World of Art. Sergei Diaghilev

Sergei Pavlovich Diaghilev Russian theater and artistic figure, writer, philanthropist, the first ballet impresario of the 20th century.

Sergei Pavlovich Diaghilev was born on (19) March 31, 1872 in the Novgorod province, into a noble family of a military man. In 1896 he graduated from the law faculty of St. Petersburg University, while studying at the St. Petersburg Conservatory with Rimsky-Korsakov. He was fond of painting, theater, history artistic styles.

In 1898, Diaghilev, together with the artist A. Benois, created the association "World of Art" and became co-editor of the magazine of the same name, where he published latest works writers and artists, and he himself wrote articles and reviews about performances, exhibitions, books. And soon he became the organizer of exhibitions of paintings by Russian artists abroad.

But the main business of Diaghilev's life was the "Russian Seasons" of 1909-1929, where he collected creative team one of the greatest artists of the early 20th century and made a huge contribution to the promotion of Russian opera and ballet art.

In the first season - "Historical Russian Concerts" - N. Rimsky-Korsakov, S. Rakhmaninov, A. Glazunov, F. Chaliapin performed. Then there was the Russian Ballet in Paris, which fascinated everyone with its high level of performance and choreography, brilliant scenery painting and spectacular costumes.
In 1910, Sergei Diaghilev noted: "The revolution that we have made in ballet concerns, perhaps, the least special area of ​​​​dance, but most of all the scenery and costumes." In fact, the Russian Seasons demonstrated an unprecedented synthesis of the three arts, where painting became the dominant, and dance was seen as "a living manifestation of theatrical scenery."

Diaghilev's performances radically changed the world of dance. It seems incredible that for two decades he managed to bring together such famous figures as I. Stravinsky, K. Debussy, M. Ravel, L. Bakst, P. Picasso, A. Benois, A. Matisse,
N. Goncharova, M. Fokin, L. Myasin, A. Benois, V. Nijinsky, M. Kshesinskaya, Ida Rubinstein, K. Chanel, M. Larionov, J. Cocteau, A. Pavlova, F. Chaliapin, S. Lifar , J. Balanchine, V. Serov. T. Karsavina, N. Roerich ... How incredibly difficult it was to organize a joint creative work artists who belonged to such different fields of art.
The Russian Ballet toured Europe, the USA and South America with increasing success.
Diaghilev was able not only to recognize talent and assemble a magnificent troupe, which had an international composition, but also to educate a choreographer. Thanks to the freshness of the ballet master's ideas, Diaghilev's ballet was at the center of attention of the ballet world.

Despite the huge success of the Ballets Russes, Diaghilev experienced financial difficulties and resorted to the help of patrons. The ability to combine art with entrepreneurship was the creative genius of Diaghilev, his gift as an impresario. And the flexibility of the financial policy has become the key to the successful work of the troupe for many years.

The performances of the "Russian Ballet of Diaghilev", which existed until 1929, were a triumph of Russian ballet art and contributed to the development and revival of ballet theaters in other countries. Over the years of work, the troupe has staged more than 20 ballets (domestic and foreign composers), which are still the decoration of the largest ballet scenes in the world.

Sergei Pavlovich Diaghilev died on August 19, 1929. The great impresario was buried next to the grave of Stravinsky in Venice on the island of Saint-Michel.

Valentin Gross. Tamara Karsavina and Vaslav Nezhinsky in the ballet "Vision of the Rose"

Sergei Petrovich Diaghilev (1872-1929) is a very special Russian European, European to all Europeans. He did for Russia's entry into Europe, into the world cultural space, if not more, then as much as Peter the Great. With the understandable difference, of course, that the reformer placed Russia among the European paramount powers as a political force, while Diaghilev made national cultural power a world asset.

Recently, in 2005, Russia finally published the full text of a book about Diaghilev by Sergei Lifar, the last prime minister and choreographer (“choreographer,” as he says) of the Diaghilev ballet, pet and cultural heir to the great master of culture. Sergei ("Serge") Lifar was the chief choreographer of the Paris Grand Opera for thirty years and, before Nureyev, the most important figure in ballet in the West. His book is the first thing to read about Diaghilev. Everyone knows who Diaghilev is, and for a long time, even in the Soviet Union they did not try to disavow this emigrant involuntarily, but that was knowledge, in general, dryly informative; a living Diaghilev rises from the pages of Lifar's book. At the same time, the author, Sergei Mikhailovich Lifar, is a highly cultured person who knows what he writes about first-hand.

Leo Bakst "Portrait of Sergei Pavlovich Diaghilev with his nanny" 1906

The main truth about Diaghilev:

Sergei Petrovich liked to say that "Peter's" blood flows in his veins, he liked to do everything "in the manner of Peter the Great" and loved it when they said that he looked like Peter the Great. They had something in common - both in scope and in ardent love for Russia. But Peter the Great carried out his state reforms in Russia, transplanting Western European culture on Russian soil - Diaghilev wanted to make reforms in world art, transporting Russian art to Western Europe.

Diaghilev began as a propagandist of a new art - the art of modernism, he introduced modernism into Russia as a new word in the world artistic practice. The magazine Mir Iskusstva, organized by him, was dedicated to this case and was published in 1898-1904. Of course, he was not the first: there was the Severny Vestnik magazine, in which Akim Volynsky conducted similar art propaganda and in which Chekhov began to print his already mature things, there was Moscow symbolism, headed by Valery Bryusov and the Scales magazine he created . But Diaghilev, starting to do something, did it on an epic scale - and brought it to the end. He was by nature an organizer, a brilliant organizer at that; what is now, from the practice of cinema, is called a producer. Diaghilev is a producer on a global scale and unprecedented before, and even after the scope and coverage of cultural themes. If not in literature, then in painting and music, Diaghilev is the organizer and leader of Russian artistic modernism. He created an era.

And answering those who claimed that Diaghilev and other "World of Art" eradicate the classical tradition for the sake of a passing fashion, Diaghilev wrote:

Whoever reproaches us for blind enthusiasm for novelty and non-recognition of history has not the slightest idea about us. I say and repeat that we were brought up on Giotto, Shakespeare and Bach, that these are the very first and greatest gods of our mythology.

The task of Diaghilev's life was to introduce Russia, Russian national art into the world classical pantheon:

The only possible nationalism is the unconscious nationalism of the blood. And this treasure is rare and valuable. Nature itself must be popular, must involuntarily, perhaps against the will, forever reflect with the brilliance of indigenous nationality. It is necessary to endure the nationality in oneself, to be, so to speak, its ancestral descendant, with the ancient, pure blood of the nation. Then it has a price, and an immeasurable price.

The phrase "Russian nationalism", and even next to "blood", is so discredited today that it does not interfere with giving these words of Diaghilev a further explication - from the same text. He writes about Levitan, who “managed to teach us that we did not know how to appreciate and did not see Russian nature with Russian eyes ... We need only get out of the suffocating fumes of dusty cities for a minute and get at least a little closer to nature in order to remember with gratitude the great lessons of the artist Russian land".

The second grandiose act of Diaghilev in the chronological series is his collection of treasures of Russian history painting especially the 18th century. In general, one might say, he discovered this period in Russian painting, he himself wrote a book about Levitsky. And this task was no longer narrowly artistic, but broadly cultural and historical: to collect images of Russia, as they are recorded in works of art - and not only Russian. It was something equal to the work of Karamzin with his History of the Russian State, about which Pushkin said: Karamzin is the Columbus who discovered Russia. So Diaghilev restored and collected her living plastic image in the most glorious period of her existence - from the eighteenth century onwards. These priceless treasures were covered with dust and disappeared in countless, decayed noble estates. He managed to convince the owners to cede these treasures to the state, to the nation - in order to at least preserve them in the turbulent time of the agrarian unrest of 1905 that had begun. And he succeeded - in February 1906, this grandiose exhibition opened, at which 6,000 paintings were presented in the huge halls of the Tauride - Potemkin - Palace. We can say that this was the last parade great Russia before her disappearance in the storms new era. Fate decreed ironically: it was in the Taurida Palace that the First State Duma was located - the then brainchild of revolutionary days. Diaghilev's paintings returned to their former places - and, for the most part, perished: both in the ongoing peasant revolts of the first revolution, and finally - in the second revolution. What is now in museums is a small part compared to what Diaghilev collected then.

It was difficult not only to collect, but also to preserve Russian culture in Russia itself. And Diaghilev leaves for Europe - first again with art exhibitions, and then with the organization of the legendary Russian Seasons in Paris. Here it is - but what is it - Russia! — waited for the greatest triumphs. Diaghilev opened Russian music to Europe: Rimsky-Korsakov, Borodin and, especially, Mussorgsky became the generative seed of new European music. Diaghilev showed Europe Chaliapin in "Boris Godunov" - and, finally, he showed her the Russian Ballet with the newly discovered - by him - geniuses: Nijinsky and the composer Stravinsky; Anna Pavlova soared to world fame also after these performances with Diaghilev.

The rest is history. The Diaghilev ballet troupe was cut off from Russia with the outbreak of the First World War. Subsequent Russian events were by no means conducive to the return. But Diaghilev followed with great interest the first steps of the new art already in Soviet Russia, when artistic freedom had not yet been suppressed by the ideological dogma of the regime. A monument to these sentiments is the ballet Steel Skok to music by Prokofiev and the plot of Leskov's Flea. The Moscow artist Yakulov and Ilya Ehrenburg, who worked with others on the libretto, took part in this production. This project was not particularly successful, but Diaghilev, in a wider turn, nevertheless outlined new ways for ballet - towards its approximation to the constructive style of the era. As Lifar writes, plastic began to prevail over dance.

