Artist N. Altman, conductor P. Feldt.
The premiere took place on December 9, 1942 at the S. M. Kirov Opera and Ballet Theater (Mariinsky Theater), Molotov (Perm).
Characters:
- Hovhannes, chairman of the collective farm
- Gayane, his daughter
- Armen, shepherd
- Nune, collective farmer
- Karen, collective farmer
- Kazakov, head of the expedition
- Unknown
- Giko, collective farmer
- Aisha, collective farmer
- Agronomist, collective farmers, geologists, border guards and the head of the border guard
The action takes place in Armenia in the 1930s of the 20th century.
Dark night. An unknown figure appears in a thick network of rain. Listening warily and looking around, he frees himself from the parachute lines. After checking the map, he makes sure that he is at the goal. The rain is subsiding. Far away in the mountains the lights of the village flicker. The stranger takes off his overalls and remains in his tunic with stripes for being wounded. Limping heavily, he goes towards the village.
1. Sunny morning. Spring work is in full swing in the collective farm gardens. Taking his time, Giko lazily goes to work. The girls of the best brigade of the collective farm are in a hurry. With them is the foreman - a young, cheerful Gayane. Giko stops her, talks about his love, wants to hug her. A young shepherd, Armen, appears on the road. Gayane joyfully runs towards him. High in the mountains, near the shepherds' camp, Armen found pieces of ore and shows them to Gayane. Giko watches them jealously.
During rest hours, collective farmers start dancing. Giko wants Gayane to dance with him and tries to hug him. Armen protects the girl from annoying advances. Giko is furious and is looking for a reason to quarrel. Grabbing a basket of seedlings, Giko furiously throws it and rushes at Armen with his fists. Gayane stands between them and demands that Giko leave.
A young collective farmer, Karen, comes running and announces the arrival of guests. A group of geologists led by the head of the expedition, Kazakov, enters the garden. An unknown person follows them. He hired out to carry the geologists' luggage and stayed with them. Collective farmers warmly welcome visitors. The restless Nune and Karen begin to dance in honor of the guests. Gayane also dances. The guests watch Armen's dance with admiration. The signal to start work sounds. Hovhannes shows visitors the gardens. Gayane is left alone. She admires the distant mountains and gardens of her native collective farm.
Geologists are returning. Armen shows them the ore. The find of the shepherd has interested geologists and they are going to explore. Armen undertakes to accompany them. An unknown person is watching them. Gayane tenderly says goodbye to Armen. Giko, seeing this, is overcome with jealousy. The unknown person sympathizes with Giko and offers friendship and help.
2. After work at Gayane’s friends gathered. Kazakov enters. Gayane and her friends show Kazakov the carpet they have woven and start a game of blind man's buff. A drunk Giko arrives. The collective farmers advise him to leave. After seeing the guests off, the collective farm chairman tries to talk to Giko, but he does not listen and annoyingly pesters Gayane. The girl angrily drives Giko away.
The geologists and Armen return from the hike. Armen's discovery is not an accident. A rare metal deposit was discovered in the mountains. Giko, who lingers in the room, witnesses the conversation. Geologists are getting ready to go. Armen tenderly gives Gayane a flower brought from the mountain slope. Giko sees this as he walks past the windows with the unknown man. Armen and Hovhannes set off along with the expedition. Kazakov asks Gayane to keep the bag with ore samples.
Night. An unknown person enters Gayane's house. He pretends to be sick and falls exhausted. Gayane helps him get up and hurries to get water. Left alone, he begins to look for materials from the geological expedition. Returning Gayane understands that she faces an enemy. Threatening, the unknown person demands that Gayane hand over the materials. During the fight, the carpet covering the niche falls. There is a bag with pieces of ore. An unknown person takes the bag, ties Gayane and sets the house on fire. Fire and smoke fill the room. Giko jumps out the window. There is horror and confusion on his face. Seeing a stick forgotten by an unknown person, Giko realizes that the criminal is his recent acquaintance. Giko carries Gayane out of the house engulfed in flames.
