Esmeralda. Musical theater. K.S. Stanislavsky and V.I. Nemirovich-Danchenko. Tickets for the ballet "Esmeralda Bolshoi Stone Theater

Artists W. Grieve, M. Koper.

Characters:

• Esmeralda, a young gypsy
• Pierre Gringoire, poor poet
• Claude Frollo, syndic
• Quasimodo, the bell ringer
• Phoebus de Chateaupert, young officer
• Aloise to Gondolorje
• Fleur de Lis, her daughter, the bride of Phoebus
• Clopin Trulfou, leader of a gang of tramps
• Judge, people, officers, soldiers, friends of Fleur de Lys, servants, vagabonds, gypsies

The action takes place in Paris in the 15th century.

1. Yard of Wonders- the refuge of the Parisian beggars and vagabonds. Their leader, Clopin Trulfou, sits on a barrel, watching the unrestrained merriment of his subjects. The poet Pierre Gringoire runs in and asks for protection from the crowd pursuing him. Since the poor fellow has nothing in his pockets except his poem, which none of the robbers needs, Clopin orders to hang him. The unfortunate man's pleas for mercy are in vain, everyone just laughs at him. Jokingly, the king of vagabonds recalls that, according to local law, any woman can save him if she agrees to marry him. All local "ladies" refuse such "honor", the poet is in despair. The beautiful gypsy Esmeralda appears to the ecstatic shouts. Her heart is moved and she agrees to marry a loser. According to local customs, they bring out an earthen pot, Gringoire breaks it on the floor - the marriage has taken place. The dancing resumes until the signal sounds to extinguish the lights. The crowd dissipates. The cathedral syndic Claude Frollo, who has long been in love with the beautiful dancer, with his hunchbacked bell ringer Quasimodo decide to kidnap Esmeralda. She fights back desperately and screams. The night watch appears, led by the brilliant officer Phoebus de Chateauper. Frollo disappears, but the soldiers catch the bell ringer. Esmeralda thanks Phoebus for saving her. He, amazed at the beauty of the young girl, gives her his scarf. Seeing that the soldiers are beating Quasimodo, the girl asks to release him. Phoebus is generous, but hints that he deserves a kiss as a reward. Esmeralda escapes from his embrace and disappears. The patrol continues on its way, and Quasimodo looks after the gypsy with gratitude.

2. Esmeralda's room. She admires Phoebus's scarf and puts his name out of the letters. Sweet dreams are interrupted by the arrival of Gringoire. He looks at the beauty with admiration and gently hugs her. The girl recoils, and when the courtship of the "husband" becomes more and more insistent, she bares her dagger. Esmeralda explains that she loves another, and only regretted Pierre. However, he can stay if he agrees to dance with her in the squares. They immediately rehearse "on the stage": the poet learns to accompany a gypsy dance on a tambourine. When the weary Pierre wants to go to bed, Esmeralda takes him to the next room. Frollo and Quasimodo appear. Claude begs her for love, but the gypsy points to the name of her true beloved. In a jealous rage, Frollo again tries to take her away by force, but Quasimodo helps the girl hide. Claude vows to take revenge on his lucky rival.

Garden at the castle of Aloise de Gondelorier. Her daughter Fleur de Lis is the bride of Phoebus, and they are preparing for the wedding in the castle. Fleur, together with her friends, dances "pas flowers". Phoebus appears, he gallantly kisses the bride's hand, but she notices that the groom is not wearing the scarf she had presented. Guests are gathering, the holiday begins. Phoebus is dancing pas de trois with two bridesmaids. Esmeralda is also invited to entertain the guests. With her faithful Pierre with a guitar and a tambourine. The bride asks the gypsy to tell fortunes, she predicts her happy marriage. Phoebus, seeing the night beauty, comes up to her and invites the gypsy to dance with him, Esmeralda cannot refuse him. The bride intervenes, Phoebus coldly assures her of his love. Dancing with Gringoire, a girl in love shows everyone a scarf - a gift from Phoebus. Fleur snatches the scarf from the hands of the gypsy, angrily rebukes the groom and falls unconscious. Gringoire protects Esmeralda from the wrath of the guests. Phoebus follows them.

3. Night. A room in a tavern. Clopin brings Frollo here and shows him where to hide. Esmeralda and Phoebus arrive. The girl at first reproaches the young man for being frivolous, but then her feeling takes over her mind. Phoebus drags the girl into the bedroom. Tormented by jealousy, Claude rushes after them. A bang, a groan and the sound of a falling body are heard. Frollo climbs out the window, people come to the screams of the gypsy. Clopin announces that Esmeralda is guilty of the officer's murder. The girl is taken away, despite her pleas and tears.

Bank of the Seine. To the right is the prison, the towers of the Cathedral are visible in the distance Notre dame de paris... Esmeralda is taken to prison by a detachment of archers led by Claude Frollo. Pierre hears the death sentence - a gypsy woman should be hanged for murder. The poet calls on the crowd to intervene, but that is not up to him. The procession of the king of jesters begins. Tramps bring in Quasimodo. The crowd cheers. Only Frollo is dissatisfied, he tears off the “regal” clothes from the bell ringer. Esmeralda is taken out of the prison gate for execution. She says goodbye to Pierre and asks that the scarf of her beloved be placed with her in the grave. Frollo offers the girl life if she gives him her heart. The gypsy curses him, Frollo in response orders to speed up the execution. Phoebus suddenly appears, whose wound is not fatal. He accuses of attempting to murder a priest. Seeing that Esmeralda and Phoebus are safe and happy, Claude, in a frenzy, throws himself at the gypsy with a dagger, but Quasimodo intercepts the weapon and plunges it into his master's chest. General jubilation, the holiday is resumed.

