With a libretto (in French) by Jules Barbier and Michel Carré, based on the tragedy of W. Shakespeare.

Characters:

SIGNOR CAPULET (bass)
JULIET, his daughter (soprano)
GERTRUDE, her nurse (mezzo-soprano)
TYBALD, nephew of Capulet (tenor)
GREGORIO, one of the Capulets (baritone)
ROMEO, one of the Montagues (tenor)
MERCUTIO, another of the Montagues (baritone)
BENVOLIO, another of the Montagues (tenor)
STEFANO, page Romeo (soprano)
DUKE OF VERONA (bass)
SIGNOR PARIS (relative of the Duke of Verona), betrothed to Juliet (baritone)
FATHER LAURENT (bass)

Time period: XIV century.
Location: Verona.
First performance: Paris, Théâtre Lyricique, 27 April 1867.

Of all the literary masterpieces that the “firm” of Barbier & Carré, those extraordinary producers of all kinds of librettos, used for their literary crafts, Shakespeare's tragedy Romeo and Juliet has suffered the least distortion. Although the script turned out to be significantly shortened, especially in the first act, and the character of low comedy, Pietro, was completely dropped out (but the charming page boy Stefano, who is not at all in Shakespeare, was introduced into the libretto), the general course of the plot was conveyed correctly, and the main characters retained their truly Shakespearean liveliness. The librettists either translated many of the lines literally or at least paraphrased them. One major concession to the demands of the opera did have to be made by these diligent literary workers: they allowed Juliet to awaken from her drug soon enough that she could sing her love duet with Romeo before he died from the poison he drank. But even for this deviation from Shakespeare there is some justification in the history of literature: A. Brooke, the author of the poem, which was one of the main sources for Shakespeare, in his time did the same.

Adeline Patti, the most famous Juliet, also followed the spirit of the text with amazing fidelity in life. In the 1880s, while married to the Marquis de Caux (but not living with him), she performed this role at the Paris Grand Opera. Her partner was the French singer Nicoloni (his real name was Ernest Nicolas, but he changed it due to his admiration for Italy, which valued his voice much more than his own country). These performers of the two main parts were, apparently, as passionately in love with each other as the characters they represented. One cool-headed observer (was he a critic?) counted twenty-nine real kisses that they exchanged during the balcony scene. When Patti finally separated from the Marquis, the opera couple married - they lived happily together for twelve years before the tenor died and the soprano returned to the aristocratic world as Baroness Sedeström.

PROLOGUE

Shakespeare's play is preceded by a prologue in the form of a sonnet, which is entrusted to one actor called "The Chorus". His first well-known lines are:

In two families equal in nobility and glory,
In Verona the lush flared up again
The enmities of days past are bloody discord...

Gounod's opera begins with the same sonnet, but the lines of the "Chorus" are sung by a truly full choir.

ACT I

The first act opens immediately with the ball scene, which is the fifth in Shakespeare's play. However, the librettists managed to tell us about all the most important things that happened in earlier scenes, and even about things that Shakespeare didn’t have at all! The curtain rises to the music of a waltz, which is performed at a ball hosted by the Capulet family. Tybalt discusses with his relative Juliet's upcoming marriage to Signor Paris. (By the way, no one bothered to tell Juliet that she was already engaged to him. In those days, parents made such transactions in the most domineering way.)

Soon Signor Capulet, Juliet's father, appears. He introduces his daughter to the crowd, and she makes everyone happy by singing a charming little aria. With this aria she demonstrates at least one of her remarkable talents - magnificent coloratura.

It seems, however, that there are several uninvited guests at the celebration - a group of hated Montagues. One of them is Romeo. He naturally falls in love with Juliet at first sight. Mercutio slightly teases him and sings a light baritone aria (ballad) - a French paraphrase of his thoughts about Queen Mab (in Shakespeare - Meb. - AM.), a fantastic character created, apparently, by Shakespeare himself, but in the spirit of folklore images ( in Shakespeare this episode is in the fourth scene of the first act - A.M. What follows is a scene between the nurse and Juliet, and when she hints about the wedding, Juliet declares that she does not want to hear about it. The moment comes for her famous aria - the well-known waltz song “Ah! Live carefree, enjoy.” The irony is that the next moment she meets a man who immediately awakens in her the desire to marry him. And here comes the first of a series of love duets for which this opera is famous, and at the end of it Juliet is as passionately in love with Romeo as he is with her.

But Tybalt, the nephew of Capulet (in Shakespeare - Signora Capulet; since she is absent from the opera, the librettists made her the nephew of Capulet himself. - A.M.), believes that he recognized the voice of one of the Montagues. He's not entirely sure yet, since the guests are wearing masks. However, being a hot-headed young man, he is ready to become a cause of excitement, and only with some difficulty does the owner, Signor Capulet, manage to calm him down and insist that there be no quarrels at the holiday in his house. He calls on everyone to dance, and the action ends where it began - a waltz in which everyone gathered takes part.

ACT II

The second act is the famous balcony scene. It begins - just as this scene begins in Shakespeare - with Romeo being separated from his merry friends, and now he is under Juliet's balcony. “The one who was not wounded jokes about the scar,” he says (as in the Russian translation of Shakespeare, and in response to Mercutio’s frankly ambiguous remark; in the accepted Russian translation of the opera it is different: “I hear Mercutio’s voice. / That’s who is wounded doesn’t know the hearts / And only jokes always”), and then sings his big aria - cavatina “Ah! leve-toi, soleil! (“Sun, quickly rise”). The balance of the whole scene is given by an unusually beautiful love duet. As in Shakespeare, in the opera it is Juliet who proposes marriage - and proposes it very quickly. Romeo, passionately wanting the same thing, agrees. Twice their long duet is interrupted. One time, the Capulet people are trying to find members of the Montague clan. Another time the nurse calls Juliet to go to bed. At the end of this action, the famous couplet sounds: “How sad it is for me to repeat the words of farewell,” which the heroes sing together. And then, when Juliet retires into the house after her nurse, Romeo passionately utters a few more phrases (“Let everything whisper to you: I love you!” I love you immensely! / Let the night breeze kiss your lips!

ACT III

Scene 1 very short: this is the secret wedding of Romeo and Juliet. Our heroes came to the cell of good old Father Laurent; Romeo explains to him that they want to get married quickly and secretly; Father Laurent believes that this marriage can put an end to the bitter hereditary feud between the Montagues and the Capulets, and the ceremony is performed. The scene ends with a joyful quartet (“Oh, a wonderful moment!”), in which the nurse joins the heroes.