What can I say, Diaghilev really returned the ballet to the West, which had almost disappeared there. But he left even more to Russia - the memory of himself as a person capable of not only learning from Europe, but also teaching it. In this sense, Diaghilev is the same Russian unique as Leo Tolstoy and Dostoevsky.

Boris Paramonov

Valentin Serov "Portrait of Sergei Diaghilev" 1904

Leo Bakst - "Costume design for the ballet" Carnival "music by Schumann

Tamara Karsavina as Colombina. Ballet "Carnival", 1910

Leo Bakst - "Costume design for the ballet "Carnival" to the music of Schumann

Leo Bakst "Costume design for N. N. Cherepin's ballet Narcissus" 1911

Leo Bakst. Costume design for Ida Rubinstein for the ballet "Salome" - Dance of the Seven Veils

Costume design for Ida Rubinstein

Playbill for the play "Russian Seasons" with a sketch by Leo Bakst with Vatslav Nezhinsky

Set design by Alexandre Benois for Igor Stravinsky's opera The Nightingale 1914

Vaslav Nijinsky as Petrushka, "Petrushka" 1911

Sketch of the scenery by Nicholas Roerich for the ballet "The Rite of Spring"

Mikhail and Vera Fokina in the ballet "Scheherazade" 1914

"Mikhail and Vera Fokina in the ballet" Carnival "

Tamara Karsavina in the ballet "Women's Whims" 1920

Set design by Lev Bakst for the ballet "The Blue God" 1912

Vaslav Nijinsky as the Blue God

Rehearsal of the ballet "Les Noces" to music by Stravinsky on the roof of the Monte Carlo Opera House, 1923

"Portrait of Anna Pavlova", 1924

Ballet "Firebird" 1910

"Sketch for the ballet" Cleopatra "

Scenery model based on a sketch by Leo Bakst

Pablo Picasso "Costume design for the ballet "Cocked Hat", 1919

Pablo Picasso "Design for the ballet "Cocked Hat", 1919

Rudolf Nureyev

Special thanks to dizzy_do for detailed reproductions and photos in the post

"Russian Seasons" by Sergei Pavlovich Diaghilev

“And what are you, dear, doing here? - King Alfonso of Spain once asked Sergei Diaghilev during a meeting with the famous entrepreneur of the Russian Seasons. – You do not conduct an orchestra and do not play musical instrument, do not draw scenery and do not dance. So what are you doing?" To which he replied: “We are similar to you, Your Majesty! I do not work. I do nothing. But you can't do without me."

The "Russian Seasons" organized by Diaghilev were not just propaganda of Russian art in Europe, they became an integral part of European culture at the beginning of the 20th century. and invaluable contribution to the development of ballet art.

Prehistory of "Russian Seasons"

The combination of a legal education and an interest in music developed in Sergei Diaghilev brilliant organizational skills and the ability to discern talent even in a novice performer, supplemented, in modern terms, with a managerial vein.

Diaghilev's close acquaintance with the theater began with the editing of the Yearbook of the Imperial Theaters in 1899, when he served at the Mariinsky Theater in St. Petersburg. Thanks to the assistance of the artists of the World of Art group, to which S. Diaghilev, an official for special assignments, belonged, he turned the publication from a meager statistical code into a real art magazine.

When, after a year of work as the editor of the Yearbook, Diaghilev was instructed to organize L. Delibes' ballet "Sylvia, or the Nymph of Diana", there was a scandal because of the modernist scenery, which did not fit into the conservative atmosphere of the theater of that time. Diaghilev was fired and he returned to painting, organizing exhibitions of paintings by European artists and "World of Art" in Russia. The logical continuation of this activity was in 1906 a landmark art exhibition at the Paris Autumn Salon. From this event, the history of the Seasons began ...

Ups and downs…

Inspired by the success of the Salon d'Automne, Diaghilev did not want to stop and, having decided to establish tours of Russian artists in Paris, he first gave preference to music. So, in 1907, Sergei Pavlovich organized the Historical Russian Concerts, the program of which included 5 symphonic concerts of Russian classics, held at the Paris Grand Opera, reserved for the Seasons. Chaliapin's high bass, choir Bolshoi Theater, Nikisch's conducting skills and Hoffmann's delightful piano playing captivated the Parisian public. In addition, a carefully selected repertoire, which includes excerpts from "Ruslan and Lyudmila" Glinka, "Christmas Nights" "Sadko" and "Snow Maiden" Rimsky-Korsakov, "Enchantresses" by Tchaikovsky, " Khovanshchina"And" Boris Godunov "by Mussorgsky, made a splash.

In the spring of 1908, Diaghilev again goes to win the hearts of the Parisians: this time with an opera. However "Boris Godunov" gathered far from a full hall and the proceeds barely covered the expenses of the troupe. Something needed to be done urgently.

Knowing what the public of that time liked, Diaghilev compromised his own principles. He despised ballet, considering it to be primitive entertainment for the same primitive minds, but in 1909, the entrepreneur, sensitive to the mood of the public, brought 5 ballets: "Armida's Pavilion", "Cleopatra", "Polovtsian Dances", " sylph” and “Pir”. The amazing success of the productions performed by the promising choreographer M. Fokin confirmed the correctness of Diaghilev's choice. The best ballet dancers from Moscow and St. Petersburg - V. Nizhinsky, A. Pavlova, I. Rubinstein, M. Kshesinskaya, T. Karsavina and others - formed the core of the ballet troupe. Although a year later Pavlova leaves the troupe due to disagreements with the impresario, "Russian Seasons" will become in her life that springboard, after which the ballerina's fame will only grow. The poster by V. Serov, made for the tour in 1909 and containing the image of Pavlova, frozen in a graceful pose, became a prophecy of glory for the artist.

It was the ballet that brought the “Russian Seasons” great fame, and it was the Diaghilev troupe that influenced the history of the development of this type of art in all countries where they had to perform on tour. Since 1911, the "Russian Seasons" contained exclusively ballet numbers, the troupe began to perform in a relatively stable composition and was called the "Russian Ballet of Diaghilev". Now they perform not only at the Paris Seasons, but also go on tour to Monaco (Monte Carlo), England (London), USA, Austria (Vienna), Germany (Berlin, Budapest), Italy (Venice, Rome).

In Diaghilev's ballets, from the very beginning, there was a desire for a synthesis of music, singing, dance and visual arts into one whole, subordinated to the general concept. It was this feature that was revolutionary for that time, and it was precisely thanks to this feature that the performances of the Russian Ballet of Diaghilev caused either storms of applause or flurries of criticism. Being in search of new forms, experimenting with plastique, scenery, musical accompaniment, Diaghilev's entreprise was significantly ahead of its time.

As proof of this, one can cite the fact that the premiere of The Rite of Spring, a ballet based on Russian pagan rites, held in Paris (Theater on the Champs Elysées) in 1913, was drowned out by the whistles and screams of an indignant public, and in 1929 in London (Theater "Covent Garden") her production was crowned with enthusiastic exclamations and furious applause.

The incessant experimentation has given rise to such idiosyncratic performances as The Games (fantasy on the theme of tennis), The Blue God (fantasy on the theme of Indian motifs), the 8-minute ballet The Afternoon of a Faun, called by the public the most obscene phenomenon in the theater due to frankly erotic plasticity of the luminary, the "choreographic symphony" "Daphnis and Chloe" to the music of M. Ravel and others.

Diaghilev - reformer and modernist of ballet art

When the Diaghilev troupe entered the ballet, there was a complete rigidity in academic conservatism. The great impresario had to destroy the existing canons, and this, of course, was much easier to do on the European stage than in Russia. Diaghilev did not directly participate in productions, but he was the organizing force, thanks to which his troupe achieved world recognition.

Diaghilev intuitively understood that the main thing in ballet is a talented choreographer. He knew how to see an organizational gift even in a novice choreographer, as was the case with M. Fokin, and he knew how to bring up the qualities necessary to work with his troupe, as happened with 19-year-old V. Myasin. He also invited Serge Lifar to his team, first as a performer, and later made him new star in the galaxy of choreographers of the Russian Ballet troupe.

The productions of "Russian Seasons" were under the powerful influence of the work of modernist artists. Sets and costumes were created by A. Benois, N. Roerich, B. Anisfeld, L. Bakst, S. Sudeikin, M. Dobuzhinsky, avant-garde artists N. Goncharova, M. Larionov, Spanish muralist H.-M. Sert, Italian futurist D. Balla, cubists P. Picasso, H. Gris and J. Braque, French impressionist A. Matisse, neoclassicist L. Survage. Such famous personalities as C. Chanel, A. Laurent and others were also involved as decorators and costume designers in Diaghilev's productions. As you know, the form always affects the content, which was observed by the audience of the Russian Seasons. Not only the scenery, costumes and curtain struck with their artistic expressiveness, outrageousness, play of lines: the entire staging of this or that ballet was permeated with modernist trends, plastic gradually displaced the plot from the viewer's attention.

Diaghilev used the most diverse music for the productions of the Russian Ballet: from world classics F. Chopin, R. Schuman, K. Weber, D. Scarlatti, R. Strauss and Russian classics N. Rimsky-Korsakov, A. Glazunov, M. Mussorgsky, P. Tchaikovsky, M. Glinka to the Impressionists C. Debussy and M. Ravel, as well as contemporary Russian composers I. Stravinsky and N. Cherepnin.

European ballet, which experienced a crisis in its development at the beginning of the 20th century, was gifted with the young talents of Diaghilev's Ballets Russes, refreshed by its new performance techniques, new plastique, and unsurpassed synthesis. various kinds arts, from which something completely different from the usual classical ballet was born.