The ballet "Esmeralda", having seen the light of the stage in London, went around all European stages, except for the French, found shelter in Russia, surviving here to this day. It became the aesthetic manifesto of the choreographer Jules Perrot (1810-1892), one of the pillars of romantic ballet. In this ballet, human passions boil in the background real life was contrasted with the unearthly romance of Sylphide and Giselle. The basis of the performance was not so much the novel "Notre-Dame de Paris" by another classic of romanticism Victor Hugo, as the script of the opera of the same name, composed by the writer (1835, composer Louise Berten). However, the volume and realism of the main images of the ballet is the merit of the choreographer. Excellent performers took part in the London performance: Carlotta Grisi - Esmeralda, Arthur Saint-Leon - Phoebus and Perrot himself in the role of Gringoire. The image of the poet absorbed the personality and fate of the choreographer, who was not distinguished by bodily beauty. In the scene where Esmeralda teaches a stupid loser to dance, Perrault sneered at his life: he once composed the role of Giselle for his beloved blonde Carlotta, and now she is a recognized star, and he, alas, is almost a retired husband.

Already in the first scene "Waltz of Old Paris" it was not smart Spaniards or Gypsies who danced, but a crowd of ragamuffins. Next, the image of Gringoire was exhibited, in which the nobility of a misunderstood poetic soul appeared through the jester's mask. Esmeralda emerged against the background of cripples and vagabonds, as the ideal image of beauty and talent. In further productions of Esmeralda, Perrault modified the scene at Fleur de Lys. Phoebus lost his dance number, but a great example of meaningful "pas d" action arose. Gringoire struck with a tambourine to stop Esmeralda, who was trying to escape from the wedding. The subsequent dance of the gypsy brought tragic notes to her image and for many ballerinas became the emotional center of the ballet. Actually, the crowd lived in a poetic disorder in pantomime scenes and became an exemplary corps de ballet in dance episodes, while retaining, however, here the deliberate rudeness. A happy end to the fate of the heroes at that time was almost obligatory. A concession to the clerical spectators was the transformation of Claude Frollo from a priest only into a syndic , that is, the civil foreman of the community of the cathedral.

The author of the music for Esmeralda, the Italian Caesar Puni, has written over 300 ballet scores in his lifetime. He collaborated with Perrault in London, came to Russia for him and stayed here until the end of his days, serving as the staff composer of the Imperial Theaters ballet. In his time, in ballet performances, the potpourri, composed by the conductor from separate ready-made numbers and excerpts, was replaced by simple, but specially, written scores according to the choreographer's plan. The music of Puni (or, as it is now sometimes written, Punya) is melodic and danceable, sometimes conveying the required national flavor.

In 1848 Perrault brought Esmeralda to St. Petersburg. Fanny Elsler's participation in the play made title role more dramatic. For another visiting celebrity Virginia Zucchi, in 1885, Marius Petipa renewed the ballet, making it already four acts. In the scene at the ball appears "pas de six" to music by R. Drigo, where the dance of Esmeralda and Pierre is accompanied by four gypsies. Since 1899, at the Mariinsky Theater, ballet has become a favorite performance of Matilda Kshesinskaya, who keeps two goats at the dacha for him (one participates with the hostess in the second picture, the second is in reserve).

The famous Petersburg ballerina of the second half of the nineteenth century, Ekaterina Vazem, in her declining years recalled: “All of Perrot's ballets differed sharply from the works of other contemporary choreographers and subsequent choreographers by the predominance of the dramatic side over the dance one. Perrot, who always composed the programs for his ballets himself, was a great master at inventing spectacular stage positions that captivated and at times even shocked the audience. There were relatively few dances in his ballets, much less than in performances of a later origin. At the same time, composing these dances, the choreographer was concerned not so much about giving the performers more winning number how much about the dance numbers complementing and developing the dramatic action. "

It is no coincidence that in the early 1930s new stage of the national ballet, he chose the work of Jules Perrot as his banner. In 1935, Agrippina Vaganova at the Leningrad Opera and Ballet Theater, based on the choreography of Perrot and Petipa, staged "a social drama about Paris of savage churchmen, hypocritical nobility and a cheerful, rebellious street crowd." Frollo is returned to the title of archdeacon of the cathedral, Phoebus becomes a deceitful and insidious seducer, Esmeralda is taken to execution in the finale. Puni's music even earlier, in 1926, was processed by Reingold Glier for the production of Esmeralda at the Moscow Bolshoi Theater (choreographer Vasily Tikhomirov).

The Vaganov edition, unlike the previous ones, was focused not only on the performer of the main party. Tatiana Vecheslova did not disappoint the expectations of the viewer, presenting herself as a charming, freedom-loving gypsy. But next to them were Galina Ulanova and Vakhtang Chabukiani, for whom, in the ball scene, a duet of Diana and Actaeon was composed, based on Petipa's choreography, which became famous. The performance, changing performers, was held at the Kirov Theater until the mid-1950s.

In 1981 another Leningrad theater- The Maly Theater of Opera and Ballet - offered his own version of the production by Perrot-Petipa. Choreographer Nikolai Boyarchikov was consulted by Tatiana Vecheslova and Petr Gusev. With over 250 performances, this piece of romantic ballet still adorns the theater's vast classical repertoire.

