Introduction. SONG ABOUT A HERO

ACT ONE

Picture one. THE CAPTIVATION OF SPARTACUS

On the battlefield, Spartacus fights alone against numerous opponents. Wounded, he is captured by the Romans.

Picture two. TRIUMPH CRASS

Ex-dictator Lucius Cornelius Sulla in the Colosseum takes the parade of the Roman army. The ceremony is attended by a slave - the Greek dancer Aurelius in the form of the Goddess of Victory - and the mime Metrobius, in the form of the God of War. Among the winners are the concubine of Mark Lucinius Crassus, the Amazon Eutibida; the bound Spartak takes out the successful commander Crassus on a chariot. Aurelius rushes to Spartacus, recognizing him as her lover.

The celebration of victory is continued by the fights of gladiators: Andabata, Retiarius and Mirmillon, Thracians and Samnites.

Crassus releases an unarmed Spartacus against several opponents. Spartacus wins, but asks to save the lives of the defeated gladiators. Spartacus is tied up again. Eutibida, performing the dance of the Roman Wolf, removes the fetters from Spartacus and drags Crassus away from the Colosseum. The gladiators Crixus, Gannicus and Cass, saved by him, rush to Spartacus.

Picture three. CONSPIRACY

Slaves, townspeople, mimes, beggars gather in the tavern "Venus Libitina" (Venus Funeral). They are treated by the owner of the tavern, Lutacia One-Eyed, and her two maids. Spartak appears with friends. He calls everyone to revolt. All enthusiastically respond to his call.

Picture four. DATE. SPARTACUS AND AURELIUS

On the streets of Rome, Spartacus secretly meets with Aurelius. Past them pass the patricians, invited to the feast of the ex-dictator Sulla. Crassus is brought on a stretcher, accompanied by Metrobius. Aurelius is forced to join the retinue of Eutibida. Spartak tries to avoid the persistent attention of this capricious matron.

Picture five. PIR AT THE EX-DICTATOR

The most distinguished patricians and matrons gathered in the Roman patio.

The ex-dictator Sulla prepared a performance for the guests. Metrobius and mimes are dancing, Crassus, Metrobius and Eutibidus are trying to involve in erotic games and Aurelius, but she manages to slip away. Aurelius dances an Etruscan dance with Metrobius and mimes. During the dance with the snakes of the Gaditan maidens, the Spartacists burst into the patio.

They set the hall on fire with torches. Spartacus releases all women and Eutibida. She brings Crassus and Metrobius out of the baths, hiding them among the Gaditan maidens and slaves. The rebels proclaim Spartacus their commander.

ACT TWO. "SONG OF VICTORY"

Picture six. SPARTAC TRAINING AND FIGHT

Camp Spartacus. Gladiators train slaves in the Roman system. Warriors learn to fight different types weapons, a crowd of slaves turns into a perfectly trained army before our eyes.

Battle with the Romans. Spartacus victory. Eutibida confesses her love to Spartacus. He is indifferent to her. Eutibida tries to kill him and vows revenge.

Picture seven. CRASS' DEFEAT

Crassus, in a rage, kills his soldiers retreating in a panic and by force establishes discipline, Eutibida takes him to the occult Egyptian temple forbidden in Rome.

Picture eight. SACRIFICE

In an Egyptian temple ritual dance Eutibida stabs the vestal virgin and bathes the sword of Crassus with her blood in order to beg the victory of the Roman army from the goddess Isis.

Picture nine. REVOLT IN SPARTAK CAMP

Slaves, intoxicated with victories, rob, torture prisoners, rape their wives and daughters. After the intervention of the indignant Spartacus, part of the army, led by his closest friend Crixus, is separated to go to Rome. Spartacus is against - his goal is to return the freed slaves to their countries. But, obeying the decisions of his companions, he remains at the head of the army.

Spartacus, along with Aurelius, is experiencing this night in anticipation of the last mortal battle, "The Song of Love".

Picture ten. LAST STAND. "THE SONG OF IMMORTALITY"

In a bloody battle, Spartacus dies along with his army. Eutibida hides grief. Slave women from the countries conquered by Rome mourn the lost loved ones. Aurelius says goodbye to Spartacus.

Picture eleven. TRIUMPH CRASS

The chariot of Crassus and Eutibida is drawn by new slaves. The crowd cheers for the winners.

A. Khachaturian ballet "Spartacus"

The idea to create the ballet "Spartacus" came to A. Khachaturian at a difficult time for our country - in December 1941. With this work, the composer wanted to show heroic image human ancient history, which was especially important in the context of military events, to maintain the strong-willed spirit of the people in the struggle for their freedom and independence.

Summary of Khachaturian's ballet "Spartacus" and many interesting facts read about this work on our page.