Interesting Facts

• Although the "Historical Russian Concerts" are considered among the "Russian Seasons", only the poster of 1908 contained this name for the first time. There were 20 more such seasons ahead, but the 1908 tour was the last attempt by the entrepreneur to do without ballet.
• To stage "Afternoon of a Faun" lasting only 8 minutes, Nijinsky needed 90 rehearsals.
• An avid collector, Diaghilev dreamed of getting hold of A. Pushkin's unpublished letters to Natalya Goncharova. When they were finally handed over to him in June 1929, the entrepreneur was late for the train - a tour in Venice was coming. Diaghilev put the letters in the safe to read them after arriving home ... but he was no longer destined to return from Venice. The land of Italy received the great impresario forever.
• During the performance of the solo part in the ballet "Orientalia" in 1910, V. Nijinsky made his famous jump, which glorified him as a "flying dancer".
• Before each performance of the ballet The Phantom of the Rose, the costume designer re-sewed rose petals to Nijinsky's costume, because after the next performance he tore them off and gave them away to the numerous admirers of the dancer.

Films about S. Diaghilev and his activities

In the film The Red Shoes (1948), Diaghilev's personality received an artistic rethinking in the character under the name Lermontov. In the role of Diaghilev - A. Walbrook.

AT feature films"Nijinsky" (1980) and "Anna Pavlova" (1983) Diaghilev's personality is also given attention. In his role - A. Bates and V. Larionov, respectively.

Documentary film by A. Vasiliev “The fate of the ascetic. Sergei Diaghilev” (2002) tells about the founder of the magazine “World of Arts” and the entrepreneur of “Russian Seasons”.

A very interesting and exciting film “Geniuses and villains of the outgoing era. Sergei Diaghilev (2007) talks about little known facts associated with Diaghilev and his production activities.

In 2008, the series "Ballet and Power" was devoted to films by Vaslav Nijinsky and Sergei Diaghilev, however, their ambiguous relationship and the talent of a young dancer became the object of attention of many films that deserve a separate review.

The film "Coco Chanel and Igor Stravinsky" (2009) touches upon the relationship between the entrepreneur and the composer who wrote the music for many of his performances.

The documentary "Paris of Sergei Diaghilev" (2010) is the most fundamental film work about the life and work of a talented entrepreneur.

The first of the films in the "Historical Journeys of Ivan Tolstoy" series is dedicated to Sergei Diaghilev - "A Precious Bunch of Letters" (2011).

Sergei Diaghilev is also dedicated to one program from the cycle “The Chosen Ones. Russia. Century XX" (2012).

The documentary film "Ballet in the USSR" (2013) (Series of programs "Made in the USSR") partially touches on the theme of "Russian Seasons".

The TV release “Absolute Rumor” dated February 13, 2013 tells about Diaghilev and the art of the 20th century, and from January 14, 2015 - about the first productions of the ballet “Afternoon of a Faun”.

Two films were released as part of the Terpsichore Mysteries program series - Sergei Diaghilev - a man of art (2014) and Sergei Diaghilev - from painting to ballet (2015).

Diaghilev can rightfully be considered the founder of the domestic show business. He managed to play on the outrageous performances of his troupe and purposefully saturate performances with various modernist techniques at all levels of composition: scenery, costumes, music, plasticity - everything bore the imprint of the most fashionable trends of the era. In Russian ballet of the early 20th century, as in other areas of art of that time, dynamics were clearly visible from the active search of the Silver Age for new means of expression to hysterical intonations and broken lines of avant-garde art. "Russian Seasons" raised European art on a qualitatively new level development and to this day do not cease to inspire creative bohemians in search of new ideas.

Video: Watch a film about Diaghilev's Russian Seasons

DIAGILEV SERGEY PAVLOVICH

Diaghilev, Sergei Pavlovich - writer and public figure. Born in 1872. He graduated from the course at the Faculty of Law of St. Petersburg University, as well as the St. Petersburg Conservatory in the singing class. Consisted as an official special assignments under the director of the Imperial Theaters and in 1899 - 1900 - the editor of the Yearbook of the Imperial Theaters. Traveling in Western Europe, Diaghilev became interested in new trends in art and decided to create a magazine dedicated to them in his homeland. In the autumn of 1898, he began publishing the magazine "World of Art", and in January 1899 he organized the first in St. Petersburg international exhibition paintings of a new direction. Editing the magazine "World of Art" for six years, Diaghilev united in it all the most significant writers and artists of the new direction: on the one hand, his collaborators were D. Merezhkovsky, K. Balmont, V. Bryusov, N. Minsky, V. Solovyov, O. Sologub, Z. Gippius, Prince A. Urusov; on the other - I. Levitan, V. Serov, M. Vrubel, A. Benois, L. Bakst, K. Somov, M. Nesterov, K. Korovin, Prince P. Trubetskoy. The magazine introduced the Russian public to the latest foreign writers and artists, published articles by Ruskin, Muther, Furtwängler, Maeterlinck, Huysmans, Grieg, partly written especially for the World of Art; gave reports on new exhibitions, on new trends in theater and music. Entire departments were dedicated to the artists of Western Europe; the magazine introduced the works of A. Becklin, G. Thomas, Puvis de Chavannes, E. Manet, Degas, C. Monet, J. Segantini, F. Goya, A. Beardsley, Whistler, J. Millet, Corot and others; a lot of space was given to Finnish and Polish artists. The magazine systematically introduced its readers to the great, but thoroughly forgotten Russian artists, to the monuments of antiquity in Moscow, St. Petersburg and other cities; individual rooms were dedicated famous artists late XVIII and early XIX centuries: D. Levitsky, V. Borovikovsky, A. Ivanov, A. Venetsianov, K. Bryullov, O. Kiprensky, V. Tropinin; photographs from ancient stone and wooden architecture were placed; a large place was given to galleries, public and private: for the first time many paintings and art objects from the collections of Prince Yusupov were published, Prince. Tenisheva; in recent years, more space has been given to old St. Petersburg, to the study of its architecture, its monuments (many photographs from the Engineers' Castle, the Admiralty, etc.). In parallel with the journal, Diaghilev published separate books on the history of Russian art: "Album of lithographs of Russian artists" (1900), "I. Levitan" (1901), the first volume of "Russian Painting in the 18th Century", dedicated to the works of D. Levitsky (1903) , was awarded the Uvarov Prize by the Academy of Sciences. Beginning in 1899, Diaghilev arranged a number of exhibitions of paintings by artists adjoining his journal (exhibition "World of Art"). Having become interested in the old Russian masters and outlining the publication of a number of volumes of the "Russian painting XVIII century", Diaghilev undertook the organization of a huge exhibition of Russian historical portraits, carried out in 1905 in the halls of the Tauride Palace. For this exhibition, Diaghilev collected several thousand portraits of Russian painters depicting various historical persons, from the era of Peter the Great to recent years. With particular completeness it was possible to get acquainted with the great masters of the Catherine's era, entire halls were devoted to Borovikovsky, Levitsky and Rokotov; there were also departments dedicated to foreign artists who worked in Russia in that era: Roslin, Lampi, A. Kaufman, Vigée Lebrun and others. artists; starting with the famous contemporaries of Peter the Great, Nikitin and Matveev, he showed the Parisian public Levitsky, Borovikovsky, Rokotov, Alekseev, Vorobyov, Shchedrins, Shubin, Kiprensky, Tropinin, Bryullov, Ge, Repin and many of the best participants in the World of Art exhibitions. The best connoisseurs of art in Paris wrote a lot about the exhibition, it introduced the foreign public to hitherto unknown masters, both old and modern.In the spring of 1907, Diaghilev arranged a series of concerts in Paris dedicated to Russian music, from Glinka to Scriabin In the following years, Diaghilev staged at the Grand Opera, and then at the Chatelet Theater, a number of Russian operas: Boris Godunov and Khovanshchina by Mussorgsky, The Maid of Pskov, etc., and a number of ballets : Rimsky-Korsakov's Scheherazade, Arensky's Cleopatra, Stravinsky's Petrushka, Cherepkin's Pavilion of Armida and others. Being the editor of the World of Art, Diaghilev wrote a lot in the magazine of articles and reviews about the theater, art, exhibitions, books. In addition to a separate monograph on D. Levitsky, we will mention his articles: "Difficult Questions", "On the Staging of Tristan and Isolde", "Illustration for Pushkin", "Art Critics", "On Russian Museums", "Exhibitions in Germany", "Exhibitions historical portraits", "Portrait Shibanov". S. R-va.

