Don Kichotas | Don Quixote

S i u þ e t a s

Prologas Kambarys Don Kichoto namuose. Prisiskaitæs istorijø apie riterius, Don Kichotas nusprendþia leistis á kelià – jis trokðta patirti nuotykiø, ginti vertybes ir bausti tuos, kurie nusiþengia riteriø garbës kodeksui. Don Kichoto ginklaneðiu tampa jo tarnas Sanèas Pansa.

I veiksmas Barselonoje, prieðais Lorenco smuklæ, ðurmuliuoja minia. Tarp þmoniø sukiojasi Kitri, koketiðka smuklës savininko duktë, ir jos mylimasis kirpëjas Bazilis.

Kad paerzintø merginà, jis rodo pernelyg daug dëmesio Kitri draugams.

Lorencas uþtinka dukrà ir Bazilá besibuèiuojanèius ir grieþtai uþdraudþia ásimylëjëliams matytis – jis nepakæs nepasiturinèiø Kitri gerbëjø. Mergina bando paaiðkinti tëvui, kad nepaprastai myli Bazilá, bet Lorencas neperkalbamas.

Jis iðvaro kirpëjà ið namø.

Pasirodo didikas Gamaðas, iðsipustæs prabangiais brokato apdarais. Minia dþiaugsmingai já sveikina. Paaiðkëja, kad turtuolis atëjo praðyti graþuolës Kitri rankos. Lorencui patiktø turëti kilmingà þentà, bet Kitri negali net pagalvoti, kad teks iðtekëti uþ ðio turtuolio. Tëvas piktinasi Kitri áþûlumu ir nepagarbiu elgesiu su Gamaðu.

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Minia dþiugiai sutinka gatvës ðokëjus. Kitri nekantriai laukia atvykstant þymaus toreadoro Espados.

Galiausiai jis pasirodo apsuptas kitø toreadorø. Jie ðoka temperamentingai mojuodami apsiaustais ir vaizduodami koridos scenas.

Staiga visi apstulbæ nuðèiûva – jie iðvysta neáprastà raitelá. Sanèas Pansa pûsdamas ragà skelbia riterio ið Lamanèos atvykimà. Lorencas maloniai sutinka nematytà sveèià ir kvieèia pasivaiðinti.

Merginos pasinaudoja proga pasilinksminti. Jos kreèia storuliui ginklaneðiui iðdaigas ir galiausiai ima þaisti slëpyniø. Vëliau vargðas Sanèas tampa vaikinø pajuokos taikiniu – jie mëto storulá á orà.

Sanèas ðaukiasi pagalbos. Don Kichotas atskuba gelbëti bendraþygio ginkluotas milþiniðka ðakute duonai skrudinti ir lëkðte, atstojanèia skydà.

Staiga riteris pamato Kitri, ir já uþburia merginos þavesys. Ar tai ne graþuolë Dulsinëja, nuolat pasirodanti jo svajose? Pametæs galvà, Don Kichotas klaupiasi prieðais merginà ir kvieèia suðokti su juo menuetà. Kad paerzintø Bazilá, Kitri mielai sutinka ir flirtuodama atkartoja rafinuotas aukðtuomenës damos manieras.

Kai niekas nemato, Sanèas pavagia ið virtuvës keptà þuvá ir jau rengiasi sprukti, bet indø plovëjai já pasiveja ir sulaiko. Naudodamiesi sumaiðtimi, Kitri ir Bazilis nepastebëti pabëga.

II veiksmas 1 paveikslas Nuo Lorenco ir Gamaðo sprunkantys ásimylëjëliai Kitri ir Bazilis atklysta á èigonø stovyklà. Èigonai mielai ðoka sveèiø garbei. Viena mergina praneða, kad horizonte pasirodë keistas raitelis. Paaiðkëja, kad tai Don Kichotas. Bazilis ir Kitri pasveikina já kaip senà gerà draugà. Èigonai kvieèia Don Kichotà pasiþiûrëti jø surengto vaidinimo. Riteris pamano, kad scenos ávykiai tikri, ir èiupæs kalavijà skuba gelbëti nelaimingosios spektaklio herojës. Improvizuotas teatriukas suniokojamas, o iðsigandæ aktoriai ir þiûrovai iðsilaksto á visas puses.

Don Kichotas atkreipia dëmesá á besisukanèius malûno sparnus. Juk tai milþinø rankos! Riteris puola malûnà, drabuþiai ásipainioja á sparnus ir jis, pirmiausia pakilæs aukðtai á dangø, bloðkiamas þemën. Kitri ir Bazilis atskuba pasirûpinti suþeistu bièiuliu. Visi liekasi nakvoti ðalia èigonø stovyklos.

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2 paveikslas Don Kichotà kamuoja koðmariðki sapnai. Jis regi milþiniðkà vorà, iðlendantá ið gûdaus miðko.

Riteris dràsiai puola pabaisà ir nugali. Tuo pat metu miðkas virsta nuostabia driadþiø karalyste.

Tarp jø yra ir Kitri, dabar jau ágavusi Dulsinëjos, Don Kichoto ðirdies valdovës, pavidalà. Amûras pristato Don Kichotà driadþiø karalienei. Nimfos jam dëkoja uþ iðgelbëtà ið pabaisos kerø karalystæ ir ðoka savo iðvaduotojo garbei.

3 paveikslas Iðauðta rytas. Sanèas Pansa bando priþadinti Don Kichotà. Lorencas ir Gamaðas ieðko Kitri ir Bazilio. Ásimylëjëliø globëjas Don Kichotas tyèia nurodo Lorencui ir Gamaðui klaidingà kryptá, bet jo „klaidà“ iðtaiso Sanèas Pansa. Gaudynës vyksta toliau.

III veiksmas 1 paveikslas Þmonës renkasi á puotà smuklëje. Nutaræ pasilinksminti, atvyksta ir galiausiai nuo Lorenco su Gamaðu pasprukæ Kitri ir Bazilis. Pasirodo toreadoras su ðokëja Mersedes, juos dþiaugsmingai sutinka puotos dalyviai. Smuklës savininkas perspëja Kitri, kad artinasi jos tëvas. Mergina susiruoðia sprukti, bet atvykæs Lorencas jà sulaiko. Nutempæs Kitri pas Gamaðà, tëvas siekia palaiminti jo ir dukters suþadëtuves. Gamaðas priklaupia prieðais Kitri.

Tai pamatæs Bazilis persismeigia krûtinæ durklu ir krenta ant þemës. Kitri atskuba prie jo, bet iðsyk supranta, kad mylimasis tik apsimeta suþeistas. Sumaniusi gudrybæ, mergina maldauja Don Kichoto skubëti pas Lorencà ir átikinti já iðpildyti paskutinæ Bazilio valià – jø meilë turi bûti palaiminta, nes Bazilis netrukus iðkeliaus á dausas. Kodël gi jam nepraskaidrinus paskutiniø ðioje þemëje akimirkø?

Gamaðas prieðtarauja, bet veltui – be jokiø kalbø jis iðvedamas lauk. Átikintas karðtø Don Kichoto maldavimø, Lorencas galiausiai palaimina ásimylëjëlius. Tà pat akimirkà Bazilis paðoka ant kojø ir dþiûgaudamas pabuèiuoja apstulbusá Lorencà. Linksmybës smuklëje vyksta iki vëlyvos nakties.

2 paveikslas Don Kichotas – Kitri ir Bazilio vestuviø garbës sveèias. Laimingi jaunavedþiai ðoka jo garbei.

Linkëdamas jiems didþiausios laimës, riteris iðkeliauja ieðkoti naujø nuotykiø.

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S y n o p s i s

Prologue A room in Don Quixoteÿs house. Having read some tales of chivalry, Don Quixote decides to set out in search of adventures, defend virtue and punish those who violate the code of honour. It occurs to him that his servant Sancho Panza will make a perfect armour-bearer.

Act I Scene 1 In front of Lorenzoÿs inn in Barcelona, a cheerful crowd has gathered. Among the people one can also see Kitri, the flirtatious daughter of the innkeeper, and her lover Basilio, the barber, who has come to tease her; Basilio is overattentive to Kitriÿs friends.

Lorenzo catches his daughter kissing Basilio and forbids them to ever meet again; he simply wonÿt have any penniless suitors. Kitri tells her father how much she loves Basilio, but Lorenzo is implacable and throws the barber out of the house.

Rich and pompous nobleman Gamache walks in, resplendent in his brocaded clothes. The crowd cheers at him. He has come to ask for the hand of the beautiful Kitri. Lorenzo would be delighted to have so highborn a gentleman for a son-in-law, but to Kitri the idea of marrying him is detestable. The innkeeper is shocked at his daughterÿs impertinent manner towards Gamache.

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A street dancer enters, cheered heartily by the crowd. The girl is eagerly awaiting the arrival of Espada, the famous toreador. Espada appears, accompanied by other toreadors. They dance, flourishing their cloaks, enacting scenes from a bullfight.

At the appearance of an extraordinary-looking horseman, the people are struck with astonishment.

Sancho Panza blows his horn to announce the arrival of the knight from La Mancha. Lorenzo welcomes the traveller courteously and invites him to partake of some refreshment. The girls seize the opportunity to have a bit of fun by playing tricks on the fat armour-bearer. They start a game of blind-manÿs-buff. After that the poor, harried Sancho becomes sport for the men, who toss him in the air. Sancho screams for help. Don Quixote comes to his rescue, armed with a huge toasting-fork and a plate for a shield.

Suddenly, the knight sees Kitri and is struck by her beauty. Is it not she who has haunted his dreams as the beautiful Dulcinea? In rapture, Don Quixote bends down on one knee and asks her to dance a minuet with him. To annoy Basilio, Kitri graciously accepts the invitation, flirtatiously imitating the manners of a fine lady.

While no one is looking, Sancho steals a fried fish from the kitchen and is about to slip away, but the scullions chase and catch the thief. Amidst the confusion, Kitri and Basilio slip away unobserved.

Act II Scene 1 Fleeing from Lorenzo and Gamache, the two lovers, Kitri and Basilio, wander into a gypsy camp.

The gypsies dance for their guests. A girl informs them of the approach of a queer-looking horseman – it is Don Quixote. Basilio and Kitri greet him like old friends.

The gypsies invite Don Quixote to attend a play they are about to perform. He takes what is happening on stage to be reality and rushes, sword in hand, to rescue the unhappy heroine; the improvised theatre is destroyed. The frightened actors and spectators scatter in all directions. The turning sails of a windmill then catch Don Quixoteÿs eye. They are the arms of giants! Don Quixote attacks the windmill. His clothes get caught on a sail and he is first swung up into the air, then hurled to the ground. Kitri and Basilio attend to his injuries. They spend the rest of the night resting by the gypsiesÿ caravan.

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Scene 2 Don Quixote is tormented by a nightmare. In his sleep he sees a huge spider crawl out of a dark, dense forest. The knight boldly attacks the monster and overpowers it. At the same moment, the forest is transformed into the beautiful Kingdom of the Dryads. Among them is Kitri, who has assumed the form of Dulcinea, the queen of his heart. Amor presents Don Quixote to the Queen of the Dryads. The nymphs are grateful to him for rescuing them from the power of the monster and dance for their deliverer.

Scene 3 It is morning. Sancho Panza is trying to wake Don Quixote. Lorenzo and Gamache are searching for Kitri and Basilio. Don Quixote, theirs protector, sends Lorenzo and Gamache on a false trail, but Sancho Panza corrects his masterÿs “mistake”. The chase goes on.

Act III Scene 1 People are gathering for a fiesta at the inn. Kitri and Basilio, having given Lorenzo and Gamache the slip, have also come here to take part in the merrymaking. The toreador enters with the dancer Mercedes, and both are hailed heartily by the crowd. The innkeeper warns Kitri of her fatherÿs approach; Kitri tries to escape, but her father overtakes her and drags her to Gamache to give them his parental blessing at their betrothal. Gamache kneels before Kitri.

Basilio, seeing this, stabs himself and falls to the ground. Kitri rushes to him. She guesses at once that he is pretending, but slyly begs Don Quixote to go to Lorenzo and persuade him to grant Basilioÿs dying wish – to give their love his blessing. Basilio is sure to die. Why not ease his last moments?

Gamache protests, but is driven out unceremoniously. At Don Quixoteÿs earnest entreaty, Lorenzo blesses the lovers. The very next instant, Basilio jumps to his feet and kisses the astounded Lorenzo. The merrymaking at the inn continues late into the night.

Scene 2 Don Quixote is the guest of honour on Kitri and Basilioÿs wedding. The happy lovers dance for him.

Wishing the newlyweds every bit of happiness, the knight departs in search of new adventures.