Summary

The events of the play take place in 73-71 BC. in the Roman Empire. Spartacus is a Thracian, captured along with his wife and now forced to be forced, he participates in gladiator fights. He raises an uprising among the fighters, motivating them to end such a life and fight for their freedom. The rest of the gladiators support him and a popular uprising rises. By order of the commander Crassus, the Thracian Harmonius adjoins their camp. He learns all the plans of Spartacus and at the right time tells his master about them. Thanks to this, the Romans ambush the rebels and attack them. As a result of a fierce fight, Spartacus dies, and the traitor Harmony Crassus orders to be killed. The surviving Thracian warriors find the body of the defeated Spartacus and raise it to the shield. At this moment, the horizon line is illuminated by a golden glow - the sun is rising.

The author of the libretto N. Volkov used authentic historical sources: "Biographies" of Plutarch, satires of Juvenal and some works of art. The theme of heroism, struggle and devoted love are intertwined in the plot of the ballet dough.

A photo:

Interesting Facts

• There is a coin with a face value of 100 rubles, on which you can see scenes from Spartak. Its release was timed to coincide with the 225th anniversary of the Bolshoi Theatre.
• Despite the fact that the plot of the ballet was approved by the authorities, work on his own famous work Khachaturian was forced to postpone for some time. So, he again started it only in 1950 after a trip to Italy. Perhaps, having visited the Colosseum and the Appian Way, where the fateful battle of the insurgent people once took place, he decided to write a long-conceived work.
• The premiere of the ballet took place in February 1954 and was appreciated by the public and critics, moreover, it became a real sensation and caused a storm of emotions. Everyone was amazed by the extraordinary staging, it seemed that the heroes were animated sculptures that had come down from historical pages, antique mosaics, and above them all towered the image of the hero - Spartacus. Even the performers danced not on pointe shoes, but in sandals, dressed in tunics, so as not to deviate from the historical plot.
• Choreographer Leonid Yakobson initially criticized the ballet! He did not like almost everything in it: the libretto is sketchy and the musical part is too long. Naturally, Aram Ilyich did not like this, especially since he was categorically opposed to shortening the score. As a result, a real scandal broke out between them right on Nevsky Prospekt in the middle of the street! Even fists were used, everyone defended their innocence so strongly that they had to call the police. However, the laws of the theater are such that the last word always remains with the choreographer. Therefore, Leonid Yakobson nevertheless made some adjustments for his innovative production.
• "Spartak" - remains the greatest and famous production Khachaturian, for which the author was awarded the Order of Lenin.
• Fragments this work can be found in two series of the popular cartoon franchise " ice Age", namely: " Global warming and the Age of the Dinosaurs.
• Curious what about this famous hero, like Spartak, very little information has survived to this day, so the librettists had to compose his biography somewhere.
• Khachaturian composed the ballet in 3.5 years.
• Even before the premiere at the theater, the audience was able to get acquainted with some numbers from the ballet thanks to the suite, which was often performed at symphony concerts, enjoying great popularity.
• Yakobson's production destroyed all existing traditions. Its performers were dressed in loose robes and sandals, which at first shocked everyone.
• Khachaturian was dissatisfied with the premiere of the play "Spartacus", because he still thought of it in classical performance. This was largely due to the fact that Jacobson violated the symphonic laws in the score, allowing himself some cuts and permutation of numbers.
• One of the main differences of this performance is that it is male, because the main parts here belong to Spartacus and Crassus, which was very rare for a ballet.
• To date, there are about 20 versions of the productions of this work in the world, but only two are considered the most popular: Grigorovich and Yakobson.

Popular numbers

Adagio of Spartacus and Phrygia - listen

Aegina Variations - listen

Dance of the Pirates - listen

Triumphal March - listen

History of creation

At first glance, it is hard to imagine, but Spartacus is a completely Soviet ballet in its ideology, although it tells about difficult events in the history of the Roman Republic, dating back to 73-71 BC. e. There is nothing surprising in this, because in Soviet period heroic works come to the fore, gradually replacing fairy-tale and light performances. main idea- wrestling, is the main for all art of that time.

In 1941 Aram Khachaturian first announced his intentions to compose the ballet "Spartacus" in a small newspaper article. He wrote that he was starting work on a work and thought of it as a monumental heroic performance. According to the composer, the ballet should show the public the most the best person throughout ancient history. It is known that this image attracted the attention of the composer for a very long time, especially in such a difficult time it seemed to him especially appropriate. The administration of the Bolshoi Theater invited the maestro to work on the play. However, due to major changes in the theater, as well as military operations in the country, the work was stopped for some time.