Brief biographical encyclopedia. 2012

See also interpretations, synonyms, word meanings and what is SERGEY PAVLOVICH DIAGILEV in Russian in dictionaries, encyclopedias and reference books:

• DIAGILEV SERGEY PAVLOVICH in the Big Encyclopedic Dictionary:
  (1872-1929) Russian theatrical and artistic figure. Together with A. N. Benois, he created the artistic association "World of Art", co-editor of the magazine of the same name. Organizer…
• DIAGILEV SERGEY PAVLOVICH
  Sergei Pavlovich, Russian theatrical figure. In 1896 he graduated from the law faculty of St. Petersburg University (at the same time he studied ...
• DIAGILEV, SERGEY PAVLOVICH in Collier's Dictionary:
  (1872-1929), Russian theater figure, ballet impresario, head of the famous Russian Ballet. Born in the Novgorod province on March 19, 1872, in a noble family. …
• DIAGHILEV in the Dictionary of Russian Surnames:
  The surname is Russian, it is based on the name of the plant angelica or the dialectal (Pskov and northern) adjective smoky - “strong, healthy, strong”, ...
• DIAGHILEV in the Lexicon of Sex:
  Serg. Pavl. (1872-1929), Russian. theatrical and artistic figure, organizer of exhibitions and the famous "Russian Seasons" in Paris. Bright representative artistic bohemia; was different...
• PAVLOVICH in the Literary Encyclopedia:
  Nadezhda Aleksandrovna, contemporary poet. R. in the former Livonia in a petty-bourgeois family. Published since 1911 (verse "Swan" in the newspaper "Pskovskaya ...
• PAVLOVICH in the Pedagogical Encyclopedic Dictionary:
  Sergey Andronikovich (1884-1966), scientist in the field of natural science methods, professor (1935). Pedagogical activity began in 1907 at the Froebel pedagogical courses, in ...
• SERGEI
  SEREY ALEKSANDROVICH (1857-1905), great. prince, son of the emperor Alexander II, Lieutenant General (1896). Member of the Russian tour. wars 1877-78; Moscow governor-general in 1891-1905, with ...
• PAVLOVICH in the Big Russian Encyclopedic Dictionary:
  PAVLOVICH Nick. (1835-94), Bulgarian. painter and graphic artist of the nat. revival. One of the founders of secular Bolg. lawsuit. Paintings on the themes of nat. …
• PAVLOVICH in the Big Russian Encyclopedic Dictionary:
  PAVLOVICH Mikh. Pav. (real name and surname Mikh. Laz. Veltman) (1871-1927), orientalist. In 1921-23 member. College of the People's Commissariat of Nationalities. Since 1921 the rector ...
• DIAGHILEV in the Big Russian Encyclopedic Dictionary:
  DIAGILEV Ser. Pav. (1872-1929), theater. and thin. figure. Together with A.N. Benoit created thin. association "World of Art", co-editor of the same name. …
• SERGEI in the Dictionary for solving and compiling scanwords:
  Male…
• SERGEI in the dictionary of Synonyms of the Russian language:
  name, …
• SERGEI in the Complete Spelling Dictionary of the Russian Language:
  Sergey, (Sergeevich, ...
• PAVLOVICH
  Mikhail Pavlovich (real name and surname Mikhail Lazarevich Veltman) (1871-1927), Russian orientalist. In 1921-23 he was a member of the Collegium of the People's Commissariat of Nationalities. Since 1921 the rector ...
• DIAGHILEV in Modern explanatory dictionary, TSB:
  Sergei Pavlovich (1872-1929), Russian theatrical and artistic figure. Together with A. N. Benois, he created the artistic association "World of Art", co-editor ...
• KEDROV SERGEY PAVLOVICH
  Open Orthodox Encyclopedia "TREE". Sergei Pavlovich Kedrov (1880 - 1937), archpriest, holy martyr. Commemorated on November 16, in ...
• PAVLOVICH MIHAIL PAVLOVICH in big Soviet encyclopedia, TSB:
  Volunteer Mikhail Pavlovich (pseudonym of Mikhail Lazarevich Veltman), participant in the revolutionary movement in Russia; oriental scholar. Was born in …
• SERGEY NIKOLAEVICH TOLSTOY in the Wiki Quote:
  Data: 2009-08-10 Time: 14:22:38 Sergei Nikolayevich Tolstoy (1908-1977) - "the fourth Tolstoy"; Russian writer: prose writer, poet, playwright, literary critic, translator. Quotes * …
• SERGEY ALEKSANDROVICH ESENIN in Wiki Quote:
  Data: 2009-03-10 Time: 18:02:27 Navigation Topic = Sergei Yesenin Wikipedia = Yesenin, Sergei Alexandrovich Wikisource = Sergei Alexandrovich Yesenin Wikimedia Commons ...
• SERGEY ALEKSANDROVICH BUNTMAN in Wiki Quote:
  Data: 2009-04-09 Time: 22:24:13 Navigation Topic = Sergei Buntman Wikipedia = Buntman, Sergei Aleksandrovich Sergei Aleksandrovich Buntman is a journalist, presenter, …
• ANTON PAVLOVICH CHEKHOV in Wiki Quote:
  Data: 2009-08-11 Time: 21:10:43 Navigation Wikipedia=Anton Pavlovich Chekhov Wikisource=Anton Pavlovich Chekhov Wikimedia Commons=Anton Pavlovich Chekhov = Quotes and Aphorisms = * …
• KHABAROV EROFEY PAVLOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Khabarov Erofey (Yarofey) Pavlovich (nicknamed Svyatitsky) (between 1605 and 1607, the village of Dmitrievo, Vologda province ...
• FELITSYN SERGEY VASILIEVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Felitsyn Sergei Vasilievich (1883 - 1937), priest, holy martyr. Commemorated December 2nd...
• TRUBACHEV SERGEY ZOSIMOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Sergei (Sergius) Zosimovich Trubachev (1919 - 1995), deacon, church composer. Born March 26th...
• SKVORTSOV SERGEY IOSIFOVICH in the Orthodox Encyclopedia Tree.
• SVENTSITSKY VALENTYN PAVLOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Sventsitsky Valentin Pavlovich, archpriest (1882 - 1931) - theologian, philosopher and spiritual writer. Was born …
• MECHEV SERGEY ALEKSEEVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Mechev Sergey Alekseevich (1892 - 1942), priest, holy martyr. Commemorated on December 24, ...
• MAKHAEV SERGEY KONSTANTINOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Makhaev Sergey Konstantinovich (1874 - 1937), archpriest, holy martyr. Commemorated on November 19, ...
• LEBEDEV SERGEY PAVLOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Lebedev Sergey Pavlovich (1875 - 1938), archpriest, holy martyr. Commemoration March 9, ...
• KROTKOV SERGEY MIKHAILOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Krotkov Sergey Mikhailovich (1876 - 1938), archpriest, holy martyr. Commemorated June 18, ...
• JOHN (PAVLOVICH) in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". John (Pavlovich) (born 1936), Metropolitan of Zagreb-Ljubljana and all of Italy. Born October 22, 1936 ...
• ZOLOTOV IVAN PAVLOVYCH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Zolotov Ivan Pavlovich (1897 - 1937), martyr. Commemorated on September 26, in the Cathedral ...
• GOLOSHCHAPOV SERGEY IVANOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Goloshchapov Sergey Ivanovich (1882 - 1937), archpriest, holy martyr. Commemorated on December 6, in ...
• GLYVENKO DMITRY PAVLOVYCH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Glivenko Dmitry Pavlovich (1879 - 1938), priest, holy martyr. Commemorated on March 9, in ...
• VOSKRESENSKY SERGEY SERGEEVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Voskresensky Sergei Sergeevich (1890 - 1933), priest, holy martyr. Commemorated February 26th. …
• AREFIEV MIKHAIL PAVLOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Arefiev Mikhail Pavlovich (1865 - 1937), martyr. Commemorated on November 10, in the Cathedral ...
• AKCHURIN SERGEY VASILIEVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Akchurin Sergei Vasilyevich (1722 - 1790), chief prosecutor of the Holy Synod. Born in the family of a secretary ...
• KONSTANTIN PAVLOVICH
  Konstantin Pavlovich - Grand Duke, the second son of Emperor Pavel Petrovich (1779 - 1831). He was brought up together with his brother, Alexander, ...
• KONDAKOV NIKODIM PAVLOVICH in the Brief Biographical Encyclopedia:
  Kondakov Nikodim Pavlovich - an outstanding art historian and archaeologist. Born in 1844. Educated at the Faculty of History and Philology of Moscow University, ...
• VASILYEV VASILY PAVLOVICH (SINOLOGIST) in the Brief Biographical Encyclopedia:
  Vasiliev (Vasily Pavlovich) - a learned sinologist. The son of a petty official, Vasily Pavlovich was born in Nizhny Novgorod in 1818. In the county…
• USSR. BIOGRAPHICAL INFORMATION in the Great Soviet Encyclopedia, TSB:
  References Alekseevsky Evgeny Evgenievich (b. 1906), Minister of Land Reclamation and Water Resources of the USSR since 1965, Hero of Socialist Labor (1976). Member of the CPSU with ...
• PROKOFIEV SERGEY SERGEEVICH in the Great Soviet Encyclopedia, TSB:
  Sergei Sergeevich, Soviet composer, pianist and conductor, ...
• MIKHALKOV SERGEY VLADIMIROVICH in the Great Soviet Encyclopedia, TSB:
  Sergei Vladimirovich [b. 28.2(13.3).1913, Moscow], Russian Soviet writer and public figure, academician of the Academy of Sciences of the USSR (1971), Honored Art Worker of the RSFSR (1967), ...

St. Petersburg State University of Culture and Arts
(SPb GUKI)

Faculty of Cultural Studies. Group 137-d

Subject "History of SKD"

ESSAY
on the topic:

S. P. Diaghilev and his "Russian Seasons"

2005

Introduction

S.P. Diaghilev was an outstanding figure in Russian art, a propagandist and organizer of tours of Russian art abroad. He was neither a dancer, nor a choreographer, nor a playwright, nor an artist, and yet his name is known to millions of ballet lovers in Russia and Europe. Diaghilev opened Russian ballet to Europe, he demonstrated that while in European capitals ballet fell into decay and perished, in St. Petersburg it strengthened and became a very significant art.

From 1907 to 1922, S. P. Diaghilev organized 70 performances from Russian classics to contemporary authors. At least 50 performances were musical novelties. He was "eternally followed by eight carriages of scenery and three thousand costumes." "Russian Ballet" toured Europe, the USA, always meeting with a storm of applause.

The most famous performances that delighted the audience in Europe and America for almost two decades were: "Pavilion of Armida" (N. Cherepanin, A. Benois, M. Fokin); The Firebird (I. Stravinsky, A. Golovin, L. Bakst, M. Fokin); "Narcissus and Echo" (N. Cherepanin, L. Bakst, V. Nijinsky); "The Rite of Spring" (I. Stravinsky, N. Roerich, V. Nijinsky); "Petrushka" (I. Stravinsky, A. Benois, M. Fokin); "Midas" (M. Steinberg, L. Bakst, M. Dobuzhinsky); "Jester" (S. Prokofiev, M. Lermontov, T. Slavinsky) and others.