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Baleto riteriai ir Don Kichotas

XIX a. prasideda nauja baleto istorija XIX a. antroji pusë – baleto klestëjimo laikai. Menà uþvaldo romantizmas, poetai dûsauja, o pasaulis paávairina kasdienybæ ðokdamas kankanà, pasinerdamas á mistikà, sukeldamas karus ir revoliucijas… Baletas klesti. Scenose karaliauja silfidës, vilisos, nimfos ir kitos efemeriðkos bûtybës. Itin iðpopuliarëja baletai fejerijos (ðis þodis reiðkia fëjø ir stebuklø pasaulá, taigi apibûdina romantizmo epochoje baletui labai patrauklià sritá). Baleto turinys nebûtinai buvo susijæs su muzika, choreografija ar scenografija – spektaklio sëkmë pirmiausia priklausë nuo naudojamos maðinerijos ámantrumo ir primabalerinos talento. O ði bûtinai turëjo pasirodyti publikai virtuoziðkomis pas de deux variacijomis ir koda, bûtinas buvo ir pas dÿaction, kurio metu nuostabioji primabalerina atskleisdavo pantomimos gebëjimus. Baleto primarijui taip pat bûdavo skiriama variacijø, nors pagrindinë jo uþduotis buvo prilaikyti balerinà. Ðokant kordebaletui, pagrindiniai ðokëjai gaudavo progà atsipûsti ir persirengti.

Kompozitorius, choreografas ir dailininkas dirbdavo atskirai. Kompozitoriui bûdavo nurodoma, kiek, kokiø, kokios trukmës, ritmo ir tempo numeriø paraðyti. Dekoracijos (beje, ir kostiumai) turëjo bûti prabangios, puoðnios ir áspûdingos. Ðokëjø ðukuosenos atitikdavo madà, paprastai jas 16

puoðdavo deimantinë tiara. Ir visiðkai nieko nestebino vargðæ piemenaitæ vaizduojanti balerina su ámantria perlø apyranke.

Ir vis dëlto XIX a. antroji pusë – tai metas, kai baleto istorija tarsi prasideda ið naujo. Palikime Prancûzijà, Italijà ir apsistokime Rusijoje. Þmogus, kuris padarys baletui milþiniðkà átakà, á ðià ðalá atvyko kaip tik ið Paryþiaus. Rusija XIX a. antrojoje pusëje buvo vienintelë tikrojo ðokio meno tvirtovë, kurios negalëjo paplauti jokios griaunamosios prasto skonio mados bangos. Rusija pati diktavo pasauliui baleto madas.

XIX a. antrojoje pusëje rusø baletas pelnë europinæ ðlovæ ir pripaþinimà, rusø baleto artistus, Sankt Peterburgo teatro mokyklos, tuo metu pelnytai vadintos Baleto akademija, auklëtinius, imta kviesti gastroliø á Europà, jø portretus ir statulëles pirko muziejai ir galerijos, jø vardai buvo átraukti á auksinius sàraðus. Iki ðiol balete dar niekada taip aiðkiai neatsispindëjo kultûros epochø ir meniniø stiliø kaita. Ir visa tai XIX a. antrojoje pusëje Rusijos balete ávyko vieno prancûzo, per laimingà atsitiktinumà Rusijoje patekusio á palankias aplinkybes, dëka. Iki ðiol tas laikas vadinamas Petipa epocha.

Marius Petipa (1818–1910) „1847 m. geguþës 29 d. garlaiviu atplaukiau á Sankt Peterburgà ir iki ðiol èia tarnauju Imperatoriðkuosiuose teatruose“, – pradeda savo atsiminimus Marius Petipa, Rusijos baleto istorijos kûrëjas prancûzas. Kur jis buvo iki tol? Kà veikë vëliau?

Victoras Marius Alphonseÿas Petipa gimë Marselyje, artistø ðeimoje. „Tarnystæ menui tuo metu ðeimos perduodavo ið kartos á kartà, – raðë M. Petipa. – Prancûzø teatro istorijoje daug tokiø ðeimø.“ Jo tëvas Jeanas Antoineÿas Petipa (1787–1855) buvo choreografas, mama Victorine Grasseau – dramos aktorë, vyresnysis brolis Lucienas tapo þymiu ðokëju.

Briuselyje, kur 1822 m. apsigyveno Petipa ðeima, Marius mokësi grieþti smuiku. Sulaukæs septyneriø, berniukas pradëjo mokytis ðokio pas tëvà. Ðis, kaip vëliau prisiminë Marius, „<...> atskleisdamas choreografijos paslaptis, man á rankas sulauþë ne vienà strykà. Bûtinybë griebtis tokios pedagogikos

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iðplaukë ið to, kad vaikystëje nejutau jokio polinkio á ðá menà.“ Vis dëlto tëvo valia nugalëjo ir bûdamas devyneriø jis pirmà kartà pasirodë publikai.

1830 m. Briuselyje ásiplieskia revoliucija. Ðokio ir smuiko pamokos nutrûksta. Menas niekam neberûpi. Tëvas moko ðokiø pensionuose, vaikai perraðinëja natas... Galiausiai tëvas nutaria Antverpene iðsinuomoti teatrà ir rodyti ten spektaklius. Trupæ sudaro vien Petipa ðeimos nariai.

Vëliau ðeima persikelia á Bordo, o Marius pamilsta ðoká ir ima rimtai jo mokytis pas Augusteÿà Vestrisà. Tai buvo karjeros pradþia. Vëliau – darbas Nanto teatre, gastrolës su tëvu Niujorke, Paryþiaus opera, Bordo teatras... 1842 m.

Petipa pakvieèiamas á Madrido karaliðkàjá teatrà, kur suþiba kaip ðokëjas ir choreografas. Gal jis bûtø pasilikæs „Europa, ðokanti Ispanijoje, jei ne aplinkybës, kaþkokius klounø kurios 1846 m. privertë gráþti á Paryþiø. Atsiminimuose pratimus, be perstojo Petipa tvirtina, kad to prieþastolsta nuo tikrojo meno. tis buvusi romantiðka meilë Balete turi karaliauti markizo de Chateaubriandÿo plastika ir groþis, þmonai, dël ko jam teko netgi o ne visokiausi ðuoliai, bûti iðkviestam á dvikovà. Kad ir kaip ten buvo, bet kaip tik beprasmiai sukiniai Paryþiaus operos scenoje, kur ir kojø kilnojimas jis drauge su broliu Lucienu aukðèiau galvos...“ 1847 m. dalyvavo balerinos Thérèse Elssler benefise, Mariusà pasiekë kvietimas atvykti á Rusijà. Sankt Peterburgo trupës pagrindinis baletmeisteris ir baletø inspektorius A. Titus siûlë jam pirmojo ðokëjo vietà! Petipa nedvejodamas priëmë ðá pasiûlymà. Pats to neþinodamas, jis pasiraðë sutartá visam gyvenimui.

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Talentingas, dar në trisdeðimties neturintis baletmeisteris paliko tëvynæ ne vien suviliotas puikiø sutarties sàlygø.

Jis jau buvo spëjæs iðgarsëti Prancûzijoje ir galëjo èia toliau sëkmingai siekti karjeros. Bet jam nepatiko prancûzø poþiûris á baletà. Rusijà jis laikë vienintele ðalimi, kur baleto menas klesti ir rutuliojasi tinkama linkme. Vëliau Petipa raðë: „Europa, ðokanti kaþkokius klounø pratimus, be perstojo tolsta nuo tikrojo meno. Balete turi karaliauti plastika ir groþis, o ne visokiausi ðuoliai, beprasmiai sukiniai ir kojø kilnojimas aukðèiau galvos...“ Ðiais þodþiais jis iðreiðkë pagrindinius baleto principus, kuriais vadovavosi visà gyvenimà. Plastika, gracija ir groþis – ðtai kas ðio meno pamatas.

Sankt Peterburge Petipa – þavus, linksmas, visada pasitempæs, diplomatiðkas, iki gyvenimo pabaigos prisiekæs bon viveur – ið karto pelnë visø simpatijà. 1847 m. spalá Petipa èia pastatë Pachità (J. Mazilier choreografija) ir pats joje ðoko. Suþavëtas caras Nikolajus I, kaip buvo áprasta, apdovanojo Petipa brangiu þiedu kaip talento pripaþinimo þenklu. Beje, Petipa Pachita buvo rodoma daugiau nei septyniasdeðimt metø.

Vëliau Petipa statë baletus vienà po kito. 1862 m. jis paskirtas Sankt Peterburgo imperatoriðkøjø teatrø baletmeisteriu, 1869 m. – pagrindiniu baletmeisteriu ir ðias pareigas ëjo iki 1903 m.

Scenoje jis sutiko ir þmonà: „1854 m. vedþiau Marijà Surovðèikovà, bûtybæ, grakðtumu prilygstanèià paèiai Venerai.“ Jaunoji ðeima iðvyko gastroliuoti á Paryþiø, Berlynà, kur sulaukë didelës sëkmës. Deja grakðèioji ðokëja nebuvo ideali þmona. „Namie stigo taikos ir ramybës. Skirtingi charakteriai, o galbût ir per didelë abiejø savimeilë greitai padarë bendrà gyvenimà neámanomà.“ Jø santuoka iðiro.

M. Petipa laiðkas

Antrà kartà Petipa vedë taip pat ðokëjà – Liubovæ Savickajà. Penkiasdeðimt penkeriø metø Petipa prisipaþino su ja „pirmàkart gyvenime patyræs, kà reiðkia ðeimos laimë ir jaukus namø þidinys“. Didþiulis amþiaus skirtumas (Liubovë iðtekëjo vos devyniolikos), skirtingi charakteriai ir temperamentas, kaip atsiminimuose raðë jø jauniausioji dukra Vera, nesutrukdë ilgametei ðiø þmoniø meilei. Petipa vaikai gyvenimà taip pat susiejo su teatru, bet në vienam jø nepavyko ákopti á tëvo ðlovës aukðtumas. Neaplenkë Don

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ðeimos ir nelaimës. Pati gabiausia dukra Jevgenija, susirgusi sarkoma, neteko kojos. Bet ir tai negelbëjo – mergina mirë. „Cÿest la vie“, kaip mëgo sakyti Petipa.

Taip jis ir liko Rusijoje.

Choreografas Petipa sukûrë apie 70 baleto spektakliø, ið jø 46 originalius pastatymus, taip pat atskirø divertismentø ir operø ðokiø. Ið baletø garsiausi – Faraono duktë (1862, muz. C. Pugni), Don Kichotas (1869, muz. L. A. Minkaus), Bajaderë (1877, muz. L. A. Minkaus), Mieganèioji graþuolë (1890, muz. P. Èaikovskio), Gulbiø eþeras (1895, muz. P. Èaikovskio), Raimonda (1898, muz. A. Glazunovo) ir kt.

Sunku kalbëti apie Petipa kûrybos sistemà. Nors iðlikæ nemaþai jo uþraðø, bet tai labiau konkreèios pastabos apie konkreèius dalykus, o teoriniø apmàstymø nëra. Artistai, dirbæ su Petipa, prisiminë, kad jis gebëjo sutelkti kûrybines artistø galias. Jo baletuose buvo tai, kas leido atlikëjams augti ir tobulëti.

Didþiulá dëmesá Petipa skyrë ðokio ir muzikos vienovei, choreografo ir kompozitoriaus sumanymo organiðkumui.

Gal todël ypatinga vieta jo kûryboje tenka bendradarbiavimui su P. Èaikovskiu. Juk geriausiu savo kûriniu Petipa laikë ðio kompozitoriaus Mieganèiàjà graþuolæ – baletà, kuriame aukðèiausiu lygiu ákûnytas simfonizmo siekis.

Garsi balerina Jekaterina Gelcer atsiminimuose raðë: „Petipa pasiþymëjo puikiu skoniu. Jo ðokio frazës neatsiejamos nuo muzikos ir vaidmens. Jis jautë epochos stiliø ir aktoriaus individualybæ, ir tai yra didþiulis jo nuopelnas.

Meninë nuojauta padëjo jam tiksliai atskleisti individualiø gabumø esmæ.“

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Tiesa, ðokëjø atsiliepimai apie ðià asmenybæ patys ávairiausi: vieni laikë já despotu, kiti – be galo maloniu þmogumi. Balerina Liubovë Jegorova ðiuos atsiliepimus apibendrina: „Petipa buvo mielas ir ðvelnus þmogus...

Visi já mylëjo. Bet drausmë buvo geleþinë.“ Daugelis já prisiminë kaip jautrø ðokëjams choreografà, suprantantá, kad ne kas vakarà galima vienodai sëkmingai pasirodyti. Petipa domëjosi ir jaunaisiais choreografais, skatino juos dirbti. Pavyzdþiui, labai palankiai jis atsiliepë apie jaunàjá Michailà Fokinà, ir tai paneigia prancûzui choreografui amþininkø metamus kaltinimus konservatyvumu ir sustabarëjimu. Fokinas, anot Petipa, rëmësi tais paèiais groþio ir gracijos principais. Jau bûdamas nebejaunas, vadovaudamasis nepriekaiðtingu skoniu ir neklystama menine nuojauta, pagrindinius vaidmenis savo paskutiniuose spektakliuose Bajaderë ir Þizel Petipa skyrë jaunutei balerinai Annai Pavlovai. Pradedanèiojoje ðokëjoje þymusis choreografas áþvelgë gerokai daugiau, nei tuo metu sugebëjo áþvelgti ji pati.

Savo kûryboje Petipa iðsëmë visas klasikinio ðokio galimybes, sutelkë visus prancûzø ir italø baleto laimëjimus.