A. Degen, I. Stupnikov

History of creation

In the early 1840s, Pugni received a commission for ballet music based on the famous novel Notre Dame Cathedral (1831) by the French romanticist Victor Hugo (1802-1885). The libretto was written by one of the most famous choreographers of the time, Jules Joseph Perrot (1810-1892). Perrault, who was born in France and from childhood performed in theaters on Parisian boulevards (according to other sources - in circuses) as a grotesque dancer, debuted in classical dance in London in 1830, but did not have success due to his unfavorable appearance. In 1843 he was appointed choreographer at the Royal Theater in London, and his first act was to invite Puni as composer. Already in 1843 he staged Puni's ballet Ondine, after which work began on Esmeralda.

In the libretto of Esmeralda, Perrault retained the storyline of the original source, but social theme, so clearly expressed in Hugo, in the ballet was translated into a personal drama. The most striking opposition of the novel has faded: the ugly, but capable of strong feelings and the generous deeds of the rootless foundling Quasimodo to the handsome, empty and frivolous officer Phoebus de Chateauper. Claude Frollo, the sinister hero of the novel, occupies one of the central places in it, from a minister of the church turned into a syndic. Gone is the theme of Esmeralda's mother, who lost her child and recognized her stolen daughter in Esmeralda, whom she hated, just before the execution of the girl. Moreover, the choreographer replaced the tragic denouement with a happy one, and Phoebus turned into a traditional ballet hero-lover. “The tragic must - alas! - have successful outcome, otherwise the fate of Euripides comprehends the ballet composer, - said Perrot bitterly. "Only fairy tales are left to us."

Nevertheless, it was Hugo's romantic poetics that largely determined the principles of choreographic expressiveness. For Perrault modern literature, theater and painting were the main sources of inspiration. “The ballet conceived by Perrault differs sharply from other works of that time,” writes Y. Slonimsky. - Active melodramatic action, picturesque portraits of the main characters, a motley and expressive crowd of representatives of the social lower classes, sharply outlined interests actors made "Esmeralda" Perrault unprecedented in the multicolor of choreographic paintings. " The ballet dance numbers complement and develop the dramatic action. Mass dance numbers, which become an important element of the action, take on an important role. In the ballet, the intensity of passions, acute conflicts are clearly manifested. Dramatic and comedic elements blend, giving rise to the versatility of the drama. Contemporaries recognized Perrault as the creator of a previously unseen genre: “He was the first to have the honor of inventing the so-called“ Pas d ”action” and the idea to introduce into the dances themselves, which usually constitute only the frame of the ballet, purpose, content, facial expressions. "," Pas de quatre "," Pas de cinque "- the most boring and at the same time almost necessary part of the ballet", - wrote one of the Russian reviewers.

Esmeralda premiered on 9 March 1844 at the Royal Theater in London. Four years later, the ballet was staged on the stage of the St. Petersburg Mariinsky theater, two more later - in Moscow, and in 1856 - in Paris. After the death of the composer, in 1886, M. Petipa (1818-1910) staged a new, four-act production based on Perrot's choreography with the addition of Drigo's music. In 1935, the next version of the ballet, in three acts, nine scenes, was staged on the same stage by A. Vaganova, who brought the composer R. Glier to work on Esmeralda. Later, in this version, the ballet was performed on many other stages. Throughout the 20th century, Esmeralda was staged on many stages in Europe in the performances of various choreographers. In Leningrad on the stage of Maly opera house the ballet was resumed in the original version of Perrault.

Music

"Esmeralda" - a ballet written according to the canons of the romantic theater mid XIX century. His music does not differ in originality, although it is marked by historical and national flavor. She is comfortable for dancing, reflects situations, but at the same time does not carry the vivid and deep characteristics of the characters.

L. Mikheeva

Photo by Damir Yusupov / The Bolshoi Theatre

Ballet "Esmeralda"

One of the undoubted adornments of the repertoire of the Stanislavsky and Nemirovich-Danchenko Musical Theater is the ballet "Esmeralda", a true masterpiece high art, combining the famous plot of the genius, the amazing music of Caesar Puni and the brilliant choreography of Vladimir Burmeister. This spectacular production Musical Theatre returned to his stage in 2009, and since then tickets for it instantly disappear from the ticket offices of the city. Both Muscovites and guests of the capital are eager to see the performance. This is not surprising, since Esmeralda is one of the most beautiful, graceful and spectacular ballet performances in the world.

In the 19th century, the French choreographer Jules Perrot came up with the idea of ​​putting on stage in the ballet Esmeralda a beautiful gypsy in the company of a pretty goat, her faithful companion. Perrault was convinced that tragic passions and truly deep drama are capable of making a real cleansing revolution in the souls of the audience.

At one time, it was Jules Perrot who created the harmonious dance pattern of the ballet "Esmeralda", taking as a basis the contrasting combination of tragedy and humor, crowd scenes and solo parts, classical and characteristic choreography. The ballet performance staged by Perrault instantly conquered the European theater scene, and was soon brought to Russia, where the audience received it with no less enthusiasm. The renowned choreographer Marius Petipa prepared his own interpretation of Esmeralda, which provided an opportunity for the best prima ballerinas to demonstrate their delightful skills in the central role.

The first ballet Esmeralda appeared at the Stanislavsky Musical Theater in 1950, the production was prepared by Vladimir Burmeister. He significantly changed the version of Petipa and Perrot - as a result of his work, the stage lights were lit for an updated ballet based on a classical frame. The merit of Burmeister is the soulful psychologism of dance sketches, which elevates them to the rank of absolute drama. The modern version, for which you can purchase tickets at, retains the best professional finds of the previous great directors. The play "Esmeralda" is a delightful example ballet art, striking the imagination with the skill of the performers, as well as their acting talent.

Composer - C. Puni, R. Glier, S. Vasilenko.

Duration 2 hours 50 minutes.