The connection of S. P. Diaghilev with the period of the Silver Age

The turn of the XIX-XX is marked as the "silver age". To replace the mood of stability common in the 80s. some kind of psychological tension comes, the expectation of a “great upheaval” (L. N. Tolstoy).

The understanding of the "boundary" of time was widespread in the public mind - both among politicians and among the artistic intelligentsia.

“The time was amazing,” recalled Z. N. Gippius. - Something in Russia was breaking down, something was left behind, something ... was striving forward ... where to? Nobody knew this, but even then, at the turn of the century, it was felt in the air. Oh, not everyone. But very many, very many.”

The scope of a realistic vision of life is expanding, there is a search for ways of self-expression of the individual in literature and art. characteristic features arts become a synthesis, a mediated reflection of life in contrast to critical realism XIX century, with its inherent concrete reflection of reality.

A feature of that time was the development of various associations of cultural figures (ie circles: there were about 40 of them in the capitals, about 30 in the provinces). The idea of ​​the synthesis of arts, widespread in the artistic consciousness, contributed to this, connecting in search of new forms artistic activity representatives of different areas of art.

The "extremeness" of character, inner make-up and, as a result, the fate of Diaghilev is in many ways akin to the era in which he lived and worked. Twenty-two years of energetic and rich activity in the field of Russian culture have left a deep furrow.

In 1905, at the opening of the “historical and artistic exhibition of Russian portraits” in the Tauride Palace in St. Petersburg, Diaghilev prophetically declared: “We are witnesses of the greatest historical moment of results and ends in the name of a new unknown culture that is arising by us, but we will also be swept away. And therefore, without fear and disbelief, I raise a glass to the ruined walls of beautiful palaces! Just as for the new testaments of a new aesthetics ”(S.P. Diaghilev. At the hour of the results ... // Scales, 1905, No. 4. P. 46–47).

In the arranged exhibition, he combined old portraits of the 19th century and new ones. Comparing the "old" portraits with the "new" ones, the author of an article in the magazine "Spectator" wrote: "...what a difference in the attitude of old and new masters to their models. The old people believed in the uniform and were sincerely inspired by it... Every portrait is a masterpiece and reverence. All these dignitaries, ministers, figures, their wives and daughters - all this breathes the power of the landownership and uniforms. Not the new artists of the time closest to us. The uniform is the same .... But there is no inspiring reverence for the uniform. There is a face in a uniform, an ordinary, feeble, human face” (Sternin G.Yu. Artistic life of Russia in the 1890–1910s. M., 1988. P. 198). This is no longer a "caesar" and not a "hero". A sad human face is a harbinger of unpredictable drastic changes.

About S. P. Diaghilev. His characterization by contemporaries

S. P. Diaghilev can be called an administrator, entrepreneur, organizer of exhibitions and all kinds of art actions - all these definitions suit him, but the main thing in him is his service to Russian culture. S. P. Diaghilev brought together everything that without him could take place on its own or already existed independently - the work of various artists, artists, musicians, Russia and the West, past and present, and only thanks to him all this was linked and conformed to each other , acquiring a new value in unity.

“Diaghilev combined in himself diverse tastes, very often contradictory, asserting artistic perception, eclecticism.<…>Reverent for the masters of the "great century" and the Rococo century, he was also delighted with Russian wild animals, like Malyutin, E. Polyakova, Yakunchikov ..., he was touched by Levitan's landscapes and Repin's skill, and when he had seen enough of the Parisian "constructive" innovations, then closest to Picasso, Derain, Léger<…>Few have been given such an ability to feel beauty ... ”- from the memoirs of contemporaries.

He was richly gifted musically, sensitive to beauty in all its manifestations, well versed in music, vocals, painting, from childhood he showed himself to be a great lover of the theater, opera, ballet; later became a skillful and enterprising organizer, a tireless worker who knew how to make people realize their ideas. Of course, he "used" them, taking from his comrades-in-arms what he needed them, but at the same time he made talents blossom, enchanted and attracted their hearts. It is also true that, with ruthlessness equal to charm, he knew how to exploit people and part with them.

Diaghilev's broad sense of beauty attracted extraordinary people, individuals and individualists to him. And he knew how to communicate with them. Diaghilev had the ability to make the object or person on which he drew his attention especially shine. He knew how to show things from their best side. He knew how to bring out the best qualities of people and things.

He was a born organizer, a leader with dictatorial tendencies and knew his own worth. He did not tolerate anyone who could compete with him, and nothing that could stand in his way. Possessing a complex and contradictory nature, he knew how to maneuver among the intrigues, envy, slander and gossip that abound in the artistic environment.

“His intuition, his sensitivity and his phenomenal memory allowed him to memorize innumerable masterpieces (paintings) and never forget them again.
He had an exceptional visual memory and an iconographic flair that surprised us all,” recalled Igor Grabar, his classmate at the university. “Swift, categorical in his judgments, he, of course, was mistaken, but he was mistaken much less often than others, and by no means more irreparably.”

“He was a genius, the greatest organizer, seeker and discoverer of talents, endowed with the soul of an artist and the manners of a noble nobleman, the only comprehensively developed person whom I could compare with Leonardo da Vinci" - such an assessment was awarded to S. P. Diaghilev from V. F Nijinsky (T. 1. - p. 449).

His activities and "Russian Seasons"

S.P. Diaghilev received a good musical education. Even in the student circle of A. N. Benois, he gained fame as an admirer and connoisseur of music. D. V. Filosov recalled: “His interests were then mainly musical. Tchaikovsky and Borodin were his favorites. For days on end he sat at the piano, singing Igor's arias. He sang without any particular schooling, but with a natural skill.” His musical mentors were called either A. K. Ledov, or N. A. Rimsky-Korsakov. In any case, he was well trained not to be an "outsider" in the composing environment; he felt special musical composition, he himself had a composer's gift, as evidenced by the surviving manuscripts of his youthful compositions, he possessed musical and theoretical knowledge.

In 1896 he graduated from the law faculty of St. Petersburg University (for some time he studied at the St. Petersburg Conservatory with N.A. Rimsky-Korsakov). He was engaged in painting, theater, the history of artistic styles. In 1897 he arranged his first exhibition at the St. Petersburg Academy, dedicated to the works of English and German watercolorists. In the autumn of the same year, he arranged an exhibition of Scandinavian artists. Having acquired a stable reputation as a connoisseur of the arts and a diploma in law, he received the position of assistant director of the Imperial Theaters.

In 1898 was one of the founders of the association "World of Art", in 1899-1904 - together with A. Benois was the editor of the magazine of the same name. His activities to promote Russian art - painting, classical music, operas - S.P. Diaghilev began in 1906. In 1906-1907. organized exhibitions of Russian artists in Paris, Berlin, Monte Carlo, Venice, among which were Benois, Dobuzhinsky, Larionov, Roerich, Vrubel and others.

Exhibitions of Russian fine arts were a revelation for the West, which did not suspect the existence of such a high artistic culture.

Supported by circles of the Russian artistic intelligentsia ("World of Art", music. Belyaevsky circle, etc.) in 1907, Diaghilev organized annual performances Russian opera and ballet dancers "Russian Seasons", which began in Paris with historical concerts.

In that year, he organized 5 symphony concerts in Paris ("Historical Russian Concerts"), introducing Western Europe with the musical treasures of Russia, presenting Russian music from Glinka to Scriabin: S. V. Rakhmaninov, A. K. Glazunov, F. I. Chaliapin, Rimsky-Korsakov, and others performed.

Russian musical and theatrical art began its victorious march across Europe on May 6, 1908; Rimsky-Korsakov, Judith by A. Serov, Prince Igor by A. Borodin. The part of B. Godunov was performed by F. I. Chaliapin. The audience was captivated by the unique timbre of Chaliapin's voice, his game, full of tragedy and restrained strength.

The troupe selected by Diaghilev for foreign tours included A. Pavlova, V Nizhinsky, M. Mordkin, T. Karsavina, later O. Spesivtseva, S. Lifar, J. Balanchine, M. Fokin. Choreographer and artistic director M. Fokin was appointed. The performances were designed by artists: A. Benois, L. Bakst, A. Golovin, N. Roerich, and in later years M. V. Dobudzhinsky, M.F. Larionov, P. Picasso, A. Derain, M. Utrillo, J. Braque.

For the first time, the "World of Art" ballet was presented not in Paris, but in St. Petersburg, at the Mariinsky Theater. These were ballets to the music of N. Tcherepnin "Animated Tapestry" and "Pavilion of Armida" (artist A. N. Benois, choreographer M. M. Fokin). But there is no prophet in his own country. The new has collided with the age-old omnipotent Russian bureaucracy. Illiterate hostile editions flashed in the press. In an atmosphere of frank persecution, artists, artists, could not work. And then the happy idea of ​​“ballet export” was born. The ballet was taken abroad for the first time in 1909. May 19, 1909 in Paris, at the Chatelet Theater, performances by M. Fokin were shown: "Polovtsian Dances" from op. A. Borodin, "Pavilion of Armida" at the music. Tcherepnin, "Sylphs" to the music. F. Chopin, suite - divertissement "Celebration" to the music. M.I. Glinka, P.I. Tchaikovsky, A. Glazunov, M.P. Mussorgsky.

"Revelation", "revolution", and the beginning of a new era in ballet, the Parisian chroniclers and critics called the Russian "surprise".

