Corsair is a ballet about romantic pirates with a shipwreck. Corsair, Bolshoi Theater

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from 3000 rub.

Ballet Corsair at the Bolshoi Theatre.

Having opened a romantic page in the history of the ballet theater with the ballet "", the composer Adolphe Charles Adam, fifteen years later, begins to create a new work, which later became a classic of the genre - the ballet "Le Corsaire". By that time, the French composer had over forty operas behind him, his ballets were successfully staged in London, Paris and Russian theaters. This time, Adan is once again collaborating with librettist Jules Saint-Georges.

The Corsair is based on Byron's romantic poem of the same name. Adan creates music during 1855, and on January 23, 1856, the audience comes to the premiere of Le Corsaire at the Grand Opera. Four months later, the composer died ...

The ballet was first staged at the Bolshoi Theater in St. Petersburg on January 12, 1858 by the French choreographer J. Perrot, director of Giselle. Perrault was a prominent representative of the romantic direction in ballet art, he was known as a master of ensemble and mass scenes, he knew how to embody the poetic depth of the original source on stage by means of dance.

Le Corsaire appeared at the Mariinsky Theater in 1863, the outstanding choreographer Marius Petipa acted as choreographer. In the future, the fate of this ballet on the Russian stage did not develop in the simplest way. It was staged repeatedly, music by other composers was added, various numbers were added. The choreography has changed, but it has always been based on the classical version created by Perrault, Petipa and Mazilier.

Corsair is a bright adventure ballet, colorful and romantic, which you can see today on the stage of the State Academic Bolshoi Theater. The music will amaze you with grace, nobility, French sophistication and dancing, and the plot will captivate you from the very first steps. Before the audience unfolds the love story of the corsair Conrad and the slave Medora. Through deceit, the former owner of Medora, Isaac Lankedem, takes the girl from the corsair and sells it to Seid, a pasha who lives in a palace on the banks of the Bosphorus. Enlisting the support of friends, Konrad enters the palace, rescues Medora, and together they sail away on a ship. The ship is wrecked, but the lovers manage to escape...

The performance comes with two intermissions.
Duration - 2 hours 25 minutes.

Libretto by Jules Henri Vernoy de Saint-Georges and Joseph Mazilier, revised by Marius Petipa

Choreography - Marius Petipa
Staging and new choreography - Alexei Ratmansky, Yuri Burlaka
Set Designer: Boris Kaminsky
Costume designer — Elena Zaitseva
Conductor - Pavel Klinichev
Lighting designer — Damir Ismagilov

Used music by Leo Delibes, Caesar Pugni, Peter of Oldenburg, Riccardo Drigo, Albert Zabel, Julius Gerber
The concept of musical dramaturgy - Yuri Burlaka
Score restored by Alexander Troitsky
Original score by Adam/Delibes, held in the archives of the Bibliothèque nationale de France, courtesy of the Paris National Opera
Choreographic notation courtesy of the Harvard Theater Collection
Costumes used by Evgeny Ponomarev (1899) - sketches provided by the St. Petersburg Theater Library
Ticket price: from 3000 to 15000 rubles.

We bring to your attention the libretto of the ballet Le Corsaire in four acts. Libretto by J. Saint-Georges based on D. Byron's poem "The Corsair". Staged by J. Mazilier. Artists Desplechin, Cambon, Martin.

Characters: Konrad, corsair. Birbanto, his friend. Isaac Lankedem, merchant. Medora, his pupil. Seyid, pasha. Zulma, Gulnara - Pasha's wives. Eunuch. Corsairs. Slaves. Guard.

Eastern Market Square in Adrianople. Merchants lay out colorful goods. They also sell slaves here. A group of corsairs led by Conrad enters the square. The Greek woman Medora, a pupil of the merchant Isaac Lankedem, appears on the balcony of the house. Seeing Konrad, she quickly makes a "selam" of flowers - a bouquet in which each flower has its own meaning, and throws it to Konrad. Medora leaves the balcony and comes to the market accompanied by Isaac.

At this time, the stretcher of Pasha Seyid, who wants to buy slaves for his harem, is brought into the square. The slave girls are dancing, showing their art. The pasha's gaze rests on Medora, and he decides to buy it. Conrad and Medora are anxiously following the deal that Isaac is making with the Pasha. Konrad reassures Medora - he will not let her be offended. The area is empty. Conrad orders the corsairs to surround Isaac and push him away from Medora. The corsairs begin a merry dance with the slave girls. According to a conventional sign, the corsairs kidnap the slaves along with Medora. On Conrad's orders, they take Isaac away as well.