Jo nuomone, technika balete, kad ir labai svarbi, nëra pagrindinis artisto tikslas. Virtuoziðkumas turi derëti su vaidmens esmës suvokimu ir artistiðkumu. Ádomu, kad Petipa darbe niekada nenusvërë asmeninës simpatijos ir antipatijos. Jis be menkiausios abejonës galëdavo pakviesti á pastatymà net nemëgstamiausià artistà, jei tik ðis buvo geras, gabus ðokëjas ir tinkamas vaidmeniui. Petipa su malonumu stebëdavo toká ðokëjà scenoje, bet po spektaklio demonstratyviai nuo jo nusigræþdavo. Net ir regëdami toká akivaizdø prieðiðkumà, ðokëjai visada galëjo tikëtis, kad jø profesinës savybës bus objektyviai ávertintos.

Paskutinius Petipa kûrybos metus apkartino naujasis Imperatoriðkøjø teatrø direktorius V. Teliakovskis. Negalëdamas choreografo atleisti, jis rado kitø bûdø trukdyti Petipa darbui, rezgë uþkulisines intrigas. Pastatyti spektakliai neatitikdavo Petipa sumanymo. Po vieno ið tokiø pastatymø Petipa patyrë insultà. Kiek apsveikæs, jis jau retai besirodydavo teatre. Tik artistai nepaliovë lankæ savo Maître, teiraudavosi jo nuomonës ir patarimø.

Petipa iðtikimai tarnavo rusø baletui ir Rusijai. Ði ðalis tapo jam antràja tëvyne. Á já net ir kreipiamasi bûdavo pagal rusiðkà tradicijà – Marijau Ivanovièiau. 1894 m. jis priëmë Rusijos pilietybæ ir neatsisakë jos net tada, kai buvo nuðalintas nuo darbo teatre. Rusø artistus jis laikë geriausiais pasaulyje, sakë, kad jø gabumai tiesiog ágimti, tad tereikia juos iðtobulinti. Tiesa, gerai kalbëti rusiðkai jis taip ir neiðmoko, bet juk visa baleto terminologija prancûziðka.

Be to, net ir senatvëje Petipa mëgo ðokëjams ne pasakoti, o rodyti. Sakoma, kad tai bûdavæ patys ádomiausi momentai, visi stebëdavæ sulaikæ kvapà, bijodami já pertraukti...

Savo atsiminimus Petipa baigë þodþiais: „Prisimindamas karjerà Rusijoje, galiu pasakyti, kad tai buvo laimingiausi mano gyvenimo metai... Tesaugo Dievas mano antràjà Tëvynæ, kurià myliu visa ðirdimi.“ Sankt Peterburge Petipa gyveno iki 1907 m., vëliau dël sveikatos persikëlë á Krymà, kur 1910 m., sulaukæs 92 metø, mirë. Marius Petipa buvo iðkilmingai palaidotas Sankt Peterburge, Volkonskio liuteronø kapinëse. Laikui bëgant, nepriþiûrimas kapas sunyko ir 1948 m. valdþios nurodymu didþiojo choreografo palaikai buvo perlaidoti menininkø nekropolyje. Antkapinis paminklas pastatytas 1988 m.

Petipa dëka pasaulyje atsirado rusiðkoji baleto tradicija, ir tiems, kurie atëjo po jo, beliko ieðkoti naujø keliø. Jis kûrë daug, kas kartà tarsi ið naujo átvirtindamas savo stiliø, tobulai iðdailindamas kiekvienà pas. Petipa buvo tikras laimës kûdikis: klasikinis ðokis jo kûryboje pasiekë virðûnæ, jo veikla uþbaigë didþiulá istorijos tarpsná. „Daug raðalo iðlieta siekiant paaiðkinti, kokia gi ta Petipa sistemos paslaptis. Bet didþioji dalis to, kas paraðyta, neturi prasmës. Visà jo sistemà galima iðreikðti keliais þodþiais: siek groþio, gracijos ir paprastumo ir nepripaþink jokiø kitø taisykliø“ (N. Legatas).

Don Kichotas Maskvoje ir pasaulyje Gráþkime á laikus, kai Petipa – jau garsus Sankt Peterburgo choreografas, bet didþioji jo ðlovës valanda rusø balete dar neatëjusi. Dar nesukurti nei Bajaderë, nei Gulbiø eþeras ar Mieganèioji graþuolë...

1869 m. rudená Maskvos primabalerina Anna Sobeðèanskaja rengësi benefisui. Siekiant sudominti publikà nutarta pastatyti naujà baletà. Tam á Maskvà ið Sankt Peterburgo buvo pakviestas choreografas Petipa. Sklandë gandai, kad naujà keturiø veiksmø spektaklá jis galás pastatyti per deðimt dienø! To Maskva ir tikëjosi ið jo.

Maskvos baletas tuo metu iðgyveno sunkius laikus ir priminë net ne jaunesnájá, o vargðà prabangiojo Sankt Peterburgo baleto brolá. Skurdus biudþetas, menkas publikos susidomëjimas. Maskviðkiai baleto mëgëjai dûsaudami prisiminë praeities didybæ: „Verkiau prisiminæs Silfidæ ir nuostabius, palaimintus Sankovskajos laikus, kai ir ji pati, ir visi kiti ðokëjai sukeldavo neregëtà susiþavëjimà... O

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kokios silfidës kordebalete dabar?.. Visos ámitusios, it blynø prisikirtusios, ir kaip pakliuvo velka kojytes. Tai viena strykteli, tai kita... Orkestras grieþia be ákvëpimo. Dirigentas ir rankom mosuoja, ir galva linkèioja, ir kojom trypia – nepadeda!“ Spektakliai vykdavo pustuðtëje salëje.

Kad sustiprintø vietiná baletà, Imperatoriðkøjø teatrø direkcija ne kartà mëgino prisikviesti á Maskvà garsøjá Petipa, bet ðis vis ásigudrindavo atsisakyti. Vis dëlto trumpø iðvykø á Maskvà iðvengti nepavykdavo. Petipa atvaþiuodavo mënesiui, atsiþvelgdamas á tenykðtes menines ir finansines galimybes, pastatydavo du tris anksèiau statytus spektaklius ir gráþdavo atgal á sostinæ.

„Karðti, aistringi laimingosios Andalûzijos vaikai iki beprotybës, iki visiðko uþsimirðimo ðoka savo tautinius ðokius; jie vietoje nenusëdi, vos tik prasideda ðie nuostabûs ðokiai... “

Kas paskatino Petipa nusiþengti ðiai taisyklei ir padovanoti Sobeðèanskajai naujà baletà? Vargu ar já ákvëpë pati balerina, iðgyvenanti ne patá geriausià kûrybos laikotarpá.

Galbût stimulu penkiasdeðimtmeèio slenkstá perþengusiam choreografui tapo paþintis su ðeðiolikmete Maskvos kordebaleto ðokëja Liubove Savickaja, kuri po keleriø metø taps jo þmona?

Veikiausiai Petipa tada prisiminë senus laikus, kai dar nebuvo Jo Imperatoriðkosios Didenybës solistas ir audringoje jaunystëje ieðkodamas aktoriaus laimës keliavo po pasaulá. Viena ið jo kelioniø stoteliø buvo Ispanija. Po daugelio metø choreografas su nostalgija raðë apie turkio spalvos dangaus þydrynæ, aistringus ispanø ðokius, kastanjeèiø tarðkesá, serenadas

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po graþuoliø langais ir prisiminë dvikovà, nuo kurios sprukdamas turëjo palikti ðià nepamirðtamà ðalá. „Karðti, aistringi laimingosios Andalûzijos vaikai iki beprotybës, iki visiðko uþsimirðimo ðoka savo tautinius ðokius; jie vietoje nenusëdi, vos tik prasideda ðie nuostabûs ðokiai... Ðûksniai, ðvilpimas, juokas, skraistës, metamos ðokëjams po kojø. Pamirðtamos visos kasdienio gyvenimo negandos. Minia dievina viena – aistrà“, – raðë Petipa. Jo ðirdyje ir po daugelio metø neiðblëso meilë Ispanijai.

Uþsnigtoje Maskvoje pietietiðkos ekstazës turiná pasufleravo garsusis Miguelio de Cervanteso romanas Iðmoningasis bajoras Don Kichotas Lamanèietis. Ne pirmà kartà istorija apie garsøjá riterá Don Kichotà ir jo iðtikimàjá ginklaneðá Sanèà Pansà tapo baleto pagrindu. Choreografas F. Hilverdingas 1740 m. Vienoje ið Cervanteso romano antrojo tomo XX ir XXI skyriø sudëliojo siuþetà apie Kitri ir Bazilio meilæ. Juo ir rëmësi 1768 m. Vienoje (J. Starzerio muz., J. G. Noverreÿo choreogr.), 1801 m. Paryþiuje (J.-X. Lefèvreÿo muz., L. Milon choreogr.), 1808 m. Sankt Peter-burge (choreogr. Ch. Didelot) pastatyti baletai. Tarp kitø Cervanteso herojaus nuotykiø baletiniø interpretacijø – 1837 m. A. Bournonvilleÿio pastatymas Danijos karaliðkajame balete (L. Zincko muz.), 1839 m. choreografo P. Taglioni – Berlyno rûmø operos balete, 1843 m. choreografo S. Taglioni – Turino Teatro Regio ir kitos versijos. Raðydamas originalø baleto libretà, Petipa rëmësi tuo paèiu Hilverdingo siuþetu.

Kurdamas ðá baletà Maskvos trupei, Petipa atkreipë dëmesá á Sankt Peterburgo ir Maskvos trupiø skirtumus.

Sostinës trupë ðoko pakylëtà romantiná aukðtos technikos baletà. Maskvos trupës, nutolusios nuo rûmø skonio, stilius buvo demokratiðkesnis, liaudiðkesnis, o ir pati aplinka paprastesnë. Peterburgo baleto mëgëjai ið aukðto

Mihály Zichy.

Premjera Maskvos didþiajame teatre

þiûrëjo á Maskvos baletà. Bet Petipa puikiai suprato, kad tai ne þemas lygis, o trupës savitumas. Choreografas netgi prisitaikë prie jo ir sukûrë baletà charakteriniø liaudies ðokiø pagrindu. Vienintelë Dulsinëja (P. Karpakova) ðoko iðskirtinai klasikiná ðoká, visi kiti personaþai buvo charakteriniai.

Tie, kurie ið Petipa tikëjosi rimto dramatinio baleto, turëjo nusivilti. Publika, 1869 m. gruodþio 14 d. atëjusi á premjerà, nesulaukë Cervanteso romano iðminties. Ðis baletas buvo pramoga akims. Ispaniðkas koloritas, emocingumas, þaiþaruojantys ritmai, gyvenimo dþiaugsmas patraukë visus. Þavi ispaniðka stilizacija skleidësi ir choreografijoje, ir muzikoje. Jokiø ispanø folkloro autentikos elementø Don

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Don Kichotas miðke.

1869 m. pastatymas

nebuvo, bet to ir nesiekta. Iki ðiø dienø Maskva didþiuojasi ðiuo vieninteliu specialiai jai sukurtu klasikiniu baletu.

Po poros metø praktiðkasis choreografas Maskvoje sëkmingai rodomà spektaklá perkëlë á Sankt Peterburgo teatrà. Tam, þinoma, prireikë ðá tà pakeisti – juk jokia sostinës primabalerina neis á scenà negalëdama pademonstruoti klasikinio ðokio meistriðkumo. Petipa bendraþygis kompozitorius Minkus prie keturiø veiksmø, sudarytø ið charakteriniø ðokiø, prikûrë penktàjá, klasikiná.

Taip Petipa baletas ágavo klasikos statusà.

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Galima ásivaizduoti vienvaldþio rusø baleto diktatoriaus átûþá, kai 1900 m. „kaþkoks berniûkðtis“ Aleksandras Gorskis, pasiøstas á Maskvà pradþiuginti vietiniø baleto aistruoliø perstatytais Petipa baletais, iðdráso perstatyti ir Don Kichotà! „Ponas Gorskis be jokios sàþinës grauþaties skolinasi mano idëjas. Prieð iðvykdamas á Maskvà, ðis ponas choreografijos þenklais uþsiraðë visus tuos pas, kuriuos að sukûriau Peterburge“, – piktinosi Petipa.

Ludwig Alois Minkus (1826–1917)

Vis dëlto Gorskis buvo uþsipultas nepelnytai. Kaip tik jo redakcija, iðlaikanti visus svarbiausius Petipa principus ir idëjas, yra daþniausiai statoma pasaulyje. Maskvoje spektaklis iki 1935 m. buvo parodytas 255 kartus. Vëliau Don Kichotà, remdamiesi Petipa ir Gorskio redakcijomis, statë daugelis choreografø. Don Kichoto þavesys magiðkai traukë ðokëjus, daþnas jø leisdavo sau ðá tà pakeisti, tad ilgainiui spektaklis apaugo gausybe numeriø. Natûraliai vis kildavo poreikis nuvalyti nuo spektaklio susikaupusias apnaðas, kad suspindëtø brangakmenis – pirminis klasikinis Petipa variantas. Maskvoje Don Kichotas rodomas iki ðiol, per 140 metø – kone tûkstantis spektakliø!

Amatininkas, apipavidalintojas, darbininkas... Kokiø tik epitetø nesagstë ðiam kûrëjui grieþti vertintojai, primetantys jo kûrybai pavirðutiniðkumà ir primityvizmà... Ir vis dëlto jo baletø muzika skamba iki ðiol.