3. Starry night. High in the mountains there is a camp of collective farm shepherds. A squad of border guards passes by. Shepherd Ishmael entertains his beloved Aisha by playing the pipe. Aisha begins a smooth dance. The shepherds gather. Armen arrives, he brought geologists. Here, at the foot of the cliff, he found ore. Shepherds perform the folk dance “Khochari”. They are replaced by Armen. Burning torches in his hands cut through the darkness of the night.
A group of mountaineers and border guards arrives. The mountaineers carry the parachute they found. The enemy has penetrated Soviet soil! There was a glow over the valley. There is a fire in the village! Everyone rushes there.
The flames are raging. In its reflections the figure of an unknown person flashed. He tries to hide, but collective farmers are running from all sides towards the burning house. The unknown person hides the bag and gets lost in the crowd. The crowd subsided. An unknown person catches up with Giko, asks him to remain silent and gives him a wad of money for this. Giko throws money in his face and wants to apprehend the criminal. Giko is wounded but continues to fight. Gayane comes running to help. Giko falls. The enemy points his weapon at Gayane. Armen, who arrived in time, snatches a revolver from the enemy, who is surrounded by border guards.
4. Autumn. The collective farm reaped a bountiful harvest. Everyone comes together for the holiday. Armen hurries to Gayane. Armena stops the kids and starts a dance around him. Collective farmers carry baskets of fruit and jugs of wine. Guests invited to the holiday from the fraternal republics arrive - Russians, Ukrainians, Georgians. Finally Armen sees Gayane. Their meeting is full of joy and happiness. People flock to the square. Here are the old friends of the collective farmers - geologists and border guards. The best brigade is awarded a banner. Kazakov asks Hovhannes to let Armen go to study. Hovhannes agrees. One dance gives way to another. Nune and her friends dance, striking the ringing tambourines. The guests perform their national dances - Russian, dashing Ukrainian hopak.
Tables are set right there in the square. With their glasses raised, everyone praises free labor, the indestructible friendship of the Soviet peoples, and the beautiful Motherland.
At the end of the 1930s, Aram Khachaturian (1903-1978) received an order for music for the ballet “Happiness”. The performance, with a traditional plot for that time about a happy life “under the Stalinist sun,” was being prepared for the Decade of Armenian Art in Moscow. Khachaturian recalled: “I spent the spring and summer of 1939 in Armenia, collecting material for the future ballet “Happiness.” It was here that the deepest study of the melodies of my native land and folk art began.” Six months later, in September, the ballet was staged at the Armenian Opera Theater and the ballet named after A. A. Spendiarov, and a month later it was shown in Moscow. Despite great success, shortcomings were noted in the script and musical drama.
A few years later, the composer returned to work on music, focusing on a new libretto written by Konstantin Derzhavin (1903-1956). The revised ballet, named after the main character “Gayane,” was being prepared for production at the State Academic Opera and Ballet Theater named after S. M. Kirov, but the outbreak of the Great Patriotic War ruined all plans. The theater was evacuated to the city of Molotov (Perm), where the composer arrived to continue work.
“In the fall of 1941, I returned to work on the ballet,” Khachaturian recalled. - Today it may seem strange that in those days of severe trials we could talk about a ballet performance. War and ballet? The concepts are truly incompatible. But as life has shown, there was nothing strange in my plan to depict the theme of a great national upsurge, the unity of people in the face of a formidable invasion. The ballet was conceived as a patriotic performance, affirming the theme of love and loyalty to the Motherland. At the request of the theater, after finishing the score, I completed “Dance of the Kurds” - the same one that later became known as “Dance with Sabers”. I started composing it at three o'clock in the afternoon and worked without stopping until two o'clock in the morning. The next morning the orchestral voices were transcribed and a rehearsal took place, followed in the evening by a dress rehearsal for the entire ballet. “The Saber Dance” immediately made an impression on the orchestra, the ballet, and those present in the hall.”
The first performers of the successful premiere in Molotov were Natalya Dudinskaya (Gayane), Konstantin Sergeev (Armen), Boris Shavrov (Giko).
The music for the ballets “Gayane” and “Spartacus” is among Khachaturian’s best works. The music of “Gayane” is distinguished by its wide symphonic development with the use of leitmotifs, bright national color, temperament and colorfulness. It organically includes authentic Armenian melodies. Gayane's lullaby, imbued with a tender feeling, is memorable. For many decades, the “Sabre Dance”, full of fire and courageous strength, was a real hit, reminiscent of “Polovtsian Dances” from the opera “Prince Igor” by Borodin. The constant trampling rhythm, sharp harmonies, and whirlwind tempo help create a vivid image of a strong, courageous people.