Sea shore. Conrad and Medora make their way into the cave - the dwelling of the corsair. They are happy. Birbanto, a friend of Konrad, brings Isaac, trembling with fear, and the kidnapped slaves. They beg Konrad to spare them and set them free. Medora and the slave girls dance before Conrad. Medora begs him for the freedom of the captives. Birbanto and his accomplices are unhappy: they demand that the slaves be given to them. Konrad repeats his order in anger. Birbanto threatens Conrad, but he pushes him away, and the happy slaves rush to hide.

Enraged, Birbanto rushes with a dagger at Konrad, but the lord of the corsairs, having grabbed his hand, puts him on his knees. The frightened Medora is taken away.

Isaac appears. Birbanto offers him to return Medora if he gets a good ransom for her. Isaac swears that he is poor and cannot pay. Birbanto rips off Isaac's hat, caftan and sash. They contain diamonds, pearls and gold.

Frightened, Isaac agrees. Birbanto sprays the bouquet with sleeping pills and brings it to one of the corsairs. He instantly falls asleep. Birbanto gives the bouquet to Isaac and advises him to bring it to Conrad. At the request of Isaac, one of the slaves gives flowers to Conrad. He admires the flowers and falls into a dream. Medora tries in vain to wake him up.

There are footsteps. A stranger appears at one of the entrances. Medora recognizes him as Birbanto in disguise. She runs. The conspirators surround her. Medora grabs the dagger of the sleeping Conrad. Birbanto tries to disarm her, a fight ensues, Medora wounds him. Footsteps are heard. Birbanto and his comrades go into hiding.

Medora writes a note and places it in the sleeping Conrad's hand. Birbanto and his men return. They forcefully take Medora away. Isaac follows them, rejoicing in their success. Conrad wakes up, reads the note. He is in despair.

Palace of Pasha Seyid on the banks of the Bosphorus. The Pasha's wives, led by his favorite Zulma, go out onto the terrace. Sylma's pomposity causes general indignation.

The senior eunuch is trying to stop the strife of women. At this time, Gulnara appears - a young rival of Zulma. She taunts the snobbish Zyulma. Pasha Seid enters, still dissatisfied with the incident at the Adrianople market. Zulma complains about the irreverence of the slaves. Pasha orders everyone to obey Zulma. But the wayward Gulnara does not obey his orders. Fascinated by Gulnara's youth and beauty, he throws his handkerchief to her as a sign of favor. Gulnara throws him to her friends. There is a merry fuss. The handkerchief reaches the old black woman, who, taking it, begins to pursue the pasha with her caresses, and finally hands the handkerchief to Sylma. An angry pasha approaches Gulnara, but she deftly eludes him.

Pasha is informed about the arrival of the seller of slaves. This is Isaac. He brought Medora wrapped in a shawl. Seeing her, the pasha is delighted. Gulnara and her friends get to know her. Pasha announces his intention to take Medora as his wife.

In the depths of the garden, a caravan of pilgrims heading to Mecca is shown. The old dervish asks the pasha for shelter. Pasha graciously nods his head. Everyone is doing the evening prayer. Unbeknownst to others, the imaginary dervish removes his beard, and Medora recognizes him as Conrad.

The night is coming. Seid orders to take the new slave to the inner chambers. Medora is horrified, but Konrad and his friends, throwing off their wanderer costumes, threaten the pasha with daggers. Pasha flees from the palace. At this time, Gulnara runs in, asking Konrad for protection from Birbanto's persecution. Conrad, touched by her tears, intercedes for her. Birbanto leaves, threatening revenge. Medora informs Konrad of Birbanto's betrayal. Konrad wants to kill him, but Medora grabs Konrad's hand. The traitor flees with threats. Following this, the guards called by Birbanto surround Medora and take her away from Konrad, whom the pasha imprisons. The corsair's comrades scatter, pursued by Seid's guards.

Harem of Pasha Seyid. In the distance, Konrad, chained, is seen being led to his execution. Medora is desperate. She begs the pasha to cancel the execution. Pasha agrees, but on the condition that Medora becomes his wife. For the sake of saving Konrad Medora agrees. Konrad is released. Left with Medora, he vows to die with her. Entered Gulnara hears their conversation and offers her help. Pasha orders to prepare everything for the wedding ceremony. The bride is covered with a veil. Pasha puts a wedding ring on her hand.

The conceived plan was a success for Gulnara: she, hidden by a veil, was married to a pasha. She gives the veil to Medora, and she hides herself in the chambers of the harem. Medora dances in front of the pasha and tries to lure the dagger and pistol from him by cunning. Then he takes a handkerchief and jokingly ties Seyid's hands. Pasha laughs at her pranks.

Midnight strikes. Conrad appears in the window. Medora hands him a dagger and takes aim at Pasha with a pistol, threatening to kill him. Medora and Konrad go into hiding. Three cannon shots are heard. These are the fugitives announcing the departure of the ship, which they managed to get on.