IN picture 2 Quite a lot of events happen, and besides, one completely new character appears in it, absent from Shakespeare - the page Stefano. This is an elegant, cheerful and fearless young Montague. He is really so young that his role is performed by a soprano. The scene opens with his daring and insulting serenade - “Que fais-tu, blanche tourterelle?” (“Ah, my white dove”). Gregorio, one of the Capulets, tries to attack him with a sword. But the Montagues appear, and the situation instantly becomes serious. Tybalt challenges Romeo, but Romeo, who has just married Tybalt's cousin, refuses to accept the challenge. The hot-tempered Mercutio accepts this challenge instead. A duel breaks out, and when Tybalt kills Mercutio, Romeo can no longer stand aside. Older and wiser heads appear, and among them is old Capulet and the Duke of Verona. The Duke, shocked by the shed blood, punishes Romeo: he sends him out of the city (“Until the Day comes, / You will leave the city!”). This is the worst sentence for the young spouse, and now the ensemble sounds, in which he has the leading role and in which he laments over his misfortune (“Oh, mournful day! Expulsion! Expulsion! / No, death is better, but I will see it!”) .

ACT IV

The fourth act begins with the third and fourth love duets, which gently, as if dotted line, pass through this whole sad story. Romeo and Juliet spent their only night together, and now it is time for Romeo to leave his beloved. The Duke gave orders that if Romeo was found in the city, he would be executed. In vain do lovers try to convince themselves that the singing they hear is not a lark singing so “out of tune” (to quote Shakespeare) (the lark sings at dawn and announces the coming of the day when Romeo must leave the city), but a nightingale (the night singer of love). Very “in harmony” the soprano and tenor sing their tragic farewell to each other (“We must part”).

But the worst is yet to come for poor Juliet. Her father arrives to inform her that she must immediately marry Signor Paris. She is completely shocked. Left alone with Father Laurent, Juliet asks him for advice. She's ready for anything. Father Laurent hands her a bottle. It contains, as he explains, a drug. If she drinks it, she will appear dead for exactly forty-two hours. By the end of this period, the monk promises, he will bring Romeo to her. Juliet quickly takes this potion.

Following this, a ballet is performed in several parts. He makes a rather strange impression. I say "quite strange" because it wasn't in the original version of the score. Gounod was forced to add it when the opera was first performed on the stage of the National Opera, a year after its premiere on the stage of the Lyric Theater. Members of the Jockey Club, these young dandies who patronized the young dancers of this theater, demanded that in the middle of any opera given on this stage there should always be ballet numbers. And could a simple composer rebel against this demand of theirs? The ballet here does not carry any dramatic meaning, but its music makes a pleasant impression.

Signor Capulet appears; he came to convince Juliet to marry. Juliet is in despair, she exclaims that her wedding bed will be the grave - and, to the horror of everyone, falls dead. The drug apparently began to work during the ballet.

ACT V

The last short and tragic action consists mainly of the final love duets of the heroes. It begins, however, with a short symphonic poem, describing with sounds Juliet's death-like sleep in the Capulet family crypt. Romeo (who heard that she died - but did not know that it was a deception) comes to the crypt to say goodbye to his beloved for the last time (“O ma femme! oh ta bien aimee!” - “Oh Juliet, oh my dear angel!” ). He kisses Juliet, then takes out a bottle of poison and drinks it too - but this poison he brought is real, and not just a tranquilizer that Juliet drank. At this moment, Juliet awakens and, to her horror, finds out what Romeo has done. They sing another duet, but the poison acts too quickly and Romeo dies. Juliet draws her dagger - and two of literature's most famous lovers die in each other's arms.

Henry W. Simon (translated by A. Maikapara)

History of creation

Gounod's opera is based on the tragedy of the great English playwright William Shakespeare (1564-1616). “Romeo and Juliet” is one of his earliest works, most likely dating back to 1595 and enjoying wide popularity both during the author’s lifetime and in subsequent centuries. In Italy, the story of the Verona lovers was considered a true incident, and already in the time of Shakespeare, Juliet's tomb appeared. The tomb, like the house with the famous balcony and the statue of the heroine below it, is still shown to tourists. Gounod's librettists were the famous French playwrights Jules Barbier (1819-1872) and Michel Carré (1822-1901). They often worked together, creating about 25 librettos for operas and operettas, including the libretti for Faust and 7 more operas by Gounod. As in other librettos based on works of world literature, Barbier and Carré focused on the love story. In four of the five acts, love duets took center stage. As the French biographer Gounod C. Bellague wittily noted, the opera “consists almost entirely in four duets. If they are removed, the work does not exist; if they exist, it continues to live.” The last duet, significantly expanded in comparison with Shakespeare's tragedy, occupies the entire final act (in Shakespeare's Romeo, having taken poison, dies before Juliet awakens). For librettists, the feud between the Montagues and the Capulets is only the background of a love story, and it is no coincidence that the opera ends with the death of a loving couple, and not with the reconciliation of warring families. It is no coincidence that the number of crowd scenes and participants in the feud has also been reduced to the limit, and Duke Escalus is not even listed in the list of characters. There is neither the head of the Montague family - Romeo's father, nor the mothers of both heroes, the role of Juliet's brother Tybalt is small, and her fiancé Paris is relegated to a character on the mass stage. But the travesty boy beloved by the French opera, the page Romeo Stefano, was introduced.

At the beginning of April 1865, Gounod settled in a villa in the town of Saint-Raphael on the shores of the Mediterranean Sea, where everything was reminiscent of Italy - the outskirts of Naples, the Roman Campania. Rising at five in the morning, the composer greeted the sunrise. Settled in a small house twenty steps from the boiling waves or under a seaside pine tree, he, in his own words, “worked with love” until ten and a half - eleven o’clock, not noticing the passing time: “five hours passed while I listened to Romeo , or Juliet, or Friar Lorenzo, or anyone else, thinking that I’ve only been listening to them for an hour.” “I hear my characters singing as clearly as I see everything around me, and this clarity fills me with bliss.” Nothing disturbed the peace, and in 4-5 days he wrote as much as he would never have composed in the city. Weeks passed like this: “I don’t feel any fatigue, I’m 20 years old, I’m even 10, I feel so much like a child.” On April 9, almost the entire I act was composed with “the first gallant duet of Romeo and Juliet.” The duet on the balcony of Act II was created entirely in one sitting. It was more difficult for the duet to be born in the bedroom: “Finally I grabbed it, this damned duet of Act IV. Oh! I wish I knew if it was really him! It seems to me that this is him. I see them both, I hear them; But Fine do I see Fine can I hear these two lovers? If only they could tell me this themselves and make a “Yes” sign! I read it, this duet, I re-read it, I listen to it with all my attention; I try to find him bad; I’m afraid to find him good and be deceived!” The sketch of the score was completed within a month. The nervous tension was so great that Gounod happily (met his doctor and went with him to Saint-Cloud near Paris. Here, after a two-week break, on May 25, he energetically set to work again. There is no information on how it went over the following months until on August 19, 1866, one of the Parisian newspapers announced the start of rehearsals for Romeo and Juliet at the Lyric Theater. However, the premiere, scheduled for the beginning of 1867, could only take place on April 27 (one of the reasons for the postponement was the absence of a tenor). within the framework of the World Exhibition, which opened in Paris a month before, Gounod brought his first real success, which, according to a contemporary, exploded like fireworks. Even before the end of the year, Romeo and Juliet was shown on many stages in Germany and Belgium, in Milan and even. in New York. In Paris, success was long-lasting and steadily increasing. Staged after the Lyric Theater at the Opéra-Comique and the Grand Opera, the opera ran for about 500 performances until the end of the 19th century, and in the 50 years since its premiere, their number approached 1000.