Musicologist Sofya Katonova wrote: “Khachaturian’s merit was both the reproduction of the characteristic traditions and genres of ancient Armenian art, and their transmission in a specific style of folk performance. It was important for the composer, turning to a modern theme in “Gayane,” to capture not only the authentic features of the era, but also the appearance and mental makeup of his nation, borrowing its inspired creative manner of reflecting the surrounding life.”
The choreographer of the play "Gayane" Nina Anisimova (1909-1979) was a student of the famous Agrippina Vaganova, an outstanding character dancer of the Kirov Theater from 1929 to 1958. Before working on Gayane, Anisimova had experience staging only a few concert numbers.
“The theater’s appeal to this musical work,” wrote ballet scholar Marietta Frangopulo, “expressed the aspirations of Soviet choreographic art to embody heroic images and, in connection with this, an appeal to large symphonic forms. Khachaturian's vibrant music, full of drama and lyrical sounds, is replete with Armenian folk melodies, developed in the techniques of a broad symphonic development. Khachaturian created his music on the combination of these two principles. Anisimova set herself a similar task. "Gayane" is a performance of rich musical and choreographic content. Some ballet numbers - such as the duet of Nune and Karena, Nune's variation - were subsequently included in many concert programs, just like "Sabre Dance", the music of which is often performed on the radio. However, the inferiority of the ballet’s dramaturgy greatly weakened its impact on the viewer, which led to the need to rework the libretto several times and, in accordance with this, the stage appearance of the performance.”
The first changes in the plot basis occurred already in 1945, when the Kirov Theater, returning to Leningrad, finalized “Gayane”. The prologue disappeared from the play, the number of saboteurs increased to three, Giko became Gayane’s husband. New heroes appeared - Nune and Karen, their first performers were Tatyana Vecheslova and Nikolai Zubkovsky. The scenography also changed, Vadim Ryndin became the new artist. The play was reworked at the same theater in 1952.
In 1957, the ballet “Gayane” was staged at the Bolshoi Theater with a new illustrative and naturalistic script by Boris Pletnev (3 acts, 7 scenes with a prologue). Choreographer Vasily Vainonen, director Emil Kaplan, artist Vadim Ryndin, conductor Yuri Fayer. The main roles at the premiere were danced by Raisa Struchkova and Yuri Kondratov.
Until the end of the 1970s, the ballet was successfully performed on Soviet and foreign stages. Among the interesting decisions, one should note Boris Eifman’s graduation performance (1972) at the Leningrad Maly Opera and Ballet Theater (the choreographer later created new editions of the ballet in Riga and Warsaw). The choreographer, with the consent of the music author, abandoned spies and scenes of jealousy and offered the viewer a social drama. The plot told about the first years of the formation of Soviet power in Armenia. Gayane Giko's husband - the son of the kulak Matsaka - cannot betray his father. Gayane, who grew up in a poor family, sincerely loves her husband, but supports the new government headed by Armen. I remember how the “red wedge” of Komsomol members “historically” crushed Matsak. A concession to old stereotypes was the murder of his own son by a rich father. The premiere was danced by Tatiana Fesenko (Gayane), Anatoly Sidorov (Armen), Vasily Ostrovsky (Giko), German Zamuel (Matsak). The play ran for 173 performances.
In the 21st century, the ballet “Gayane” disappeared from theater stages, primarily due to an unsuccessful script. Certain scenes and numbers from Nina Anisimova’s performance continue to be performed annually in graduation performances of the Vaganova Academy of Russian Ballet. “Sabre Dance” remains a frequent guest on concert stages.
A. Degen, I. Stupnikov
Ballet in. 4 acts. Comp. A. I. Khachaturian (partially used the music of his ballet Happiness), scenes. K. N. Derzhavin. 9.12.1942, T r im. Kirov (on the stage of the Perm Theater), ballet. N. A. Anisimova, art. N. I. Altman (scenery) and T. G. Bruni (costume ... Ballet. Encyclopedia
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BALLETS"GAYANE"
The history of this score goes back to the ballet “Happiness”, composed back in 1939...