Ticket price: from 1200 to 4000 rubles.

Soloists:

Esmeralda - Natalya Krapivina, Natalya Ledovskaya, Natalya Somova

Phoebus - Sergey Manuilov, Mikhail Pukhov, Georgi Smilevsky

Claude Frollo - Victor Dick, Nikita Kirillov

Quasimodo - Anton Domashev, Roman Malenko

Fleur de Lis - Kadriya Amirova, Natalia Kleimenova, Natalia Krapivina, Anastasia Pershenkova, Natalia Somova

Gudula - Anastasia Blokhina, Yana Bolshanina, Inna Ginkevich

First production Place of the first production

Esmeralda- ballet in three acts, 5 scenes, libretto by J. Perrot, music by C. Pugni, music of individual numbers - by R. Drigo. The premiere took place on March 9, 1844, at Her Majesty's Theater in London. It was first staged in Russia on December 21, 1848 at the Bolshoi Kamenny Theater in St. Petersburg.

Summary

Characters:
Esmeralda, Gypsy.
Gringoire, poet.
Claude Frollo, Archdeacon of Notre Dame Cathedral.
Quasimodo, bell ringer of Notre Dame Cathedral.
Phoebus de Chateauper, captain of the royal archers.
Albert, Florent - officers, friends of Phoebus.
Aloysia de Gordelorier.
Fleur de Lis, her daughter, the bride of Phoebus.
Diana, Beranger - girlfriends Fleur de Lis.
Clopin Trulfou, the king of vagabonds.
Judge.
Executioner.

Tramps, beggars, gypsies and gypsies, ladies and gentlemen, friends of Fleur de Lys, jesters and jokers, people.

The action takes place in medieval Paris at the end of the 15th century.

First action.
The first picture.
Courtyard of Miracles.
The poet Pierre Gringoire falls into the hands of the inhabitants of the bottom of Paris. The tramps search him and, finding nothing of value, decide to hang him. Gringoire begs for mercy. The beggar king, Clopin Trulfou, promises to save his life in the event that one of the women in his citizenship agrees to marry him. Everyone present is examining Gringoire, but no one decides to take him as a husband. Esmeralda appears at this time. Upon learning that Grenugar is facing death, she decides to save him. They are declared husband and wife for four years.
A gypsy woman and her newfound husband walk home through the night streets of Paris. Claude Frollo, long and unrequitedly in love with Esmerailda, with the help of Quasimodo, Clopin and three vagrants, tries to kidnap her, but a night patrol, led by Captain Phoebus de Chateauper, arrives in time and snatches her out of the hands of the kidnappers. By order of Phoebus, the soldiers put Quasimodo in chains.
Esmeralda is fascinated by the officer who saved her. Phoebus asks if she is okay and finds out who she is. As a keepsake, he gives her his scarf. At Esmeralda's request, the guards frees Quasimodo.
Scene two.
Esmeralda's room.
The gypsy admires the presented scarf and dreams of a wonderful officer, puts his name out of letters and engraves it on the wall with a knife.
Gringoire, who enters, asserts his rights as a spouse. Esmeralda rejects his harassment, explains that they married him to save him from death, and that they will only be friends. She teaches Gringoire to dance. She tells him to sleep in the next room, and she herself lies down in this one.
As soon as she falls asleep, Claude Frollo, Quasimodo and Clopin enter the closet. They again try to kidnap the gypsy, but she manages to escape. Claude Frollo picks up the dagger dropped by Esmeralda: a plan of revenge is born in his head.
Second action.
Scene three.
Garden at the castle of Aloysius de Gondelorier.
Fleur de Lis is dancing with her friends.
Enter her mother with her retinue, then her fiancé Phoebus. Fleur notices that he is not wearing the scarf she embroidered for him.
Esmeralda, Gringoire and four gypsies are invited to the castle to tell fortunes to the bride and entertain the guests with their dances. Esmeralda predicts a happy marriage for Fleur de Lys. The gypsies start to dance. Esmeralda notes that Fleur's fiancé is the officer who saved her, with whom she fell in love at first sight. She is overcome with despair, but, prompted by Gringoire, she continues to dance for the guests.
Fleur de Lys notices Phoebus's scarf on the gypsy woman. With excitement, she faints. Guests react excitedly to what is happening. Gringoire takes Esmeralda away; Phoebus leaves after them.
Third action.
Scene four.
A room in a tavern.
Clopin leads Trulfu to the tavern, where the meeting between Esmeralda and Phoebus, Claude Frollo, is to take place. He shows him where to hide and leaves.
Happy lovers appear. Phoebus swears to Esmeralda in the strength of her feelings, but the gypsy, tearing off the feather from his plume and throwing it up, says: your love will evaporate just as easily.
Claude Frollo emerges from his hiding place and hits Phoebus with a dagger - the same one he picked up in Esmeralda's closet. When people gather to shout, he accuses her of murder. Gringoire, who has come running, begs him to save the innocent girl. Claude hypocritically turns to heaven and says that only God can save her.
Scene five.
Feast of Fools.
Bank of the Seine; on the right is a prison; in the distance are the towers of Notre Dame Cathedral.
The evening streets of Paris are full of mummers - jesters and firecrackers and townspeople participating in the holiday. Quasimodo, chosen by the foolish Pope, dances in a tiara and with a staff. Claude Frollo, who appeared on the square, stops the blasphemous action.
The guards take the tortured Esmeralda out of the prison. She prepares for death and prays. Claude offers her salvation if she agrees to belong to him. The girl rejects his offer. The archdeacon orders the execution to begin.
At this time, Phoebus de Chateaupert runs into the square - he was not killed, but only wounded. He points out to the judge that the gypsy woman is not to blame for the attack on him. In response to the judge's question: who is guilty, he points to Claude Frollo.
Frollo wants to pounce on Phoebus, but he is stopped and killed by Quasimodo.
Phoebus and Esmeralda connect.