Music

"Romeo and Juliet" is a striking example of French lyric opera. Its main episodes are four duets of lovers and their two small arias with melodic melodies, expressive and memorable.

In Act I, Juliet’s popular waltz “In Unclear Dreams,” with its spectacular brilliant passages, paints the image of a young, carefree girl. The duet of the first meeting of Romeo and Juliet “Heavenly angel, I would like to touch the lovely hand” (the author's title is a madrigal for two voices) is distinguished by its restrained, elegant, somewhat ceremonious character. Act II contains Romeo’s cavatina “Sun, quickly rise,” warmed by sincere and passionate feeling. The duet of confessions on the balcony “Oh, night of bliss!”, consisting of a number of episodes different in tempo and rhythmic pattern, but equally light in mood, is also close to it. In the opening duet of Act IV of the newlyweds “The Night of Hymen!” O night of holy love! episodes full of delight, intoxication with love, are replaced by anxious, excited ones. Act V is entirely occupied by the dying duet “Hello to you, gloomy and silent coffin.” The most extensive of all, it includes both recitative and melodic sections, in which the themes of the previous duet are heard; The orchestra plays an important role.

A. Koenigsberg

This work by Gounod is the second most important (after Faust) in the composer’s work and one of the best (along with Bellini’s opera Capulet and the Montagues) among the many versions of Shakespeare’s tragedy on the musical stage. The plot is modified and melodramatized. The opera is written in the typical French tradition of lyric opera. As in Faust, the author included ballet in the work.

On the Russian stage for the first time in 1870 (St. Petersburg, in Italian). The first Russian production took place in 1883, also in St. Petersburg (Mariinsky Theater). Among modern productions, we note the performance of the Metropolitan Opera in 1967 (soloists Freni, Corelli). Conductor Lombard recorded with these singers in 1968 at EMI.

Discography: CD - EMI. Dir. Plasson, Romeo (Kraus), Juliet (Malfitano), Father Laurent (Van Damme), Mercutio (Quilico), Capulet (Baquier), Stefano (Marri).

Libretto by L. Lavrovsky, A. Piotrovsky, S. Radlov, S. Prokofiev based on the tragedy of the same name by W. Shakespeare. Staged by L. Lavrovsky. Artist P. Williams.

Characters:
Escalus, Duke of Verona.

Paris, a young nobleman, Juliet's fiancé.

Capulet.

Capulet's wife.

Juliet, their daughter.

Tybalt, Capulet's nephew.

Juliet's nurse.

Montagues.

Romeo, their son.

Mercutio and Benvolio, friends of Romeo.

Lorenzo, monk.

Samsone, Gregorio, Pietro - servants of the Capulet.

Abramio, Balthazar - servants of Montague.

Paris's page.

Page Romeo.

Juliet's friends.

The owner of the zucchini.

Maids.

Troubadour.

A young man in battle.

Greengrocer.

Townspeople.

In the middle of the orchestral introduction, the curtain opens, revealing to the audience a three-piece triptych picture: on the right is Romeo, on the left is Juliet, in the center is Lorenzo. This is the epigraph to the play.

Verona in the early morning. The city is still dormant. Romeo alone can't sleep. He wanders aimlessly through the deserted streets, immersed in dreams of love.

The streets gradually come to life, early passers-by appear. Stretching lazily and having difficulty losing sleep, the inn's maids clear the tables.

The servants Gregorio, Samsone and Pietro leave the Capulet house. They are nice to the maids and start dancing. On the other side of the square, Balthazar and Abramio come out of Montague's house.

The servants of two warring families glance sideways at each other, looking for a reason to quarrel. Stinging jokes turn into bickering, someone pushes someone, and a fight breaks out. The weapon is drawn. One of the servants is wounded. Benvolio, Montague's nephew, separates the fighters and orders everyone to disperse. The servants, grumbling dissatisfiedly, obey.

And here comes Tybalt, Capulet's nephew. An adventurer and a bully, he is just waiting for the chance to fight the hated Montagues. The opportunity presented itself. The battle begins. The Montagues and Capulets run out of their houses in response to the noise. The fight is heating up.

The whole city was in motion. Heavy bells sound. The Duke of Verona appears. With the movement of his sword, he gives a sign to lay down his weapon. From now on, the Duke announces, anyone who starts a fight with a weapon in their hands will be executed.

The people, satisfied with the Duke's order, disperse.

Juliet's room. The naughty Juliet cheerfully teases her Nurse, throws pillows at her, runs away from her, and she, clumsily waddling, tries to catch her.

The merry fuss is interrupted by Juliet's Mother. Gradually and sternly, she tells her daughter to stop playing pranks: after all, Juliet is already a bride. Such a worthy young man as Paris asks for her hand. Juliet laughs in response. Then the Mother solemnly brings her daughter to the mirror. Juliet can see for herself - she is quite an adult.

A ball has been announced at the Capulet palace. The nobility of Verona in festive clothes goes to the celebration. Accompanied by singers and musicians, Juliet's friends and Paris go to the ball with their page. Mercutio runs by, talking animatedly and laughing. He is dissatisfied with Romeo, he does not understand his sadness. And Romeo himself cannot figure out what is happening to him. He is tormented by ominous forebodings.

The action moves to the hall of the Capulet house. Solemnly seated at the tables, the guests conduct a decorous conversation. The dancing begins. The guests ask Juliet to dance. She agrees. Juliet's dance reveals her purity, charm, and poetry. Romeo, who entered the hall, is unable to take his eyes off her.

Wearing a hilarious mask, Mercutio amuses the guests to tears. Taking advantage of the fact that Mercutio has captured everyone’s attention, Romeo approaches Juliet and excitedly tells her about the feeling that has arisen in him. The mask accidentally falls off Romeo's face. Juliet is amazed by Romeo's beauty and nobility. Love also ignited in Juliet's heart.

Tybalt, an involuntary witness to this scene, recognized Romeo. Putting on the mask, Romeo disappears. When the guests leave, the Nurse tells Juliet that Romeo belongs to the Montague family. But nothing can stop Romeo and Juliet. On a moonlit night they meet in the garden.

Juliet is completely at the mercy of the feeling that flared up for the first time. Unable to bear even the shortest separation from her beloved, Juliet sends Romeo a letter, which the Nurse must give to him. In search of Romeo, the Nurse and her accompanying Pietro find themselves in the thick of the carnival fun.

Hundreds of townspeople dance, sing, and frolic in the square. A procession carrying a statue of the Madonna appears to the sounds of an orchestra.