Artëjanti 200-oji Petipa gimimo sukaktis ir Don Kichoto premjeros 150-metis yra graþi dingstis Lietuvos nacionalinio operos ir baleto teatro repertuare turëti autentiðkà, paremtà Petipa, choreografo Vasilijaus Medvedevo sukurtà spektaklá.

Lietuvoje Don Kichotas, laikantis tradicijos remtis klasikine Petipa ir Gorskio versija, buvo statomas 1936 m. (choreogr.

A. Fiodorova), 1954 ir 1968 m. (choreogr. V. Grivickas), 1978 m. (choreogr. V. Brazdylis) ir 1994 m. (choreogr. V. Vasiljevas).

Baleto Don Kichotas sëkmæ lëmë viskas – choreografija, uþburiantis ispaniðkas koloritas, nuotaika, ritmas, tempas, scenografija ir, þinoma, gyvenimo dþiaugsmo kupina muzika. Jà sukûrë Ludwigas Alois Minkus, anuo metu – Maskvos konservatorijos smuiko klasës profesorius, atvykæs á Rusijà taip pat ið svetur.

Ludwigas Alois Minkus gimë 1826 m. Vienoje. Jo tëvas buvo gimæs Moravijoje, mama – Vengrijoje, abu þydai, prieð persikeldami á Vienà perëjæ á katalikybæ ir kità dienà susituokæ. Tëvas buvo vyno pirklys, turëjo Vienoje restoranëlá, kuriame grieþë nedidelis orkestras. Jaunasis Minkus puikiai grieþë smuiku, bandë diriguoti. Pirmosios jo kompozicijos, matyt, buvo skirtos tëvo ðokiø kapelos repertuarui – tokiø orkestrëliø imperijos sostinëje buvo daugybë.

1846 m. Minkus, pasiëmæs smuikà ir keletà savo kûriniø, iðvyko á Paryþiø. Þavus, puikiø rekomendacijø turintis jaunuolis netruko gauti pasiûlymà sukurti baleto partitûrà.

Bet dël jauno amþiaus galiausiai turëjo tenkintis tik vienu veiksmu, o likusià baleto Pachita dalá buvo pavesta sukurti patyrusiam kompozitoriui E. Deldevez. Tuo metu tai buvo nieko nestebinanti tradicija.

1853 m. Minkus kaip kunigaikðèio N. Jusupovo privataus orkestro koncertmeisteris, smuikininkas ir smuiko mokytojas atvyko á Maskvà. 1861 m. jis tapo Didþiojo teatro

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smuikininku solistu, po metø pradëjo diriguoti, o 1864 m. gavo prestiþines Imperatoriðkøjø teatrø orkestrø inspektoriaus pareigas. Tuo pat metu jis tapo Maskvos konservatorijos smuiko klasës profesoriumi. Rusijoje já imta pagarbiai vadinti Leonu Fiodorovièiumi.

Minkaus kûryba susijusi su dviejø þymiø choreografø – Arthuro Saint-Leono ir Mariuso Petipa – kûryba. Pirmasis Minkaus baletas Fiamenta sukurtas 1863 m. Po metø jis pastatytas ir Paryþiuje. Ádomu, kad 1866 m. Minkus Paryþiuje, praëjus dvideðimèiai metø nuo jo debiuto ðiame mieste, kaip patyræs kompozitorius gavo uþsakymà sukurti baletà Upelis , kurio vienà veiksmà patikëta paraðyti pradedanèiajam kompozitoriui Léo Delibesÿui.

Gráþæs á Rusijà, 1869 m. Minkus Maskvoje sutiko choreografà Petipa. Ðis lemtingas susitikimas ne tik pakeitë muziko ateitá, bet ir turëjo átakos visai rusø baleto istorijai. Tø metø pabaigoje, gruodþio 14 d., Maskvos didþiajame teatre rampos ðviesà iðvydo pirmasis ðio bendraminèiø dueto baletas Don Kichotas, kuriam buvo lemta ilgai ir laimingai gyvuoti. Baletas sulaukë milþiniðkos sëkmës!

Apie tà metà, mirus per 300 baletø sukûrusiam italui C. Pugni, liko laisvas Imperatoriðkojo baleto muzikos kompozitoriaus postas. Po stulbinamos Don Kichoto sëkmës 1870 m. eiti ðiø pareigø iki pat 1886 m., kai jos buvo panaikintos, paskirtas Minkus.

Kompozitoriui tai buvo derlingi metai. Jis mielai raðë muzikà Petipa kûriniams, buvo idealus diktatoriðkojo kolegos, beje, irgi troðkusio kurti drauge, bendradarbis: „Padariau Ludwig Minkus.

B. Braquehais nuotr. 1865 m.

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viskà, kà galëjau, kad muzikà baletui raðytø ponas Minkus“, – po daugelio metø raðë Petipa. Veikliam ir kûrybingam choreografui imponavo profesionalus baleto muzikos kompozitorius. Á ðias pareigas áëjo per metus sukurti naujà baletà, perdirbti senus ðokius ir choreografo pageidavimu sukurti naujø ðokiø kitiems baletams. Ðià uþduotá Minkus atliko nepriekaiðtingai: sukûrë 16 baleto partitûrø, o kiek dar baletiniø intarpø, tiesiog neámanoma suskaièiuoti. Muzika, kuriai buvo lemta tapti didþiosios choreografijos pagalbininke, tapo lygiaverte jos sàjungininke, kartu kurianèia baleto ðedevrus.

Ranka rankon su Petipa kompozitorius kûrë baletus trylika rusø baleto klestëjimo metø. Tarp jo kûriniø – ir prabangusis Petipa baletas Naktis ir diena, Maskvos didþiajame teatre pastatytas 1883 m. Aleksandro III karûnavimo iðkilmiø proga. Aleksandras, fanatiðkas baleto aistruolis, uþ ðià partitûrà apdovanojo Minkø Ðv. Stanislovo ordinu.

Ceremonijos metu neseniai karûnuotas caras pasakë: „Kaip baleto kompozitorius jûs pasiekëte tobulybæ.“ Minkus sukûrë ir Petipa baleto Stebuklingosios piliulës muzikà. Kûrinio premjera ávyko 1886 m. vasario 21 d. Sankt Peterburgo Marijos teatre ðios pagrindinës imperatoriðkosios operos ir baleto scenos atidarymo po rekonstrukcijos proga.

Minkaus muzika Maskvoje ir Sankt Peterburge skambëdavo ðokiø vakaruose, ðventëse, puotose. Taip pat Minkus tebegrieþë smuiku, pavyzdþiui, dalyvavo Èaikovskio I kvarteto D-dur premjeroje Maskvoje 1871 m. Tarp gausybës jo kompozicijø pati garsiausia neabejotinai yra Bajaderë, sukurta 1877 m.

Minkaus muzikos populiarumas aiðkinamas jos ðokiðkumu, ritmiðkumu, temperamentingumu ir

melodingumu. Ji turi ir privalumø, kuriuos ávertinti gali tik ðokëjai: ji nuostabiai patogi „Padariau ðokti, ji palaiko ir veda pirmyn, ákvepia ir viskà, kelia azartà. Kompozitorius, visà amþiø kurdamas baletui, tobulai perprato baleto kà galëjau, meno subtilybes. Minkaus baletuose atsiþkad muzikà velgta á viskà: visumos ir atskirø daliø sanbaletui raðytø tyká, þiûrovø dëmesio iðlaikymo dësninponas gumus, emocines dramaturgijos virðûnes.

Kaip tik jis padëjo Petipa galutinai suforMinkus“ muoti ir iðtobulinti didþiojo baleto spektaklio struktûrà. Kompozitorius pabrëþdavo ir iðskirdavo kiekvieno pas charakterá, akcentais fiksavo pozas, netgi numatë ðokëjø kvëpavimo ypatumus. Jis ne tik atsiþvelgdavo á individualias konkreèios balerinos galimybes ir charakterá, bet ir tam tikra prasme stimuliavo grynai choreografiná virtuoziðkumà, kas itin pastebima variacijose. Èia rusø baletas pasiekë tokià pat techninës laisvës ir þmogaus galimybiø virðûnæ kaip ir þymusis bel canto – G. Rossini ar G. Donizetti operose. Kai techninis virtuoziðkumas pereina á kità kokybæ, kai klasikiniai pas ágauna þmogaus sielos virpesiø iðraiðkà, gimsta tokie ðedevrai kaip Bajaderës „Ðeðëliø“ paveikslas. Juk kaip tik pagal Minkaus muzikà pirmà kartà sukurtas simfoninis ðokis, apie kurá ðiandien tiek daug kalbama. Ðtai tau ir amatininkas!

Minkaus sutartis su Sankt Peterburgo imperatoriðkaisiais teatrais baigë galioti 1886 m. Tuo remdamasis direktorius I. Vsevoloþskis nusprendë imtis permainø. Aplink skambëjo simfonizmo kupinos Èaikovskio, Glazunovo partitûros, tad direktorius nutarë, kad baletui reikia ámantresnës muzikos, ir atleido Minkø. Á naujas Imperatoriðkojo baleto muzikos direktoriaus pareigas buvo priimtas R. Drigo.

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Nepatenkintas Rusijos vyriausybës jam skirta pensija, kilus nesutarimø su Drigo ir teatro vadovybe, Minkus su þmona Maria 1891 m. gráþo á gimtàjà Vienà. Èia dar sukûrë keletà paskutiniø kûriniø, bet auksiniai laikai jau buvo praeity. Þmona mirë 1895 m., kilus Pirmajam pasauliniam karui Rusija liovësi mokëti pensijà, tad bevaikiu kompozitoriumi daugiausia rûpinosi jo brolio dukra Clara. Ðaltà 1917 m. þiemà 91 metø Minkus susirgo plauèiø uþdegimu ir tø metø gruodá mirë.

Kompozitorius buvo palaidotas Vienoje, Dioblingo kapinëse. Atëjæ á valdþià nacionalsocialistai griebësi vadinamojo kapiniø valymo. Nepageidaujamø etniniø grupiø atstovø, ypaè þydø, palaikai buvo iðkasami. 1939 m. iðniekinta ir kompozitoriaus Minkaus amþinojo poilsio vieta. Jo palaikai buvo iðkasti ir perkelti á masinæ kapavietæ.

Po keturiasdeðimties Rusijoje praleistø ðlovës metø gráþæs á Vienà, gyvenimo saulëlydyje Minkus buvo vieniðas ir uþmirðtas. Panaðus likimas iðtiko ir jo kûrybà. Jo partitûros skamba daugiausia tik baleto spektakliuose.

Kompozitoriaus muzika, tobulai tinkama ðokiui, nerado vietos skambëti be jo.

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Muzikiniame kontekste Minkui nepasisekë dël to, kad jis buvo Èaikovskio amþininkas. Ðio rusø kompozitoriaus muzika, sukurta Petipa baletams, paþengë kur kas toliau ir ágijo savarankiðkà vertæ. Vis dëlto paþymëtina, kad Minkus buvo iðskirtinai baleto kompozitorius, todël negali bûti lyginamas su Èaikovskiu ar Stravinskiu, atëjusiais á baletà ið kitø þanrø.

Minkus buvo valso epochos kûrëjas, Vienos vaikas. Visi jo baletø veikëjai – èigonai, radþos, ispanø toreadorai, indës ðventyklø ðokëjos, gyvos ar mirusios, – sukasi svaigiu valso ritmu. Minkus savo kûryboje sugebëjo atskleisti ðiø herojø emocinæ bûsenà, nuotaikà, o kartu neuþgoþti ðokëjø. Kompozitorius turëjo Dievo dovanà kurti muzikà, kuriai suskambus norisi ðokti ir paèiam nerangiausiam klausytojui!

Eglë Ulienë

Knights of Ballet and Don Quixote

19th Century: Beginning of the New History of Ballet The last half of the 19th century was a time when Romanticism reigned the art scene, and sylphs, wilis, nymphs along with other wee folk dwelled in every ballet.

Ballet faeries had become especially fashionable.

Etymologically, the word refers to the fairyworld – a field, which had a special appeal in the Romantic Epoch. The content of a ballet didn’t have to match the music, choreography and design. The success relied entirely on the talent and charm of the prima ballerina. She was expected to have her pas de deux with refined variations and coda; at least one pas d’action was also a must for the dancer to display her abilities in mime. The principal male dancer was also due to have his variation, although his function consisted chiefly in partnering. The corps de ballet had their dances in order to allow the principal characters a chance to rest and change costumes.

there was a lake-side scene, whereby the members of the corps de ballet in the last row became known as les ballerinas près de leau (ballerinas at the lake side). The dancers’ hairstyles always kept pace with the latest fashion of the day and were often decorated with a diamond tiara. The public saw nothing wrong with a dancer interpreting a humble peasant wearing jewelled bracelets.

Composers, choreographers and designers worked separately. The ballet master would normally set out for the composer how many and what type of dances were needed in each act, their required length, tempo and beat.

The scenic designer’s main concern was to provide a sense of richness and grandeur. In almost every ballet

In the second half of the 19th century, Russian ballet gained European fame and acknowledgement. Opera houses across Europe started to invite Russian dancers, graduates of the St. Petersburg School of Drama, duly called the Academy of Ballet, to join their companies; museums and art galleries acquired the artists’ portraits

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That said, the second half of the 19th century is also the time when the history of ballet opened a new page. Let’s leave Paris and Italy aside and take a closer look at Russia.

