienna State Ballet will reveal the secret of Bluebeard

The 15th season of Russia's largest ballet festival DANCE OPEN will open with an evening of one-act ballets performed by the ballet of the Vienna State Opera. It will be possible to enjoy the performance of one of the oldest ballet companies in Europe on April 16.

On the main stage of the Alexandrinsky Theater, the St. Petersburg audience will be presented with a unique program - it was formed by the greatest modern dancer Manuel Legris (formerly the premiere of the Paris Opera, and now - for 15 years - the director of the Vienna State Ballet). Each episode of the program is an example of brilliant technique and subtle dramaturgy.

The first sketch is a joint work of the twin brothers Jiri and Otto Bubenichek "Breath of the Soul". Jiri created the choreography, lyrical in mood and very bright, and Otto acted as an artist and one of the composers. The graceful miniature will be a reminder of the cyclic nature of life, the inevitability of the finale and the eternity of the new spring, bringing soothing sadness and joy at the same time ... It is worth noting that such deep and philosophical reflections Jiri was inspired by an album with reproductions of Leonardo da Vinci, which one summer evening was presented to him by the ballerina Marie -Agnes Gilot.

The second episode is a filigree, if not calligraphic, miniature "Out of Order", staged by the duet of Paul Lightfoot and Sol Leon to the music of Rossini. The 15-minute production, full of humor, frantic rhythm and ironic quotes, requires the dancers not only to have virtuoso technique, but also the talent of an actor's reading of the material. No wonder she has been captivating audiences around the world for 20 years.

The final story is a production of "The Secret of Bluebeard" by Stefan Toss with music by Philip Glass. Suffering and passion, the eternal confrontation between male and female, the hopeless and endless search for love, the struggle with hidden fears and the bitterness of innermost memories - such a conversation will enchant and drag anyone like a whirlpool from an anxious and vivid dream.