Libretto

The libretto of the ballet was written by choreographer Jules Perrot after motifs of the operatic libretto by V. Hugo "Esmeralda", in turn based on his novel "Notre Dame Cathedral".

The ballet version includes some motifs from the novel that Hugo did not use when reworking it for opera. However, as in the opera, the fate of the ballet Esmeralda ends happily: at the last moment before her execution, Phoebus saves her (after that, unlike the opera libretto, he does not die and the heroes are reunited).

In other respects, Perrault's libretto was practically not redrawn: the main changes concerned the introduction of additional scenes designed to give a dance description of Claude Frollo and Quasimodo, who initially acted exclusively in the field of pantomime, and the picture of the life of medieval Paris. The given layout of the main events of the novel into three acts remained almost unchanged.

Music

For the first production, the musical score was created by the Italian composer Caesar Puni.

During the period of stage life in Russia, the ballet was supplemented with inserted numbers to the music of various composers.

In 1886 and 1899, resuming the performance at the Mariinsky Theater, M.I. four gypsies, replacing the previously existing Pas de deux with muses. Puni. Later, variations in "Dance with baskets" were replaced in some performances with plug-in (at the request of the performers)

The musical structure of Petipa's last renewal has become canonical. It was from her that they made a start in the creation of all subsequent versions of the play.

In 1926, for a ballet production at the Bolshoi Theater, R. M. Glier re-orchestrated the score of Puni-Drigo and made several inserts in it. In 1950, Sergei Vasilenko did the same work again. Since then, theaters usually use their editions. In 2006, the musical version of V. Kachesov was performed in the performance of the Kremlin Ballet Theater.

In 2009, when staging a ballet at the Bolshoi Theater new concept The musical drama of the ballet was developed by Yuri Burlaka, based on the original score of Puni, restored by Alexander Troitsky from archival materials from the Library of the Conservatory of San Pietro a Maiella in Naples and the Music Library of the Bolshoi Theater of Russia.

Main productions in Russia

Saint Petersburg / Leningrad

Bolshoi stone theater

Mariinsky Theater - State Academic Opera and Ballet Theater named after Kirov

MALEGOT

Screen adaptation

In 1994, Boyarchikov's production was filmed by the Lentelefilm studio.
In the film-ballet, the roles were performed by: Esmeralda - E. M. Khabibulina, Phoebus - K. V. Myasnikov, Fleur de Lis - A. K. Kondrashova, Gringoire - A. V. Kuligin, Claude Frollo - A. V. Konstantinov, Quasimodo - A.B. Bregvadze, Clopin Trulfu - I. Yu. Soloviev.
The TV version was directed by Evgenia Popova.

Recording of Petipa's production

During the first quarter of the 20th century, Petipa's original production was recorded according to Stepanov's system by the director of the ballet troupe N.G. Sergeev (recordings of individual fragments are dated in the interval 1903-23).

Today, Esmeralda's choreographic notation is part of the Sergeev Collection and is kept in the Harvard Theater Library.

In 2009, materials from the Harvard collection were used by Yuri Burlaka during the work on Esmeralda at the Bolshoi Theater (ballet by Yuri Burlaka and D. Medvedev). However, their version cannot be considered a restoration of MI Petipa's performance.

Known fragments

Pas de six

Pas de six of Esmeralda, Gringoire and four gypsies from the second act of the ballet is often performed as a concert number. This composition to the music of Drigo was staged by Petipa in 1886 for V. Zucchi and replaced the previously existing one in the performance Pas de deux with music. Pugni, choreographed by Perrot (performed by Esmeralda with Gringoire or an unnamed soloist).

Pas de six is ​​the only fragment of Petipa's production considered "canonical" and reproduced in most editions without changes. A feature of Pas de six's choreography is that, unlike many other dance ensembles in classical ballets, he demands from the ballerina an acting game parallel to the dance: depicting a gypsy woman dancing in front of noble guests, at the same time, she must mimic the despair that grips Esmeralda at the sight of Phoebus and his bride.

The most famous moment in Pas de six is ​​the final part of Esmeralda's variation: the ballerina moves backwards on pointe on a shallow pas de bourre suivi like a snake, retreating into the depths of the stage, then steps forward through the center of the stage and, fainting, falls on her knee.

Pas de Dian (Pas de deux of Diana and Actaeon)

Pas de deux by Diana and Actaeon, staged by Vaganova in 1935 to music by Puni from the ballet Tsar Candavl, based on Petipa's production and using the female variation from Dance with baskets (music by Drigo, choreographed by Petipa), took on an independent life.

In the original performance by Vaganova, the soloists were accompanied by an ensemble of corps de ballet dancers - nymphs, which is absent in the concert version of the number.

Pas de deux

The concerts also include Pas de deux of Gringoire and Esmeralda on muses. Puni (or separately - a variation with a tambourine from this Pas de deux). Many people mistake this number for part of Petipa's production, although in fact it was created in 1954 by Nikolai Berezov, who staged his own version of Esmeralda in London.

