Ballet legend of love at the Bolshoi Theatre. Tickets for the ballet legend of love at the Bolshoi Theater

The property is something like Grigorovich's ballets - everything is so good that it's hard to cling to something in order to start writing. However, his ballets have one more property - they are so perfect that the performers have to reach for the level, because the choreography itself contains such a power of expression, such a depth of meaning, such an unambiguous certainty of the language, combined with such a multi-layered possible colors that can be filled with every phrase that the production itself is the lion's share of the performance's success. And even if everything works out with the execution, diamonds of absolute purity can be obtained.

The brilliant of this performance was certainly the perfect Svetlana Zakharova. In general, it is difficult to evaluate other performers when she is on stage - she sets the bar too high. Not even a game - just the beauty and magnificence of the lines. In the second act there is a scene where she sits on a throne and is entertained by dancing. And so, you plunge into this atmosphere, follow the cord, and then she gets up, leaves the throne, and, passing through the dancers, freezes in thought about Ferkhad ... Movement continues behind her, and she just stands, frozen, and catches yourself on the fact that you look only at her, because in her static pose there is more nerve, more expression than in the violent movement of a dozen dancers.

Mekhmene Banu Svetlana has all her passions deep inside. She has too much dignity to show them in public, she has no habit of showing feelings at all. And not only love ones - she is also a closed queen, her imperiousness is not demonstrative, she is not a boss, not a leader, not a mistress - she is simply higher, that's all. She can calmly, without looking back, without calculating the effect, stretch out her hand in a commanding gesture, she does not need to play it out, everyone will obey anyway. Therefore, her body breaks so painfully in love languor, the deflections are so prohibitive, her hands are so tragic, everything is too deep, too strong and too unthinkable to let it out. The moment when she succumbed to her emotions - the moment of anger, the chase and the trial of the fugitives - yes, there was passion breaking through, but she curbs her, this is anger unworthy of her. But from the depths of the being of the suffering Mekhmene, such tenderness breaks through, unthinkable for a queen, such sacrificial femininity ... Here she is warm, alive, real. And the tragedy of the fact that she cannot give it all away is especially piercing ... Yes, I completely forgot that, according to the plot, her misfortune is connected with the loss of beauty ... No, it’s not even that Svetlana cannot be imagined as ugly and unwanted ... Just this Mekhmene cannot afford to succumb to passion for a simple artist, cannot destroy her sister's feelings, she is bound by position, duty, dignity, anything but physical deformity.

About a simple artist. Debut of Denis Rodkin. I wanted to write - well, very simple ... But this is still Svetlana's syndrome, I wrote above that it is very difficult to be on stage next to her. Ferkhad Denisa was molded as a tracing paper from Aladdin from the famous Soviet film of the 60s. The same handsome man, the same cloyingly sweet, the same conditional ... In this regard, they simply perfectly coincided with Anna Nikulina's Shirin. The perfect couple! Both are marshmallow-caramel, cartoony, from a children's fairy tale about the east. Sometimes, looking at them, I remembered the Disney cartoon about the same Aladdin .. And the same childish, conditional love. To be honest, Grigorovich's love duets are so luxurious that sometimes it is enough to designate enough to make the heart sank. One of the craziest moments - when they just fall to the floor exhausted, not even close, not even touching, and just lie there, motionless, looking at the sky - what happened to me, what kind of cosmos is born in me? Brilliant! I'm not talking about support - what words to convey this? ..

Everything was done here, but I really wanted a touch of sensuality, a touch of "adulthood", a touch of passion ... I saw Anna twice - I liked her madly with Anastasia and did not touch Phrygia at all. Apparently, such a crystal, innocent meekness is her color, her trait, but if this paint fell perfectly on Anastasia, then for the images of girls with, let's say, a more active life position, I stubbornly lack temperament in her. And Denis, it seemed to me, was still cautious. I noted this with deep satisfaction when, in the third act, "the warm one went." As soon as he was faced with the need to cut a rock, heroism immediately arose, emotions were immediately added, it immediately became more interesting. Yes, and Shirin added, fluttered like a wounded dove ... I was insanely inspired by the third act precisely because I saw that this couple, very harmonious, is likely to add on emotions.