Charles Perrault

Raoul Bluebeard

In one forest there lived a poor old man who had three sons and one beautiful daughter. One day a rich carriage with six horses drove up to his hut; from this rich carriage came a man dressed in a golden dress, tall, with a stern face, thick eyebrows and a blue beard. - Give for me youngest daughter your Izora, he said to the old man. I am Raoul Bluebeard; I have many rich castles, a lot of gold and silver. Agree to my request. Your daughter will be happy with me. The old man thought and agreed. Isora looked at Raoul's rich dress, at his golden carriage; she imagined that all this wealth would belong to her, and gave her hand to her terrible fiance. A few days later there was a wedding in one of Raul's rich castles. Isora, saying goodbye to her brothers, said to them: - Dear brothers, although I have a lot of wealth, I am afraid that I will be unhappy with my husband: Raul Bluebeard is terrible to me! Dear friends, do not forget my request: if you hear my voice, wherever you are, whatever you do, leave everything and hurry to my aid! The brothers promised to fulfill her request, kissed her and left. Her sister. Laura stayed with her. so that she alone would not be so sad and scared. In the early days, Raul was very affectionate with his young wife: he pleased her in everything, gave her holidays, gave her gifts. But Izora, God knows why, was still sad. It seemed to her that such happiness could not continue. And in fact, it did not continue. A month passed, and Raoul Bluebeard got ready to go somewhere. He comes to his young wife and says to her: - listen, Isora, I have to part with you for a few days. Be mistress in my castle; here are the keys to all my rooms; this key to the pantry in which my treasures are kept: this one to the chest in which pearls and gems ; this one is from a room in which brocades, velvets, and various rich materials lie; this one is from my gold and silver utensils. You can unlock all rooms and chests; you can take from my treasures whatever you like. I forbid to open only one small iron door, which is drawn by a black curtain; here is the key to this iron door, I give it to you along with other keys; but remember my command: do not draw back the black curtain; don't open the iron door. I forbid it to you strictly! You will die if you don't follow my orders! And Raul, giving the keys to Izora, looked at her with such terrible eyes that she trembled; then he kindly said goodbye to her and left. In the early days, Isora was engaged in examining the treasures that filled Raul's magnificent castle and did not think about the iron door. On the third day I remembered her. What can be behind this iron door? she thought. Why did Raoul Bluebeard forbid me to draw back the black curtain and unlock the iron door! Surely some unseen treasure is hidden in an unknown room! She looked at the key: it was solid gold. Curiosity tormented her; but fear held. Finally she thought: no one will see me! I will open the door carefully, and also carefully lock it. Who will tell Raul about this! And she took the golden key, went slowly to the iron door, which was at the end of the dark corridor; her heart beat terribly; it seemed to her that someone was following her, and the closer she came to the iron door, the more frightened she became; Finally, she went up to it, pulled back the black curtain, put the golden key in the iron door, trembled, thought: should I open it or not! Finally, she turned the key, the lock was unlocked, the door moved, banging, opened, and Izora's eyes saw a dark, spacious room, dimly lit by a small window. She entered. My God! what did she see there? The entire floor of this room was covered in blood, and three dead bodies lay on the floor: these were the first three wives of Raul, who himself, with his own hand, killed them because they did not obey him and unlocked the door of the secret room. Poor Isora, pale with horror, ran to fix it; she wanted to lock the door behind her, but in a hurry she dropped the key; picking it up, she saw that it was covered in blood. - and began to clean it. In vain: the blood did not rub off and the golden key turned black. it was in vain: the blood was not wiped off and the key became blacker hour by hour.All that night she could not sleep, and she waited in horror for the morning, because the next day Raoul was to return. Finally dawn broke. the sun began to rise, a horn was sounded on the tower of the castle: this meant that Raoul was approaching. Poor Isora! How horrified she was! But there was nothing to do: she braced herself and went to meet the terrible Raoul. He looked at her sullenly - Why are you so pale, Isora? he asked in a stern voice, knitting his thick brows. She trembled and could not say a word. “Give me my keys,” he said, frowning even more. Isora held them out with a trembling hand. - They are not all! One is missing, the golden key! “I forgot it in my room,” whispered Isora, trembling. - Bring it in this minute. - The poor thing, barely moving her legs, went for the key, returned and gave it to Raoul, trembling with fear. - Why has my golden key turned black? Raoul shouted in a terrible voice. -- I do not know! Isora said so quietly that one could hardly hear her. -- You do not know? But I know: you unlocked the iron door, you were in the forbidden room! Criminal! you will be in it again and you will never get out of it. Prepare for death! - Have mercy! Isora screamed, falling to her knees in front of him and hugging his legs in slashes. - No pardon! Prepare for death! said Raoul Bluebeard, and pushed Isora away -- Touch my remorse! Have pity on my youth! -- All in vain! You will die this very minute! -- Ah! give me at least one hour of time: let me pray; let me climb the tower, so that at least from afar I can see the place where my father lives, where my brothers live, to say goodbye to fields, groves and bright skies! “I give you one hour: go to the tower, pray, prepare for death; but come down to me as soon as you hear my voice. Isora called her sister Laura, and together they went to the tower. This tower was above the gates of the castle; from its height one could see all the wide iole, and in the distance the forest where the father and brothers of Shora lived. Raoul Bluebeard remained below and began to sharpen his wide knife on the stones. - Brothers! dear brothers! shouted from the tower of Isora: "Hurry to me!" fly to me! - The brothers mounted horses at this time to go hunting. - Can't you hear the voice? one asked. - Isn't it the voice of Isora? said the other. - Calling us! exclaimed a third. - Let's jump! they all cried together. They pricked the horses with their spurs and rushed off like a whirlwind. - Isora! Are you ready? A quarter of an hour has passed! shouted Raoul, continuing to sharpen his knife. Isora fell to her knees and began to pray, while Laura looked into the distance at the wide field, at the high road. “My sister, Laura, don’t you see something! -- I do not see; only the sun plays in the field, only the greenery shines brightly - Ah, dear brothers! Hurry to me! Fly to me! - Get ready. Isora! Another quarter of an hour has passed! Raul shouted again, from under his scabbard, which he sharpened on stones, sparks jumped. “My sister Laura, don’t you see something? - I don't see anything; only a herd runs along the road, and the sun plays in the field, and the greens from the meadows come off. “Ah, dear brothers! hurry to me! Fly to me! - Isora! Are you ready? You only have one quarter of an hour left! Raul shouted again, and so soon he began to sharpen his knife that the stones beneath him trembled. “My sister, Laura, don’t you see something? -- I see! I see! -- dust on the road! Our brothers are jumping! It's close! “Oh dear brothers! Hurry, fly! - Isora! shouted Raoul, the hour passed; come down to me from the tower! - One more minute! Let me pray for my father and my brothers! “But Raul, like a madman, ran up the tower, rushed at Isora, grabbed her by the hair and dragged her down the stairs. The poor woman screamed in a plaintive voice, but he did not listen to anything, dragging her straight to the iron door. At that moment, the brothers broke into the gate, rushed at the evil Raul, grabbed his sister from his hands, and stabbed him with their sharp swords. His body was thrown into that terrible room where he wanted to slaughter Izora; they locked the iron door behind him, and since then it has never been opened. Isora left the castle of the terrible Raul; all his treasures went to her; she moved to her father and brothers, and lived happily with them.