Clear, quiet night. There is a holiday on the deck of the ship: the corsairs are satisfied with the happy outcome of dangerous adventures. Medora asks Conrad to forgive Birbanto. After a short hesitation, he agrees and orders a barrel of wine to be brought. Everyone is feasting.

The weather changes quickly, a storm begins. Taking advantage of the commotion, Birbanto fires at Conrad, but the gun misfires. After a hard fight, Konrad throws the traitor overboard.

The storm is getting stronger. There is a crash, the ship crashes against an underwater rock and disappears into the depths of the sea. The wind gradually subsides, the sea calms down. The moon appears. The wreckage of the ship is carried along the waves. One of them shows two figures. These are the surviving Medora and Conrad. They reach the coastal cliff.

A. Adam ballet "Corsair"

The ballet "Le Corsaire" is the third masterpiece in this genre by the creator of the legendary " Giselle - Charles Adolphe Adam. This performance became his swan song. It is based on the libretto by J. Saint-Georges for the work of Lord Byron.

The plot of the ballet is quite intricate, there are pirates, a romantic captain, rebellions, robberies, a beautiful love story, numerous escapes of captive prisoners, poisoned flowers, and all this under the “sauce” of wonderful French romantic music.

A summary of Adam's ballet "" and many interesting facts about this work, read on our page.

Summary

The action takes place in the slave market in Adrianople, where the corsairs stay with Captain Conrad. There, young Medora awaits his return. But Pasha Seid, the ruler of Adrianople, falls in love with her at first sight, who redeems her from the slave trader Lankedem, who replaces her father. The brave captain steals his beloved at night, and with her concubines and the greedy Lanquedem. But the happiness of the lovers did not last long, a traitor appeared in the camp of Conrad, in the person of his first assistant, who, having put the captain to sleep, together with Lanquedem steals Medora.

Pasha Seyid, delighted with the return of the girl, orders everyone to prepare for the wedding ceremony. Under the threat of Conrad's death, Medora has no choice but to agree to the wedding and decide on a desperate act - to kill herself on her wedding night. But suddenly a concubine from Gulnara's harem comes to the aid of Medora, who offers to replace her by exchanging clothes. As a result, the lovers escape again and return to their hideout. But even here, fate prepares another test for them, an insidious assistant tries to shoot the captain, but the gun misfires and the traitor is thrown into the sea. A terrible storm breaks the ship on the rocks, but against all odds, Konrad and Medora, who are in love, find themselves on land, having survived thanks to the wreckage on which they swam to the shore.

A photo:

Interesting Facts

• For the premiere, held in 1856 in Paris, tickets had to be bought more than 1.5 months in advance. The success of the production was resounding, and the stage effects were recognized as the best in the history of theatrical productions. Since its production, the ballet "Corsair" has not lost its popularity.
• In the score of the performance, you can find fragments of music by L. Minkus, C. Pugni, P. Oldenburgsky, R. Drigo, A. Zabel, J. Gerber. Here, anyone will have a natural question, who is the composer of the ballet? Composer, of course, Adan, and all additions by ballet music composer Ludwig Minkus under the direction of Marius Petipa . In general, in theatrical works during productions, the score ballet or operas often subject to change.

• Choreographer M. Petipa always cared about the winning performance of the ballerina, so he sometimes redrawn the performance, changed scenes or added variations. These inserts could even be from another, but "her favorite" work. So, in the ballet Le Corsaire, one can still find variations of the main character Medora in the scene “The Lively Garden” from the ballet “The Adventures of Peleus” by L. Minkus.
• The most expensive production of the play took place at the Bolshoi Theater in 2007. The cost of staging Yuri Burlak's version is estimated at US$1.5 million.
• Working on each of the four productions of the ballet, director M. Petipa constantly added new pas and other dance elements.
• Between 1899 and 1928 Le Corsaire was performed on the stage of the Mariinsky Theater 224 times.
• The most famous at the moment is the 1999 production at the American Ballet Theater.

History of creation

Charles Adolphe Adam known to classical music lovers from an earlier work - the ballet " Giselle ". He created his new most famous performance fifteen years after the resounding success of the work dedicated to the vengeful Willys. It is noteworthy that with these two performances he opened a new page in romantic ballet. He planned to create the ballet Le Corsaire based on the poem of the same name by J. Byron. Interestingly, this is not the first time that this work has attracted composers to create a ballet. So, Giovanni Galcerani in 1826 presented his version of the performance in Milan to the audience at La Scala. Another version of the interpretation of the poem was staged in 1835 in Paris. The libretto belonged to Adolf Nourri, the choreographer was Louis Henry. Moreover, in this version, the music was taken from other famous works of the great classics and it turned out to be a kind of potpourri. An equally important production of the ballet based on the same poem was performed by Filippo Taglioni, to the music of the composer Herbert Gdrich in 1838 in Berlin. It is worth mentioning that the famous composer D. Verdi in 1848 he wrote an opera of the same name.