He was able to resume it only a few years after the war, visiting sunny Italy during his business trip in 1950. Returning to the country, he immediately began to compose music for the ballet, and already in February 1954 the work was written in full.

Curiously, the initial work on the libretto began as early as 1933. Choreographer of the Bolshoi Theater I. Moiseev and librettist N. Volkov conceived this ballet, but the grandiose idea had to be postponed for several years. This was due to the fact that the choreographer had to leave the Bolshoi Theatre. When the libretto was completed, Volkov was officially named its author, although it is not known for certain what exactly was written in collaboration with Moiseev.

Spartacus

Scenes from Roman life. Ballet in four acts

The author of the ballet Aram Ilyich Khachaturian
Libretto N. Volkova.
Choreographer L. Jacobson.
First performance: Leningrad, Opera and Ballet Theatre. S. M. Kirov, December 27, 1956
Characters
Spartacus. Phrygia. Aegina. Harmodius. Beauty. Dying slave. Lentullus Batiatus. Herald. Egyptian. African. Numidian, Gallus. Athenian jester. Etruscans, Gaditan maidens, hetaerae. Memes. Centurions. Companions of Spartacus.

The Roman commander Crassus returns from a campaign with a victory. The jubilant crowd welcomes the legionnaires famous in battles.

Crassus' golden chariot is harnessed by captive slaves. Among them is the Thracian Spartacus. His gigantic figure is full of strength and dignity. Next to him are his beloved, the young Thracian Phrygia, and the young man Harmodius.

In the crowd of the Roman nobility, patricians and senators, meeting Crassus, is his concubine, the courtesan Aegina.

Slave market. The auction begins with the sale of an Egyptian dancer. She is separated from her mother. Spartacus and the chained Harmodius are bought by the owner of the gladiator school, Lentullus Batiat. Sad is the moment of parting of Phrygia and Spartacus. Phrygia buys Aegina.

The circus. In the center of the amphitheater is the bed of Crassus and Aegina. The gladiator fights begin. A Gaul, a Numidian and an African are fighting. The wounded Numidian asks to grant him life, but the crowd demands to kill him. Two gladiators enter the arena. One of them dies; dying, he sends a curse to Rome. Two groups attract everyone's attention: the gladiators. A furious fight breaks out. Miracles of courage and dexterity are shown by Spartak. He wins, he is enthusiastically applauded by the crowd.

Square in front of the palace of Crassus. Phrygia pours out her grief to Spartacus, complains about the hard life in captivity and separation.

Under the cover of night, Spartacus agrees with his associates about a secret meeting. Aegina notices them. Wanting to reveal their plan, she charms one of the conspirators - the young Harmodius.

Festival in honor of the god Saturn (saturnalia). The crowd praises him with Bacchic dances. Crassus is carried out of the palace on a luxurious stretcher. One of the slaves carrying the stretcher stumbled. Beauty orders to kill him. Crassus' bodyguard stabs a slave with a dagger. Everyone freezes in horror.

At a secret meeting, Spartacus calls on his associates to start an uprising. The conspirators pledge their loyalty to the cause of the struggle for liberation with an oath.

Spartacus enters the stone prison of the gladiators. and calls the prisoners to revolt: better death on the battlefield than in the circus arena, for the amusement of the crowd! The chains have already been broken, the guards have been removed. Spartacus opens the gates of the prison and leads the rebels away.

An uprising of slaves spreads across Italy like a wide fiery river. Victory after victory is won by the troops of Spartacus. The Romans bow the "eagles" - the signs of their legions - before the leader of the rebellious slaves.

The commanders of Spartacus are returning from a campaign with captured legionnaires, looted goods, casks of wine and getters. Aegina is hiding among the hetaerae. She brings Harmodius to the tent of the feasting warlords.

Suddenly, Spartacus appears. He orders the getters to be immediately expelled from the camp. Harmodius protests. A quarrel arises between a group of military leaders and Spartacus. A long-brewing conflict leads to a split in the camp. A group of disgruntled military leaders, along with their soldiers, leaves Spartak's camp. Aegina carries Harmodius with her. With Spartacus, only his followers loyal to the cause of freedom remain.

Feast at Crassus. Aegina tells the commander that she managed to bring Harmodius, who quarreled with Spartacus, and also about the split among the rebels. Beauty gives the order to attack the camp of those who broke away from Spartacus.

Aegina is left alone with Harmodius. The night passes. The feast resumes. Beauty orders to bring Harmodius. Purple curtains open. Harmodius sees with horror the gladiators crucified on the crosses, his recent associates. He realizes that Aegina has betrayed him and tries to kill her, but he is captured and stabbed to death. Krase and Aegina leave the feast.