"Blue Beard" "BLUEBEARD", ballets based on the same names. fairy tales by Ch. Perrault, 1) In 3 acts, 7 scenes with apotheosis. Comp. P. P. Shenk, scene. L. A. Pashkova. 12/8/1896, Mariinsky tr, St. Petersburg, ballet dancer. M. I. Petipa, art. P. B. Lambin, K. M. Ivanov, G. Levot, and V. T. Perminov; Blue beard P. A. Gerdt, Isora P. Legnani, Anna O. I. Preobrazhenskaya (later A. P. Pavlova), Ebremar I. F. Kshesinsky, Raymond A. A. Oblakov. 1910, resumed there, ballet. N. G. Legat (according to Petipa); Blue beard P. A. Gerdt, Isora M. F. Kshesinskaya. 1918, ibid., ballet. A. M. Monakhov and A. I. Chekrygin (according to Legat); Blue beard I. N. Kusov, Isora E. A. Smirnova, Anna E. P. Gerdt, Ebremar I. F. Kshesinsky, Raymond A. N. Obukhov. 2) One act in 4 scenes (with 2 prologues and 3 interludes) to music. the same name. operettas by J. Offenbach, arranged by A. Dorati, scenes. M. M. Fokin (according to A. Melyak and L. Halevi). 10/27/1941, "Balle tietr", Palace of Arts, Mexico City, ballet. Fokin, thin. M. Werte; Bluebeard A. Dolin, Ermilia A. Markova, Queen Clementine L. Chase, Prince Sapphire J. Skibin, Bulotta I. Baronova. Shown in the USSR in 1960.

The only daughter of King Bobes, the beautiful Fleurette, was banished by him and spent her youth among shepherds and shepherdesses. Found by the king's minister Oscar, she is to be married to Prince Sapphire. In it, Fleurette recognizes a poor shepherd who is in love with her (for the sake of her, the prince hid his origin). A happy ending was almost interrupted by the knight Bluebeard, who also fell in love with Fleurette. However, he gets the shepherdess Bulotta as his wife, to-ruyu, like his five previous wives, he tried to poison with the help of the alchemist Popalani. Sapphire marries Fleurette. 3) Comp. J. Jacobi. 12/16/1895, Alhambra shopping mall, London, ballet dancer. K. Coppi. 4) To the music. S. Lecoq. 1898, Paris Opera, ballet. P.O. Monroy. 5) "Knight Bluebeard" ("Ritter Blaubart") to the music. X. Vogt. 1938, Düsseldorf, ballet. X. Freund.

Lit .: "Blue Beard". [Libretto], St. Petersburg, 1896; "EIT". Season 18961897, St. Petersburg, 1898, p. 23858.

Ballet. Encyclopedia. - M.: Great Soviet Encyclopedia. Chief Editor Yu.N. Grigorovich. 1981 .

See what "Bluebeard" is in other dictionaries:

Bluebeard (disambiguation)- Bluebeard: The Bluebeard is a legend about a treacherous husband who kills many women, first described by Charles Perrault. The prototype of the character was Marshal of France Gilles de Rais. Bluebeard fantasy novel Kurt ... ... Wikipedia

BLUE BEARD- (fr La Barbe Bleue) the hero of the fairy tale by C. Perro "Bluebeard" (1697). One of the most mysterious and sinister fairy-tale characters. It is difficult to explain what prompted Perrault to make the killer of a maniac the hero of a children's fairy tale. In addition, his image is given very ... ... literary heroes

Bluebeard (film)- Bluebeard (film, 1901) This term has other meanings, see Bluebeard. Blue beard Barbe bleue Genre film fairy tale, drama, detective Director Georges Méliès ... Wikipedia