Even though the global trends were flourishing there too, in the late 19th century Russia remained the only fortress of authentic choreographic art, capable of warding off the destructive tendency of poor taste. Russia itself started to dictate ballet fashion to the world.

Marius Petipa (1818-1910) “I arrived in St. Petersburg on a steamboat on 29 May 1847, and have served in the St. Petersburg Imperial Theatres ever since,” - these are the opening lines from the diary of Marius Petipa, a Frenchman, who created the history of Russian ballet. Where was he up to that point, and what exactly was happening?

and statues for their collections; the golden lists of distinguished people in choreography would include the names of Russian dancers. It had never been before that ballet would reflect changes in the timeline of culture and artistic styles. The golden age of Russian ballet owed much to a Frenchman, who by a lucky chance had met a Russian musician. Therefore, it is duly called the Petipa Epoch.

Marius Petipa (his full name was Victor Marius Alphonse Petipa) was born in Marseilles, into an artistic family. “At that time, the need to serve the arts was circulating in families from one generation to another,” – wrote M. Petipa, - “the French history of theatre is well acquainted with many theatrical families”. His father Jean Antoine Petipa (1787-1855) was a choreographer, and his mother, Victorine Grasseau, an actress. Marius’ older brother Lucien also became a famous dancer. Marius himself was studying violin in Brussels, where the Petipa family has been living since 1822. At the age of seven he began learning the art of dance along with his brother, with their father as teacher. “When I was seven-years-old, I began learning to dance in my father’s class. He broke quite a few violin bows on my arms while he was revealing the secrets of choreography. The necessity of such method Don

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naturally occurred from the fact that during my childhood I was not at all interested in this form of art”. Still, the father’s strong will won over, and at the age of nine Marius had his first performance in front of an audience. He studied violin and dance until 1830, when Brussels along with entire France began flaming with revolution. Nobody cared about ballet or any other form of art, and for 15 months there wasn’t a single theatre working in the territory of France. Jean Antoine Petipa was teaching dance in boarding-schools, his children were copying scores. Such was life until one day, when the father decided to rent a theatre in Antwerp and present a few performances there.

The theatre company consisted entirely of his family members.

“Europe is constantly moving away from the authentic, solid art and chooses to turn dance into exercises meant for clowns.

Ballet is a serious form of art, it must be dominated by fluidity and beauty, not by all sorts of jumps, meaningless turns and raising one’s legs above one’s head. “

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In 1834 the Petipas moved to Bordo, and Marius, having already fallen in love with dance, began serious studies with Auguste Vestris – this is how a successful career unfolded. The theatre of Nanto, tour in New York along with his father, the Grand Opera in Paris, theatre of Bordo... In 1842 Petipa was invited to the Royal Theatre of Madrid, where he achieved colossal success as a dancer and choreographer. Perhaps he would have stayed there, but in 1846 Petipa was forced to return to Paris.

In his memoirs Petipa wrote that his return had to do with a romantic story between himself and the wife

of Marquis de Chateaubriand, which almost resulted in a duel. In any case, it was on the stage of the Paris Opera (where he participated in a farewell benefit of Therese Elssler along with his brother) that he received an invitation from Russia. The principal ballet master and dance inspector of the Saint Petersburg ballet company A. Titus offered him a place of the principal dancer! Marius Petipa accepted his offer immediately. Without even knowing, he signed a contract that would last for his entire life.

A talented ballet master, not even 30 years old, has left his homeland not only due to this wonderful contract.

Petipa was already very famous in France and had all possibilities for a successful career. However, he didn’t like how ballet was perceived in this country. In his opinion, Russia was the only country in which the art of ballet flourished and was developing correctly. Later Petipa wrote: “Europe is constantly moving away from the authentic, solid art and chooses to turn dance into exercises meant for clowns. Ballet is a serious form of art, it must be dominated by fluidity and beauty, not by all sorts of jumps, meaningless turns and raising one’s legs above one’s head”. Through such statement he formulated the main principles that described his work for the rest of his life. Fluidity, gracefulness, beauty – these are the most important points upon which the art of ballet must be based.

A charming dancer, jolly, talented, always very elegant, managing to diplomatically avoid all sorts of conflicts, remaining a bon viveur right until the end of his days – obviously, he immediately won over the entire Saint

Petersburg. In October 1847 Petipa produced Paquita (with choreography by Joseph Mazilier; the production remained on the stage for more than 70 years) and was also performing in it. Tsar Nicholas I of Russia was deeply impressed by this work and, as it was usual at that time, Petipa received a majestic ring as a sign of the appreciation of his talent. Petipa’s father was invited to Saint Petersburg, to teach dance for the male dancers class at the Imperial Theatre School.

to connect their lives to theatre, but none of them reached the glorious heights of their father. Moreover, a major tragedy of the entire family was associated with the most talented daughter Evgenia – this young and very promising dancer was diagnosed with sarcoma. Her leg was amputated, however, even such drastic measures failed to save her, and the girl passed away. “C’est la vie” was one of Petipa’s favourite phrases even in the darkest hours. And thus, he remained in Russia.

Ballet productions followed one another, and in 1862 Petipa was officially announced as the ballet master of the imperial theatres, in 1869 as the principal ballet master, remaining in this position until 1903. It was on the stage that he met his future wife. “In 1854 I married Maria Surovchikova, the most graceful entity, who could be compared only to Venus”. The young family toured Paris and Berlin for three months and achieved great success.

However, the graceful rival of Venus turned out to be a rather unideal wife. “At home we simply couldn’t manage to live in peace and quiet. Maybe it was due to different characters or grand mutual selfishness. In any case, our life together was impossible”. The couple divorced. Maria Surovchikova passed away in 1882.

As a choreographer M. Petipa created over 70 ballet productions, among which 46 were original works, not including divertissements and various dance scenes in operas. Some of his most famous titles include Daughter of the Pharaoh (1862, music by C. Pugni), La Bayadere (1877, mus. L. A. Minkus), The Sleeping Beauty (1890, mus. P. Tchaikovsky), Swan Lake (1895, mus. P. Tchaikovsky), Raimonda (1898, mus. A. Glazunov), etc.

Petipa’s second marriage was to dancer Liubov Savitskaya. Since then, as he himself admitted, he experienced for the first time what it meant to be happy in a family and experience the cozyness of real home.

According to their youngest daughter Vera, despite major age difference (Marius was 55, Liubov – 19) and different tempers, her parents managed to live together for years and remain very much in love. Petipa’s children also chose

It is quite difficult to speak of Petipa’s System.

Many of his notes remain to this day, however, they are very particular and deal with specific points only, without any theoretical generalizations. Those who worked with Petipa often remembered, how he managed to mobilize the creative powers of an artist. His ballets contained everything that was needed for a performer grow and improve himself as a dancer and artist.

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Petipa paid major attention to the unity of dance and music, the organic whole of choreography and ideas of the composer. Maybe this is why a very special place in Petipa’s work was taken up by his collaboration with P. Tchaikovsky, which turned into the highest point of Petipa’s career? Choreographer himself claimed that his best ballet was The Sleeping Beauty, in which he was able to embody the symphonic nature of ballet that he was so fond of.

Famous ballerina Ekaterina Geltser wrote in her memoirs: “First of all, Petipa had a great taste. To him, elements of dance were inseparably joined together with music and the role. Petipa always felt the style of an epoch and the individuality of a dancer, and this was his great merit...

Using his impeccable artistic intuition, he was able to reveal the essence of individual talents”.

First of all, Petipa had a great taste.

To him, elements of dance were inseparably joined together with music and the role.

It must be said for the sake of truth that dancers’ records of the strict choreographer tend to differ. Some of them referred to him as a dictator and a despot, others glorified and were very fond of him. Ballerina Liuboc Yegerova claimed that “Petipa was a charming and delicate human being... Everybody loved him. And despite that, the discipline was extremely tight”.

Many colleagues remembered him as a choreographer who always approached dancers with sensitivity and respect, understanding that not all performances are equally successful. He was interested in the work of young choreographers and always encouraged them. Denying

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all accusations of conservative views and artistic petrification, he always spoke highly of the young Mikhail Fokine and his productions. To Petipa, the most important detail was that Fokine followed the same principles as himself – beauty and grace always came first. Petipa always possessed exceptional artistic taste and intuition: already at an old age, while producing his final productions of La Bayadere and Giselle, he cast the young and yet unknown ballerina Anna Pavlova as the performer of principle roles, even though there were famous and experienced dancers who were willing to take the parts.

Petipa saw in this beginner of dance everything that she herself probably didn’t even know she had.

In his ballets Petipa exhausted all possibilities of classical dance, obtained all achievements of French and Italian ballets. He always thought that technique, even though it is very important in dancing, is not the main goal of the performer. Virtuosity always had to be in tune with the role and artistry, the correct understanding of a character.

Another interesting point is that personal affections or antipathies never influenced his work. In case there were performers that he disliked, he would still cast them without a shade of a doubt if they were talented, danced well and were perfectly fit for the role. He would watch the dancer on the stage with pleasure, but after the performance would turn away from him and demonstratively walk away.

Despite such obvious displays of hostility, all dancers could expect to have their professional skills evaluated as righteously as possible.

The last years of Petipa’s career were darkened by Vladimir Telyakovsky, the newly appointed manager of the imperial theatres. Unable to simply fire Petipa, he found other means of disturbing his work: the new manager was trying to disrupt his productions, provided

ignorant comments, generated all sorts of backstage intrigues. As a result, the productions would turn out very different from what Petipa had in mind. After one such disrupted performance Petipa experienced a stroke and was partially paralyzed. After getting better Petipa became a rare guest at the theatre. Only the artists would often visit their Maître, asking for his opinions and suggestions.

Marius Petipa faithfully loved Russian ballet and Russia itself. The country became his second homeland and people would even address him in a usual Russian manner as Marius Ivanovich Petipa. In 1894 he was granted the Russian citizenship and didn’t refuse it even when he was finally fired from the theatre. He thought Russian artists were best in the world and often claimed that their talents were simply inborn – they only had to be perfected. He didn’t learn to speak Russian very well, but it didn’t turn into an obstacle – after all, the entire ballet terminology comes in French. Moreover, even at an older age Petipa still chose to show the moves and not talk about them. According to N. Legat, such displays of choreography were always the most interesting moments of the rehearsals, when everyone would silently watch Petipa, not daring to breathe and disrupt the perfection...

Petipa concluded his memoirs with the following words: “As I reminisce upon my career in Russia, I can say only one thing those were the happiest times of my life... May God bless my second homeland, which I love with my whole heart”.

Petipa lived in Saint Petersburg until 1970 and later moved to Crimea due to health problems. This was where he died in 1910, having reached the age of 92. Marius Petipa was solemnly buried in the Lutheran Vokonsky cemetery in Saint Petersburg. As time passed, the unsupervised

tomb began fading, and finally in 1948, according to the order of Leningrad’s government, Petipa was reburied in the Necropolis of Artists. The gravestone was built in 1988.

Thanks to Petipa, ballet achieved its Russian tradition in the world, and those who worked after them could only look for new paths to walk on. Petipa worked a lot, always newly evaluating his style and perfecting every pas to unbelievable artistic heights. Petipa was a real child of fortune, his work concluded a massive historical process and classical dance achieved perfection. “Lots of ink has been used in an attempt to explain the mystery of Petipa’s system, however, much of what has been written about it has no meaning at all. His system can be expressed in a few words: search for beauty, gracefulness and simplicity without confining oneself to any rules” (N. Legat).

Don Quixote in Moscow and the Rest of the World Let us return to the times, when Petipa was already a famous choreographer in Saint Petersburg, but his real glory in Russian ballet was still ahead of him, and La Bayadere, Swan Lake or The Sleeping Beauty were still waiting to be produced.

In the autumn of 1869 Moscow’s prima ballerina Anna Sobeshchanskaya was preparing for her benefit performance. In order to attract audiences into the theatre it was decided that a new ballet should be produced, and thus, Marius Petipa was ordered to travel to Moscow from Saint Petersburg.

There were rumours that he could create a new production in 4 acts in just 10 days! And this was what the entire Moscow expected.

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In Moscow, the art of ballet was experiencing difficult times and was almost like a poor sibling of the pompous Saint Petersburg ballet. The budget was small, and the attention of the public was gradually waning. Ballet masters sighed that all that was good has already passed, and the newspapers published sad descriptions of the present situation: “I cried when I remembered La Sylphide and the blessed times of Sankovska, when she herself and all other dancers inspired such spellbinding admiration... And now, just look at those sylphs in corps de ballet... All of them are In the fortunate so fat, as if they had too many pancakes, and they drag their Andalusia, its little feet around in any way they temperamental and like. One little jump, another little passionate children jump... Orchestra is also playing are enjoying their to its own tune. The conductor is waving his hands, his head, his national dances feet are dancing – nothing to the point of helps!”. Performances were complete madness; shown in half-empty auditoriums.

they cannot sit still in one place, when the bravado dances begin...