Ferhad coincided with Mekhmene much less than with Shirin. Not to say - did not match at all. He really was too simple for such a queen. Their duet - brilliant in terms of drama, could have sounded much more interesting if there were more chemistry between them. Although here I must repent - how I could not resist not to watch the video of the classics on the eve, but it was this duet that managed to revise me with Plisetskaya and Liepa.

And meanwhile, all this time, the chic Vizier Vitaly Biktimirov was nearby! I wonder why, if Legend, then everyone is Ferhad, Ferhad, and here is such a tasty party! I liked him incredibly! However, I like Vitaly invariably, only I have never seen him in such parts, at most the Captain of the Marseillais, and so - more and more in characteristic dances. Precise, intelligent, charismatic, textured oriental ruler... Again, a warrior, a master, a shoulder and support... And a handsome man, by the way... A chic type. And amazingly executed. The mystery of the performance - why did Mekhmene need a Ferhad boy in the presence of such a man nearby? Unless you command your heart, there are no other explanations ... By the way, when bowing, Vitaly kept a little aloof, behind the backs of the other main characters. But in vain!

The corps de ballet, as always, is amazing! Especially male. Although the mass dances staged by Grigorovich are also bewitching and bottomless in their expressiveness, but they are so polished, so balanced, to convey them with such expression - it's worth a lot. Some shamanism. I am delighted. As she began to admire the scene of the exit of officials and officers before the meeting of Mekhmene and Shirin with Ferhad, she did not stop until the end. And Igor Tsvirko's Jester got his well-deserved share of applause.

In general, there was still a moment of the premiere syndrome in the performance. There was caution, and trying on for parties, and running images "in action". Therefore, to everyone who asked me after, I said that I was sure that the performance would increase. Artists will still get used to it, get used to it, open up, loosen up, pick up colors, and it will play even more. In the meantime, there was a general elation, the atmosphere of a holiday, events, a bunch of VIPs ... I will not name official and financial persons, I noticed Zelensky and Vishneva from the ballet, she was sitting with Urin. But the main VIP of the evening was without a doubt Yuri Nikolayevich. The hall gave him a standing ovation, and it was so from the heart ... And then he went on stage to bow, and with him the composer Arif Melikov - it was very touching. Svetlana, and after her, the rest of the participants put their bouquets at the feet of Grigorovich, and Arif Melikov threw his bouquet into the orchestra. The ovation was long, the audience shouted bravo, there were many flowers, everything was fine. And I am very glad that there is another one on the stage of the Bolshoi - sorry for the out-of-genre forest - a real "blockbuster", which you must see.

PS. I bit my elbows, I really want to look at the Lantratov-Vinogradov pair. But this fall I don’t get any more, circumstances ((So I already envy everyone who else will go.

I won’t post celebrity photos, so these are traditional photos from bows.

Video episodes with Svetlana put here.

After the first act:

Mekhmene Banu - Svetlana Zakharova, Vizier - Vitaly Biktimirov

Shirin - Anna Nikulina, Ferkhad - Denis Rodkin

After the second act, the fugitives first came out:

and then "senior"

Before the third act, the orchestra was traditionally greeted. And Yuri Nikolayevich - he was on our side, and we did not see him, but we guessed from the stormy applause of the hall.

At the end

Svetlana brought Grigorovich to the stage and he began by bowing to the artists...

And then to the public

Composer Arif Melikov also came out

And then the curtain calls began

On the stage of the Bolshoi Theater, the legendary performance, which became the golden national heritage of the Soviet period, "The Legend of Love". The libretto by Nazim Hikmet was directed by the permanent director of this ballet, Yuri Grigorovich, in tandem with Simon Virsaladze. The Legend of Love at the Bolshoi since 1965 has consistently been the top-grossing performance every season. After a short break associated with the departure and return of Yuri Grigorovich, the Moscow audience can once again enjoy this sensual and eternal story.