Diaghilev, as an entrepreneur, counted on the preparedness of the Parisians for the perception of the new art, but not only. He foresaw an interest in the primordially Russian national essence of those works that he was going to "open" to Paris. He said: “The entire post-Petrine Russian culture is cosmopolitan in appearance, and one must be a subtle and sensitive judge in order to note in it the precious elements of originality; you have to be a foreigner to understand Russian in Russian; they feel much deeper where “we” begin, that is, they see what is most dear to them, and to which we are positively blind” (, T. 2. - p. 325).

For each performance, M. Fokin selected special means of expression. The costumes and scenery corresponded to the style of the era during which the action took place. Classical dance took on a certain color depending on the unfolding events. Fokin sought to ensure that the pantomime was dancing, and the dance was mimic expressive. The dance in his productions carried a specific semantic load. Fokin did a lot to update Russian ballet, but he never abandoned classical dance, believing that only on its basis can a real choreographer, choreographer, artist-dancer be brought up.

T. P. Karsavina (1885-1978) was a consistent exponent of Fokine's ideas. In her performance, the "World of Art" especially appreciated the amazing ability to convey the beauty of the inner essence of the images of the past, whether it be the mournful nymph Echo ("Narcissus and Echo"), or Armida, descended from the tapestry ("Pavilion of Armida"). The theme of the alluring but elusive beautiful ideal was embodied by the ballerina in The Firebird, subordinating the development of this exotic image to the purely decorative, "picturesque" ideas of the new synthetic ballet.

Fokine's ballets corresponded perfectly to the ideas and motives of culture " silver age". Most importantly, drawing something new from kindred muses, Fokine found equally new choreographic techniques that revealed the dance, advocating for its “naturalness”.

Since 1910, the Russian Seasons have been held without the participation of the opera.

Best performances in 1910 were "Scheherazade" on the muses N.A. Rimsky-Korsakov and the ballet-tale "The Firebird" to the music. I.F. Stravinsky.

In 1911 Diaghilev decided to create a permanent troupe, which was finally formed by 1913 and received the name "Russian Ballet" of Diaghilev, existed until 1929.

The 1911 season began with performances in Monte Carlo (continued in Paris, Rome, London). Fokine's ballets were staged: "Vision of the Rose" to the music. Weber, "Narcissus" on the music. Tcherepnin, "The Underwater Kingdom" to the muses from the opera "Sadko" by N. A. Rimsky - Korsakov, "Swan Lake" (abridged version with the participation of M. Kshesinskaya and V. Nijinsky).

Particular success was caused by the ballet "Petrushka" at the music. I. Stravinsky, and designed the ballet by A. Benois. A huge share of the success of this production belongs to the performer of the main part, the part of Petrushka, the brilliant Russian dancer Vatslav Nijinsky. This ballet became the pinnacle of Fokine's choreographer's work in the Diaghilev enterprise, it marked the beginning of the world recognition of I.F. Stravinsky, the role of Petrushka became one of the best roles of V. Nijinsky. His perfected technique, phenomenal jumps and flights entered the history of choreography. However, this brilliant artist was attracted not only by his technique, but above all by his amazing ability to convey the inner world of his characters with the help of plasticity. Nijinsky-Petrushka in the memoirs of contemporaries appears either rushing about in impotent anger, or a helpless doll, frozen on her fingertips with stiff hands pressed to her chest in rough mittens ...

Diaghilev's artistic policy changed, his entreprise was no longer aimed at promoting Russian art abroad, but became an enterprise that was largely oriented towards the interests of the public, commercial goals.

With the outbreak of World War I, the performances of the Russian Ballet were temporarily interrupted.

Season from 1915-16. The troupe has toured Spain, Switzerland and the United States.

The troupe then staged the ballets The Rite of Spring, The Wedding, Apollo Musagete, Steel Lope, The Prodigal Son, Daphnis and Chloe, The Cat, and others.

After the death of S.P. Diaghilev's troupe broke up. In 1932 on the basis of the ballet troupes of the Monte-Carlo Opera and the Russian Opera in Paris, created after the death of S.P. Diaghilev, organized by de Basil "Valle rus de Monte Carlo".

Russian ballets have become an integral part of cultural life Europe 1900 - 1920, had a significant impact on all areas of art; perhaps never before has Russian art had such a large-scale and profound influence on European culture as during the years of the “Russian seasons”.

The works of Russian composers, the talent and skill of Russian performers, the scenery and costumes created by Russian artists - all this aroused the admiration of the foreign public, the musical and artistic community. In connection with the enormous success of the Parisian Russian season in 1909, A. Benois pointed out that the triumph in Paris was the whole of Russian culture, the whole feature of Russian art, its conviction, freshness and immediacy.

Afterword

The activities of the troupe "Russian Ballet" S.P. Diaghilev was an era in the history of the ballet theater, which unfolded against the backdrop of a general decline in choreographic art.

"Russian Ballet", in fact, remained almost the only bearer of a high performing culture and the custodian of the legacy of the past.

For two decades, being in the center of attention of the artistic life of the West, "Russian Ballet" served as an impetus for the revival of this art form.

The reformatory activity of the choreographers and artists of the Diaghilev troupe influenced the further development of world ballet. J. Balanchine in 1933 moved to America and became a classic of American ballet, Serge Lifar headed ballet troupe the Paris Opera.

Turning millions and having the support of such creditors as Emperor Nicholas 1, entrepreneurs Eliseevs, Grand Duke Vladimir Alexandrovich, and others, the owner of the famous "Pushkin collection", he lived on credit and "died alone, in a hotel room, poor, as he always was ".

He is buried in the St. Michel cemetery, next to Stravinsky's grave, at the expense of French philanthropists.

Literature

1. S. Diaghilev and Russian art / I. S. Zilberstein, V. A. Samkov. - M., 1982. - T. 1-2;
2. Nestiev I. V. / Diaghilev and the musical theater of the XX century. − M., 1994;
3. Pozharskaya M. N. / Russian seasons in Paris. − M., 1988;
4. Rapatskaya L. A. / Art of the “Silver Age”. - M.: Enlightenment: “Vlados”, 1996;
5. Fedorovsky V. / Sergei Diaghilev or Backstage History of Russian Ballet. − M.: Zksmo, 2003.

Introduction

1. Music of the Russian Seasons

3. Ballet music

Conclusion

Bibliography

Introduction

S.P. Diaghilev was born on March 19, 1872 in Perm in the Novgorod province into a well-born noble family. His father was a major general in the tsarist army, he was fond of singing. As a child, at the insistence of his adoptive mother (his own mother died in childbirth), Diaghilev learned to play the piano.

In 1906 Diaghilev left for France. There he organized the annual performances of Russian artists abroad, which contributed to the popularization of Russian art, which later went down in history under the name "Russian Seasons". First, these were exhibitions of Russian art, then "Historical Russian Concerts" in the premises of the Parisian theater "Grand Opera" and performances with music by Russian composers. A real sensation was Mussorgsky's opera Khovanshchina and Boris Godunov with F. Chaliapin in the role of Tsar Boris. "Russian Seasons" existed in Paris and London until 1914.

In 1909 Grand Duke Vladimir commissioned Diaghilev to found the Russian Ballet in Paris. Diaghilev assembled a creative team of the greatest artists of the early 20th century, and in 1911-13. on the basis of the Russian Seasons, he created the Diaghilev Russian Ballet troupe, in which the choreographers M. Fokin and L. Myasin worked; composers K. Debussy, M. Ravel and I. Stravinsky; artists L. Bakst, A. Benois, P. Picasso, A. Matisse; dancers of the Russian Ballet from the Mariinsky and Bolshoi Theaters A. Pavlova, V. Nizhinsky, M. Kshesinskaya, T. Karsavina.

S.P. Diaghilev was an outstanding figure in Russian art, a propagandist and organizer of tours of Russian art abroad. He was neither a dancer, nor a choreographer, nor a playwright, nor an artist, and yet his name is known to millions of ballet lovers in Russia and Europe. Diaghilev opened Russian ballet to Europe, he demonstrated that while in European capitals ballet fell into decay and perished, in St. Petersburg it strengthened and became a very significant art.

From 1907 to 1922 S. P. Diaghilev organized 70 performances from Russian classics to contemporary authors. At least 50 performances were musical novelties. He was "eternally followed by eight carriages of scenery and three thousand costumes." "Russian Ballet" toured Europe, the USA, always meeting with a storm of applause.

At his grave, which is located next to the grave of I. Stravinsky on the island-cemetery of Saint-Michel, admirers still gather, who leave red roses and worn-out ballet shoes there, paying tribute to the memory of this man, whose ideas played such an important role in the creation contemporary dance.

1. Music of “Russian Seasons”

The merits of Diaghilev in the field of Russian and world musical culture generally accepted. In the monographs devoted to the "Russian Seasons" in Paris, they are mentioned in passing and casually, as something taken for granted. The main attention, as a rule, is given to ballet or theatrical and decorative painting. Meanwhile, the musical side of the performances of Diaghilev's entreprise deserves special coverage, since Diaghilev's special gift as an inspirer manifested itself in the realm of music itself no less than in the field of choreography or artistic design.

Diaghilev's influence on musical side"Russian Seasons" manifested itself in different forms in accordance with the different facets of his talent. He had amazing ability to identify and initiate those elements in the work of composers that pointed to a certain artistic perspective, to new paths, testified to art that - regardless of the date of its birth - lives and develops in today's context of culture. That is why Diaghilev singled out Mussorgsky from the Russian classics, and Stravinsky from among the modern composers.

2. Opera performances by S.P. Diaghilev

For his debut, Diaghilev chose two operas - "Boris Godunov" by Mussorgsky and "Sadko" by Rimsky-Korsakov. Both met the requirement of a bright national identity and, in addition, were combined according to the principle of genre contrast: a historical-psychological drama and an epic opera. However, difficulties immediately arose with “Sadko” and things did not work out. Only Boris Godunov remained in the tour program.