“When I started composing my first ballet score, I knew absolutely nothing about the specifics of ballet as a musical genre. Already in the process of work, I quite quickly began to grasp and realize its characteristic features. To a certain extent, I was probably helped by the fact that, as Myaskovsky said, the element of dance lives in Khachaturian’s music...” This is the confession of the author himself.
In a friendly conversation with the composer, the most prominent political figure of that time, Anastas Mikoyan, expressed a desire to create a ballet performance for the upcoming Decade of Armenian Art (it became one of the first in the Armenian musical theater and the first of the national ballets shown in the pre-war decades). This idea was fully consistent with the composer’s own creative aspirations. The theme of the ballet was born at the same time in a conversation with Mikoyan, who advised Aram Khachaturian to meet with the famous Armenian director Gevork Hovhannisyan, who recently wrote the ballet libretto “Happiness” about the life and work of Soviet border guards and collective farmers.
The deadlines were extremely tight. Khachaturian spent the spring and summer of 1939 in Armenia, collecting folklore material - this is where the deepest study of the melodies of his native land began. The writer Maxim Gorky advised him to do this. Given the purely dance-like nature of the music, Khachaturian set himself the task of “symphonizing” the ballet. He wanted songs and dance melodies created by the people to organically enter the ballet, so that they were inseparable from all the music of the ballet. Thus, Khachaturian quickly realized and formulated the main principles of his musical and choreographic aesthetics. 
Work on the score “Happiness” lasted only six months. The famous conductor Konstantin Saradzhev, a student of Arthur Nikisch, took over the rehearsals.
Everything was done to ensure that the tour of the Armenian Opera and Ballet Theater named after Spendiarov - the youngest in the country (he was still 6 years old at that time) - was as successful as possible within the framework of the Armenian decade. K. Sarajev assembled a magnificent orchestra. On October 24, 1939, the ballet “Happiness” was staged in Moscow at the Bolshoi Theater and literally captivated the audience. Many participants received government awards, and rave reviews continued to fill the newspaper pages.
However, this did not prevent the composer from soberly recognizing some of the weaknesses of his composition. The libretto also suffered from shortcomings. And, nevertheless, “Happiness” turned out to be a good springboard for the true flowering of Khachaturian’s ballet mastery. Soon the management of the Leningrad Opera and Ballet Theater named after. Kirov offered to stage the play “Happiness” on its stage with a new libretto...
As a result, the entire score of “Happiness,” in the figurative expression of the author himself, was “dispossessed” by him... 
It all ended with the creation of the ballet “Gayane”, but this was already during the Second World War. This is how the composer recalls this period:
“I lived in Perm on the 5th floor of the Central Hotel. When I remember this time, I think again and again how difficult it was for people then. The front needed weapons, bread, shag... And everyone needed art - spiritual food - both the front and the rear. And we, artists and musicians, understood this and gave our all. I wrote about 700 pages of the Gayane score in six months in a cold hotel room where there was a piano, a stool, a table and a bed. This is especially dear to me because “Gayane” is the only ballet on a Soviet theme that has not left the stage for a quarter of a century...”
“The Saber Dance,” according to the author himself, was born by accident. After the completion of the Gayane score, rehearsals began. Khachaturian was called by the director of the theater and said that a dance should be added to the last act. The composer took on this reluctantly - he considered the ballet finished. But I still started to think about this idea. “The dance should be fast, militant. – recalls Khachaturian. – My hands seemed to impatiently take a chord and I began to play it in breakdowns like an ostinato, repeating figure. A sharp shift was needed - I took the introductory tone at the top. Something “hooked” me - yeah, let’s repeat it in a different key! A start! Now we need contrast... In the third scene of the ballet I have a melodic theme, a lyrical dance. I combined the militant beginning with this theme - played by the saxophone - and then returned to the beginning, but in a new quality. I sat down to work at 3 o'clock in the afternoon, and by 2 o'clock in the morning everything was ready. At 11 o'clock in the morning the dance was performed at rehearsal. By the evening it was installed, and the next day there was a general meeting...”