Notes (edit)

Notre dame cathedral Victor Hugo
Characters (edit)	Quasimodo Esmeralda Claude Frollo Captain Phoebus Clopin Truilfou Pierre Gringoire
Films	Esmeralda(1905) The Hunchback of Notre Dame (film, 1997) Quasimodo from Paris (1999) The Hunchback of Notre Dame II (2002)
Other adaptations	Esmeralda(ballet, 1844) Notre Dame de Paris(musical, 1998) Musical soundtrack "The Bells of Notre Dame" "Hellfire"

Characters:
Esmeralda, Gypsy.
Gringoire, poet.
Claude Frollo, Archdeacon of Notre Dame Cathedral.
Quasimodo, bell ringer of Notre Dame Cathedral.
Phoebus de Chateauper, captain of the royal archers.
Albert Florent, - officers, friends of Phoebus.
Aloysia de Gordelorier.
Fleur de Lis, her daughter, the bride of Phoebus.
Diana, Beranger - girlfriends Fleur de Lis.
Clopin Trulfou, the king of vagabonds.
Judge.
Executioner.

Tramps, beggars, gypsies and gypsies, ladies and gentlemen, friends of Fleur de Lys, jesters and jokers, people.

The action takes place in medieval Paris at the end of the 15th century.

First action.
The first picture.
Courtyard of Miracles.
The poet Pierre Gringoire falls into the hands of the inhabitants of the bottom of Paris. The tramps search him and, finding nothing of value, decide to hang him. Gringoire begs for mercy. The beggar king, Clopin Trulfou, promises to save his life in the event that one of the women in his citizenship agrees to marry him. Everyone present is examining Gringoire, but no one decides to take him as a husband. Esmeralda appears at this time. Upon learning that Grenugar is facing death, she decides to save him. They are declared husband and wife for four years.
A gypsy woman and her newfound husband walk home through the night streets of Paris. Claude Frollo, long and unrequitedly in love with Esmeralda, with the help of Quasimodo, Clopin and three tramps, tries to kidnap her, but a night patrol, led by Captain Phoebus de Chateauper, arrives in time and snatches her out of the hands of the kidnappers. By order of Phoebus, the soldiers put Quasimodo in chains.
Esmeralda is fascinated by the officer who saved her. Phoebus asks if she is okay and finds out who she is. As a keepsake, he gives her his scarf. At Esmeralda's request, the guards frees Quasimodo.
Scene two.
Esmeralda's room.
The gypsy woman admires the presented scarf and dreams of a wonderful officer, puts his name out of letters and engraves it on the wall with a knife.
Gringoire, who enters, asserts his rights as a spouse. Esmeralda rejects his harassment, explains that she married him to save him from death, and that they will only be friends. She teaches Gringoire to dance. She tells him to sleep in the next room, and she herself lies down in this one.
As soon as she falls asleep, Claude Frollo, Quasimodo and Clopin enter the closet. They again try to kidnap the gypsy, but she manages to escape. Claude Frollo picks up the dagger dropped by Esmeralda: a plan of revenge is born in his head.
Second action.
Scene three.
Garden at the castle of Aloysius de Gondelorier.
Fleur de Lis is dancing with her friends.
Her mother enters with her retinue, then her fiancé Phoebus. Fleur notices that he is not wearing the scarf she embroidered for him.
Esmeralda, Gringoire and four gypsies are invited to the castle to tell fortunes to the bride and entertain the guests with their dances. Esmeralda predicts a happy marriage for Fleur de Lys. The gypsies start to dance. Esmeralda notes that Fleur's fiancé is the officer who saved her, with whom she fell in love at first sight. She is overcome with despair, but, prompted by Gringoire, she continues to dance for the guests.
Fleur de Lys notices Phoebus's scarf on the gypsy woman. With excitement, she faints. Guests react excitedly to what is happening. Gringoire takes Esmeralda away; Phoebus leaves after them.
Third action.
The fourth picture.
A room in a tavern.
Clopin leads Trulfu to the tavern, where the meeting between Esmeralda and Phoebus, Claude Frollo, is to take place. He shows him where to hide and leaves.
Happy lovers appear. Phoebus swears to Esmeralda in the strength of her feelings, but the gypsy, tearing off the feather from his plume and throwing it up, says: your love will evaporate just as easily.
Claude Frollo emerges from his hiding place and hits Phoebus with a dagger - the same one he picked up in Esmeralda's closet. When people gather to shout, he accuses her of murder. Gringoire, who has come running, begs him to save the innocent girl. Claude hypocritically addresses the sky and says that only God can save her.
Scene five.
Feast of Fools.
Bank of the Seine; on the right is a prison; in the distance are the towers of Notre Dame Cathedral.
The evening streets of Paris are full of mummers - jesters and firecrackers and townspeople participating in the holiday. Quasimodo, chosen by the foolish Pope, dances in a tiara and with a staff. Claude Frollo, who appeared on the square, stops the blasphemous action.
The guards take the tortured Esmeralda out of the prison. She prepares for death and prays. Claude offers her salvation if she agrees to belong to him. The girl rejects his offer. The archdeacon orders the execution to begin.
At this time, Phoebus de Chateaupert runs into the square - he was not killed, but only wounded. He points out to the judge that the gypsy woman is not to blame for the attack on him. In response to the judge's question: who is guilty, he points to Claude Frollo.
Frollo wants to pounce on Phoebus, but he is stopped and killed by Quasimodo.
Phoebus and Esmeralda connect.

Libretto

The libretto of the ballet was written by choreographer Jules Perrot after motifs of the operatic libretto by V. Hugo "Esmeralda", in turn based on his novel "Notre Dame Cathedral".

The ballet version includes some motifs from the novel that Hugo did not use when reworking it for opera. However, as in the opera, the fate of the ballet Esmeralda ends happily: at the last moment before her execution, Phoebus saves her (after that, unlike the opera libretto, he does not die and the heroes are reunited).