The libretto for Adan's new ballet was entrusted to A. Saint-Georges, who collaborated with the composer not for the first time. Henri Venois de Saint-Georges was at that time the director of the Opéra-Comique in the French capital and created librettos for theatrical works. He wrote more than 70 different librettos, in addition, he successfully composed plays for the drama theater.

Throughout 1855, the composer worked on a new masterpiece, and the initiator of this ballet, J. Mazilier, who was supposed to stage this performance at the Grand Opera, took a direct part in the work.

Productions

The long-awaited premiere of the new ballet took place in January 1856. It is noteworthy that the stage effects used, as well as the scenery, were considered the best at that time. The installation of the sinking of the ship, masterfully designed by engineer Victor Sacré, was even immortalized by the work of the artist Gustave Dore. The performance was highly appreciated by the imperial family, especially Empress Eugenia. The music itself was noted by critics for its melodiousness and pleasant harmonic combination.

In St. Petersburg, Le Corsaire was presented at the Bolshoi Theater in January 1858. Now, the French ballet master J. Perrot, who at that time was working in Russia, was working on the performance. In his work, he relied on the choreography of Mazilier. The part of Medora was performed by the incomparable K. Rosati. In addition to the beautiful music, the audience was left with an indelible impression by the last picture of the sunken ship, critics of that time say. But the audience met Perrault quite coldly, despite the fact that the ballet was staged as part of his benefit performance. An interesting note has been preserved regarding the pasha's costume, which stood out noticeably for its luxury on stage. The fact is that it was originally made not for a performance, but for Emperor Nicholas I and was intended for a court masquerade, which he himself ordered to transfer this attire to the theatrical wardrobe, from where the costume later ended up in the production of The Corsair.

The ballet was staged at the Mariinsky Theater in 1863 thanks to the efforts of Marius Petipa. The part of Medora was successfully performed by M.S. Petipa (Surovshchikova). Fans highly appreciated the ballerina's talent and even presented her with chic gifts (worth four thousand rubles).

After this production, the fate of the performance was ambiguous - it was successfully staged many times, but each time some changes were made, adding all kinds of insert numbers and music by other composers. Therefore, many viewers sometimes have a natural question: who owns the work. Naturally Adan, this question should not raise doubts.

Among the modern versions, the performance of the ballet at the Bolshoi Theater in the summer of 2007 should be noted. Choreography by M. Petipa and Pyotr Gusev was used in the performance, many insert numbers with music by L. Delibes, C. Pugni, R. Drigo and other composers were also left.

In 2009, a new version was staged at the Mikhailovsky Theater by Farukh Ruzimatov. The stage designer was Valery Leventhal. Moreover, in this version on the stage there was both a pirate theme and the atmosphere of Greece of the Ottoman period. Bright oriental bazaars and harems gave a special piquancy.

Among the unusual versions, it is worth mentioning the premiere at the Rostov Musical Theater, which took place in 2011 at the end of the season. The libretto was changed in the ballet, which is based on all of Petipa's classical numbers. So the Rostov audience saw a different plot and ending. The ballet master himself, Alexei Fadeechev, suggested even before the show that the audience would definitely have associations with Pirates of the Caribbean.

It is noteworthy that today "Corsair" exists on the stages mainly in two different productions. So in Russia and some European companies they use the version that turned out due to the revival of the ballet in 1955 by Pyotr Guzov. Other countries (North America) are based on the production, carried out through the efforts of Konstantin Sergeev.

The music of the ballet "" is remembered by the audience for its extraordinary grace and vivid depiction. Although music critics admit that it is a little weaker than in Giselle, referring to the individual characteristics of the characters, the audience is still struck by the composer's deepest talent. The author was able to masterfully embody such an unusual plot, reveal it and saturate it with extraordinary danceability. We invite you to get acquainted with another masterpiece of Adan by watching the legendary ballet "Le Corsaire" right now!

Video: watch the ballet "Corsair" by Adana

If you want to see the most spectacular classical ballet production at the Bolshoi, I advise you to go to Ludwig Minkus' Le Corsaire (the only negative is that this particular ballet, unfortunately, is rarely seen on the poster).

So, "CORSAIR" is a romantic ballet in three acts with an epilogue (in 5 scenes).
Libretto: Jules Henri Vernoy de Saint-Georges, Joseph Mazilier, revised by Marius Petipa.
Choreography - Marius Petipa.
Choreographic notation provided by the Harvard Theater Collection.
Costumes used by Evgeny Ponomarev (1899): sketches provided by the St. Petersburg Theater Library.

Original score by Adolphe Adam and Léo Delibes from the archives of the Bibliothèque nationale de France, courtesy of the Paris National Opera. The music of Ludwig Minkus, Caesar Pugni, Peter of Oldenburg, Riccardo Drigo, Albert Zabel, Julius Gerber was used.