In order to strengthen the native ballet, the directorate of the Imperial theatres frequently tried to lure the famous Petipa to Moscow, but the choreographer would find ways to dismiss the offers. However, he could not escape temporary visits. Petipa would arrive and stay for a month, produce two or three of his old productions (depending on the local artistic and financial possibilities) and return home to Saint Petersburg. What made Petipa to change his rules and create new ballet as a gift to Sobeshchanskaya? The reason behind this probably wasn’t connected to the ballerina herself, who at that time

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was experiencing a rather rocky patch in her career. Maybe the principle stimulus for the 50-year-old Petipa was his acquaintance with the local 16-year-old dancer of corps de ballet Liubov Savitskaya, who in a few years became his wife?

In any case, Petipa remembered the good old times when he wasn’t the soloist of His Imperial Highness and traveled around the world in his tumultuous youth looking for fortune. One of his favourite resorts was Spain. After many years the choreographer described in his memoirs, with a great deal of nostalgia, the turquoise sky, the fiery Spanish dancers, the rhythms of the castanets, the serenades sung under the windows of breathtaking beauties, the duels, which made him leave the magical country. “In the fortunate Andalusia, its temperamental and passionate children are enjoying their national dances to the point of complete madness; they cannot sit still in one place, when the bravado dances begin... Exclamations, whistling, laughter, veils thrown under the feet of the dancers, the unforgettable everyday life with its struggles... And yet, the crowd as only one cult – it is passion”, - wrote Petipa, in whose heart the love for Spain didn’t grow dimmer even after many years.

The contents of this Southern ecstasy in snowy Moscow were dictated by the famous novel by Cervantes. It wasn’t the first time that the art of ballet made use of the story of Don Quixote, the famous knight from La Mancha and his faithful servant Sancho Panza. In 1740 in Vienna, choreographer Franz Hilverding selected the storyline concerning Kitri and Basilio’s love from the XX and XXI chapters of the II volume. Other creators also began producing their ballets based on this storyline: 1768 in Vienna (mus. Josef Starzer, chor. Jean Georges Noverre),

(mus. L. Zinck, Danish Royal Ballet), the Berlin Court Opera Ballet’s version in 1839 (chor. Paul Taglioni), Turin’s Teatro Regio version in 1843 (chor. Salvatore Taglioni) and many others. While producing his own original libretto, Petipa based it one the same storyline by Hilferding.

When Petipa created the ballet for the company in Moscow, he paid a great deal of attention to various differences that arose in the working process. The Saint Petersburg ballet displayed a romantic, highly technical and dramatically elevated dance, while the company of Moscow, having distanced itself from the tastes of the court, was performing rather democratic and characteristic dances that also contained folk elements. The ballet aristocracy of Saint Petersburg often looked down on their Muscovite colleagues. Petipa, however, wished to form his work around the elements of Moscow’s ballet company; he understood that it was simply operating upon different specifics. He even based his entire ballet of characteristic folk dances – only Dulcinea (Polina Karpakova) performed strictly classical moves.

Pirmojo leidimo titulinis puslapis.

1605

1801 in Paris (mus. Jean-Xavier Lefèvre, chor. Louis Milon).

Russia welcomed the first production of this story in 1808 in Saint Petersburg, the Imperial Kamennyi Theatre, with choreographer Charles Didelot. Other versions of the stories where the characters of Cervantes were living out their lives – the A. Bournonville edition presented in 1837

Those who expected a serious dramatic ballet from Petipa, must have been really disappointed. But the audience that came to the premiere on 14 December 1869 wasn’t looking for any wisdom or depth extracted from the story of Cervantes at that time ballet was simply a feast for the eyes.

The Spanish colours, emotionality, scintillating rhythms and the joy of life charmed everyone.

All of these elements were blossoming both in the choreography and the charming music, stylized with Spanish elements. There were no signs of authentic Spanish folk elements, however, none of the creators had

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a goal to incorporate them into the work. Even today Moscow is still proud of this one and only classical ballet that was created especially for this city.

Being a practical man, after a couple of years Petipa transferred the successful production to Saint Petersburg.

Of course, such action required some changes – after all, no prima ballerina of the capital would go on the stage if there was no space for her to demonstrate the mastership of classical dance. Petipa’s loyal comrade-in-arms, composer Ludwig Alois Minkus, added the 5th classical act to the 4 acts filled with characteristic dances. It was in this form that Petipa’s Don Quixote achieved the status of a classical work of art.

One can only imagine the fury of this autocratic master of Russian ballet, when in 1900 some rascal named Alexander Gorsky was sent to Moscow to reproduce Petipa’s ballets for the pleasure of Muscovite audiences, and dared to reproduce his Don Quixote! “This mister Gorsky is taking over my ideas without any scruples. While preparing to go to Moscow he, using choreographic signs, managed to write down all of the pas that I’ve created in Saint Petersburg”, – wrote the enraged Petipa in his memoirs.

Despite Petipa’s anger, it must be admitted that Gorsky did a major favour to this ballet. It was this particular edition

by Gorsky that saved all of the most important principles and ideas created by Petipa and is currently most often produced in the entire world. In Moscow Don Quixote was shown until 1935, 255 performances were presented (it is still being performed in this city, almost 1000 performances were shown over the span of 140 years). Since then there was a great number of choreographers who based their productions on Petipa and Gorsky’s editions. The ballet 38

gained an incalculable number of additional scenes, the charm of Don Quixote magically attracted the dancers and almost all principles allowed themselves to add various changes. Naturally, there was a growing need to return to the classical variant by Petipa, to clean up all dust of time and rediscover the gem that’s hidden underneath.

The 200th Anniversary of Marius Petipa is getting closer and we’re about to celebrate the 150th Anniversary of the premiere of Don Quixote – both of these occasions are beautiful reasons to have an authentic production of Don Quixote, created by Vasily Medvedev, in the repertoire of the LNOBT. In Lithuanian Don Quixote was produced several times and was always based on the classical M. Petipa-A. Gorsky version. The productions were presented in 1936 (chor.

A. Fyodorova), 1954 and 1968 (chor. V. Grivickas), 1978 (chor. V. Brazdylis), 1994 (chor. V. Vasiliev).

Ludwig Alois Minkus (1826-1917) There were many elements that added to the success of Don Quixote – choreography, charming Spanish atmosphere, mood, rhythm, tempo, set designs, and of course, the music that was filled with joy. It was written by Ludwig Alois Minkus. At that time he was the violin professor at the Moscow Conservatory, who much like Petipa arrived to Russia from abroad.

“Craftsman”, “manipulator of sound”, “hack” – such were the descriptions often given to Minkus by critical descendants, who dismissed his music as lightweight, devoid of content and primitive. However, his ballet music survived everything and can still be heard today without too many problems.

Ludwig Alois Minkus was on 23 March 1826 in Vienna, where his parents moved from the Czech Republic. His father was born in Moravia and his mother – in Hungary.

Minkus was of Jewish descent: his parents converted to Catholicism not long before their relocation to Vienna, and were married on the following day. Minkus’ father was a wholesale merchant of wine; he opened a restaurant in Vienna that featured its own small orchestra.

This may have influenced the young Minkus, who was a great violin player and also tried to conduct – it is possible that he composed for his father’s Tanzkapelle, one of many such orchestras in the imperial capital.

In 1846 Minkus arrived in Paris, having with him his violin and some of his compositions. Due to his exceptional personal charm and strong recommendations he soon received an offer to compose a complete ballet score.

Because of his youth the offer was reduced to one act; the rest of the ballet, Paquita, was entrusted to an experienced ballet composer, Edouard Deldevez. At that time such actions never really surprised anyone and were considered a tradition.

By 1853 Minkus was in Russia, where he became an orchestral conductor and violin soloist of the private serf orchestra of Prince Nikolai Yusupov. He also taught the violin. 1861 saw the beginning of his association with the Bolshoi Theater, first as violin soloist and a year later as conductor with the prestigious title of Inspector of the Imperial Orchestras. At the same time he became a professor with the Moscow Conservatory, teaching the art of violin performance. It was in Russia that Minkus took the first names of Leon Fedorovich.

Minkus’ work is strongly connected to two famous choreographers: Arthur Saint-Leon and Marius Petipa.

Both of them had a major impact on the composer. In 1863 Minkus composed the music for Saint-Leon’s Fiamenta, of which a shortened version was given in Paris in 1864. Minkus maintained his ties with Paris where in 1866, 20 years after his debut there, he himself was the older, more experienced musician who wrote the larger part of a ballet, La Source; one act only was entrusted to the younger Leo Delibes.

In 1869, when Minkus returned to Moscow, he met with Marius Petipa. This man not only changed the fate of the composer, it also influenced the entire history of Russian ballet. At the end of the year, on 14 December, the Bolshoi theatre of Moscow welcomed the first creation of the successful artistic duo – it was Don Quixote, with a long and lovely life in front of it. The ballet experienced unbelievable success!

This won for Minkus the post of Official Composer to the Imperial Russian Ballet, a position held previously by Italian Ceasare Pugni who composed music for more than 300 ballets. Minkus held the position until it was discontinued in 1886.

These were fertile years for the composer. Minkus was the ideal associate for the dictator Petipa, who adored working with him: “I did everything I could to ensure Monsieur Minkus would compose the music for our ballet”, the eminent ballet master wrote many years later. The active and prolific Petipa was impressed by this professional, official ballet composer whose duties included, for a salary of 2000 rubles a year, the making of

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Drakono kova su liĂťtu.

1869 m. pastatymas, Carlo Valtso maĂ°inerija

a new ballet, the revision of old ballets and the writing of new dances at the demand of the choreographer. Minkus carried out his duties to the letter: he is the author of 16 ballet scores, and his interference in other ballets is so extensive, it defies recording. Minkus wrote his music having asigned it the modest role of serving girl to dance; however, firstly, the dance was Petipaâ&#x20AC;&#x2122;s superlative choreography, and secondly, the serving girl turned out to be an excellent ally, professional, selfless and devoted, together creating wonderful works of ballet.

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Minkus and Petipa collaborated for 13 years, at the time of the glorious prosperity of Russian ballet. Minkus wrote the music for Petipa’s Nuit et Jour, a sumptuous pièce d’occasion staged especially for the celebrations held at the Imperial Bolshoi Theatre of Moscow in honour of the coronation of Emperor Alexander III in 1883. The Emperor, a fanatic appreciator of ballet, bestowed upon Minkus the Order of Saint Stanislaus for his score. During the ceremony the newly crowned Emperor told Minkus: “You have reached perfection as a ballet composer.”

Petipa’s Les pilules magiques (The Magic Pills), which premiered on 21 February 1886, was a grand work staged for the inauguration of the newly renovated Imperial Mariinsky Theatre, which was now the Imperial Ballet and Opera’s principal venue.

Minkus’ music could be heard during dance parties, celebrations and banquets hosted in Moscow and Saint Petersburg. He himself continued to play the violin, i.e. during the premiere of P. Tchaikovsky’s Quartet No. 1 in D Major, presented in 1871 in Moscow. And yet, Minkus’ most famous work is undoubtedly La Bayadere, created in 1877.

The widespread popularity of Minkus’ music is due to its obvious qualities: it is dansante , rhythmic, has both temperament and melody. But it has merits that only the dancer can appreciate: it is extraordinarily comfortable to dance to, it supports and leads, inspires and prompts the dancer to acts of daring. This composer, who had worked all his life in ballet, had a thorough knowledge of all the intricate subtleties of his trade. In his ballets Minkus took everything into consideration: the correlation of the whole with its individual parts, the laws governing spectator

impact, emotional rises and falls. It was he who assisted the great Petipa to give definitive form and polish to the structure of the full-length ballet. The composer emphasized and brought out the character of each pas, fixed the poses by accentuating them, and even took into account dancer’s breathing ability. In addition to makind allowances for a ballerina’s individual features and character also, to a certain extent, stimulated the development of dance virtuosity per se , which is particularly noticeable in the variations. Here the Russian ballet achieved the same peak in freedom of technique and delight in man’s potential, as did the famous bel canto in the operas of Rossini and Donizetti. When virtuosity ceases to be a purely technical phenomenon and rises to a new qualitative level, and the art of dance becomes every bit as expressive as the word. Classical pas acquire the power of an image, express the subtlest movements in the human soul and The Kingdom of Shades act in La Bayadere is born. It was, after all, to Minkus’ traditionbound music that symphonic dance, of which today there is so much talk, was created for the first time. And this is what they called a simple craftsman!

By 1886 Minkus’s contract with the St. Petersburg Imperial Theatres was set to expire. In light of this, the director of the Imperial Theatres Ivan Vsevolozhsky felt that the time had come for Minkus’s long held post of official ballet composer to be abolished. The symphonic scores of Tchaikovsky and Glazunov could be heard everywhere, and the director decided that ballet needs more colourful, fancy music, leaning towards symphonism. Minkus was fired in 1886, and Riccardo Drigo took up the newly established place of a music director of Imperial ballet.

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In 1891, dissatisfied with his pension from the Russian government and after several conflicts with Drigo and the directorate of the theatre, Minkus retired to his native Vienna together with his wife Maria. Here he composed a few of his last works, however, it was obvious that his golden age was already in the past. Minkus’ wife passed away in 1895, and the events of World War I have cut off his pension from Russia. The composer didn’t have any children, so his brother’s daughter Clara von Minkus was the only one who was taking care of him. During In his ballets the extremely cold winter of 1917, Minkus took Minkus developed pneumonia and everything died on 7 December at the age of into consideration: ninety-one. He was all alone and forgotten. the correlation of

the whole with its individual parts, the laws governing spectator impact, emotional rises and falls.