Some mischievous people tease the Nurse, but she is busy with one thing - looking for Romeo. And here he is. The letter was delivered. Romeo reverently reads Juliet's message. She agrees to become his wife.

Romeo comes to Father Lorenzo's cell. He tells Lorenzo about his love for Juliet and asks him to marry them. Touched by the purity and strength of Romeo and Juliet's feelings, Lorenzo agrees. And when Juliet enters the cell, Lorenzo blesses their union.

And in the squares of Verona the carnival is noisy and sparkling. Among the merry Veronese, Romeo's friends are Mercutio and Benvolio. Seeing Mercutio, Tybalt starts a quarrel and challenges him to a duel. Romeo, who arrived at this time, tries to calm down the quarrels, but Tybalt mocks Romeo, calling him a coward. And when Romeo withdraws Mercutio's sword to prevent bloodshed, Tybalt deals Mercutio a fatal blow. Overcoming the pain, Mercutio tries to joke, he dances, but his movements weaken and he falls dead.

Not remembering himself from grief, avenging his beloved friend, Romeo enters into battle with Tybalt and kills him.

Juliet's mother runs out of the Capulet house. She calls for revenge. Benvolio takes Romeo away, who must immediately escape.

At night, Romeo secretly sneaks into Juliet's room to see his beloved before separation... Dawn is approaching. Lovers say goodbye for a long time. Finally Romeo leaves.

Morning. The Nurse enters, followed by Juliet's parents. They report that the day of her wedding with Paris has been set. Juliet begs Mother and Father to spare her, not to force her into a union she hates with someone she doesn’t love. The will of the parents is adamant. The father raises his hand to Juliet. In desperation, she runs to Lorenzo. He gives Juliet a potion, drinking which she will fall into a deep sleep similar to death. Only Romeo will know the truth. He will return for her and take her away secretly from the open crypt. Juliet happily accepts Lorenzo's plan.

Returning home and pretending to be submissive, she agrees to marry Paris. Left alone, Juliet drinks the drug. When her friends come in the morning to dress her for the wedding, they find the bride dead. The news of Juliet's death reaches Mantua, where Romeo fled. Overcome with grief, he hurries to Verona. The funeral cortege is moving. Juliet rests in an open coffin. The coffin is placed in the family tomb. Everyone leaves. Night. Romeo runs into the cemetery. He falls to the tomb, says goodbye to Juliet and drinks poison.

Juliet wakes up. Consciousness and memory do not immediately return to her. But when she sees herself in the cemetery, she remembers everything. Her gaze falls on Romeo. She rushes towards him. Saying goodbye to him, saying goodbye to life, Juliet stabs herself with Romeo's dagger.

Old men Montagues and Capulets approach the grave. They look in horror at the dead children. Then they stretch out their hands to each other and swear in the name of life, in the memory of two beautiful creatures, to cease hostility forever.

There are two known backgrounds to the appearance of Kenneth MacMillan's ballet Romeo and Juliet: MacMillan created his production after F. Ashton (1955), or the choreographer was inspired by the touring performances of the Bolshoi Theater troupe in October 1956 in London. The likelihood of the second version is indicated, in particular, by the names of S. Prokofiev and S. Radlov (as the authors of the libretto) in the credits of the film-ballet Romeo and Juliet performed by the La Scala troupe with A. Ferri and A. Korea in the main roles. The American critic E. Porter also believed (1973) that K. MacMillan borrowed some structural solutions for the ensembles from J. Cranko (1958).

K. Macmillan initially staged the ballet by L. Seymour and K. Gable at Covent Garden, but the premiere, which took place on February 9, 1965, was danced by M. Fontaine and R. Nureyev. The performance was a great success, the artists were called to bow 43 times.

K. McMillan's version is distinguished by inventive and beautiful duets of Juliet and Romeo, Juliet and Paris, strengthening of Romeo's dance part (sometimes at the expense of other characters, for example, part of the image of Mercutio - both meaningfully and musically - is taken over by Romeo), while variations Romeos consist primarily of jumping, and also enhance the dramatic performance of the actors on stage in the spirit of realism. K. McMillan's production can be called one of the most emotional versions of the ballet Romeo and Juliet.

SCENARIO PLAN FOR THE BALLET ROMEO AND JULIET
[based on a video version of the La Scala ballet]

Ballet in 3 acts, 13 scenes
Music by S. Prokofiev

Choreography by K. McMillan

Sets and costumes by N. Georgiadis

1. INTRODUCTION
(with curtain closed)

ACT ONE

Scene one

2. ROMEO
Verona Market Square. Early morning. Romeo comes out and tries to declare his love to Rosaline, who rejects him. Romeo joins his friends Mercutio and Benvolio.

3. THE STREET WAKES UP
As daylight approaches, the square is filled with merchants and peasants. Romeo dreamily watches what is happening.

4. MORNING DANCE
Romeo and his friends dance with street girls and flirt with them. Each of the three couples has their own little dance. The people of the Capulet house appear.

5. ARGUMENT
Tybalt and his friends insult one of the girls. A fight ensues.

6. FIGHT
Massive sword fight scene. In the finale, the fathers of the Montague and Capulet families appear with swords.

7. ORDER OF THE DUKE
The Duke of Verona appears and orders everyone to stop the quarrel. On both sides they mourn the dead, then drag them into one heap in the middle of the stage.

8. INTERLUDE
The Duke forces the heads of two warring houses to shake hands. At his command, everyone lays down their weapons on the ground, but hostility remains.

Scene two

9. PREPARATION FOR THE BALL
(with curtain closed)

10. JULIET THE GIRL
Juliet's room in the Capulet house. To the right and left are large bird cages. The Nurse is sitting in the room. Juliet runs in with a doll and begins to play with the Nurse. Juliet's father and mother enter along with Paris, who is tipped to be Juliet's groom. A small duet of Juliet and Paris. After the guests leave, Juliet takes up the doll again, but the Nurse reminds her: childhood is already over, she will soon get married.

Scene three

11. CONGRESS OF GUESTS (Minuet)
The area in front of the gates of the Capulet house. The guests invited to the ball pass by. Tybalt meets everyone. Romeo and his masked friends are right there. Rosalina appears. Tybalt gives her a rose. Romeo draws Rosaline's attention to himself. Rosaline leaves with Tybalt, dropping a rose for Romeo.

12. MASKS
Pas de trois Romeo, Mercutio and Benvolio (without masks). The dance is permeated with humor and play. In the finale, the friends put on masks and cloaks again and decide to follow Rosaline to the Capulet house.

Scene four

13. DANCE OF THE KNIGHTS
Ballroom in the Capulet house. In the background in the center is a wide staircase. The guests are dancing, on the proscenium are Tybalt and Paris. Romeo, Mercutio and Benvolio appear on the stairs. After a while - Juliet and the Nurse. Romeo looks for Rosaline and dances with her. Juliet comes to the center of the stage. A duet between Juliet and Paris, in the finale of which Romeo and Juliet meet their gazes. The dance of the knights continues.