In other respects, Perrault's libretto was practically not redrawn: the main changes concerned the introduction of additional scenes designed to give a dance description of Claude Frollo and Quasimodo, who initially acted exclusively in the field of pantomime, and the picture of the life of medieval Paris. The given layout of the main events of the novel into three acts remained almost unchanged.

Music

For the first production, the musical score was created by the Italian composer Caesar Puni.

During the period of stage life in Russia, the ballet was supplemented with inserted numbers to the music of various composers.

In 1886 and 1899, resuming the performance at the Mariinsky Theater, M.I. four gypsies, replacing the previously existing Pas de deux with muses. Puni. Later, variations in "Dance with baskets" were replaced in some performances with plug-in (at the request of the performers)

The musical structure of Petipa's last renewal became canonical. It was from her that they were repelled when creating all subsequent versions of the play.

In 1926, for a ballet production at the Bolshoi Theater, R. M. Glier re-orchestrated the score of Puni-Drigo and made several inserts in it. In 1950, Sergei Vasilenko did the same job again. Since then, theaters usually use their editions. In 2006, the musical version of V. Kachesov was performed in the performance of the Kremlin Ballet Theater.

In 2009, when staging the ballet at the Bolshoi Theater, a new concept of the musical drama of the ballet was developed by Yuri Burlaka, based on the original score of Puni, restored by Alexander Troitsky from archival materials from the Library of the Conservatory of San Pietro a Maiella in Naples and the Music Library of the Bolshoi Theater of Russia.

Subsequent productions

Screen adaptation

In 1994, Boyarchikov's production was filmed by the Lentelefilm studio.
In the film-ballet, the roles were performed by: Esmeralda - E. M. Khabibulina, Phoebus - K. V. Myasnikov, Fleur de Lis - A. K. Kondrashova, Gringoire - A. V. Kuligin, Claude Frollo - A. V. Konstantinov, Quasimodo - A.B. Bregvadze, Clopin Trulfu - I. Yu. Soloviev.
The TV version was directed by Evgenia Popova.

Recording of Petipa's production

During the first quarter of the 20th century, Petipa's original production was recorded according to Stepanov's system by the director of the ballet troupe N.G. Sergeev (recordings of individual fragments date from 1903 to 23).

Today, Esmeralda's choreographic notation is part of the Sergeev Collection and is kept in the Harvard Theater Library.

In 2009, materials from the Harvard collection were used by Yuri Burlaka during the work on Esmeralda at the Bolshoi Theater (ballet by Yuri Burlaka and D. Medvedev). However, their version cannot be considered a restoration of MI Petipa's performance.

Known fragments

Pas de six

Pas de six of Esmeralda, Gringoire and four gypsies from the second act of the ballet is often performed as a concert number. This composition to the music of Drigo was staged by Petipa in 1886 for V. Zucchi and replaced the previously existing one in the performance Pas de deux with music. Pugni, choreographed by Perrot (performed by Esmeralda with Gringoire or an unnamed soloist).

Pas de six is ​​the only fragment of Petipa's production considered "canonical" and reproduced in most editions without changes. A feature of Pas de six's choreography is that, unlike many other dance ensembles in classical ballets, it requires the ballerina to play an acting game parallel to the dance: depicting a gypsy woman dancing in front of noble guests, at the same time, she must express despair with facial expressions embracing Esmeralda at the sight of Phoebus and his bride.

The most famous moment in Pas de six is ​​the final part of Esmeralda's variation: the ballerina moves backwards on pointe on a shallow pas de bourre suivi like a snake, retreating into the depths of the stage, then steps forward through the center of the stage and, fainting, falls on her knee.

Pas de Dian (Pas de deux of Diana and Actaeon)

Pas de deux by Diana and Actaeon, staged by Vaganova in 1935 to music by Puni from the ballet Tsar Candavl, based on Petipa's production and using the female variation from Dance with baskets (music by Drigo, choreographed by Petipa), took on an independent life.

In the original performance by Vaganova, the soloists were accompanied by an ensemble of corps de ballet dancers - nymphs, which is absent in the concert version of the number.

Pas de deux

The concerts also include Pas de deux of Gringoire and Esmeralda on muses. Puni (or separately - a variation with a tambourine from this Pas de deux). Many people mistake this number for part of Petipa's production, although in fact it was created in 1954 by Nikolai Berezov, who staged his own version of Esmeralda in London.

C. Pugi ballet "Esmeralda"

Caesar Puni's ballet "Esmeralda" is based on famous work Victor Hugo "Notre Dame Cathedral". The author of the libretto J. Perrot is a renowned choreographer. The plot of the ballet has undergone significant changes compared to the original source, the choreographer was categorically not satisfied with the tragic ending of the work, so he decided to change it, leaving all the main characters alive and giving Esmeralda the long-awaited happiness. In addition, he decided to abandon the acute social overtones, highlighting the line of love. It is noteworthy that when J. Perrot worked on the plot, he did not rely at all on the work of V. Hugo itself. He mainly used the libretto that he created great writer for the opera "Esmeralda", naturally with its own changes.

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

Characters	Description
	French woman kidnapped by gypsies
Gringoire	beggar poet and philosopher, fiancé of Esmeralda
Quasimodo	cathedral bell-ringer, half-blind and deaf hunchback
Phoebus de Chateauper	captain of archers, royal bodyguards
Claude Frollo	priest and abbot of the cathedral
Fleur de Lis	noblewoman and the bride of Phoebus
Clopin Trulfou	leader of the Court of Miracles, vagrant

Summary of "Esmeralda"

All events unfold at the end of the 15th century. The Courtyard of Wonders is a place in Paris where vagabonds, thieves and beggars congregate. It was there that the beautiful Esmeralda saves the poor poet Pierre Gringoire from execution and, according to the laws of this place, they must now get married. The girl herself is pursued by Claude Frollo and Quasimodo in love with her. He is trying in every possible way to achieve the location of the beauty, but all in vain. Captain Phoebus de Chateaupert with his patrol rescues her from the persecution of her persistent suitor. Now this gallant officer is captivated by the beauty of Esmeralda, however, he has a bride, Fleur de Lys. They have already set a wedding date, but the appearance of a young gypsy woman suddenly disrupts all their plans.