Slaves, led by Spartacus, rush into the palace. Phrygia and the slaves of Crassus joyfully rush towards them.

In the battle with the legionnaires of Crassus, Spartacus is defeated and retreats. Phrygia blesses him for new battles; she gives Spartacus a shield, kisses his sword. She foresees in her heart the impending catastrophe.

The Romans are coming. Surrounded by countless hordes, the Spartacists perish in a fierce battle. Dies and Spartacus.

The clear signal sounds. The Roman troops leave.

Night. Mist covers the battlefield. A mournful Phrygia appears, looking for the body of Spartacus. In ominous silence, she mourns the fallen hero.

Director's analysis of the choreographic number of the ballet "Spartacus"

Spartacus is a ballet in 3 acts, twelve scenes and nine monologues. This is the visiting card of the Bolshoi Theatre.

"Spartacus" is a modern ballet, which in January on tour of the Bolshoi Theater in Paris was a great success.

Music: National artist USSR, laureate of the State. USSR Prize Aram Khachaturian.

Libretto based on historical materials, motives of the novel by R. Giovagnoli and own fantasies Natalia Kasatkina and Vladimir Vasilev.

Scenography - folk artist USSR, Laureate of the State Prizes of the USSR I. Sumbatashvili

Costumes - E. Dvorkina

Stunt coordinator - Vice-President of the Freestyle Fighting Federation, Vice-President of the Russian Fighting Federation, Major General, Prince Alexander Malyshev

Choreography and staging: People's Artist of the USSR Valentin Elizariev

Conductor - Honored Art Worker of Belarus Nikolai Kolyadko

Scenery and costumes: People's Artist of Ukraine, laureate of the State. Prizes of Ukraine Evgeniy Lysik.

Premiere: 1956, Kirov Opera and Ballet Theater (Mariinsky), Leningrad

Present production premiered: 1980

Performance duration: 2 hours 30 minutes

The performance comes with two intermissions Soviet Ballet Theater (1917-1967). M., 1976. - S. 185.

The main dramatic principle of the ballet was the contrast, the confrontation of two forces - the rebellious gladiators and the satiated Rome with its powerful military machine. The polar and central images are the noble, morally impeccable Spartacus and the depraved voluptuary Crassus. Demonstrating how the Roman legionnaires, with their hands outstretched in a greeting that has become widely known in our century, walk as if through epochs and continents, the authors again, as in previous ballets, threw bridges from the past to the present. Not only the red arena of the circus, but also the bloody arena of history was perceived by the stage created by the artist. The hand dance was original, incorporating the prayers, complaints and weeping of captive slaves; an episode of the long and difficult, truly "cross" path of the rebellious gladiators, and in particular the scene of the death of Spartacus. Krasovskaya V.M. Russian ballet theater from its inception to mid-nineteenth century. L. - M., 1958. - S. 191.

... The rebellious gladiators were defeated, defeated. Tragic silence reigns over the field, where the battle has just thundered. But now, as if overcoming death itself, one of the warriors rises. This is Spartacus, who addresses his associates with parting words. The dying respond to the call of the leader, and each of them gives his last breath, the last drop of blood, like a holy duty, to Spartacus in order to prolong his breath, his life for another moment. And Spartak remains to live forever. Having been defeated in the 1st century, he won forever. In a bloody glow, reminiscent of the price paid for immortality, overshadowed by the wings of the goddess of Victory Nike, legendary warriors still rise, ready for new battles

"Spartacus" in the version of Yuri Grigorovich is the third version of the ballet on the stage of the Bolshoi Theater. The first, created by Igor Moiseev (1958), quickly disappeared from the repertoire. The second, Jacobson's, also did not have a long stage life. The version proposed by Yuri Grigorovich - its premiere took place on April 9, 1968 - shook the foundations of the foundations ballet theater that time. This "Spartacus" in one moment crossed out all the established stereotypes, turned all ideas about the heroic-romantic genre in ballet, its figurative structure, the relationship between the hero and the corps de ballet. Classical dance, presented in all its brilliance and variety of forms, in new production became the main, if not the only means of expression. Exactly classical dance reigned in monologues, duets, crowd scenes - virtuoso and powerful, imbued with feeling and thought. For each of the four heroes, the choreographer came up with a detailed dance characteristic. Spartacus and Crassus danced for the first time. Russian Ballet: Encyclopedia. M., 1997. - S. 209.

With the advent of "Spartak" Grigorovich seemed to begin new era in the annals of the Bolshoi ballet, the first heroes of which were the dreamer Spartacus Vladimir Vasiliev, the courageous Spartacus the leader Mikhail Lavrovsky, the brilliant “anti-hero” Crassus Marisa Liepa. Such characters have not yet known the ballet scene. The memorable images created by the magnificent dancers involuntarily overshadowed the gallery of wonderful female stage portraits in this predominantly male ballet - the strong and intelligent courtesan Aegina performed by Nina Timofeeva, two so different Phrygias - the lyric-dramatic Ekaterina Maksimova and the tragically broken Natalia Bessmertnova.