48. MORNING SERENADE
The girls start dancing. Next comes the Romeo variation. Romeo's dance is addressed to Juliet, who plays the mandolin. In the finale, Paris takes Juliet away from Romeo.

14. VARIATION OF JULIET
At the end of the variation, Romeo joins Juliet in dancing. All the dancers pay attention to them.

15. MERCUTIO
Variation of Mercutio. In the middle there is an insert - No. 26 (NURSE), Benvolio dances to this music. By the end the stage is empty. Only Tybalt and Mercutio remain, and soon they leave.

16. MADRIGAL
Juliet appears, followed by Romeo. They are drawn to each other. However, the Nurse, Lady Capulet, Tybalt and Paris alternately appear on the stage, and Romeo has to constantly hide from them. Finally the young people are left alone. Romeo takes off his mask. Duet of Romeo and Juliet.

17. TYBALD RECOGNIZES ROMEO
Tybalt appears and tells Romeo to leave. The Capulets appear and, in accordance with the laws of hospitality, allow Romeo to stay. The nurse tells Juliet who Romeo is.

18. GAVOT (Departure of guests)
Ballroom. The ball continues. Romeo dances without a mask among the guests, sometimes meeting either Juliet or Tybalt. Gradually the guests disperse.

Fifth picture

18. GAVOT (Departure of guests)
The gate of the Capulet house from which the guests come out. Tybalt follows Romeo out. But Capulet forbids Tybalt to pursue Romeo.

Sixth picture

19. BALCONY SCENE
Night. Garden at the Capulet house. Juliet goes out onto the balcony. Romeo runs in wearing a cloak. Juliet goes down to him.

20. ROMEO VARIATION
Consists mainly of jumping.

21. LOVE DANCE
Characterized by a variety of supports. Romeo and Juliet declare their love and swear allegiance.

ACT TWO

Seventh picture

22. FOLK DANCE
Verona Market Square. Here life is in full swing, young people are dancing - three girls are soloists.

23. ROMEO AND MERCUTIO
Romeo appears. One of the girls asks him to dance, but he is lost in his thoughts. Mercutio and Benvolio run in.

24. DANCE OF FIVE COUPLES
Romeo nevertheless begins to dance, as if testing his feelings. His friends join him. In the middle is insert No. 31 (FOLK DANCE AGAIN). A wedding procession appears on stage to this music. Romeo thinks.

Continuation of the general dance.

25. DANCE WITH MANDOLINS.
Street musicians and artists dance.

26. NURSE
The nurse is looking for Romeo to give a note from Juliet. Romeo, Mercutio and Benvolio put on masks and make fun of the Nurse.

27. THE NURSE GIVES ROMEO A NOTE FROM JULIET
Romeo happily reads the note and runs away.

Eighth picture

28. ROMEO AT PATER LORENZO
The cell of Father Lorenzo. The monk is deep in prayer. Romeo runs in and gives Father Lorenzo Juliet’s note.

29. JULIET AT PATER LORENZO
The Nurse appears, followed by Juliet. Wedding scene.

Ninth picture

30. THE FUN CONTINUES
People continue to have fun in the square. Tybalt and his comrades appear in the background.

31. FOLK DANCE AGAIN
Couples dancing, including the getting married couple (appeared in the 7th scene)

32. TYBALD'S MEETING WITH MERCUTIO
Tybalt quarrels with Mercutio. Romeo returns and tries to reconcile them. Tybalt bullies Romeo, but he refuses to fight.

33.TYBALD FIGHTS MERCUTIO
This is not a dance episode. Tybalt wounds Mercutio.

34. MERCUTIO DIES
[The scene is extremely similar to a similar one staged by L. Lavrovsky]

In the finale, Mercutio makes a gesture that can be interpreted as Plague take both of your families!

35. ROMEO DECIDES TO Avenge MERCUTIO'S DEATH
Expressive non-dance scene. Romeo kills Tybalt.

36. FINALE OF ACT II
[The stage is also built in the spirit of L. Lavrovsky’s production]

Lady Capulet mourns Tybalt and rushes at Romeo with her sword. Romeo is in despair. In the finale, the Capulet couple are on stage over Tybalt's body.

ACT THREE
[pantomime predominates in the third act]

Tenth picture

37. INTRODUCTION
(with curtain closed)

38. ROMEO AND JULIET
Juliet's bedroom. Duet of Romeo and Juliet (various supports).

39. FAREWELL BEFORE SEPARATION
The duet smoothly transitions into this musical theme. After a long kiss, Romeo runs away by jumping from the balcony.

40. NURSE
The Nurse enters, then Juliet's parents and Paris. Musical themes No. 11 (Minuet) and No. 38 (ROMEO AND JULIET) are played.

41. JULIET REFUSES TO MARRY PARIS
Juliet rejects Paris, angering her father. Theme No. 13 (DANCE OF THE KNIGHTS) sounds

42. JULIET ALONE
Juliet's monologue is built on dramatic play and is emotionally expressive.

43. INTERLUDE
Juliet's Run - Juliet throws a cloak on herself, runs around the stage in a circle and hides in the left wings.

Eleventh picture

44. AT LORENZO's
Conversation with Father Lorenzo. The monk offers Juliet a sleeping potion.

45. INTERLUDE

Twelfth picture

46. ​​AGAIN AT JULIET'S
Juliet's bedroom. Juliet returns. There is a conversation with her parents, Juliet agrees to marry Paris. Little duet with Paris.

47. JULIET ALONE
Drama, naturalism of experiences. At the end of the scene, Juliet drinks the drink.

49. DANCE OF GIRLS WITH LILIES
Six of Juliet's friends are dancing. They are trying to wake her up.

50. AT JULIET'S BED
The Nurse enters with a dress for Juliet. Then mother and father Capulet. Everyone understands that Juliet is dead. General despair.

Thirteenth picture

51. JULIET'S FUNERAL
Capulet family crypt. In the middle of it lies Juliet. Torchlight funeral procession. Here are Juliet's parents, Paris and the Nurse. Romeo appears secretly and cries. Everyone leaves, Paris remains in the crypt to say goodbye to Juliet. Romeo kills him. Then he runs to Juliet, holds her close, dances with her, but Juliet does not wake up. Then Romeo drinks the poison and dies.

52. DEATH OF JULIET
Juliet wakes up. Discovers first the dead Paris, then Romeo. Juliet takes Paris's dagger and stabs herself with it.

Final mise-en-scène: Romeo lies on his back, arms outstretched, head down on the stairs near Juliet’s coffin (head towards the audience), Juliet is in the same position on the bed of the coffin, touching Romeo’s hand.

Ekaterina Karavanova

GENERAL PLAN OF THE BALLET “ROMEO AND JULIET” ACCORDING TO THE CLAVIR
S.S. Prokofiev, Op. 64

Ballet in 4 acts, 9 scenes

Score: Music Publishing House, 1991 Moscow.