Blue Beard- From the old French fairy tale "Raoul, the Knight of the Bluebeard", processed and published French writer storyteller Charles Perro in 1697. It tells of a knight who, in anger, killed his first wife, then five others whom he married ... ... Dictionary of winged words and expressions

Blue Beard- Blue Beard. Wed The princess did not promise much interest for his sensitive inquisitive, and the prince did not at all want to be Raoul Bluebeard ... Lѣskov. bypassed. 1, 2. Cf. He certainly wanted to dress up his jealous husband in the most buffoonish and ... ... Michelson's Big Explanatory Phraseological Dictionary (original spelling)

Blue Beard- This term has other meanings, see Blue beard (meanings). Illustration by Gustave Doré: Blue beard, wife and key. Blue beard (fr. ... Wikipedia

Bluebeard (film, 1901)- This term has other meanings, see Blue beard (meanings). Blue beard Barbe bleue Genre fantasy drama crime film Director ... Wikipedia

Bluebeard (novel)- This term has other meanings, see Blue beard (meanings). Bluebeard Bluebeard Author ... Wikipedia

BLUE BEARD- a monster from the fairy tale of the same name (Barbe Bleue) by C. Perrault, first published in his Stories and Tales of Bygone Times (1697). In France, the legend of Bluebeard is considered Breton and is traditionally associated with two unfortunate medieval ... ... Collier Encyclopedia

Blue Beard- Raoul (Raoul, chevalier Barbe Bleue) hero of the French. fairy tales, who killed six of his wives one after another because, contrary to his prohibition, they opened his secret office in his absence, which served as an arena of murders, and in horror they dropped gold ... ... encyclopedic Dictionary F. Brockhaus and I.A. Efron

Books

• Blue Beard. Audio performance, Olga Vasilyeva, Charles Perrault, Storyteller - Honored Artist of Russia Alexei Kuznetsov Bluebeard - artist Andrey Yaroslavtsev Madeleine - artist Irina Kireeva Anna - artist Irina Avtukh Matushka - Honored Artist ... Category: Fairy tales Publisher: VOX, Buy for 149 rubles audiobook
• Bluebeard (digital version) (Digital version) , Perrault Charles , Bluebeard is probably Charles Perrault's most terrible fairy tale, its exciting plot keeps the listener in suspense until the very end. Strange prohibitions, female curiosity, bloody… Category: For children and youth Series: Children Publisher:

BALLET
Stage bullshit magical current
Finds, like a nightingale's whistle,
And tries your will by the tooth
Cold calculation of the ballerina.

And all this sweat, this makeup, this glue,
Confused by your taste and feelings,
Already captured your soul.
So what is art?
Arseny Tarkovsky

Olga Iosifovna (Osipovna) Preobrazhenskaya (1871-1962)

Born in St. Petersburg in the family of an office worker. From an early age she was seriously interested in dance. Nevertheless, the girl was not admitted to the St. Petersburg Theater School for a long time: her appearance was not advantageous, and besides, flaws were found in the shape of her back and legs.

In addition, she became the leading teacher of the Milanese ballet school, taught in London, Buenos Aires, Berlin and was considered one of the best classical ballet teachers in the world. In addition, she wrote theoretical articles on teaching methods, which still have not lost their value.

She was vertically challenged and jumped on a chair to see everyone in the class. She showed combinations of movements in great detail, explained a bunch of small details. And she was famous for her generosity: if she saw a capable child, she reduced the payment, or even did not take money at all.

Preobrazhenskaya left teaching in 1960.
I really needed it. Last years Olga Iosifovna's life was spent in a hospital for the elderly. Buried in Paris.

The 15th anniversary international festival Dance Open starts today in St. Petersburg. Let's take a look at what the organizers have prepared for this year.

The main keys of this festival are four ballets from different countries peace. All of them settled under the roof of the Alexandrinsky Theater for the duration of the Dance Open. In addition to the main one, there is an important and interesting off-program at the festival. But let's go in order.