The ballet “Gayane” to a libretto by K. Derzhavin was staged by N. Anisimova in December 1942 - when the grandiose epic near Stalingrad was unfolding. The production took place in Molotov, where the Leningrad Kirov Theater was evacuated. P. Feldt, who conducted the ballet at the premiere, surpassed himself, as the reviewers wrote. “Feldt especially pleased with his inspired fervor,” noted composer Dmitry Kabalevsky, “which he, as a talented ballet conductor, sometimes lacked”...
Whether you watch “Gayane” in the theater, or listen to this music in a concert or recording, the impression of it is born immediately and remains in your memory for a long time. Aram Khachaturian’s generosity, which has few analogues in the history of music, is melodic and orchestral, modal and harmonic generosity, generosity associated with the widest range of thoughts and feelings that are embodied in the score.
Three symphonic suites compiled by Khachaturian from the ballet score contributed to the world fame of the music of “Gayane”.
“The evening of the first performance of the First Suite from “Gayane” is firmly etched in my memories,” says singer N. Shpiller, “Golovanov conducted the All-Union Radio Orchestra. Neither before nor after this day - it was October 3, 1943 - have I ever heard such a flurry of applause, such unconditional universal success of a new work, as then in the Hall of Columns of the House of Unions.”
6 years later, the equally unanimous success of the music “Gayane” on the other side of the earth was glad to be stated by the great composer of the 20th century, Dmitry Shostakovich - in New York, at the All-American Congress of Scientists and Culture Workers in Defense of Peace, where the score “Gayane” was performed under the baton of the outstanding conductor Stokowski.
For the music for the ballet “Gayane” Aram Khachaturian was awarded the Stalin Prize, 1st degree.
Khachaturian's Concerto for Violin and Orchestra, written in 1940, belongs to the outstanding and most popular works of music. The popularity of Khachaturian's violin concerto is due to its great artistic merits. Pictures of the colorful, happy life of Armenia were reflected in the life-affirming and bright images of the concert, festive-dance and lyrically-soulful.
Having experienced the beneficial influence of the traditions of the Russian classical concert and Russian symphony, Khachaturian created a work marked by high skill and at the same time clearly folk. Authentic Armenian folk tunes are not used in the concert. However, all of his melody, modal-intonation structure, and harmony are an organic transformation of Armenian folk song, native to Khachaturian.
Khachaturian's violin concerto consists of 3 parts: the outer parts are fast, impetuous, full of dynamics and fire; the middle one is slow, lyrical. There are intonational connections between the parts of the concert and individual themes, which gives it integrity and unity.
Part 1 (Allegro, D minor) is written in the form of a sonata allegro. Already a short orchestral introduction captivates the listener with its energy and assertiveness and immediately brings it into the sphere of active action.
Part 2 (Andante sostenuto, A minor) represents the central lyrical image of the concert. It is in bright contrast to the outer parts. The violin acts here exclusively as a melodic, melodic instrument. This is a “song without words” in the oriental style, in which the intonations of Armenian folk tunes are organically implemented. It expresses sincere thoughts, thoughts about his native land, the artist’s love for his people, for the nature of the Caucasus.
The finale of the concert is a vivid picture of a national holiday. Everything is full of movement, aspiration, energy, fire, joyful inspiration. The music is of a dance nature; even when the song flows, the rhythm of the dance continues to sound. The sound range expands, the movement becomes more and more rapid. The sound of the orchestra and violin imitates folk instruments.
Having embodied brightly colorful musical scenes from the life of the people of Armenia in his violin concert, Khachaturian applied the technique of monothematism to the overall composition of his work: in the 2nd part of the concert, and especially in the finale, the themes of the 1st part are carried out. But varying the texture, tempo, rhythm, dynamics contributes to a change in their figurative meaning: the dramatic and lyrical images of part 1 now turn into images of a folk holiday, fun, exuberant and temperamental dancing. This transformation is in keeping with the optimistic concept of the concert.
Ballet "Gayane"
The ballet “Gayane” was written by Khachaturian in 1942. In the harsh days of the Second World War, the music of “Gayane” sounded like a bright and life-affirming story. Shortly before Gayane, Khachaturian wrote the ballet Happiness. In a different storyline revealing the same images, the ballet was, as it were, a sketch for “Gayane” in theme and music: the composer introduced the best numbers from “Happiness” into “Gayane”.