About the play "The Legend of Love" at the Bolshoi Theater

In Soviet times, the production, based on an oriental fairy tale with the genre's inherent sensuality and a high degree of eroticism, received many mixed reviews. The play "The Legend of Love" and the activities of its director and choreographer were even the subject of discussion at the party level.

The sensual plasticity of the dancers, the undisguised sexuality of relations between the sexes, frankness unusual for classical ballet - all this made a sexual revolution in art and trampled on Soviet morality. But, despite harsh criticism, the ballet became part of the Bolshoi Theater. Today, the viewer can again see the legendary production unchanged.

"Legend of Love": the plot of the play

The plot of the performance is imbued with gentle romanticism and sadness, which the stage performers were able to embody incredibly accurately in the dance. The sister of the Persian queen Mehmene Badu is ill, and in order to save the girl, the ruler sacrifices her beauty. Now she is forced to constantly wear a veil, while her sister experiences the best moments of love with the young artist Ferhad, completely surrendering to passion.

But the queen also dreams of the love of a young man, although her erotic fantasies do not go beyond dreams. The finale of the performance is the same each time, but the audience, impressed by the performance of the actors, still believes in something that will suddenly change the course of events. Alas, Ferhad is not constant, and leaves, leaving both women.

The cast of the play

In 1965, the premiere of the performance was presented by legendary theater artists - Maya Plisetskaya, Natalya Bessmertnova, Maris Liepa. It was they who set the tone and the inner spirit of the action, which is still felt today. Yuri Baranov, Karim Abdullin, Angelina Karpova, Maria Alexandrova, Maria Vinogradova, Timur Askerov, Ivan Alekseev shine in the play "The Legend of Love" 2018. Spectators will be able to see them on the Historical stage of the theater on May 11 and 13.

Order of ballets for the play "The Legend of Love" at the Bolshoi Theater

You can buy tickets for The Legend of Love, without making your way through all of Moscow to the box office and without wasting time, at our Agency, which has been providing services for connoisseurs of theatrical art for more than 10 years.

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It is a must to see the play "The Legend of Love" in Moscow, because it is not just a story about the strongest feeling on earth, but also a classic that even time could not change.

In the palace of Queen Mekhmene Banu deep sorrow reigns - her younger sister Princess Shirin dies. The courtiers and the Vizier are in fear, the queen is in despair. The warriors bring in the Stranger - he undertakes to heal the princess. Mekhmene Banu promises him gold, but he refuses. The queen is ready to give him the crown, but the Stranger does not need the crown either. Let Mekhmene Banu give up her beauty to save her sister. After painful hesitation, the queen agrees. The stranger brings Shirin back to life. She rises from her deathbed and looks with horror at her sister's disfigured face, not recognizing her.

palace garden, built for Shirin. Ferkhad and his friends are finishing painting the arch. Accompanied by the retinue, Mekhmene Banu and Shirin are marching - they arrived to inspect the palace. The eyes of the sisters are riveted to the artist Ferhad: they are amazed by his beauty. Distinguished guests are removed. Ferhad does not remain alone for long - Shirin came secretly to meet the young man who captivated her heart. In their first duet, young people do not even touch each other - so great are the barriers that separate them.

Over a dry spring the people gathered. To get water, you need to break through a huge mountain. From afar they carry water only to the palace.

Chambers of Mekhmene Banu. The passionate, secret love of the queen for Ferkhad torments her heart. Lost beauty leaves no hope for reciprocity. In vain the Vizier tries to entertain her with the dances of court dancers and jesters. The queen's grief is boundless.