Ludwig Minkus was buried at the Döbling Cemetery in Vienna. In 1939 Minkus’ grave fell victim to the national socialist policies of the time when all cemeteries were systematically “cleansed” by the invading Nazi regime. Any graves of persons who were considered ethnically “undesirable”, especially if one was of Jewish descent or without any documented subscriber to the annual cemetery fees, were exhumed. And this is exactly what happened to the resting place of Minkus – he was exhumed and deposited into a mass anonymous grave.

Just as Minkus himself, who after glorious times in Russian returned to Vienna to die in loneliness and oblivion, his

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artistic legacy also followed a similar path. His scores are only alive because of those ballets that were produced on the stage. The music that was so perfectly fit for dancing wasn’t able to stay alive without its creator.

Minkus was unfortunate from a musical point of view to be a contemporary of P. Tchaikovsky, whose music for Petipa’s ballets had an independent value. It must be noted, however, that Minkus was a specialist ballet composer and should not be compared to the likes of Tchaikovsky or Stravinsky who come from a different genre. Minkus was the child of Vienna, the singular queen of waltz – his gypsies, rajas, Spanish toreadors, dancers of Indian temples, whether living or dead, dance in the spellbinding rhythm of waltz. Minkus had the ability to give an emotional feel or mood to a piece without dominating it, allowing the dancers to be seen to full advantage. He possessed the God’s gift of making even the clumsiest listener want to get up and dance!

Eglë Ulienë

Choreografo asistentas Stanislav Feèo, choreografas Vasilij Medvedev, dirigentas Martynas Staðkus

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L

udwigo Minkaus Don Kichotui tenka ypatinga vieta mano gyvenime – jau vaikystëje tai buvo vienas mëgstamiausiø mano baletø. Buvau laimingas,

kai mokydamasis A. Vaganovos mokykloje galëjau jame dalyvauti, – kaip tik Don Kichotas yra vienas pirmøjø spektakliø, kuriame ðokau. Tame senajame pastatyme buvo scenø ir ðokiø, kurie pamaþu ið ðio baleto iðnyko, bet visi jie (pavyzdþiui, Prologas ar Serpantinø ðokis antrajame veiksme) visam laikui ástrigo atmintyje.

Ir ðtai prabëgus daugeliui choreografinio darbo metø man nusiðypsojo laimë pa-

èiam statyti garsøjá Don Kichotà – baletà, jau pusantro ðimto metø nepaliekantá abejingo në vieno þiûrovo. Ðiandienos spektaklyje norëjau baleto struktûrai gràþinti pirminæ versijà, sukurtà Mariuso Petipa, kurio 200 metø jubiliejø netrukus ðvæs visas baleto pasaulis. Suprantama, atkurdamas prarastus numerius, iðsaugojau neliestus vëlyvesnio A. Gorskio pastatymo ðedevrus. Manau, baleto þiûrovai ir þinovai ávertins Sapno scenà ar paskutinio veiksmo ðokius, priartintus prie didþiojo Petipa choreografijos.

Norëèiau padëkoti Petipa palikimo fondui uþ pagalbà ieðkant istorinës medþiagos ir uþ galimybæ pasinaudoti archyvinëmis gaidomis.

Lietuvos nacionalinio operos ir baleto teatro scena man laiminga: gerai prisimenu, kaip prieð daugelá metø, 1987-aisiais, gastroliavau èia su Estijos Vane-

muinës teatru. Rodëme mano sukurtà baletà Ðauksmas, kuriame ðokau pagrindiná vaidmená. O dabar ðtai atsirado galimybë pastatyti èia mëgstamà klasikiná baletà.

Visa ðirdimi tikiuosi, kad mûsø Don Kichotas nenuvils lietuviø baleto mëgëjø.

Vasilij Medvedev

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M

inkus’ ballet Don Quixote takes up a very special place in my life: already

in my childhood it was one of my favourite ballets. I was very happy when I had a chance to participate in it while still studying at the Vaganova Ballet School, and Don Quixote turned out to be one of the first productions in which I’ve performed as a dancer. It contained scenes and dances that later gradually disappeared from this ballet and were never produced again, but all of them (i.e. the Prologue or Dance of the Serpantines from the 2nd act) remained in my memory forever.

And now, after many years of my work as a choreographer, I am fortunate enough to create my own version of the famous Don Quixote, which for already more than 150 years manages to touch the heart of every single member of the audience. In this current production I wished to return the structure of the ballet to its original version by Marius Petipa, whose 200th anniversary shall soon be celebrated by the entire world. Naturally, while recreating the lost scenes, I also kept the masterpieces from the later production of A. Gorsky untouched. I think that the audience and experts of ballet shall appreciate the Dream scene or the dances in the final act, which I have brought closer to the choreography of the grand Petipa.

I would like to thank the Petipa Heritage Fund for its help in looking for historical material, and for the possibility to use the archival scores.

I consider the stage of your theatre in Vilnius to be very lucky: I remember very well how many years ago, in 1987, I came here with the Estonian Vanemuine Theatre and my ballet Scream, in which I’ve also performed the principal role.

And now I have a chance to produce my beloved classical ballet here.

I hope from the depth of my heart that our Don Quixote shall not disappoint the appreciators of ballet in Vilnius.

Vasily Medvedev

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Vasilij Medvedev Choreografas Vasilijus Medvedevas gimë Rusijoje. Baigë Sankt Peterburgo A. Vaganovos baleto mokyklà (dabar – A. Vaganovos rusø baleto akademija). Jo pedagogai buvo garsieji N. Dudinskaja, K. Sergejevas, G. Seliutskis. Vëliau V. Medvedevas mokësi N. Rimskio-Korsakovo konservatorijoje, kur ágijo choreografo ir baletmeisterio iðsilavinimà.

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Karjerà menininkas pradëjo Sankt Peterburgo maþajame teatre (dabar – Michailovsko teatras), kuriame ðoko soli-

tas), J. Machalina ir S. Gumerova (Marijos teatras), D. Klimentova ir J. Glurdþidzë (Anglijos nacionalinis baletas),

nes partijas spektakliuose Tuðèias atsargumas, Spragtukas, Kopelija.

M. Eichwald (Ðtutgarto baletas), I. Kolb ir J. Smekalovas (Marijos teatras), S. Feèo (Prahos nacionalinis baletas).

1981 m. V. Medvedevas priëmë Estijos Vanemuine teatro

Po premjeros Oneginas ávairiose tarptautinëse baleto tru-

pasiûlymà tapti pagrindiniu trupës solistu ir choreografu. Èia jis sukûrë pirmuosius savo baletus Satanella, Pagodø

pëse buvo pastatytas jau septynis kartus. Nuo 2012 m. duetas ið ðio baleto yra privalomasis kûrinys poroms,

princas, Petia ir vilkas ir kt., ðoko pagrindines repertuaro partijas, tarp jø – Albertà Þizel, Fabijø Satanelloje, Princà Spragtuke, Francà Kopelijoje, Dþeimsà Silfidëje, Princà Salamandrà Pagodø prince ir t. t. Uþ baleto meno puoselëjimà Estijoje V. Medvedevui suteiktas Estijos liaudies artisto garbës vardas.

dalyvaujanèioms Bostono tarptautiniame baleto konkurse.

2009 m. gruodá V. Medvedevas sëkmingai debiutavo

J. Burlaka. 2011 m. Esmeraldos spektaklis, gyvai transliuojamas ið Didþiojo teatro, buvo rodomas daugiau nei

Nuo 1989 m. V. Medvedevas kaip ðokëjas ir choreografas

400 pasaulio kino teatrø. Tais paèiais metais V. Medvedevas ir J. Burlaka buvo pakviesti á Staatsballet Berlin

bendradarbiauja su ávairiais Rusijos ir uþsienio teatrais bei baleto trupëmis. Jis dalyvavo daugelyje prestiþiniø

sukurti naujos Esmeraldos versijos. 2012 m. ði spektaklio redakcija buvo pastatyta kartu su Nacionaline Meksiko

renginiø, tarp jø – Pasaulio baleto festivalyje (Doneckas, Ukraina), pasaulio þvaigþdþiø gala koncerte (Minskas,

baleto trupe.

Baltarusija), Sankt Peterburgo baleto þvaigþdþiø koncerte (JAV), Þvaigþdþiø naktyje (Kaljaris, Italija), tarptautiniame

V. Medvedevo baletas Septynios graþuolës pagal Q. Qarajevo muzikà, 2008 m. pastatytas Azerbaidþano

gala koncerte (Estija, Lietuva), J. Machalinos ir Sankt Peterburgo baleto þvaigþdþiø pasirodyme (Argentina,

nacionaliniame teatre (Baku), pelnë aukðèiausià ðios ðalies apdovanojimà. Vëliau jis parodytas Maskvos

Kosta Rika).

didþiajame teatre (2011) ir Baltarusijos didþiajame teatre (2012).

Maskvos didþiajame teatre baletu Esmeralda, kurá sukûrë kartu su buvusiu ðio teatro Baleto trupës meno vadovu

V. Medvedevo baletas Oneginas, pastatytas 1999 m.

Prahos nacionaliniame teatre, pelnë Tarptautinio A. Puð-

2013 m. V. Medvedevas sukûrë Kopelijà Panamos

kino palikimo fondo (JAV) ásteigtà premijà uþ choreografijà. Ðio spektaklio fragmentai buvo sëkmingai atliekami

nacionaliniame balete. Tais paèiais metais menininkas kartu su J. Burlaka Staatsballett Berlin atkûrë istoriná

svarbiuose gala koncertuose visame pasaulyje (Gala des etoiles Monrealyje, Pasaulio baleto þvaigþdës Spolete,

Spragtukà. 2014 m. ðis spektaklis buvo transliuojamas Mezzo televizijos kanalu (iðleistas ir jo DVD). 2014 m. penktà kartà pastatytas V. Medvedevo baletas Dama su kamelijomis – tai ávyko Skopjëje, Makedonijos operos ir

Rusø baleto þvaigþdës Japonijoje), tarp jo interpretuotojø buvo garsûs ðokëjai I. Ciaravola (Paryþiaus operos bale-

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baleto teatre. 2014 m. V. Medvedevas baletà Korsaras pastatë Samaros operos ir baleto teatre, o 2015 m. – Slovakijos nacionaliniame balete (Bratislava). Tais paèiais metais Kroatijos nacionaliniame balete (Zagrebas) jis pastatë Bajaderæ.

V. Medvedevo repertuare daugiau kaip 40 baletø, pastatytø Bosnijos ir Hercegovinos, Èekijos, Estijos,

dancer and choreographer in Estonia (Theatre of

Vanemuine). There, he started to create feature ballets as Satanella, The Prince of Pagodas, Peter and the Wolf and many others.

Meksikos, Panamos, Rumunijos, Rusijos, Slovakijos, Turkijos, Ukrainos ir Vokietijos teatruose. Menininkas

V. Medvedevÿs repertoire included most of the leading male rolesm, such as Albert in Giselle, Fabio in Satanella, Prince

mielai kuria naujas klasikiniø baletø versijas, nevengia originaliø interpretacijø. Jos ryðkiai atsiskleidþia baletuose

in Nutcracker, Franz in Copellia, James in La Sylphide, Prince Salamander in Prince of Pagodas, etc. As an

Katia ir Siamo princas, Romeo ir Dþuljeta, Salomëja, Dama su kamelijomis ir Pelenë (pagal tëvo ir sûnaus Straussø muzikà).

appreciation of his personal endowment and of his development of the art of ballet in Estonia, Mr. Medvedev

V. Medvedevas yra Sankt Peterburgo tarptautinio ðokio festivalio ákûrëjas ir meno vadovas, nuo 2001 m. – Sankt

Since 1989, V. Medvedev has been collaborating as a dancer and choreographer with various theatres and

Peterburgo ðokio meno premijos steigëjas. 2016 m. jis ákûrë M. Petipa palikimo fondà, yra jo prezidentas.

companies in Russia and abroad, and was invited to prestigious events such as World Ballet Festival (Donetsk,

Vasily Medvedev

Ukraine), World Stars Gala (Minsk, Belarus), Stars of St. Petersburg Ballet (USA), Notte di Stelle (Cagliari, Italy),

Choreographer

received the title of Honored Artist of Estonia.

Gala International (Estonia, Lithuania), Y. Makhalina and Stars of St. Petersburg Ballet (Argentina, Costa Rica).

Vasily Medvedev was born in Russia. Graduated from St. Petersburg Vaganova Ballet School (now Vaganova Academy of Russian Ballet) under the guidance of famous N. Dudinskaia, K. Sergeiev, G. Seliutsky. Later studied at the Rimsky Korsakov Conservatory and graduated as a choreographer and ballet master. He began his career in the Small Theatre (now Mikhailovsky theatre), where he danced solo roles in Vain Prudence, Nutcracker, Copellia.