The Vienna Ballet Company was founded almost 400 years ago, and all this time it has been considered one of the most significant in the world. Since 2010, it has been headed by Manuel Legris, who from season to season confidently proves that classic and modern dance naturally may intertwine. In order to move forward, modernity does not necessarily have to rebel against the classics. Another confirmation of this is the new work of the Vienna troupe, the evening of one-act ballets "The Secret of Bluebeard". It includes Breath of the Soul (choreography by Jiří Bubenicek, music by Bach, Pachelbel, Hofstetter and Otto Bubenicek, the choreographer's twin brother), Out of Order (choreography by Paul Lightfoot and Sol Leon, music by Gioacchino Rossini) and The Mystery of the Bluebeard itself (choreography by Stefan Toss, music by Philip Glass). Parts of the trilogy are about life, death, love and passion. The first brothers-creators were inspired by the album of Leonardo da Vinci. From him, apparently, in the "Breath of the Soul" is such a keen sense of life and its end. In the second part, this feeling grows, but humor appears (a thing that is not so common in ballet). And finally, everything is resolved by the third story - an honest and uncompromising study of the relationship between Man and Woman.

What will happen if we combine Prokofiev with Kenneth MacMillan, add Currentzis, the Permian ballet and the Covent Garden soloists? A miracle cannot be avoided, it certainly happens. In the first performance of Romeo and Juliet, MacMillan's choreography featured Rudolf Nureyev and Margo Fontaine. Later, it was Macmillan's version of Shakespeare's tragedy that became canonical for European ballet. We consider this version of Leonid Lavrovsky. The Russian dance troupe decided to approach MacMillan's most difficult choreography based on Prokofiev's music for the first time. Enlisting the support of the British choreographer's foundation, soloists of the Royal Theatre, as well as Italian artists, Alexey Miroshnichenko, chief choreographer of the Perm troupe, created a truly important work.

The Dresden Theater brought to St. Petersburg three very different one-act ballets, united in one evening. What else do they have in common? Apparently, something at the level of philosophy (because both style and choreography differ fundamentally). As the organizers of Dance Open promise, "this is an intense reflection, a persistent attempt to understand what dance is, what place is assigned to it in human life."

"Dance Suite" is Alexei Ratmansky's way of translating Strauss's music into movements. In In Another Space, choreographer Pontus Lindberg attempts to translate Jalaluddin Rumi's poetry into the language of dance. To help - the music of Max Richter. And, finally, “Cacti”, where the choreographer Alexander Ekman, with the “support” of three composers (Schubert, Beethoven, Haydn) and 16 dancers, ironically speaks on the topic of modern dance culture, and at the same time on relations with critics.

Two Edwards, Grieg and Klug, will appear on the stage of the Alexandrinsky Theater with new version ballet "Peer Gynt" There is already a lot of talk about this performance: about its structural complexity, about staging victories. But it seems especially valuable that the choreographer enters into an honest dialogue with himself and the world. This dialogue contains both tragedy and irony. It is not surprising that Klug entrusted the part of Peer Gynt to one of the most expressive dancers of our time, the premiere of the Mariinsky Theater Denis Matvienko.

AT this year off-program Dance Open includes two exhibitions at once. The first is dedicated to Sergei Prokofiev and runs from 15 to 22 April in the lobby of the New Stage of the Alexandrinsky Theatre. The exposition in honor of the 125th anniversary of the composer's birth was called “Prokofiev. Anthem of Love” and dedicated it to “Romeo and Juliet”. There are posters of the first performances of the ballet, and photos of the legendary performers of the main parts, and even costumes created by hand for the performance of the Perm Opera.

The second exhibition is called "15 Moments of Spring" and takes place in "Ziferburg" on Bolshaya Konyushennaya. The basis of the exposition is photographs of today's already recognized ballet geniuses: Ulyana Lopatkina, Natalia Osipova, Denis Matvienko and others - in the moments of the performance of their crowning roles. Those who are not indifferent to dance should pay attention to the fact that within the framework of the off-program there will be a master class by the artistic director of the Maribor Ballet Company, Edward Klug. That is, the choreographer will not only bring his new job, but also share the secrets of craftsmanship. The master class is scheduled for April 24th. Participation is, of course, by appointment only.

The star concert of the Dance Open festival is always an event: the organizers are trying to gather the best artists season with their outstanding numbers on the same stage. Anniversary Festival gives the audience a special gift. Manuel Legris himself will take the stage - now the artistic director of the Vienna ballet troupe, and in the past one of the best dancers in the world. In 2015, Legri for the first time brought the troupe entrusted to him to the festival (then the audience saw the ballet "Countdown"), and this year 2016, he will not only show the achievements of his wards in the above-mentioned evening of one-act ballets, but also remind him of his brilliant past.