Shirin's quarters. Ferhad's love made Shirin happy. Ferhad enters the palace, and the duet of lovers is full of harmony and passion. Not wanting to part with his beloved, Shirin agrees to escape from the palace. Upon learning of this, the Vizier tells the news to the queen. In anger and jealousy, Mekhmene Banu orders to catch the fugitives. After the chase, the lovers are overtaken. Shirin begs her sister not to separate her from Ferkhad. The queen, offended and angry, sets an impossible task for Ferhad: only by breaking through the mountain and giving people water, he will get Shirin as his wife. Saying goodbye to loved ones is full of bitterness. Ferhad goes to the mountain.

Chambers of Mekhmene Banu. The queen does not find a place for herself. She painfully loves Ferkhad and dreams of him. In her dreams, a duet arises, where Ferkhad is Mekhmene Banu in a royal guise. It seems to her that she is beautiful again, Ferhad fell in love with her, and she found happiness. The dream is interrupted by the appearance of Shirin. She doesn't want to live without her lover. She begs her sister to forgive Ferkhad. Everyone is heading for the mountains.

Mountains. Great hope brought people here. Every blow of Ferkhad's pick resonates in their hearts. Mekhmene Banu and Shirin appear at the head of the retinue. Ferhad hopes that Shirin will stay with him. But the treacherous queen invites Ferkhad to go down the mountain and be happy with his beloved in the palace. But Ferhad cannot deceive people's hopes. He will gouge the mountain until the people get water. Shirin resigns himself, says goodbye to his beloved and leaves the mountains with his sister.

Night. Stars light up. It seems to Ferkhad that water begins to flow from the ancient rock. And with her, Shirin appears in Ferhad's dreams.

Notes:

1. Shortly after the premiere, the choreographer moved the final painting of the “vision of water” to the beginning of the third act, where it precedes the painting in the chambers of Mekhmene Banu and her duet with Ferkhad.

2. In contrast to St. Petersburg, at the Bolshoi theatre, Grigorovich transferred the painting “in front of the spring” from the beginning of the second act to the beginning of the third, preceding the painting “the vision of water”. Thus, all the "folk paintings" are brought together there.

The older generation remembers Nazim Hikmet well. A Turkish poet, a revolutionary idealist, after being persecuted in his homeland, he moved to the USSR. He wrote poetry, prose and unorthodox plays, one of which was "The Legend of Love", based on the old legend of love between Ferhad and Shirin.

When the Azerbaijani composer Arif Melikov offered his ballet based on this play to the Kirov Theater, he was not yet 30 years old. The original version of the script was a meticulous retelling of Hikmet's play and was therefore rejected.

The composer turned to the poet himself, who later admitted: “I really wanted to take part in the life of the ballet theater. I am attracted by the conventional forms of ballet art, which open up the possibility for deep artistic generalizations. After all, art is not a mirror, it does not copy life, it kind of creates a new life.”

A new version of the script, proposed by Hikmet, satisfied the directors, and in 1960 work began on a new ballet. The composer actively completed the required scenes that were born in the head of the choreographer. The scenario dramaturgy, of course, was not perfect: as mentioned above, individual films changed their place even after the premiere. The music was emotional, with the necessary oriental flavor, but it did not pretend to be separate from the performance.

All the considerable merits of the ballet rightfully belong to Yuri Grigorovich's choreography and Simon Virsaladze's set design.

The ballet itself had a happy fate, the press and the authorities tried not to notice either the sharpness of the choreographic language or the ambiguity of the content. The performance was shown almost immediately on foreign tours, moved by Grigorovich to Novosibirsk, Baku, and in 1965 to the Bolshoi Theater, gathering a stellar cast of performers. Natalia Bessmertnova (Shirin), Maya Plisetskaya (Mekhmene Banu), Maris Liepa (Ferkhad) confirmed the significance of "Legend of Love" as a certain pinnacle of the achievements of the national ballet. New generations of artists are still searching for their understanding of the inexhaustibly beautiful images of this emotional performance.