The creation of “Gayane,” one of Aram Khachaturian’s wonderful works, was prepared not only by the first ballet. The theme of human happiness - his living creative energy, the completeness of his worldview was revealed by Khachaturian in works of other genres. On the other hand, the symphonic nature of the composer’s musical thinking, the bright colors and imagery of his music.
The libretto of “Gayane,” written by K. Derzhavin, tells the story of how the young collective farmer Gayane emerges from the power of her husband, a deserter who undermines work on the collective farm; how she exposes his treacherous actions, his connection with saboteurs, almost becoming a victim of a target, almost becoming a victim of revenge, and finally, how Gayane learns a new, happy life.
1 action.
A new harvest is being harvested in the cotton fields of an Armenian collective farm. Among the best, most active workers is collective farmer Gayane. Her husband, Giko, quits working on the collective farm and demands the same from Gayane, who refuses to fulfill his demand. Collective farmers expel Giko from their midst. This scene is witnessed by the head of the border detachment, Cossacks, who arrived at the collective farm.
Act 2.
Relatives and friends try to entertain Gayane. Giko's appearance in the house forces the guests to leave. 3 strangers come to see Giko. Gayane learns about her husband’s connection with saboteurs and his intention to set fire to the collective farm. Gayane's attempts to prevent the criminal plan are in vain.
Act 3.
Proud camp of the Kurds. A young girl Aisha is waiting for her lover Armen (Gayane’s brother). Armen and Aisha's date is interrupted by the appearance of three strangers looking for the way to the border. Armen, having volunteered to be their guide, sends for Kazakov’s detachment. The saboteurs were detained.
In the distance, a fire flares up - it is a collective farm that has been set on fire. Cossacks with a detachment and Kurds rush to the aid of collective farmers.
4 action.
The collective farm, reborn from the ashes, is preparing to begin its working life again. On this occasion there is a holiday on the collective farm. With the new life of the collective farm, Gayane’s new life begins. In the struggle with her deserter husband, she asserted her right to an independent working life. Now Gayane has learned a new, bright feeling of love. The holiday ends with the announcement of the upcoming wedding of Gayane and Kazakov.
The action of the ballet develops in two main directions: the drama of Gayane, pictures of folk life. As in all of Khachaturian’s best works, the music of “Gayane” is deeply and organically connected with the musical culture of the Transcaucasian peoples and, most of all, with his native Armenian people.
Khachaturian introduces several authentic folk melodies into the ballet. They are used by the composer not only as bright and expressive melodic material, but in accordance with the meaning they have in folk life.
The compositional and musical-dramatic techniques used by Khachaturian in “Gayane” are extremely diverse. Integral, generalized musical characteristics acquire predominant importance in ballet: portrait sketches, folk and genre pictures, pictures of nature. They correspond to complete, closed musical numbers, in the sequential presentation of which bright suite-symphonic cycles often develop. The logic of development that unites independent musical images into a single whole is different in different cases. Thus, in the final picture, a large cycle of dances is united by the ongoing celebration. In some cases, the alternation of numbers is based on figurative, emotional contrasts of lyrical and cheerful, impetuous or energetic, courageous, genre and dramatic.
Musical and dramatic means are also clearly differentiated in the characteristics of the characters: solid portrait sketches of episodic characters are contrasted with end-to-end dramatic musical development in Gayane’s part; The varied dance rhythms that underlie the musical portraits of Gayane’s friends and relatives are contrasted by Gayane’s improvisationally free, lyrically rich melodies.
Khachaturian consistently applies the principle of leitmotifs in relation to each of the characters, which imparts musical value and stage specificity to the images and the entire work. Thanks to the diversity and development of Gayane’s melodies, her musical image acquires much greater flexibility in comparison with other ballet characters. The image of Gayane is revealed by the composer in a consistent development, as her feelings evolve: from hidden sorrow (“Dance of Gayane”, No. 6) and the first glimpses of a new feeling (“Dance of Gayane”, No. 8), through a struggle full of drama (Act 2) - to a new bright feeling, a new life (introduction to Act 4, No. 26).
“Dance of Gayane” (No. 6) is a mournful, restrained monologue. His expressiveness is concentrated in a soulful and at the same time intense melody.