So whose is the music anyway? Adana with Delib? Or Minkus? And why use the works of other composers?
In all honesty, it should be pointed out that the ballet "Le Corsaire" contains the music of all the listed authors. "edited by Ludwig Minkus"! Since it was Minkus who, at the post of "First Composer of Ballet Music under the Directorate of the Imperial Theaters" in St. Petersburg, where Marius Petipa worked, was responsible for the "musical material" for the immortal ballets of this greatest choreographer. In collaboration with Petipa, Minkus created 16 ballets, of which La Bayadère (1877) was the most famous. Petipa saw the integrity of any of his performances in the fact that the ballerina looked like a real jewel, and he could quickly rearrange or recompose the whole scene for her, he was engaged not only in choreography, but also in the rules of the libretto. Spectacular inserts were made for the soloist by individual measurements. Variations were added, even from another - but "her favorite" - ballet. Or new fragments were composed, already on purpose. Variations - a small independent technical dance - became Petipa's forte. But they did not walk in deathly silence! And to the music that L. Minkus was forced to create immediately, the situation obligated, and if inspiration was not in a hurry, then already written works were used ... For example, it still sounds in Le Corsaire, starting from the renewed version of the ballet of 1899 , a variation of Medora in the scene "The Lively Garden" (this is a quote from the music by Ludwig Minkus for the ballet "The Adventures of Peleus").

The ballet Le Corsaire has been known as a reliable box office hit for a century and a half, tickets had to be bought more than a month and a half before the performance. Staged in 1856 by the choreographer Joseph Mazilier based on Byron's poem for the Paris Opera, it was transferred to Russia already in 1858. Five years later, Marius Petipa, who perfected the ballet throughout his long life, took it up. As a result, "Le Corsair" turned out to be a spectacle for all tastes, combining a luxurious imperial style of production, a dynamic plot and magnificent (in all the variety of techniques) choreography.
The reconstruction of the ballet in 2007 was prepared by the choreographer Alexei Ratmansky, who directed the Bolshoi ballet until January 2009, and his classmate Yuri Burlaka, who became the successor to the position of artistic director of the theater's ballet troupe. Some of the dances were completed by them (a tradition!), and some were restored according to the Harvard archival notation. The ballet in an abbreviated (convenient for touring) version runs for three hours (with two intermissions). And with such a duration and the use of music by different composers, the performance, nevertheless, turned out to be surprisingly solid!

The plot of the ballet is rather confusing: pirates, the slave market, a harem, rebellions, betrayals, poisoned flowers, girlish dreams, many chances to escape, which for some reason are stubbornly ignored by the captives, and much, much more.

STEP ONE
The first picture "Bazaar"
The area of ​​the eastern port city, similar to Istanbul. Merchants offer colorful goods. Slaves are also traded here. A group of corsairs led by Conrad enters the square. A young Greek woman, Medora, a pupil of the merchant Isaac Lankedem, appears on the balcony of the house. Seeing Konrad, she quickly makes a "selam" of flowers - a bouquet in which each flower has its own meaning, and throws it to Konrad. Well, what pirate does not know the language of flowers?! Conrad, although he is not Jack Sparrow (J. Depp), is also not bad and from one glance at the bouquet he realized that Medora loves him. But the greedy Lankedem tries to prevent the lovers and profitably sell his pupil to a rich merchant.
At this time, the stretcher of Seid Pasha, who wants to buy slaves for his harem, is brought into the square. Slaves demonstrate the art of dancing. First, Seyid Pasha chooses the beautiful Gulnara, and then, completely fascinated, he also buys Medora from Lankedem. Both girls are taken to Seid's palace.
Konrad orders the corsairs to free Medora. According to a conventional sign, the corsairs kidnap the slaves along with Lanquedem.
Scene 2 "Pirate Grotto"
Large cave by the sea. Konrad leads Medora to the cave - the hideout of the pirates. The kidnapped slaves also arrive here. Birbanto, Conrad's friend, boasts of his "prey" - Isaac Lanquedem. The corsairs begin a merry dance, in which, to the great delight of all those present, Medora takes part, disguised as a pirate. In this scene in the pirate grotto there is an absolutely charming solo of the heroine, where she dances with a pipe: to show how ready she is to become a member of a gang of corsairs, the heroine has fun shouts:"Aboard!".
The slaves ask to be released. Medora begs Corsair for the freedom of the captives. Birbanto and his accomplices protest: they demand that the slaves be given to them. Konrad repeats his order in anger, the enraged Birbanto rushes at Konrad, but the head of the corsairs wins this duel and frees the slaves.
Isaac Lankedem appears. Birbanto offers him to return Medora if he gets a good ransom for her. Isaac swears that he is poor and cannot pay. Birbanto rips off Isaac's hat, caftan and sash. Coins are hidden in them.
Birbanto, who has thus received a ransom, and Lanquedem come up with a plan to get rid of Conrad. The conspirators send poisoned flowers to the leader, Conrad, smelling one of them, falls into a deep sleep. Medora tries in vain to wake her lover. Strangers in black masks appear. Medora, defending herself, manages to grab Konrad's knife and injures the leader of the attackers. But in the general confusion, Lanquedem kidnaps Medora, Birbanto and his comrades go into hiding.
Konrad wakes up and, discovering the loss, sends his loyal pirates to find Medora.