A. Degen, I. Stupnikov

In the photo: The Legend of Love at the Mariinsky Theater / Natasha Razina

"Legend of Love". Mekhmene Banu - Svetlana Zakharova. Photo - Damir Yusupov

The premiere screenings of the revival of the legendary ballet by Yuri Grigorovich were held at the Bolshoi Theater.

The Legend of Love is more than ballet in the conventional sense of the genre. With the "Legend", as with Wagner's "Tristan", a new milestone in the history of ballet as a special form of theater began. "Legend" soldered the form of classical dance with the artistic depth of the dramatic word without the mediation of pantomime, which is stuck in the teeth and doomed to reflex imitation of drama - the drama ballet.

With only one dance, almost without scenery, in ascetic costumes reminiscent of ordinary tights for a ballet class, Grigorovich tells a story of self-denial and revenge for self-sacrifice, a story of pain and retribution for generosity, a love story that is stronger than self-pity.

As a young choreographer, Grigorovich for the first time touches upon the theme of earthly Power, which is powerless before greater forces. This theme will be reflected in the ingenious Ivan the Terrible to music by S. S. Prokofiev, and in no other ballet will it be dissected so grandiosely and ruthlessly.

It is not surprising that today both Ivan the Terrible and The Legend of Love look absolutely fresh, the plastic solutions found almost half a century ago have not faded to this day. Until now, the grandiose scenes of the procession and the chase form the psychiatric axis of the performance, which tells about all types of love passion - about what Grigorovich ballet theater even afraid to approach!

Suffice it to recall the fantastic scene of Mekhmene Banu's piercing "infrared" monologue in the third act of the ballet, in which she dreams of Ferkhad as an imperious, almost cruel ruler. After all, this the purest water a psychoanalytic revelation of a female leader, tired of the obedience of her subordinates and dreaming of almost masochistic enjoyment of the power of a real man. And in this vein, the tragedy of the queen does not sound like a self-sacrifice of sisterly love deprived of gratitude, but like a tragedy of self-deception: it is unlikely that Ferhad could become the hero of her novel.

However, the very renunciation of Ferkhad from Shirin in favor of self-esteem raises doubts that the court painter is just a young man in love! He rejects not pardoning the queen: he refuses female pity, and this meaning of the act of the protagonist of the ballet is much more picturesque and plausible than the social and communal obligations that allegedly become main reason the protagonist's refusal from his beloved woman and a good life at the court of her sister.

Self-esteem, inner freedom from external pressure - a theme that will take the main place in the ballet "Spartacus", reflected in the images of the two main antagonists. In the "Legend" the composition of images is devoid of chess harmony and is completely devoted to the "anatomy of passion", which is an amazing interweaving of secret sexual madness with outward decency.

An amazing embodiment of this magnetic mystery of the East is not only the internal monologues of the characters, the unique love duet of Ferkhad and Shirin without a single touch of the artists to each other (!), the unexpectedly capacious and also touchless trio of the main characters in the beams of spotlights in pitch darkness in the midst of a huge crowd of people ( servants, soldiers, horsemen, guards!), but also a fantastic cast of sado-masochistic ambivalence - the unique image of the Vizier.

The Vizier is one of the most enigmatic characters of the Legend: the infernal plasticity of a predator capable of tearing apart anyone in the way of his beloved mistress, not only reminds us that “the king is made by the retinue”, but also that personal emotions, personal motives and attachments form the basis not only of any despotic regime, of any autocratic absolutism, but also of any supposedly more stable and just form of government - democratic government.

Roughly speaking, remaining in grief, Ferkhad fantastically increases his political rating, and if you show a little imagination, it is not difficult to guess who would become the next "president" in this fabulous country, in which the queen's love for her sister deprives the latter of even the hope of personal happiness , and the love of the court artist for himself and for his reputation in the eyes of his fellow tribesmen makes two women unhappy at once.