For Diaghilev, this was the first experience of preparing a musical performance, and here his role went far beyond the "commander". Of course, he still carried out the organizational management of the entire enterprise: he attracted the best singing forces of the Mariinsky Stage, headed by F. Chaliapin, engaged the entire choir of the Moscow Bolshoi Theater together with the choirmaster U. Avranek, invited the famous director A. Sanin, who successfully staged crowd scenes in drama theaters, took care of an excellent conductor - F. Blumenfeld, ordered the design of the performance by a group of excellent artists, including Golovin, Yaremich, Benois. But that was all half the battle. The main thing was that Diaghilev offered this huge group of performers his own vision, his own concept of a musical performance.

The first thing he started with was a careful study of the author's clavier "Boris" (edition 1874) and comparing it with the published edition of Rimsky-Korsakov, and his rearrangement of scenes. The rearrangements touched upon the scene of Boris with the chimes, the scene near Kromy, which was omitted in the St. Petersburg production. Both were included in the Paris performance and since then have been fixed in many productions of Boris both in Russia and in the West. Having restored the scene near Kromy, which in the author's version crowned the opera, Diaghilev made the final scene of Boris's death, foreseeing its strong theatrical effect thanks to Chaliapin's performance. Benois claimed that the death scene was "the best final chord" of the opera, giving a convincing conclusion to the psychological drama of Tsar Boris.

The premiere of the opera on May 20, 1908 was a huge success. She was called a masterpiece and found her analogy only in the creations of Shakespeare. “Boris Godunov”, as the newspaper “Liberte” wrote the day after the premiere, “has the same (like Shakespeare’s. - I.V.) intensity of the depiction of the past, comprehensive universalism, realism, richness, depth, exciting ruthlessness of feelings, picturesque and the same unity of the tragic and the comic, the same higher humanity.” Russian artists proved themselves worthy of this music. Chaliapin shocked with the tragic power and amazing realism of the game in the scene of death, and especially in the scene with the chimes.

The success of "Boris" inspired Diaghilev and paved the way for the organization of the annual "Russian Seasons" in Paris. In the 1909 season, Diaghilev intended to show a kind of anthology of Russian opera classics: Glinka's Ruslan and Lyudmila, Serov's Judith, Borodin's Prince Igor, Rimsky-Korsakov's The Maid of Pskov, renamed Ivan the Terrible, and again Boris Godunov".

Suddenly, plans changed. Friends and associates of Diaghilev persuaded him to present to the French, in addition to operas, also a new Russian ballet. Four one-act ballets were added to these operas. The grandiose plan, however, turned out to be beyond their means: by the highest command, Diaghilev was denied a subsidy. I had to greatly reduce the operatic repertoire. Only The Maid of Pskov was staged in its entirety, with Chaliapin as the Terrible. The premiere was a success with the public. Each of the other operas included in the repertoire was represented by one act.

In the subsequent 1910–1912. the opera disappeared altogether from the repertoire of the Russian Seasons.

The 1913 season, which began at the Théâtre des Champs Elysées in Paris and continued at London's Drury Lane, included three operas. In Paris, the newly staged "Boris" and "Khovanshchina" were shown. In London, "Pskovityanka" was added to them. “Boris” was accepted with the same enthusiasm, but the main attention was riveted to “Khovanshchina”. Among the musicians, she caused fierce controversy, in the center of which was the figure of Diaghilev. Diaghilev's creative initiative this time went far enough: he proposed not only his own concept of the performance, but, in essence, his own version of its musical text.

The idea of ​​"Khovanshchina" came to Diaghilev as early as 1909. In the winter of the same year, returning to St. Petersburg, Diaghilev, consulting the published score as edited by Rimsky-Korsakov, was convinced that almost not a single page of the original manuscript remained without numerous significant corrections and changes made by Rimsky-Korsakov. At the same time, a daring plan was born - to restore the banknotes made by Rimsky-Korsakov, as well as the original text of those episodes he had saved, which had undergone the most significant editorial corrections, and to order a new instrumentation.

In 1912, Diaghilev commissioned Stravinsky to re-orchestrate the opera and compose the final chorus. Ravel soon joined Stravinsky. It was decided that Stravinsky would instrument Shaklovity's arias (“The Streltsy's Nest Sleeps”) and write the final chorus, while Ravel would take care of the rest. In autumn, Diaghilev ordered decoration young artist F. Fedorovsky, and in early 1913 he agreed with the rest of the participants in the production - director A. Sanin, choirmaster D. Pokhitonov, conductor E. Cooper and, of course, with Chaliapin - the performer of the part of Dosifey.

Press reports of the upcoming production provoked angry protests from admirers of Rimsky-Korsakov. The composer's son A.N. Rimsky-Korsakov called Diaghilev's undertaking an "act of vandalism", an outrageous disrespect for the memory of Rimsky-Korsakov and his selfless work. Ravel was forced to answer him with an open letter, in which he assured that the desire to acquaint the public with original text Mussorgsky does not diminish the importance of Rimsky-Korsakov, for whom he, Stravinsky and Diaghilev have the most sincere love and respect.

Complications also arose with Chaliapin. The latter set as a condition of his participation the preservation of the entire part of Dositheus in Rimsky-Korsakov's version. He also refused Diaghilev's proposal to include Shaklovity's aria in the part of Dositheus, which Diaghilev considered more appropriate in the mouth of Dositheus than the "arch-rogue", as Mussorgsky himself characterized Shaklovity. As a result, Shaklovity's aria was stopped. Diaghilev had to make concessions.

Thus, the new version of the opera turned out to be a very compromise: it was based on the orchestral score of Rimsky-Korsakov with handwritten inserts of episodes instrumented by Ravel, and the handwritten score of the final chorus written by Stravinsky.

The main conquests of Diaghilev's opera entreprise in the pre-war period were "Boris Godunov" and "Khovanshchina".

In "Russian Seasons" 1908-1914. he managed to “exalt in the West” the most unconventional aspects of Mussorgsky's brilliant operas, and, above all, their choral dramaturgy.

3. Ballet music

If the opera performances of the “Russian Seasons” pursued the goal of opening the eyes of Europe to the inimitable originality and intrinsic value of Russian classical opera, presenting it as an integral part of world musical culture, showing that in addition to Wagner’s “Tristan” there are also “Boris” and “Khovanshchina”, then the ballet performances claimed something more. According to Diaghilev's plan, they were supposed to show the world a new musical theater, which was not yet known either in Russia or in Europe.

After the "Russian Season" in 1910, Diaghilev tried to define the "essence and secret" of the new ballet performance. “We wanted to find an art through which all the complexity of life, all feelings and passions would be expressed, apart from words and concepts, not rationally, but spontaneously, visually, indisputably,” said Diaghilev. “The secret of our ballet lies in rhythm,” Bakst echoed him. – We found it possible to convey not feelings and passions, as drama does, and not form, as painting does, but the very rhythm of feelings and forms. Our dances, and scenery, and costumes - all this is so captivating, because it reflects the most elusive and intimate - the rhythm of life. For some reason, neither Diaghilev nor Bakst mention music in this interview, but isn't the direct expression of the "elusive and intimate rhythm of life" the true vocation of music, and hence its special new function in the composition of a ballet performance?

The first to understand this were the representatives of the “free dance”: Loy Fuller, Maud Allan and, above all, Isadora Duncan. The latter rejected the ballet music of the 19th century. Her dance-plastic improvisations were based on the music of Bach, Gluck, Beethoven, Chopin, not intended for dance, but possessing a richness and variety of rhythmic content, not constrained by the genre-metrical formulas of classical ballet.

The rejection of traditional "dance" in the name of the genre and compositional diversity of classical and modern instrumental music was one of the main points of Fokine's ballet reform. Subsequently, Diaghilev claimed that the ideas for updating the ballet performance, including ballet music, belonged to him, and Fokine only managed to successfully put them into practice. Of course, Fokine indignantly denied such allegations. The world-famous "The Dying Swan" to the music of Saint-Saens and "Chopinian", which marked the beginning of one of the leading trends in the ballet theater of the twentieth century, was created by him before he met Diaghilev, and in joint work Fokine remained a fairly independent artist. But it is unfair to deny Diaghilev (as Fokine does) the renewing influence on the musical side of ballet performances.

From the very beginning, Diaghilev insisted that the music of the ballets in his company meet the highest artistic standards. For the sake of this, as in the case of operas, he allows himself "editor's correction" of the musical text. The extent of his involvement varied. In "Chopiniana", for example, which he immediately renamed "Sylphides", he was not satisfied with the instrumentation of Chopin's pieces, made by M. Keller. The re-orchestration was commissioned by several composers, including the names of A. Lyadov, A. Glazunov, I. Stravinsky.

With the score of A. Arensky's ballet "Egyptian Nights", which Diaghilev found weak, he acted much more decisively. Proposing to give the ballet the features of a choreographic drama (tragic finale), making the central figure of Cleopatra. Diaghilev made sure that the most “shocking” moments stage action were supported by mood-appropriate music High Quality and dance genre. Cleopatra's spectacular entrance was accompanied by music from Rimsky-Korsakov's opera-ballet Mlada (The Vision of Cleopatra). The pas de deux of Slave and slave Arsinoe from Cleopatra's retinue, staged by Fokine especially for Nijinsky and Karsavina, was performed to the sounds of the Turkish Dance from Act IV of Glinka's Ruslan. For the climactic mass dance- bacchanalia - the “autumn” bacchanalia of Glazunov from his ballet “The Seasons” was used, and the touching mourning by the girl Taor (Anna Pavlova) of her fiance killed by Cleopatra took place to the sounds of “Persian Dances” (“Khovanshchina”), filled with “dull bliss” and longing .