1. INTRODUCTION (With the curtain closed) Allegro assai

The curtain opens

ACT ONE

Scene one

2. ROMEO (Andante)
3. THE STREET WAKES UP (Allegretto)

4. MORNING DANCE (Allegro) was written by the composer at the request of L. Lavrovsky based on the Scherzo from the Second Piano Sonata.

5. ARGUMENT (Allegro brusco)

6. FIGHT (Presto)

7. ORDER OF THE DUKE (Andante)

8. INTERLUDE (Andante pompozo)

Scene two

9. PREPARATION FOR THE BALL (Juliet and the Nurse) (Andante assai. Scherzando)
10. JULIET THE GIRL (Vivace)

11. CONGRESS OF GUESTS (Minuet) (Assai Moderato)

12. MASKS (Romeo, Mercutio and Benvolio in masks) (Andante marciale)

13. DANCE OF THE KNIGHTS (Allegro pesante. Side theme: Juliet dances with Paris. Poco piu Tranquillo, then the main theme of the “Dance” is repeated)

14. VARIATION OF JULIET (Moderato)

15. MERCUTIO

16. MADRIGAL (Andante tenero)

17. TYBALD RECOGNIZES ROMEO (Allegro)

18. GAVOTTE (Allegro)

19. SCENE AT THE BALCONY (Larghetto)

20. VARIATION OF ROMEO (Allegretto amoroso)

21. LOVE DANCE (Andante)

ACT TWO

Scene three

22. FOLK DANCE (Allegro giocoso)
23. ROMEO AND MERCUTIO (Andante tenero)

24. DANCE OF FIVE COUPLES (Vivo)

25. DANCE WITH MANDOLINS (Vavace)

26. NURSE (Adagio scherzoso)

27. THE NURSE GIVES ROMEO A NOTE FROM JULIET (Vivace)

Scene four

28. ROMEO AT PATER LORENZO (Andante espressivo)
29. JULIET AT PATER LORENZO (Lento)

Scene five

30. THE PEOPLE'S FUN CONTINUES (Vivo)
31. AGAIN FOLK DANCE (Allegro giocoso)

32. TYBALD'S MEETING WITH MERCUTIO (During which Romeo

Returns from Lorenzo and tries to reconcile them) (Moderato)

33. TYBALD FIGHTS MERCUTIO (Precipitato)

34. MERCUTIO DIES (Moderato)

35. ROMEO DECIDES TO Avenge MERCUTIO’S DEATH (Andante. Animato)

36. FINALE OF ACT II

ACT THREE

Scene six

37. INTRODUCTION (Andante)
38. ROMEO AND JULIET (Juliet's Bedroom) (Lento)

39. FAREWELL BEFORE SEPARATION (Andante)

40. THE NURSE (Andante assai)

41. JULIET REFUSES TO MARRY PARIS (Vivace)

42. JULIET ALONE (Adagio)

43. INTERLUDE (Adagio)

Scene seven

44. At LORENZO's (Andante)
45. INTERLUDE (L'istesso tempo)

Scene eight

46. ​​AGAIN AT JULIET'S (Moderato tranquillo)
47. JULIET ALONE

48. MORNING SERENADE (Mandolins backstage) (Andante giocoso)

49. DANCE OF GIRLS WITH LILS (Andante con eleganza)

50. AT JULIET'S BED (Andante asai)

ACT FOUR (EPILOGUE)

Scene nine

51. JULIET'S FUNERAL (Adagio funebre)
52. THE DEATH OF JULIET (Juliet wakes up, commits suicide, dies hugging Romeo. The crowd approaches timidly) (Adagio meno mosso del tempo precendente)

NB: No. 18 GAVOT – inserted, taken from the “Classical Symphony”

S. Prokofiev ballet “Romeo and Juliet”

World literature knows many beautiful but tragic love stories. Of this many, one stands out, which is called the saddest in the world - the story of two Verona lovers Romeo and Juliet. This immortal tragedy of Shakespeare has been stirring the hearts of millions of caring people for more than four centuries - it lives in art as an example of pure and true love, which was able to defeat anger, enmity and death. One of the most striking musical interpretations of this story throughout its existence is ballet Sergei Prokofiev "Romeo and Juliet". The composer managed to miraculously “transfer” the entire complex fabric of Shakespeare’s narrative into the ballet score.

Brief summary of Prokofiev's ballet " Romeo and Juliet"Read many interesting facts about this work on our page.

Summary of "Romeo and Juliet"

The plot of the play takes place in medieval Italy. Enmity has been going on between the two famous Verona families, the Montagues and the Capulets, for many years. But true love has no boundaries: two young creatures from warring families fall in love with each other. And nothing can stop them: neither the death of Romeo’s friend Mercutio, who fell at the hands of Juliet’s cousin Tybalt, nor Romeo’s subsequent revenge on his friend’s murderer, nor Juliet’s upcoming wedding with Paris.

Trying to escape a hated marriage, Juliet turns to Father Lorenzo for help, and the wise priest offers her a cunning plan: the girl will drink the drug and fall into a deep sleep, which those around her will mistake for death. Only Romeo will know the truth; he will come for her to the crypt and secretly take her away from her hometown. But an evil fate hovers over this couple: Romeo, having heard about the death of his beloved and never knowing the truth, drinks poison near her coffin, and Juliet, awakened by the potion, seeing the lifeless body of her lover, kills herself with his dagger.

Photo:

Interesting Facts

• Shakespeare's tragedy is based on real events. The unhappy love story of two teenagers from warring noble families happened at the very beginning of the 13th century.
• In the first version of the ballet presented S. Prokofiev The Bolshoi Theater had a happy ending. However, such a free handling of Shakespeare's tragedy caused a lot of controversy, as a result of which the composer composed a tragic ending.
• After the incredibly successful production of Romeo and Juliet with the participation of G. Ulanova and K. Sergeev in 1946, director Leonid Lavrovsky received the post of artistic director of the Bolshoi Theater.
• The famous musicologist G. Ordzhonikidze called the performance a symphony-ballet, due to its rich dramatic content.
• Often, in various concerts, individual ballet numbers are performed as part of symphonic suites. Also, many numbers have become popular in piano transcription.
• In total, the score of the work contains 52 expressive melodies of different character.
• Researchers call the fact that Prokofiev turned to Shakespeare's tragedy a very bold step. There was an opinion that complex philosophical themes could not be conveyed in ballet.