Of course, "Spartacus" of the Bolshoi Theater, first of all, is a passionate and pathos tyrannical tragedy on historical plot with an abundance of modern allusions. There is also a clear social conflict, as demanded in the days of the premiere. And at the same time, it is a ballet of insight, a ballet of foresight. A grandiose musical and choreographic "study" of the collision of ancient paganism with emerging Christianity.

I conceived the ballet as a monumental story about the powerful avalanche of the ancient uprising of slaves in defense of the freedom of the human person.

I created music in the same way that the composers of the past created it when they turned to historical topics: keeping their handwriting, their style of writing, they told about events through the prism of their artistic perception... The ballet "Spartacus" seems to me as a work with sharp musical dramaturgy, with widely deployed artistic images and concrete, romantically excited intonation speech. All the achievements of modern musical culture I considered it necessary to involve for disclosure high topic Spartacus. Therefore, the ballet was written modern language, With modern understanding problems of musical and theatrical form.

Act I

Painting 1

Invasion

The death of peaceful life is carried by the legions of the Roman Empire, led by the cruel and treacherous Crassus. The people captured by him are doomed to slavery. Among them is Spartacus.

Monologue of Spartacus

Spartacus was deprived of his freedom, but he cannot come to terms with this. A proud and courageous man, he does not imagine his life in slavery.

Picture 2

slave market

Captives are driven to the slave market. Men and women are separated by force, including Spartacus and Phrygia.

Spartacus protests against the inhumanity of the Romans. But the forces are not equal.

Monologue of Phrygia

Phrygia yearns for her lost happiness, thinking with horror about the trials ahead of her.

Scene 3

Kras Orgy

Mimes and courtesans entertain guests by making fun of Phrygia, Crassus' new slave. The courtesan Aegina is alarmed by his interest in a young girl. And she draws Crassus into a frantic dance. In the midst of an orgy, Crassus orders the gladiators to be brought in. They must fight to the death in helmets without eye sockets, without seeing each other. Remove the helmet from the winner. This is Spartacus.

Monologue of Spartacus

Spartacus is in despair - he became the unwitting killer of his comrade. The tragedy awakens in him anger and a desire to protest. Spartacus decides to fight for freedom.

Scene 4

Gladiator barracks

Spartacus calls the gladiators to revolt. They answer him with an oath of allegiance. Throwing off the fetters, Spartacus and the gladiators flee from Rome.

Act II

Scene 5

appian way

Shepherds join the "Spartacists" on the Appian Way. All are united by the dream of freedom and hatred of slavery. The people proclaim Spartacus the leader of the rebels.

Monologue of Spartacus

All thoughts of Spartacus are directed to Phrygia.

Scene 6

Villa Crassa

The search for Phrygia leads Spartacus to the villa of Crassus. Great is the joy of meeting lovers. But they have to hide - a procession of patricians headed by Aegina is heading towards the villa.

Monologue of Aegina

She longs to seduce and subdue Crassus for a long time. She needs to conquer him and legally enter the world of the Roman nobility.

Scene 7

Feast at Crassus

Crassus celebrates his victories. The patricians praise him. But the troops of Spartacus surround the palace. The guests run away. Crassus and Aegina also run in fear. Spartacus breaks into the villa.

Monologue of Spartacus

He is filled with the joy of victory.

Scene 8

Spartacus' victory

Crassus is captured by the gladiators. But Spartacus does not want reprisals. He offers Crassus to decide his fate in an open fair duel. Crassus accepts the challenge, but is defeated. Spartacus drives him away - let everyone know about his shame. The jubilant rebels praise the victory of Spartacus.

Act III

Scene 9

Revenge of Crassus

Aegina seeks to instill courage in Crassus. The uprising must be crushed. Crassus gathers legionnaires. Aegina guides him.

Monologue of Aegina

For her, Spartacus is also an enemy, for the defeat of Crassus promises death to her too. Aegina is plotting an insidious plan - to spread discord in the camp of the rebels.

Picture 10

Spartak's camp

Spartacus is happy with Phrygia. But the news of Crassus' new campaign comes as a sudden disaster. Spartacus offers to take the fight. But many of his generals show weakness and desert their leader.

Monologue of Spartacus

Spartacus anticipates a tragic end. But freedom is above all. And for her, he is ready to give his life.