ACT TWO "In the palace of Seyid Pasha"
Palace of Seyid Pasha on the banks of the Bosphorus. The Pasha's wives, led by his favorite Zulma, go out onto the terrace. Sylma's arrogance causes general indignation.
The senior eunuch is trying to stop the strife of women. At this time, Gulnara appears - a young rival of Zulma. She taunts the snobbish Zyulma. Pasha Seid enters, still dissatisfied with the incident at the Adrianople market. Zulma complains about the irreverence of the slaves. Pasha orders everyone to obey Zulma. But the wayward Gulnara does not obey his orders. Fascinated by Gulnara's youth and beauty, he throws his handkerchief to her as a sign of favor. Gulnara throws him to her friends. There is a merry fuss. The handkerchief reaches the old black woman, who, taking it, begins to pursue the pasha with her caresses, and finally hands the handkerchief to Sylma. An angry pasha approaches Gulnara, but she deftly eludes him.
A group of pilgrims appears in the palace, Seyid Pasha generously receives them and invites them to a magnificent spectacle in his garden. The "Live Garden" scene is the true culmination of Act II, presenting Marius Petipa's choreography in all its splendor: "a cascade of choreographic numbers" including soloist variations, ensembles and numerous corps de ballet.
Conrad, disguised as a pilgrim, opens himself to Medora. He and his companions throw off their cloaks and soon conquer the palace. Seyid Pasha runs away. A frightened Gulnara asks Konrad for protection from Birbanto's persecution. Medora recognizes in him exactly the robber whom she wounded with a dagger in the grotto, and tells Konrad about his betrayal. Unexpectedly, Birbanto attacks Konrad, but he, defending himself, kills the enemy.

ACT THREE "The wedding of Seyid Pasha"
Seyid Pasha's harem. In the distance, Konrad, chained, is seen being led to his execution. Medora is desperate. She begs the pasha to cancel the execution. Pasha agrees, but on the condition that Medora becomes his wife. For the sake of saving Konrad Medora agrees. Konrad is released. Left with Medora, he vows to die with her. Entered Gulnara hears their conversation and offers her help, she has already prepared a cunning plan. Pasha orders to prepare everything for the wedding ceremony. The bride is covered with a veil. Pasha puts a wedding ring on her hand.
The conceived plan was a success for Gulnara: she, hidden by a veil, was married to a pasha. She gives the veil to Medora, and she hides herself in the chambers of the harem. Medora dances in front of the pasha and tries to lure the dagger and pistol from him by cunning. Then he takes a handkerchief and jokingly ties Seyid's hands. Pasha laughs at her pranks.
Midnight strikes. Conrad appears in the window. Medora hands him a dagger and takes aim at Pasha with a pistol, threatening to kill him. Medora and Konrad go into hiding. Three cannon shots are heard, the corsair ship leaves with the fugitives on board !!!

EPILOGUE
There is a very realistic seascape on the stage: waves, a rocky coast, the full moon is hidden by dark clouds every now and then, with a fair wind, a three-masted sailboat appears on the stage!!! There is a holiday on the deck of the ship: the corsairs are satisfied with the happy outcome of dangerous adventures. Conrad orders a barrel of wine to be brought. Everyone is feasting.
The weather on the sea changes quickly, a storm begins: amazing video and aerodynamic effects create the illusion of a real storm (fog, waves, gusts of wind, "natural" thunderstorm)!!! The corsairs use their sabers to reduce the area of ​​the sails (well, at least the masts have not fallen down!), but seeing the futility of such actions, the crew and Medora hurriedly leave the side. Under the blows of serious waves, an unguided ship turns stern to the shore and crashes onto reefs. As they wrote in the announcement of the performance, the artist of the performance, Boris Kaminsky, created a grandiose final scene in the spirit of Aivazovsky's "The Ninth Wave": an enchanting storm with a nine-meter ship splitting in half. Well, let's say that the midship frame still survived, and the fracture occurred just between the main and mizzen masts, almost perpendicular to the diametrical plane ... But the "picture" on the stage is so beautiful that it is impossible to tear oneself away from contemplation! So, having fully enjoyed the impression of the storm and the "Ninth Wave", one can say that I personally took part in the shipwreck ...
But the "storm" begins to subside as suddenly as it began. The light of the full moon illuminates two figures on the shore: it is easy to guess that these are Medora and Conrad, "miraculously saved."