• In 1954, the ballet was filmed. Director Leo Arnstam and choreographer L. Lavrovsky shot their film in Crimea. The role of Juliet was assigned to Galina Ulanova, Romeo - to Yuri Zhdanov.
• In 2016, a very unusual ballet production was performed in London, in which the famous outrageous singer Lady Gaga took part.
• The reason why Prokofiev originally created a happy ending in ballet is extremely simple. The author himself admitted that the whole point is that the heroes will be able to continue dancing.
• Once Prokofiev himself danced in a ballet production. This happened during a concert in the hall of the Brooklyn Museum. The famous choreographer Adolf Bolm presented to the public his reading of the piano cycle “Fleetingness,” where the piano part was performed by Sergei Sergeevich himself.
• There is a street in Paris named after the composer. It rests on the street of the famous impressionist Claude Debussy and borders the street Mozart .
• The lead actress in the play, Galina Ulanova, initially considered Prokofiev’s music unsuitable for ballet. By the way, this particular ballerina was the favorite of Joseph Stalin, who attended performances with her participation many times. He even suggested making the finale of the ballet lighter so that the audience could see the happiness of the characters.
• During preparations for the long-awaited premiere of the play in 1938, Prokofiev for a long time did not want to give in to the choreographer Lavrovsky, who constantly demanded to make some changes and edits to the score. The composer replied that the performance was completed back in 1935, so he would not return to it. However, soon the author had to give in to the choreographer and even add new dances and episodes.

Popular numbers from the ballet “Romeo and Juliet”

Introduction (love theme) - listen

Dance of the Knights (Montagues and Capulets) - listen

Juliet the girl (listen)

The Death of Tybalt - listen

Before parting - listen

The history of the creation of "Romeo and Juliet"

Banner
final ballet S.S. Prokofiev written based on Shakespeare's tragedy of the same name, which was created back in 1595 and has since captured the hearts of millions of people around the world. Many composers paid attention to this work when creating their works: Gounod, Berlioz, Tchaikovsky, etc. Returning from a trip abroad in 1933, Prokofiev also turned his attention to Shakespeare’s tragedy. Moreover, this idea was suggested to him by S. Radlov, who at that time was the artistic director of the Mariinsky Theater.

Prokofiev really liked this idea and he set to work with great enthusiasm. At the same time, the composer also developed a libretto together with Radlov and critic A. Piotrovsky. Three years later, the original version of the play was shown by the composer at the Bolshoi Theater, where the first production was expected. If the management approved the music, then the somewhat loose interpretation of the plot was immediately rejected. The ballet's happy ending was in no way suitable to Shakespeare's tragedy. After some controversy on this topic, the authors nevertheless agreed to make adjustments, bringing the libretto as close as possible to the original source and returning the tragic ending.

Having once again studied the score, the management did not like the musical part, which was considered “non-danceable”. There is evidence that such pickiness is related to the political situation. It was at this time that an ideological struggle unfolded in the country with many major musicians, including D. Shostakovich with his ballet “Bright Stream” and opera "Katerina Izmailova" .

In this case, the management most likely decided to be cautious and not take too many risks. The long-awaited premiere was scheduled for the end of 1938, but it might not have taken place. A significant obstacle was that one of the librettists (A. Piotrovsky) had already been repressed, and his name was deleted from documents related to the ballet. In this regard, L. Lavrovsky became a co-author of the librettists. The young, promising choreographer was interested in staging ballets for about 10 years, and “Romeo and Juliet” became the real pinnacle of his work.

Productions

The premiere of the performance took place in Brno (Czech Republic) in 1938, but the composer himself could not attend. How did it happen that for the first time a work by a Soviet composer was presented to the public there? It turns out that just in 1938, Sergei Sergeevich went on tour abroad as a pianist. In Paris, he presented the Suites from Romeo and Juliet to the public. The conductor of the Brno Theater was present in the hall at that time, and he liked Prokofiev’s music. After a conversation with him, Sergei Sergeevich provided him with copies of his suites. The production of the ballet in the Czech Republic was very warmly received by the public and appreciated. Choreographer Ivo Vanya Psota, who also performed the role of Romeo, and production designer V. Skrushny worked on the performance. The performance was conducted by K. Arnoldi.

The Soviet public was able to get acquainted with Prokofiev's new creation in 1940, during the production by Leonid Lavrovsky, which was successfully held at the Leningrad Theater. S. Kirov. The main roles were performed by K. Sergeev, G. Ulanova, A. Lopukhov. Six years later, Lavrovsky presented the same version in the capital, together with conductor I. Sherman. The performance lasted on this stage for about 30 years and was performed 210 times during that time. After that, it was moved to another stage in the Kremlin Palace of Congresses.

Prokofiev's ballet constantly attracted the attention of many choreographers and directors. So, a new version of Yuri Grigorovich appeared in June 1979. The main roles were played by Natalya Bessmertnova, Vyacheslav Gordeev, Alexander Godunov. This performance was given 67 times until 1995.

The production by Rudolf Nureyev, successfully presented in 1984, is considered to be darker and more tragic compared to previous versions. It was in his ballet that the role of the main character Romeo increased in importance and even became equal to the role of his beloved. Until this moment, primacy in performances was assigned to the prima ballerina.

Joelle Bouvier's version can be called an abstract production. It was presented in 2009 on the stage of the Grand Theater of Geneva. It is noteworthy that the choreographer does not fully use the events presented in Prokofiev's score. Everything is aimed at showing the internal state of the main characters. The ballet begins with all the participants belonging to two warring clans lining up on stage almost like football teams. Romeo and Juliet must now break through to each other.

A real media show, in which there are nine Juliets, was presented by Mauro Bigonzetti in his version of Prokofiev's classical ballet at the Moscow Contemporary Dance Festival in November 2011. His bright and eclectic choreography focused all the attention of the audience on the very energy of the dancers. Moreover, there are no solo parts themselves. The production transformed into a show where media art and ballet closely merged. It is noteworthy that the choreographer even swapped the musical numbers themselves and the performance begins with the final scene.

An interesting version was shown in July 2008. Unlike others, this ballet was performed in its original version, dating back to 1935. The play was presented at the Bard College Festival in New York. Choreographer Mark Morris brought back the full composition, structure and most importantly, the happy ending of the score. After a successful premiere, this version was staged in major European cities.

Some classical works are considered to be the most important assets and even treasures of world culture. Ballet belongs to such masterpieces Prokofiev"Romeo and Juliet". Deep and sensual music, which very subtly follows the plot, will not leave anyone indifferent, forcing you to empathize with the main characters and share with them all the joy of love and suffering. It is no coincidence that this particular work is one of the most famous and successful today. We invite you to watch this story of an entire generation, appreciating not only Prokofiev’s unforgettable music, but also the magnificent production and skill of the dancers. Every beat, every movement in the ballet is filled with the deepest drama and soulfulness.

Video: watch the ballet “Romeo and Juliet” by Prokofiev

Instructions

Although composers and musicians began to turn to the love story of Romeo and Juliet back in the 18th century, the first famous work based on Shakespeare’s tragedy was written in 1830. It was Vincenzo Bellini's opera "Capulets and the Montagues". It is not at all surprising that the Italian composer was attracted by the story that took place in Verona, Italy. True, Bellini somewhat departed from the plot of the play: Juliet’s brother dies at the hands of Romeo, and Tybalt, named Tybaldo in the opera, is not a relative, but the girl’s fiancé. It is interesting that Bellini himself at that time was in love with the opera diva Giuditta Grisi and wrote the role of Romeo for her mezzo-soprano.