Scene 11

Decomposition

Having made her way to the cowardly gladiators, who could still join Spartacus, Aegina, along with the courtesans, seduces them and traps them, betraying Crassus into the hands of the troops.

Monologue of Crassus

Crassus is filled with a thirst for revenge. It's not enough for him to win. He needs the death of Spartak, who humiliated him.

Scene 12

Last Stand

Legionnaires surround the troops of Spartacus. In an unequal battle, his friends and he himself perish. Spartacus fights to the last breath.

Phrygia finds the body of Spartacus. She mourns him, full of faith in the immortality of his feat.

In four acts, nine scenes. Libretto by N. Volkov.

Characters:

• Spartacus, Thracian
• Phrygia, a Thracian, his wife
• Harmodius, a young Thracian
• Crassus, rich Roman general
• Aegina, Greek dancer, beloved of Crassus
• Freedman of Crassus
• Dying slave
• Lentulus Batiatus, owner of the gladiator school
• Gladiators: Mapmilon (fish), Retiarius (fisherman), Andabates (gladiators in eyeless helmets), Thracians, Samnites
• herald
• Egyptian dancer
• Greek mime
• Old woman, servant of Aegina
• Craftsmen, Germans, Gauls, Syrians, Numidians, Thracians, circus performers, guests at the feast of Crassus, Gaditan maidens, hetaerae, nymph dancers, peasant shepherds, Roman legionnaires, Roman merchants, townspeople, pirates

The action takes place in the Roman Empire in 73-71 BC.

History of creation

In December 1941, during the most tragic days of the Great Patriotic War, Khachaturian in a newspaper article reported on his creative plans: “In 1941, by order of the Bolshoi Theater of the USSR, together with the librettist N. D. Volkov and the choreographer I. A. Moiseev, I begin work on the ballet Spartacus. This should be a monumental heroic performance that will show the Soviet audience the best person in all of ancient history, which, according to Marx, is Spartacus. This image, which had attracted Khachaturian for a long time, seemed to him especially relevant in connection with the fierce struggle that our people had to wage. The composer also mentioned this in one of the articles: “Some were surprised by my choice of this topic, they reproached me for going into the depths of history. But it seems to me that the theme of Spartacus and the uprising of the slaves in ancient rome has nowadays great value and a great public sound.<...>It is necessary that the peoples know and remember the names of those who are still at the dawn human history boldly rose against the enslavers for his freedom and independence.

The librettist N. Volkov (1894-1965) began work on Spartak as early as 1933. He used the advice of the artist F. Fedorovsky (1883-1955) and the choreographer I. Moiseev (1906-2007), who had long dreamed of staging this performance. In his work on the libretto, Volkov turned to the evidence of ancient historians, in particular to the "Biographies" of Plutarch (50-120), he also used the satires of Juvenal (c. 60-140). In addition, the librettist relied on L. Friedlander’s article “Pictures from the Everyday Life of Rome” and the book of the Soviet historian A. Mishulin “Spartacus Uprising”, something was gleaned from the popular novel “Spartacus” by Giovagnoli (description of the stadiums) and the historical chronicle of M. Olivier "Spartacus". “The architectonics of the ballet was composed as a tragedy about Spartacus,” Volkov wrote, “as a story about the rise and death of the leader, as the story of a hero whose mind, will and high ideals overcame the limitations of his time and<...>became immortal symbols of the struggle of the oppressed classes and peoples against the oppressors. Not surprisingly, the proposed plot received the approval of the authorities. However, work on the ballet was delayed for many years.

In 1950, Khachaturian visited Italy, saw the Colosseum, the Appian Way. Perhaps it was with these impressions that the return to the planned ballet was connected. Work on the music lasted three and a half years - the last point in the score was set in early February 1954. The premiere of "Spartacus" took place at the Leningrad Opera and Ballet Theater named after Kirov (Mariinsky) on December 27, 1956, staged by one of the most original choreographers of the Soviet era, the successor of Fokine's traditions, the famous master of choreographic miniature L. Yakobson (1904-1975). In an effort to move away from the principles of “drambalet” that dominated those years on the ballet stage, Yakobson transferred to the stage the sculptural-plastic expressiveness he saw in the expression of the figures of the fighting gods and titans on the famous Pergamon Altar, then exhibited in the Hermitage. “In his performance, figures came to life, as if descended from vase paintings, antique mosaics, bas-reliefs,” writes the author of the book about Askold Makarov, the first performer of the role of Spartacus, ballet critic M. Ilyicheva. - The composition of the performance was formed as a grandiose architectural ensemble with temples, palaces, arenas and amphitheaters, in their decor bearing the themes of Spartacus, Aegina, Crassus. Spartacus, towering like a monument amid the revelry and tinsel of “violent Rome”, appeared ... as the hero of a peculiar altar composition ... Clear steps, sharp attacks, heavy footfall of infantry, offensive horsemen ... outlined the military machine... The laconicism and precision of the movements of the military march, the solemnity of the senators' exit ... gave the spectacle a sculptural quality. These qualities determined the entire composition, deployed to the viewer ... ”Ensemble numbers were distinguished by the fact that each corps de ballet dancer was offered his own individual plastic text. Thus, a kind of choreographic polyphony was created. Women's parts were not performed on pointe shoes: both the soloists and the corps de ballet danced in sandals.