Act I
Painting 1
The kidnapping of Medora
Eastern Market Square. The beauties of the slaves appointed for sale are sitting waiting for buyers, while Turks, Greeks, Armenians are crowding here, examining the goods brought from all over the world.
Corsairs appear on the square under the leadership of Conrad. He was attracted to the market, apparently, by a secret plan he had conceived to see a certain charming stranger.

Medora, a pupil of the owner of the market, Isaac Lanquedem, appears on the balcony of her teacher's house. Seeing Konrad, she quickly makes villages * from the flowers she has at hand and throws it to Konrad. He, having read the villages, is convinced with delight that the beautiful Medora loves him.
Isaac and Medora appear in the square. While Isaac is examining the slaves, Medora and Conrad exchange passionate and meaningful glances.

A wealthy buyer, Seyid Pasha, appears on the square with his retinue. Merchants surround him, showing various slaves, but none of them pleases the pasha. Seid Pasha notices Medora. He decides to buy her at all costs, but Isaac refuses to sell his pupil to him, obsequiously explaining to the pasha that she is not for sale, and offering a couple of other slaves in return.

Pasha still insists on buying Medora. His offers are so profitable and tempting that Isaac, tempted, agrees to the deal. Pasha gives the order to deliver the new slave he bought to the harem and leaves, threatening Isaac with punishment if Medora is not immediately delivered to his harem. Conrad calms Medora by promising that the corsairs will kidnap her.

At a sign from Konrad, the corsairs begin a merry dance with the slave girls, in which Medora takes an active part, much to the delight of all present. But suddenly, at the signal given by Konrad, the corsairs kidnap the slaves dancing with them along with Medora. Isaac runs after Medora and wants to take her away from the corsairs; then Konrad orders them to take with them a very frightened Isaac.

Picture 2
Conspirators
The home of the corsairs. Corsairs with rich booty and captured slaves return to their shelter, and Isaac, trembling with fear, is brought there. Medora, saddened by the fate of her companions, asks Conrad to release them, and he relents. Birbanto and the other pirates protest, claiming they too have a right to women, and rebel against their leader. Konrad, reflecting the blow directed at him, makes Birbanto bow before him; then he calms the frightened Medora, and, carefully guarding her, goes with her into the tent.

Isaac, taking advantage of the general turmoil, decides to quietly run away. However, Birbanto and the remaining corsairs, noticing this, taunt him, and, taking all the money from him, offer to participate in a conspiracy to take Medora back. Taking a flower from a bouquet, Birbanto sprays it with sleeping pills from a vial, then gives it to Isaac and orders him to bring it to Conrad.
Conrad appears and gives the order to serve supper. While the corsairs are having dinner, Medora is dancing for Konrad, who swears eternal love to her.

Gradually, the corsairs disperse, only Birbanto and a few of his supporters are watching Conrad and Medora. At this time, Isaac appears with a young slave; pointing to Medora, orders a flower to be given. Medora presses the flower to her chest and hands it to Konrad, adding that the flowers will explain all her love for him. Konrad lovingly presses the flower to his lips, but the intoxicating smell instantly plunges him into a deep sleep and, despite his incredible efforts to free himself from the effects of the drug, he falls asleep. Birbanto gives the sign to the conspirators to take action.

Medora is startled by Conrad's sudden sleep. Appeared corsairs surround her with threats. Trying to defend herself, Medora wounds Birbanto's hand and tries to escape, but, having lost consciousness, falls into the hands of her captors.
Having sent the conspirators away, Birbanto is ready to deal with Conrad, but at that moment he wakes up. Upon learning that Medora has been kidnapped, Conrad and the corsairs set off in pursuit.

Act II
Scene 3
Captivity of a corsair
Palace of Seid Pasha. Bored odalisques start different games. Zulma demands that the odalisques be respectful to her, but Gulnara and her friends mock the haughty sultana.

Is Seyid Pasha. Odalisques must bow before their master, but the recalcitrant Gulnara taunts him too. Seid Pasha, carried away by her youth and beauty, throws her a handkerchief, but Gulnara throws the handkerchief to her friends, finally the handkerchief, passing from hand to hand, reaches the old black woman, who, taking it, begins to pursue the pasha with her caresses. Pasha can hardly contain his anger.

To please the pasha, the caretaker of the harem brings forward three odalisques.
Zulma tries to attract the pasha's attention, but at that moment he is informed of the arrival of the slave seller.

Seeing Isaac, who brought Medora, the pasha becomes delighted. Medora begs the pasha to give her freedom, but seeing that he remains inexorable, she complains about the cruel treatment of her by her tutor; Seid orders the eunuch to escort the Jew out of the palace. Gulnara approaches Medora and expresses her sympathy, taking an ardent part in her. Pasha offers Medora various jewels, but she resolutely refuses them, much to Gulnara's joy and Pasha's displeasure.