After all, you see, it is difficult to imagine that in some eastern country there were no professional stonemasons capable of providing the valley with water. Consequently, nothing else but unparalleled pride and rabid egoism governs the actions of the artist Ferkhad. This stubbornness convincingly reflects the transcendent conceit inherent in unrecognized artists, and neither researchers nor viewers ever notice this complex hypostasis of the completely ambiguous image of the "Legend" ...

The game of Mekhmene Banu, in my opinion, is Svetlana Zakharova's best game to date. Neither in Aegina nor in the classical roles (Giselle, Kitri, Odette-Odile, Aurora, etc.) did the refined talents and the phenomenal school of the outstanding (if not the main!) ").

Mekhmene Banu in the ballerina's track record became a kind of insight: the technique seemed to have disappeared, and the drama came to the fore - the inner anguish expressed in the angular plasticity of this part found an expressively precise expression in the exquisitely retouched self-sufficiency of the ballerina.

After all, it is no secret that Svetlana Zakharova’s complex relationship with the classical heritage, in the interpretation of which the form of the ballerina has always prevailed over the content, is rooted in the dancer’s personal indifference to the fates and experiences of the heroines “revived” by her. And only the party of the queen, torn by social and karmic contradictions, suddenly flared up in the performance of Zakharova with a new, never seen before glow - the flame of real despair of a woman who voluntarily deprived herself of happiness for the sake of saving a loved one.

The part of Ferhad became a kind of test for the new leading soloist of the theater Denis Rodkin. The softness of the lines and the height of the dancer's jump seemed to outline the boundaries of the dramatic drawing of the role, causing involuntary allusions with one of the best performers of this part, Nikolai Tsiskaridze.

At the same time, with Rodkin, despite the “hereditary” similarity of the dancer’s “timbre” with the reading of this part by his outstanding teacher, Ferkhad turned out to be more direct, more naive, more lively.

The sculptural perfection of the poses, the incredibly free elevation and light giant step allowed Denis Rodkin to create almost his own unique image of this party. In any case, I personally did not see anything like it: it was not only technically refined and clean, but artistically impeccable.

Despite the harsh plastic characterization of the refined romantic image of the main character's sister, Princess Shirin, Anna Nikulina, the performer of this role, managed to express the rebelliousness of her remarkable nature in this role. A nature capable of going not only against the will of the royal sister, but also against the cultural traditions of her social circle. And if in some places the dance of the ballerina was not distinguished by technical accuracy, then from the point of view of the dramatic integrity of the image, it is impossible to present any claims to this work.

I am sure that modern viewers do not even think about the fact that Shirin’s careless tactlessness in relation to her sister, who saved her life, does not stand up to criticism within any coordinate system, and from the point of view of ethical impeccability, is simply criminally unacceptable. Violation of kinship, blood ties in Eastern cultures is unthinkable and is perceived as a betrayal.

In this ballet by Grigorovich, as in any philosophically deep work, there are no unequivocally good and hopelessly bad: it contains living characters and living destinies, it contains unthinkable emotional and ethical contradictions of the East in all their unique artistic and cultural confrontation of forms and meanings...

In the graphics of the dance characteristics of the heroes associated with the Power, plastic allusions to the solar symbol of the swastika are clearly traced, and the “goose step” of Mekhmene Banu is set off by the sinister shadow of a feathered predator, on which the Vizier’s part is built on straightforward associations.

Vitaly Biktimirov did an excellent job with the drawing of the party of the nameless, and from this even more sinisterly contradictory and faithful servant of Mekhmene Banu. The only thing that, in my opinion, the artist lacked was the voluptuous emotionality in the procession and chase scenes. Aggressive demonism, brilliantly demonstrated by the dancer, is just the outer shell of this complex part.

But even the outwardly correct presentation of this image made me remember the best performer of this role in my memory - Gediminas Taranda, who for almost the first time clearly showed his own motivational framework and unique psychological development this image, making the role of the Vizier sound along with the parts of the main characters.