Spartak appeared in Moscow only a year and a half later (03/11/1958), staged by I. Moiseev, one of the most titled masters, famous for his Ensemble folk dance. The ballet gained the widest popularity, was staged in many cities of our country and countries. of Eastern Europe. In 1968, another master of the Soviet ballet, Y. Grigorovich (b. 1927), was staged in Moscow, arguing with Yakobson's performance and distinguished by great psychologism and tragic tension.

Plot (stated by clavier)

In Rome, the crowds joyfully greet Crassus, who returned from the campaign with a victory. Among the slaves harnessed to his chariot are Spartacus, Phrygia and Harmodius. Among those who meet Crassus is the courtesan Aegina. Exhausted from fatigue, Phrygia falls, the overseer swings his whip, Spartacus rushes at him with such force that he stops the chariot. The people admired his strength and courage.

An Egyptian dancer and a young Greek mime show their art at the Roman slave market. Crassus appears in an elegant stretcher, on the other side of the market square - Aegina, who throws a flower to Crassus. She buys the handsome Harmodius, wants to buy Phrygia too, but she is ready to stab herself with a dagger if she is separated from Spartacus. Spartacus is bought by the owner of the gladiator school Lentullus, he also has to buy Phrygia, since Spartacus prefers to kill himself, but not be separated from his wife.

The circus. In the central box of Crassus and Aegina, behind her stands Harmodius. After the pantomime "The Rape of the Sabines", the fighting begins. The last fight - Spartacus with the Samnite. Spectators demand to finish off the defeated Samnite, but Spartak plunges his sword into the sand, refusing to kill the defeated.

In the barracks of the gladiators. Phrygia bent over the dying man. After much thought, Spartacus calls on the gladiators to revolt. They are still doomed to die. It is better to find her in the battle with the enslavers than in the arena, for their amusement. The gladiators led by Spartacus put the guards to flight, break out the bars of the windows and hide.

In the fields of Campagna, near the Appian Way, shepherds are peacefully resting. Fleeing gladiators appear. The shepherds join the rebels.

In the palace of Crassus, Aegina and Harmodius are dancing in front of the feasters. The young man brings her to the bed of Crassus. The merriment is broken by the sounds of an approaching battle. Everyone flees, Crassus tells Harmodius to stay and join the rebels. Spartacus appears with warriors and Phrygia.

In the camp of Spartacus, in the square in front of his tent, the women listen to the noise of the fading battle. Spartacus in a tent holds a council with the leaders of the troops of the Thracians, Syrians, Germans, Gauls. Some of the military leaders demand a campaign against Rome, others, including Spartak himself, want to return to their homeland on ships. Some bosses leave Spartak in annoyance. Phrygia tries to calm him down. Merchants and getters appear on the square. Bargaining, fun begins. Spartak, having left his tent, orders to expel strangers from the camp. An old woman, a servant of Aegina, appears in the deserted square. She carries away Harmodius, who is seized with a passion for Aegina.

In Crassus' tent, Aegina dances before the general. They bring captive leaders who broke away from Spartacus. Crassus orders their execution. The old woman, messenger of Aegina, comes with Harmodius. Crassus demands from him information about Spartacus, and the young man reveals to him the plans of the rebels. At a signal from the commander, heavy curtains swing open, covering huge windows, and Harmodius sees gladiators crucified on crosses.

Coast. You can see the masts of the pirate ships. Hidden behind the rocks are the Romans brought by Harmodius. The pirates are feasting. Spartacus comes to them. He bribes the leader with sacks of gold, and he promises to transport his troops on his ships. With the departure of Spartacus, the feast resumes. The Romans who have appeared are trying to get the pirates to withdraw their ships. When the rebels appear, the Romans attack them from an ambush. Spartacus dies in a fierce battle. Crassus orders to strangle Harmodius, Aegina, passing by, casually steps on his body. At the end signal Roman army departs, on the deserted battlefield at night, Phrygia looks for the murdered Spartacus and mournfully mourns him. The surviving Thracians raise his body to the shield. The sun is rising.