Claude Frollo cannot calm down and hesitate with refusal, he again tries to get the heart of his beloved, only by deception. He sees that Esmeralda is in love with Phoebus and suddenly attacks him, plunging a dagger into the captain's chest. Guilty of all this, he exposes an unfortunate girl who has a salvation from the inevitable execution - to be with Frollo. Esmeralda refuses this and suddenly Phoebus, her lover, who was only seriously injured, appears rescued. Quasimodo, hopelessly in love with Esmeralda, saves her from Frollo and kills him himself. Now the happiness of the beauty and the captain Phoebus nothing prevents.

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Interesting Facts

• An interesting case is connected with one of the premieres of the ballet "Esmeralda" in Russia. The second production in our country took place in Moscow and was a resounding success. After the performance, the enthusiastic audience presented the performer starring Fanny Elsler is a precious gift. It was a silver case with a massive bracelet containing six large precious stones. Each of them had letters that formed the word Moscow. The ballerina also thanked the generous admirers in the second act, where the beautiful Esmeralda thinks of her beloved Phoebe and writes his initials on the wall, clearly inscribed “Moscow” in Russian letters. The amazing events of the evening did not end there. Enthusiastic fans decided to take the ballerina's carriage on themselves, freeing the horses. For this frivolous act, the editor of Moskovskiye Vedomosti was dismissed from his post. Thus, this premiere left an indelible mark on the lives of many art lovers.
• Today full version the performance is staged only in Russia, some countries of Eastern Europe and New Jersey (USA), in other countries separate numbers are successfully performed.
• The premiere of the ballet took place at Her Majesty's Royal (London) Theater in March 1844 and was excellent. It was already the second successful ballet by Perrot and Pugni, the first - "Ondine".
• Puni's artistic heritage includes 321 ballets. This was largely due to his service. In 1851, Puni received an invitation to St. Petersburg to compose ballet music for the imperial theaters. Here he met and began to work closely with Marius Petipa .

• In 1982, UNESCO approved a proposal by Pyotr Gusev, the director of the 1949 version, to approve World Day Dance ... This holiday is celebrated on April 29.
• The Italian Virginia Zucchi, who played the role of Esmeralda in the 1886 production, won the great C.S. Stanislavsky with his play. Subsequently, he called her the best mimic actress and noted her extraordinary acting skills.
• The long-awaited TV version of the ballet appeared in Boyarchikov's edition.
• Another joint work of Puni and Perrot is the ballet "Ondine", which later became quite popular.
• Hugo's novel became the basis for other ballets as well. In 1902 A. Gorsky presented the play "Gudula's Daughter" by A. Simon on the Moscow stage. Already in 1965, Roland Petit staged his ballet with Maurice Jarre, on the same subject. Also, based on the novel by Hugo A. Dargomyzhsky at the same time he created his own opera "Esmeralda".
• It is noteworthy that the play "Esmeralda" is The only job Perrot, which has survived to this day in the choreography of the author himself, albeit with minor edits by Marius Petipa.

The history of the creation of "Esmeralda"

In 1840, Caesar Pugni received an interesting proposal to compose music for a ballet based on the recently published novel by Victor Hugo, Notre Dame Cathedral. The libretto was created by J. Perrot, who at that time became famous as one of the most famous choreographers.

Of course, the original source has undergone changes, and the main line of opposition between Quasimodo and Phoebus de Chateaupera was smoothed out. The theme of Esmeralda's mother is completely absent from the ballet. Despite all the changes, the principles of choreographic expressiveness were determined by the romantic poetics of the author of the novel.

Performances

The ballet premiered with success on March 9, 1844 in London. The leading roles were played by eminent dancers of that time. The role of Esmeralda was performed by C. Grisi, Phoebe de Chateaupera - by A. Saint-Leon, and Gringoire - by J. Perrot himself. In 1844, the public in St. Petersburg was able to appreciate the work of Puni. Fanny Elsler performed the lead role in this production.

In 1850, the production took place in Moscow. The premiere at the Moscow Bolshoi Theater made a splash among the public. It was decided to leave the performance in the repertoire for several years.

In 1886 the ballet returned to St. Petersburg, only now in the edition of the "first Russian Phoebus" Marius Petipa , who by this time had become the main choreographer. The part of Esmeralda was performed by Virginia Zucchi.

Another version of the play appeared in 1935 in Russia, when the Soviet choreographer Agrippina Vaganova presented her version of the ballet.

In 1950, the ballet was revived again, thanks to the composer Gliere , who re-orchestrated Puni's score and added music by Sergei Vasilenko. The libretto was written by V. Burmeister and V. Tikhomirov.

The return of ballet to the Bolshoi Theater took place in 2009, thanks to the efforts of choreographer Yuri Burlaka and choreographer Vasily Medvedev. In their work, they tried to restore the image of the great historical ballet. Burlaki and Medvedev tried to preserve the choreography of Perrot, Marius Petipa, but also made their own changes.

Unlike many other works, the ballet "" has a happy stage fate, it has been staged many times in different theaters and has always had incredible success.

Watch the ballet "Esmeralda" by Puni