A different circle of images is conveyed by another “arioso” of Gayane - “Dance of Gayane” (No. 8, after a meeting with the head of the border detachment Kazakov) - excited, tremulous, as if foreshadowing the beginning of a new, bright feeling. And here the composer adheres to strict economy of expressive means. This is a harp solo built on wide passages.
Now follows “Lullaby” (No. 13), where the characters’ introductory melody, measured, still bears traces of the drama of the previous scene. But as it develops, the same theme in the sound of the violins, with variations activating the melody, in a new, more intense harmonization, acquires a broader lyrical meaning. A further change in the theme completely violates the framework of the lullaby: it sounds like a dramatic monologue of Gayane.
The portrait of Gayane, given by the composer in a variety of ways, is at the same time distinguished by its amazing musical unity. This is especially clear in the example of the duet with Kazakov. And here the composer strives to preserve the general image of the heroine: the same broad, improvisational melody, deeply lyrical, but for the first time light, in a major key; the same intimacy and chamberness of the sound of solo instruments.
A completely different principle underlies the musical depiction of other characters: Nune and Karen, Gayane’s brother Armen, the Kurdish girl Aisha.
The “portrait” of Aisha, a young Kurdish girl, is painted brightly and prominently - “Aisha’s Dance” (No. 16). The composer managed to combine a drawn-out, leisurely, oriental melody, whimsically rhythmic, with a clear and smooth waltz movement, giving the music the character of soft lyricism.
In "Aisha's Dance" the variational principle of development is combined with a three-hour form; dynamics, movement - with clarity and symmetrical construction.
“Dance of the Pink Girls” (No. 7) is distinguished by its extraordinary freshness, elegance and grace of movement. Its melody is extremely clear in design, as if it combines the clarity of a marching gait, which imparts cheerfulness to the music, and the whimsicality of dance rhythms.
“Dance with Sabers” (No. 35), energetic, temperamental, in its design is associated with the tradition of showing strength, prowess, and dexterity at folk festivals. Fast tempo, strong-willed uniform rhythm, chanting of melody, ringing and sharp orchestral sounds - all this reproduces the speed and rhythm of movements, saber strikes.
One of the bright numbers of the “Dance Suite” of Act 4 is “Lezginka”. It is striking in its very subtle, sensitive insight into the essence of folk music. Everything in Lezginka comes from listening to folk music. “Lezginka” is an example of how Khachaturian, based entirely on the principles of folk music, freely and boldly develops them to the scale of symphonic thinking.
On July 24, on the historical stage of the Bolshoi, the only performance dedicated to the anniversary of the great composer A.I. will take place. Khachaturian and the 100th anniversary of the First Armenian Republic! The President of Armenia and many Russian officials will be present at the Gayane ballet.
When
Where
Bolshoi Theatre, Teatralnaya metro station.
What is the price
Ticket prices range from 10,000 to 15,000 rubles.
Description of the event
2018 is full of significant events related to Armenian statehood and culture! This year marks the 115th anniversary of the greatest composer Aram Ilyich Khachaturian. Armenia also celebrates the 100th anniversary of the First Armenian Republic, and the ancient capital Yerevan celebrates its 2800th anniversary!
Naturally, all these events were an excellent occasion for a series of events designed to present Armenian culture in Russia in all its splendor. Thanks to the active work of the RA Embassy in the Russian Federation, which, with the arrival of the new ambassador, Vartan Toganyan in 2017, began to pay especially close attention to the development of cultural and humanitarian ties between the two countries, after a break of almost 60 years, Moscow will see the ballet “Gayane” by Khachaturian at the historical stage of the Bolshoi Theater of Russia!
Stunningly colorful scenery and costumes, restored according to the sketches of the great artist Minas Avetisyan, will come from Yerevan along with the ballet and a magnificent orchestra, conducted by the Honored Artist of Russia, twice Grammy Award nominee - Konstantin Orbelyan! The last time the ballet “Gayane” was staged at the Bolshoi Theater was 57 years ago - in February 1961.
Who is it suitable for?
For adults and ballet fans.
Why is it worth going
- The only performance in Moscow
- The famous ballet returns to the Bolshoi Theater
- Significant event at which officials will be present