Music

In the music of "Spartacus", one of the best works Khachaturian, the most striking features of his work were embodied: catchy, memorable images, lush and brilliant mass scenes, a kind of melody in which European features are organically combined with oriental intonations. Musical dramaturgy ballet is based on sharp contrasts, but at the same time it is distinguished by internal integrity and is aimed at revealing the main idea. The ballet is characterized by a through symphonic development, large musical and choreographic scenes, intonational unity, and the widespread use of a system of leitmotifs.

L. Mikheeva

Aram Khachaturian began composing a ballet about Spartacus in 1950. Screenwriter Nikolai Volkov used the writings of the ancient writers Appian and Plutarch, but introduced new characters into the script - Aegina and Harmodius. The motive of betrayal, as the reason for the defeat of uprisings and revolutions, was characteristic and almost obligatory for the works of art of this period. Soviet society. The music of the ballet is saturated with bright contrasts: jubilant Rome and the grief of the vanquished, cruel gladiator fights and the heroism of the uprising, tender lyrical scenes and epic pictures of victories and defeats. With a big creative fantasy written and character dances- an Egyptian dancer, an Athenian jester and Gaditan maidens. In general, the ballet is solved in the spirit of a monumental heroic drama, in the center of which is the image of Spartacus. Despite the fact that the music of the ballet has the usual number character, the powerful symphonic development blurred the boundaries of the numbers, emotionally generalizing the dramaturgy of events. This made it possible in the future for various choreographers to compose the music of Spartak in their own way. In 1954, after the end of the score, a suite from the music of the new ballet was performed in concerts, which firmly won recognition from the audience.

The performance by Yuri Grigorovich (the premiere took place on April 9, 1968 at the Bolshoi Theater) is built on the alternation of contrasting episodes that reveal dramatic conflict. "Spartacus", in contrast to the previous works of the choreographer, is characterized by the mastery of the construction of the entire performance. The choreographic language is the same - an effective classical dance. The dance decides both the image of despotic Rome and the image of rebellion. Grigorovich called his production "a performance for four soloists with a corps de ballet". Plastic characteristic Crassa is inseparable from the dances of warriors and patricians who complete his choreographic portrait. The image of Spartacus grows out of the dances of slaves, gladiators, shepherds. This construction feature central images the performance became especially valuable when the outstanding artists were replaced by not so bright performers, and the magnificent corps de ballet of the Bolshoi Theater with its perfect male dance literally drew the required scale of personalities.

The virtuoso, flying dance of the protagonist created the image of a truly free man. The unique plastic freedom of Vladimir Vasiliev made his Spartacus heroic from the very beginning and forever. It seems that the very image of the hero of the ballet was born in Grigorovich, taking into account the personal and professional qualities of Vasiliev - a person and an artist. Mikhail Lavrovsky in this role needed additional colors. His hero was courageous and determined, he only gradually became a legendary leader.

Vera Krasovskaya accurately and figuratively wrote about the complexity of the part of the antagonist Spartak: “He is handsome and elegant, this Crassus, which has become a major achievement of the dancer Maris Liepa. But, prancing along the globe, he, no, no, yes, succumbs to some elemental horror that makes one remember not Crassus in Jacobson's performance, but Aegina - Shelest. Like that one, Crassus - Liepa rushes about within the limits established by his own power, and, like that one, he understands that he is not given to break out of these limits. Therefore, his space-clawing flight is choked with a spasm of movements, and a self-satisfied gesture hurries to smooth out confusion, annoyance, longing.

"Spartacus" by Grigorovich is not "scenes from Roman life", but a heroic male ballet. Therefore, the images of the heroes' girlfriends are not so psychologically complex: Aegina (Nina Timofeeva) is insidious and seductive, Phrygia (Ekaterina Maksimova) is gentle and faithful. Not without reason, when the performance was awarded the Lenin Prize - the highest award of those years, the list of laureates included only men.

The visual solution of the play by Simon Virsaladze organically follows from the concept of the production. There is no pomp and splendor in the scenery, but there is severity and grandeur. Two powerful arches from gray stone, with dark seams of rough joints. Behind - the sky, gloomy disturbing, crimson, gray, black. A loose canopy spread over the stage. Falling down in the interval between the paintings, it forms an internal curtain, against which monologues sound. There is no everyday life in the costumes, there are only details hinting at the ancient era. AT color scheme of the spectacle, the golden gleam of the world of despotism is set off by the bloody lightning of popular uprisings.

The Moscow production of "Spartacus" deservedly attracted a lot of public attention. At one time it was officially considered the best Soviet ballet. Now that such assertions have gone out of fashion, it remains a kind of calling card ballet of the Bolshoi Theatre. Rare major foreign tours of this troupe do without this performance by Yuri Grigorovich.

A. Degen, I. Stupnikov