In each particular case, these interstitial episodes served as a decorative amplifier for spectacular effects. In this sense, Diaghilev, despite the just reproaches of unacceptable musical eclecticism, achieved what he wanted. Moreover, if Benois’s immediate impression is to be believed, Diaghilev succeeded so deftly in introducing alien episodes into the musical fabric of Arensky’s score, so skillfully fitting them together that there were almost no seams in the music of the “recomposed” ballet and even a certain compositional integrity was achieved.

More successfully, the same function of “decorative accompaniment” to the dance was performed by the music of Rimsky-Korsakov in the ballet “Scheherazade”. Diaghilev used the 2nd and 4th movements of the symphonic suite of the same name, omitting the 3rd movement as less interesting for dance interpretation, the 1st movement was performed before a closed curtain as an overture. The performance provoked violent protests from Rimsky-Korsakov's widow and children. I resented the very fact of using music, which had nothing to do with the ballet action, and most importantly, the bloody plot imposed on it.

The successes of the first ballet season did not obscure the need to create original ballet scores. Diaghilev's entreprise needed its own composers like air. The first person Diaghilev chose was Ravel. Diaghilev commissioned him the music for a planned "ancient" ballet based on the Hellenistic novel Daphnis and Chloe. Benois, who did not expect anything other than a “graceful” little thing from the author of the Spanish Rhapsody and piano pieces, wondered why Diaghilev did not turn to Debussy, the author of The Afternoon of a Faun. But, apparently, something in Ravel's music suggested to Diaghilev the possibilities of its plastic interpretations. Intuition did not deceive Diaghilev. The score of Daphnis and Chloe, with its amazingly organic combination of archaic monumentality in musical themes and the nature of orchestral dynamics (cult images) with the refinement of sound lines in the depiction of the main characters of the shepherd's novel, turned out to be the deepest and in its kind the only example of a symphonic comprehension of the ancient theme in performances of "Russian Seasons".

by the most major achievement Diaghilev in the musical field of "Russian Seasons" was the "discovery of Stravinsky". In preparing the program for the 1910 season, Diaghilev set out to include the original Russian ballet in it. The libretto of a fabulous ballet based on Russian folklore already existed, the future ballet was called The Firebird. The choice of Lyadov as a composer suggested itself. Diaghilev with with good reason called the author of symphonic paintings "Kikimora", "Baba Yaga", "Magic Lake" and numerous arrangements of Russian folk songs“our first, most interesting and most knowledgeable musical talent.” But Lyadov hesitated to start work, and it became clear that he would not be in time for the deadline. For a moment the thought of Glazunov flashed through Diaghilev's mind. N. Cherepnin worked on The Firebird for a short time, but the matter ended with the composition of the symphonic picture The Enchanted Kingdom, and the composer himself, according to Benois, "suddenly lost interest in ballet." It was then that Diaghilev, not without a hint from B. Asafiev, began to look closely at the young, then still unknown composer Igor Stravinsky.

in winterгодаДягилевуслышалводномизконцертовАЗилотиего“Фантастическоескерцо”длябольшогосимфоническогооркестраОтпроизведениявеялосвежестьюиновизнойнеординарностьритмовблескипереливытембровыхкрасоквообщепечатьсильнойтворческойиндивидуальностикоторойбылоотмеченооркестровоеписьмоэтогосочинениязаинтересовалиДягилеваИнтуицияподсказывалаемучтовнедрахэтойпьесытаитсяобликбудущегобалетаПозднеепобываввместесФокинымнаисполнениисимфоническойминиатюры“Фейерверк”Дягилевлишьукрепилсявпервоначальномвпечатлении

ИнтуициянеобманулаДягилеваТочтопослышалосьемуворкестровомколорите“Фантастическогоскерцо”нашлосвоепродолжениеиразвитиевзвуковыхобразахКащеевацарстваипреждевсеговобразечудеснойптицы“ПолетиплясЖарптицы”–примерысовершенноновогомузыкальногорешениятрадиционнойисольнойвариациибалериныМузыкальнаятканьэтихэпизодовлишеннаяотчетливогомелодическогорельефарождаласьизказалосьбыстихийногосплетенияфактурногармоническихлинийизсамодвиженияоркестровыхтембровТолькоострыеритмическиемотивывиолончелейподспуднорегламентировалиинаправлялимерцаниеитрепетзвуковойстихиисообщаяейоттенокпричудливоготанцаЧувствожестапластикичеловеческоготелаумениеподчинитьмузыкуконкретномусценическомузаданиюсказалисьужевпервомбалетекакнесомненносильнаясторонамузыкальнотеатральноготалантаСтравинскогоЗрителиспектакляв“Грандопера”увиделив“Жарптице”“чудовосхитительнейшегоравновесиямеждудвижениямизвукамииформами”Удивительнодокакойстепенимолодойкомпозиторсразужесумелпочувствоватьивоспринятьдухихарактердягилевскихидей“Жарптица”явиласьсвоег a kind of musical encyclopedia of the basis of the achievements of Russian classics with a masterful embodiment of the manthological principle of Diaghilev into the frame of a master piece Rimsky Korsakov Tchaikovsky Borodin Mussorgsky Lyadov Glazunov found reflection in the sound structure of the ballet dancers of the original dissimilarity of creative individualities Stravinsky managed to capture the general properties of a unified Russian style to convey the overall feeling of an entire musical era

“Русскиесезоны”радикальнообновилижанрбалетноймузыкиоткрывпередкомпозиторамивозможностисозданияновыхформпрограммногосимфонизмаСимфоническаясюитасимфоническаякартинасимфоническаяпоэма–вотжанровыеразновидностибалетныхпартитурМногиекомпозиторыначалаХХвсталисочинятьбалетыспециальнодлядягилевскойантрепризыЗаСтравинскимпоследовалСПрокофьевчьебалетноетворчествобылотакжеинспирированоДягилевымПостояннымучастником“Сезонов”вкачестведирижераикомпозиторабылиНЧерепнин дляДягилеваоннаписалбалеты“Нарцисс”и“Краснаямаска”Сделатьчтонибудьдля“Русскихсезонов”пожелалипредставитель“враждебноголагеря”РимскихКорсаковых–МШтейнбергпревратившийсвоюпьесуизцикла“Метаморфозы”вбалет“Мидас”

By 1914 an ode to Diaghilev's strategic plan for the conquest of Europe was completed. The victory was won not by the “quartermaster”, but by the “generalissimo”, as A. Benois jokingly called his friend.

Describing the pre-war season, Lunacharsky wrote from Paris: “Russian music has become a completely definite concept, including the characteristics of freshness, originality and, above all, tremendous instrumental skill.”

Such was the result of the musical conquests of the “Russian Seasons” of 1908-1914, at the origins of which were Diaghilev's brilliant intuition and his rare gift as an inspirer.

Conclusion

ДляСергеяДягилеваувлечениеисториейрусскогоискусствахотьинесталоделомвсейжизниносовпалосоченьважнымдлянегопериодомспервымдесятилетиемдвадцатоговекаЗаслугиДягилевавобластиисториирусскогоискусствапоистинеогромныСозданнаяимпортретнаяВыставкабыласобытиемВсемирноисторическогозначенияибовыявиламножествохудожниковискульпторовдотоленеизвестныхС«дягилевской»выставкиначинаетсяноваяэраизучениярусскогоиевропейскогоискусстваXVIIIипервойполовиныXIXвека

For the first time, they were collected together with exhibits of pictorial portraits and sculptural busts that made up a whole gallery of outstanding people of Russia for more than a century and a half. If the organizers of the exhibition year limited it to tone of the Diaghilev exhibition were presented and contemporary artists during the time of the action, the exhibition was visited by human

The merit of Diaghilev is that he was the first to take abroad an exhibition of Russian icons, painting of Russia in the 18th century, music of Mussorgsky Rimsky Korsakov

ВеликийрусскийимпресариоСергейДягилеввошелвисториюнетолькокакчеловеквпервыепредставившийрусскоеискусствопросвещеннойЕвропеорганизовавпрогремевшиенавесьмир«РусскиесезонывПариже»Инетолькокак«балетныймаг»десятилетияпестовавшийисколесившуювесьмиртруппу«Русскогобалета»Дягилевумелнаходитьиоткрыватьталантыумелраститьихивсегдабезошибочнопопадалвпульсвременипредчувствуяиосуществляяточточерезмгновениестанетновымсловомвискусстве

Bibliography

1. Rapatskaya LA Art of the "Silver Age" - Education "Vlados" - with

2. FedorovskyVSergey Diaghilev or Backstage history of Russian ballet−M–S–

3. Nestiev, IV Diaghilev and musical theater of the 20th century − MS–

4. Pozharskaya MN Russian seasons in Paris − Ms

5. SD Diaghileviral artISZilbersteinVASamkov-M-T

Rapatskaya L.A. / Art of the Silver Age. - M .: Education: "Vlados", 1996.-16p.

Pozharskaya M.N. / Russian seasons in Paris. - M., 1998. - 35s.

Nestiev I.V. / Diaghilev and musical theater of the twentieth century. - M., 1994. - P. 5 - 15.

S. Diaghilev and Russian art / I.S. Zilberstein, V.A. Samkov. - M., 1982. - T. 1-2

Rapatskaya L.A. / Art of the Silver Age. - M .: Education: "Vlados", 1996. - 32p.

Fedorovsky V. / Sergei Diaghilev or behind the scenes history of Russian ballet. - M., 2003. - S. 3 - 18.

S. Diaghilev and Russian art / I.S. Zilberstein, V.A. Samkov. - M., 1982. - T. 1-2

S. Diaghilev and Russian art / I.S. Zilberstein, V.A. Samkov. - M., 1982. - T. 1-2