In the same year, the French rebel and romantic Hector Berlioz attended one of the opera performances. However, the calm sound of Bellini's music caused him deep disappointment. In 1839, he wrote his Romeo and Juliet, a dramatic symphony with lyrics by Emile Deschamps. In the 20th century, many ballet performances were staged to Berlioz's music. The ballet “Romeo and Julia” with choreography by Maurice Bejart received the greatest fame.

In 1867, the famous opera “Romeo and Juliet” by the French composer Charles Gounod was created. Although this work is often ironically called “a complete love duet,” it is considered the best operatic version of Shakespeare’s tragedy and is still performed on the stages of opera houses around the world.

Among those few listeners for whom Gounod's opera did not cause much delight was Pyotr Ilyich Tchaikovsky. In 1869, he wrote his work on a Shakespearean plot, it became the fantasy “Romeo and Juliet”. The tragedy captured the composer so much that at the end of his life he decided to write a great opera based on it, but, unfortunately, he did not have time to realize his grandiose plan. In 1942, the outstanding choreographer Serge Lifar staged a ballet to the music of Tchaikovsky.

However, the most famous ballet based on the plot of Romeo and Juliet was written in 1932 by Sergei Prokofiev. His music at first seemed “undanceable” to many, but over time Prokofiev managed to prove the viability of his work. Since then, the ballet has gained enormous popularity and, to this day, does not leave the stage of the best theaters in the world.

On September 26, 1957, the premiere of Leonard Bernstein's musical West Side Story took place on the stage of one of the Broadway theaters. Its action takes place in modern New York, and the happiness of the heroes, “Native American” Tony and Puerto Rican Maria, is ruined by racial hostility. However, all the plot moves of the musical very accurately repeat the Shakespearean tragedy.

The music of the Italian composer Nino Rota, written for the 1968 film by Franco Zeffirelli, became a kind of musical calling card of “Romeo and Juliet” in the 20th century. It was this film that inspired the modern French composer Gerard Presgurvic to create the musical Romeo and Juliet, which has gained enormous popularity, which is also well known in the Russian version.

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1. The history of the creation of the ballet "Romeo and Juliet"

The first major work, the ballet Romeo and Juliet, became a true masterpiece. His stage life had a difficult start. It was written in 1935-1936. The libretto was developed by the composer together with director S. Radlov and choreographer L. Lavrovsky (L. Lavrovsky staged the first production of the ballet in 1940 at the Leningrad Opera and Ballet Theater named after S. M. Kirov). But the gradual adaptation to Prokofiev’s unusual music was still crowned with success. The ballet "Romeo and Juliet" was completed in 1936, but was conceived earlier. The fate of the ballet continued to develop complicatedly. At first there were difficulties in completing the ballet. Prokofiev, together with S. Radlov, while developing the script, thought about a happy ending, which caused a storm of indignation among Shakespeare scholars. The apparent disrespect for the great playwright was explained simply: “The reasons that pushed us to this barbarity were purely choreographic: living people can dance, dying people cannot dance lying down.” The decision to end the ballet tragically, like Shakespeare's, was influenced most of all by the fact that there was no pure joy in the music itself, in its final episodes. The problem was resolved after conversations with the choreographers, when it turned out that “it was possible to resolve the fatal ending balletically.” However, the Bolshoi Theater violated the agreement, considering the music non-danceable. For the second time, the Leningrad Choreographic School refused the agreement. As a result, the first production of Romeo and Juliet took place in 1938 in Czechoslovakia, in the city of Brno. The ballet was directed by the famous choreographer L. Lavrovsky. The role of Juliet was danced by the famous G. Ulanova.

Although there have been attempts in the past to present Shakespeare on the ballet stage (for example, in 1926, Diaghilev staged the ballet “Romeo and Juliet” with music by the English composer C. Lambert), but none of them is considered successful. It seemed that if Shakespeare’s images could be embodied in opera, as was done by Bellini, Gounod, Verdi, or in symphonic music, as in Tchaikovsky, then in ballet, due to its genre specificity, it was impossible. In this regard, Prokofiev’s turn to Shakespeare’s plot was a bold step. However, the traditions of Russian and Soviet ballet prepared this step.

The appearance of the ballet “Romeo and Juliet” constitutes an important turning point in the work of Sergei Prokofiev. The ballet "Romeo and Juliet" became one of the most significant achievements in the search for a new choreographic performance. Prokofiev strives to embody living human emotions and affirm realism. Prokofiev's music clearly reveals the main conflict of Shakespeare's tragedy - the clash of bright love with the family feud of the older generation, characterizing the savagery of the medieval way of life. The composer created a synthesis in ballet - a fusion of drama and music, just as Shakespeare in his time combined poetry with dramatic action in Romeo and Juliet. Prokofiev's music conveys the subtlest psychological movements of the human soul, the richness of Shakespeare's thought, the passion and drama of his first of the most perfect tragedies. Prokofiev managed to recreate Shakespearean characters in the ballet in their diversity and completeness, deep poetry and vitality. The poetry of love of Romeo and Juliet, the humor and mischief of Mercutio, the innocence of the Nurse, the wisdom of Pater Lorenzo, the fury and cruelty of Tybalt, the festive and riotous color of Italian streets, the tenderness of the morning dawn and the drama of death scenes - all this is embodied by Prokofiev with skill and enormous expressive power.

The specifics of the ballet genre required enlargement of the action and its concentration. Cutting off everything secondary or secondary in the tragedy, Prokofiev focused his attention on the central semantic moments: love and death; fatal enmity between two families of the Verona nobility - the Montagues and the Capulets, which led to the death of the lovers. Prokofiev’s “Romeo and Juliet” is a richly developed choreographic drama with complex motivations for psychological states and an abundance of clear musical portraits and characteristics. The libretto concisely and convincingly shows the basis of Shakespeare's tragedy. It preserves the main sequence of scenes (only a few scenes are shortened - 5 acts of the tragedy are grouped into 3 large acts).

"Romeo and Juliet" is a deeply innovative ballet. Its novelty is also manifested in the principles of symphonic development. The symphonized dramaturgy of the ballet contains three different types.

The first is a conflictual opposition between the themes of good and evil. All heroes - bearers of good are shown in a diverse and multifaceted way. The composer presents evil in a more general way, bringing the themes of enmity closer to the themes of rock of the 19th century, and to some themes of evil of the 20th century. Themes of evil appear in all acts except the epilogue. They invade the world of heroes and do not develop.

The second type of symphonic development is associated with the gradual transformation of the images - Mercutio and Juliet, with the disclosure of the psychological states of the heroes and the demonstration of the internal growth of the images.

The third type reveals features of variation, variation, characteristic of Prokofiev’s symphony as a whole; it especially touches on lyrical themes.

All three named types in ballet are also subject to the principles of film editing, a special rhythm of frame action, techniques of close-up, medium and long shots, techniques of “dissolves”, sharp contrasting oppositions that give scenes a special meaning.

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