Today it is hard to imagine that such a creation of young authors (composer Arif Melikov was only 27 years old at the time of the premiere of the ballet, and Yuri Grigorovich was 34 years old) became possible on one of the main stages of the Soviet Union in 1961!

A new edition of the 1965 ballet was created for the Bolshoi Theater after the death of the author of the libretto, Nazim Hikmet (died in 1963 in Moscow), and became the first work of thirty-eight-year-old Grigorovich as chief choreographer of the main ballet troupe of the USSR. Even then, the shock caused by the "Legend of Love" was associated with the revelations that sounded in the amazing music of Arif Melikov about voluptuousness for the Power and about the Power's love for itself, about love as a test that incinerates the soul and about innocence as shamelessness.

In the current premiere screenings, as if remembering their former greatness, the Bolshoi Theater Orchestra conducted by Pavel Sorokin sounded beautiful, juicy, precise, bright and powerful. In places, I personally lacked a little more lively tempos (I found the performance during the live broadcast of the ballet to be especially viscous), but on the whole it was a delightful capture of the true spirit of the music.

It is not clear what prevents today from seeing in the masterpiece of Melikov-Grigorovich-Virsaladze-Khikmet a timeless parable about the incomprehensibility of the human soul, about the incompatibility of characters obsessed with power and about the tragedy, which leads to a clash of interests of internally strong and free people.

In addition to the philosophical, psychoanalytic and artistic-revolutionary meanings that are read in this ballet, today one can easily see in it the anticipation of conflicts within the theater itself that flared up in the second half of the 80s of the last century between the choreographer, supported by the ballet youth loyal to him, and the theater masters, headed by , ironically, one of the permanent performers of the part of Ferhad - Alexander Bogatyrev ...

The painful search for himself, new expressive means and plastic solutions in just ten years will lead Yu. N. Grigorovich to create the second masterpiece dedicated to the nature of Power - the ballet "Ivan the Terrible", a year after the appearance of which a real creative crisis will break out - the total self-repetition of the choreographer in the steep artistic peak of the flat stage futility of the Angara ballet...

Very often today, prejudice and hypocritical chastity prevent us from seeing in the masterpieces of the past not only what is inherent in them by the creative will of their authors, but also what was expressed through divine illumination sent down by inspiration from above.

Any violence against the subtle world of our being - over ethical, moral or religious norms - is fraught with the personal collapse of the one who rebels against himself, submitting to destructive external manipulation.

Is it not for this reason that violence against ethical imperatives leads to a personal fiasco for both Mekhmene Ban and Ivan the Terrible? Is it not for the same reason that such an artistic failure as the Angara ballet became possible in the work of the choreographer? talked about the dramaturgy of the conflict more than words?

Why do we, today, still not understand in any way that every real Artist in his best works always talks only about his own life experience, about his own experiences, about his personal place in the Universe, - always and only - about Himself ...

Alexander Kurmachev

The Bolshoi Theater invariably offers a variety of classical productions for ballet connoisseurs to choose from. The ballet repertoire of the theater also includes some modern ballets, as well as works related to Soviet periods. Among them, it is worth noting the production of "The Legend of Love". This ballet by composer Arif Melikov with choreography by the legendary Yuri Grigorovich leaves an indelible impression. You can buy from us for the production right now.

The literary basis of the ballet

The action of the ballet "The Legend of Love" begins in the palace, where Shirin, the younger sister of Mekhmene Banu, dies. Unexpectedly, the stranger offers to save her, but in return, he demands that the older sister give up her beauty. She agrees and Shirin is saved. During the procession, both sisters see the young artist Ferkhad on the square, and both fall in love with him. He is attracted to Shirin. To be with his beloved, he has to do the impossible - to break through the rock that blocks the way of water to the people. For the production of "The Legend of Love" ballet, it is worth buying a ticket in advance in order to secure a good place in the auditorium.

Tickets for the ballet "The Legend of Love" are already on sale!