The leader of the dervishes appears and asks for lodging for the night. The Pasha allows the caravan to take up residence in the garden. Having fun with the embarrassment of the dervishes at the sight of young seductive slaves, he promises to acquaint them with all the delights of the harem and orders them to start dancing.
Among the dancing beauties, Konrad (he is disguised as the leader of the dervishes) recognizes his beloved.

At the end of the festival, Seid orders to take Medora to the inner chambers of the palace. The corsairs, throwing off the clothes of dervishes, threaten the pasha with daggers; Conrad hugs Medora again.

The corsairs are carried away by the plundering of the pasha's palace. Gulnara runs in, pursued by Birbanto, she rushes to Medora and asks for her protection. Konrad stands up for Gulnara, while Medora, peering at Birbanto, recognizes him as her kidnapper and informs Konrad of his treacherous act. Birbanto laughingly refutes her accusations; in support of her words, Medora points out to Konrad the wound on Birbanto's arm inflicted by her. Konrad is ready to shoot the traitor, but Medora and Gulnara hold him back, and Birbanto runs away with threats.

Tired Medora is ready to lose her senses from weakness and unrest, but with the help of Gulnara and Konrad she comes to her senses and, at their request, wants to follow them, when suddenly the Pasha's guard bursts into the hall. The corsairs are defeated, Konrad is disarmed and sentenced to death. Pasha is jubilant.

Act III
Scene 4
Pasha's wedding
Chambers in the palace. Pasha orders to prepare for the celebration of his marriage with Medora. Medora indignantly rejects his proposal. The chained Conrad is led to his execution. Medora, seeing the terrible situation her lover is in, begs Seid to spare him. Pasha promises to pardon Konrad on the condition that she voluntarily agree to belong to him, Pasha. Medora does not know what to decide on, and in desperation accepts the pasha's condition.

Left alone with Medora, Konrad rushes to her, and she announces to him on what conditions Seyid Pasha agreed to pardon him. Corsair rejects this shameful condition, and they decide to die together. Gulnara, who has been watching them, proposes her plan to them; the lovers agree to it and thank her heartily.

Pasha returns. Medora announces that she agrees to do his will. Pasha is delighted - he gives the order to immediately release Konrad and prepare everything for the wedding ceremony.

The wedding procession is approaching, the bride is covered with a veil. Upon completion of the marriage ceremony, the Pasha gives his hand to the odalisque and puts a wedding ring on her finger. Dancing odalisques crown the wedding celebration.

Left alone with the pasha, Medora tries to seduce him with her dances, but everything shows that she is looking forward to the desired hour of release. She expresses horror at the sight of the gun in Seid's belt and asks to put it away as soon as possible. Pasha takes out a pistol and hands it to Medora. But her fear only grows at the sight of the dagger in the Pasha's belt; in order to finally calm her down, Seid takes out the daggers and gives them to her, then wants to gently hug her, but she eludes him. Seyid falls at her feet, begs her to love him and gives her a handkerchief. She, as if jokingly, ties his hands with them, and he, pleased, laughs at her prank. Midnight strikes, Conrad appears. Pasha is horrified to see how Medora gives the dagger to Konrad. He wants to call for help, but Medora aims her gun at him and threatens to kill him at the slightest cry. Seid, in horror, does not dare to utter a word, and Medora, together with Konrad, quickly disappear.

Pasha is trying to free himself. Gulnara runs in and, in feigned horror, unties his hands. Pasha convenes the guard and orders to pursue the fugitives. Three cannon shots herald the departure of the ship of corsairs. Seid is furious: his beloved wife has been kidnapped. “I am your wife,” says Gulnara, “here is your ring!”
Seid is in a daze.

Scene 5
Storm and shipwreck
Sea. Clear and quiet night on the deck of a ship. Corsairs celebrate liberation. One unfortunate Birbanto, chained, does not take part in the fun. Medora sees his miserable situation and asks Conrad to forgive Birbanto, who joins her in her pleas. After some hesitation, Konrad forgives Birbanto, and he joyfully asks for permission to bring a barrel of wine and treat his comrades.

The weather changes quickly, a storm begins. Taking advantage of the turmoil on the ship, Birbanto again outrages the corsairs, but Conrad throws him overboard. The storm intensifies: thunder rumbles, lightning flashes, the sea rages. There is a crash, the ship crashes against a rock.

The wind gradually subsides, and the turbulent sea calms down again. The moon appears and with its silvery light illuminates two figures: these are Medora and Conrad, who miraculously escaped death. They reach the rock, climb it, and thank God for their salvation.

Selam* - a bouquet in which each flower has a special meaning. The language of flowers and communication using the "flower cipher" was very popular in Europe at the end of the 18th and in the 19th century.

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