Later in 1981, he accepted an invitation to be a principal

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V. Medvedev’s ballet Onegin, presented at the National Theatre in Prague in 1999, was awarded by the US Pushkin Legacy with the Pushkin Legacy Ballet Award for its choreography. Fragments from Onegin were successfully performed in important ballet Galas around the world, such as Gala des etoiles in Montreal, World Ballet Stars in Spoleto, Russian Ballet Stars in Japan, and were interpreted by famous dancers I. Ciaravola (Ballet of Paris

Opera), Y. Makhalina and S. Gumerova (Mariinsky), D. Klimentova and E. Glurdzhidze (English National Ballet),

the Staatsballett Berlin in 2013. In 2014, this The Nutcracker was broadcasted live on TV channel Mezzo,

M. Eichwald (Stuttgart ballet), I. Kolb and Y. Smekalov (Mariinsky), S. Feèo (Prague National ballet).

and is currently available on DVD. In 2014, his ballet Lady of the Camellias was staged for the fifth time; the most

Since its premiere, this ballet has been staged by various

recent staging is with Macedonian Opera and Ballet Theatre in Skopje. V. Medvedev staged his version of Le

repertory for couples in the Boston International Ballet Competition.

Corsaire for the Opera and Ballet Theatre in Samara in 2014 and for Slovak National Ballet in Bratislava in 2015.

He staged La Bayadere with Croatian National Ballet in Zagreb, also in 2015.

In December 2009, V. Medvedev had a successful debut

Among V. Medvedevÿs works are more than 40 titles

at the famous Bolshoi theatre with the ballet La Esmeralda, created together with former artistic director of the Bolshoi

created for Russian and international audiences in many theatres in the Czech Republic, Germany, Panama,

Ballet, Yuri Burlaka. In 2011, La Esmeralda was broadcasted live from the Bolshoi theatre around the world

Ukraine, Estonia, Slovakia, Romania, Turkey, Bosnia and Herzegovina, Russia, and Mexico. He makes his own

in more than 400 cinemas. In 2011, V. Malakhov invited V. Medvedev and Y. Burlaka to the Staatsballet Berlin to

versions of classical ballets such as Le Corsaire, Swan Lake, The Nutcracker, La Fille mal Gardee and Coppelia,

create a new version of La Esmeralda for his company. In 2012, the same version was staged for the National Ballet

as well as original productions such as Katya and Prince of Siam, Romeo and Juliet, Salome, Lady of the Camellias

Company in Mexico City, Mexico.

and Cinderella to the music of J. Strauss & Son.

V. Medvedev’s ballet Seven Beauties, set to the music by Q. Qarayev at the National Theatre of Azerbaijan in Baku,

V. Medvedev is a founder and artistic director of the International St. Petersburg Dance Open Ballet Festival

received the highest National award Zirvia, and it was successfully performed at the Bolshoi theatre in Moscow

and St. Petersburg Dance Open Award, since 2001.

in 2011, as well as at the Bolshoi theatre of Belarus in Minsk in 2012.

In 2016 V. Medvedev established the Petipa Heritage Fund and became its president.

international ballet companies for seven times already. In 2012, the duet from ballet Onegin became obligatory

In 2013, V. Medvedev staged his ballet Coppelia for the National Ballet of Panama. In that same year he once again collaborated with Y. Burlaka, creating a historical reconstruction of the ballet The Nutcracker, presented at

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Peter Brenkus nuotr.

Opera), N. Sologub (Prahos nacionalinis teatras), J. Kurova, H. Vlacilova ir kt. Kaip kviestinis solistas jis ðoko ávairiose baleto trupëse, tarp jø Teatro Colon (Buenos Airës). Ðokëjas dalyvavo ávairiuose prestiþiniuose koncertuose: Gala des Etoiles Monrealyje, Dance Open Sankt Peterburge, Gala Due Mondi Spolete, pasaulio baleto þvaigþdþiø koncerte Seule, Pasaulio baleto festivalyje Kijeve ir Donecke.

Baigæs ðokëjo karjerà, S. Feèo ëmësi choreografijos. Vieni ryðkiausiø jo darbø – Bajaderë Jekaterinburgo operos ir baleto teatre ir Þizel Estijos Vanemuine teatre. Permës

Stanislav Feèo

baleto trupei sukurtas jo baletas Paladijus buvo parodytas Jekaterinburge ir Panamoje (su Panamos nacionaliniu

Choreografo asistentas

baletu). Taip pat S. Feèo sukûrë spektaklá Neatremiamasis Slovakijos nacionaliniam baletui. Menininkas daugelá metø

Ðokëjas, choreografas ir baletmeisteris Stanislavas Feèo

bendradarbiauja su pripaþintu choreografu V. Medvedevu kaip jo asistentas ir ðokëjas.

yra vienas pirmøjø Èekijos baleto artistø, kurie po Aksominës revoliucijos uþtikrintai ásitvirtino tarptautiniame balete. Prahos nacionaliniame ir kituose teatruose jis sukûrë daugybæ áspûdingø pagrindiniø vaidmenø klasikiniuose baletuose, tarp jø Gulbiø eþere , Þizel , Raimondoje , Spragtuke, Korsare, Bajaderëje, Mieganèiojoje graþuo-

lëje, Don Kichote, Eugenijuje Onegine, Damoje su kamelijomis ir kt.

S. Feèo ðoko visame pasaulyje garsiø choreografø R. Petit, G. Balanchineÿo, V. Medvedevo, J. Kyliáno, A. Ailey, H. van Manneno ir kt. baletuose su daugeliu þymiausiø balerinø: G. Mezenceva, J. Machalina, L. Kunakova, Z. Ajupova (Marijos teatro baletas, Anglijos nacionalinis baletas), D. Klimentova, E. Glurdþidze (Amsterdamo Het National Ballet), L. Leþnina (Maskvos didþiojo teatro baletas), A. Voloèkova (Dresdeno Semper 56

Kaip baleto pedagogas S. Feèo kvieèiamas vesti meistriðkumo kursø ir pamokø á Staatsballet Berlin, Compañia Nacional de Danza (Meksika), Slovakijos, Kroatijos, Makedonijos nacionaliná baletà ir kitur. Kaip ðokëjas ir baletmeisteris jis daug metø bendradarbiauja su tarptautiniu Sankt Peterburgo atvirojo ðokio festivaliu. S. Feèo yra pirmasis èekas, ágijæs magistro diplomà garsiojoje A. Vaganovos rusø baleto akademijoje.

Menininkas yra pelnæs ávairiø prestiþiniø apdovanojimø.

Vienas jø – Philip Morris Flower premija. A. Puðkino palikimo fondas (JAV) kelis kartus jam skyrë premijà uþ iðskirtiná Onegino vaidmens atlikimà, ánaðà á A. Puðkino palikimo saugojimà ir ðio poeto idëjø populiarinimà visame pasaulyje.

After finishing his solo career, he began to choreograph.

In Yekaterinburg Opera and Ballet theatre he staged the

Stanislav Feèo Assistant to the Choreographer Dancer, choreographer and ballet master Stanislav Feèo is one of the first Czech ballet dancers to have established themselves abroad after the velvet revolution (1989) in the context of global competition. During his rich career as the principal dancer of the Prague National Theatre and other companies, he has interpretatively portrayed dozens of major figures in classical ballets, such as Swan Lake, Giselle, Raymonda, The Nutcracker, Le Corsaire, La

Bayadere, The Sleeping Beauty, Don Quixote, Eugene Onegin, The Lady of the Camellias and many others.

S. Feèo has danced in ballets by leading international choreographers, such as Roland Petit, George Balanchine, Vasily Medvedev, Ji i Kylián, Alvin Ailey, Hans van Mannen and others. He has collaborated with a multitude of famous ballerinas: G. Mezentseva, Y. Makhalina, L. Kunakova, Z. Ayu-

La Bayadere, with the Vanemuine ballet in Estonia he staged his own version of Giselle. His ballet Palladio, created for the ballet company in Perm, was successfully staged also in Yekaterinburg and in Panama city for the National Ballet of Panama. S. Feèo also produced Irresistible for the Slovak National Ballet. He is in a longstanding cooperation on major world stages with internationally renowned choreographer Vasily Medvedev, as a dancer and his assistant .

As a teacher he guests at prestigious ballet workshops, master-classes and lessons in ballet companies, for example at Staatsballett Berlin, Compañia Nacional de Danza in Mexico, Slovak National Ballet, Croatian National Ballet, Macedonian National Ballet, etc.

As a dancer and ballet master, for many years he has also collaborated with Dance Open in St. Petersburg, one of the most important international ballet festivals. S. Feèo was also the first Czech ever who graduated with a

pova (Mariinsky ballet, English National Ballet), D. Klimentova, E. Glurjidze (Het National Ballet Amsterdam), L. Lezh-

master‘s degree from the famous Vaganova Academy of Russian Ballet in St. Petersburg.

nina ( Bolshoi Ballet), A. Volochkova (Semper Opera Dresden), N. Sologub (Prague National Theatre), J. Ku-

S. Feèo holds several prestigious awards, such as the

rova, H. Vlacilova and many others. He has also guested at numerous ballet companies, such as Teatro Colon

Buenos Aires . He has participated in the prestigious international ballet galas, such as Gala des Etoiles in Montreal, Dance Open in St. Petersburg, Gala Due Mondi in Spoleto, World Ballet Stars in Seoul, World Ballet Festival in Kiev and Donetsk, and many others.

Philip Morris Flower award for the Best Dancer in the Czech Republic, and has also won several awards from the US Pushkin Legacy Foundation – for outstanding performance in the role of Onegin and for contributions and spreading of Pushkinÿs message around the world.

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Maestro repertuare – per 40 spektakliø. Tai G. Verdi Nabukas, Aida, Makbetas, Otelas, Traviata, Kaukiø balius,

Martynas Staðkus dirigentas Martynas Staðkus, Lietuvos muzikos akademijoje ágijæs orkestro ir operos dirigento specialybæ, 1995 m. pradëjo dirbti dirigento asistentu Lietuvos nacionaliniame operos ir baleto teatre, po metø tapo ðio teatro dirigentu, o 1997–

Likimo galia, Don Karlas, G. Puccini Toska, Dþanis Skikis, Sesuo Andþelika, Turandot, Madam Baterflai, C. M. von Weberio Laisvasis ðaulys, W. A. Mozarto Pagrobimas ið seralio , Don Þuanas , Figaro vedybos , Ch. Gounod Faustas, J. Gaiþausko Buratinas, B. Britteno Statykime operà! , L. van Beethoveno Fidelijus ir kt. operos, J. Strausso operetës Vienos kraujas ir Ðikðnosparnis, taip . pat M. Theodorakio Graikas Zorba, G. Bizet ir R. Ðèedrino Karmen, F. Mendelssohno-Bartholdy Vasarvidþio nakties sapnas , M. Ravelio Dafnis ir Chlojë , P. Èaikovskio Spragtukas, Mieganèioji graþuolë, S. Prokofjevo Romeo ir Dþuljeta, A. L. Minkuso Bajaderë, H. Løvenskioldo Silfidë, A. Adamo Þizel, E. Balsio Eglë þalèiø karalienë ir kt. baletai. M. Staðkus parengë keleto nacionaliniø veikalø – B. Kutavièiaus Lokio (ðios operos CD áraðà 2002 m. iðleido suomiø firma Ondine), Ignis et fides ir M. Urbaièio Acid City – pasaulines premjeras. Ne kartà diriguoti L. van Beethoveno, M. Ravelio, W. A. Mozarto, J. Brahmso, M. Musorgskio, J. Haydno, F. Mendelssohno-Bartholdy kûriniai chorui ir orkestrui.

M. Staðkaus diriguojami dainavo pasaulinio garso solistai V. Noreika, I. Milkevièiûtë, V. Juozapaitis, V. Urmana, E. Montvidas, B. Maisuradzë, grieþë G. Kremeris, skambino K. Broja, A. Paleyÿus ir kt.

1998 m. buvo jo vyriausiasis dirigentas.

M. Staðkus yra daugelio tarptautiniø choro dirigavimo konkursø laureatas: Vroclave (Lenkija) laimëta pirmoji, Arece (Italija) – treèioji, Miltenberge (Vokietija) – antroji, J. Naujalio choro dirigavimo konkurse (Vilnius) – pirmoji vieta, o Ture (Prancûzija) – specialusis prizas.

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Maestro bendradarbiavo su garsiais reþisieriais J. Juraðu, G. Varnu, J. Vaitkumi, D. Ibelhauptaite, E. Nekroðiumi, G. Kraemeriu, M. Wiesler, D. Soelteriu, A. Minghella, choreografais V. Grabðtaite, A. Cholina, A. Melanjinu, K. Pastoru, B. Eifmanu ir kt.

prize), International Choir Competition in Arezzo, Italy (third prize), International Choir Competition in Tour, M. Staðkus dirigavo ðiuolaikinës muzikos festivalyje Gaida,

France (special prize), International Choir Competition in Miltenberg, Germany (second prize) and International J.

F. Schuberto ir J. Haydno, Vilniaus, Trakø, Murten Classics (Ðveicarija) ir kt. festivaliuose. Parengta nemaþai

Naujalis Choir Conducting Competition in Vilnius, Lithuania (first prize).

koncertiniø programø su Lietuvos muzikos akademijos kameriniu, Lietuvos valstybiniu ir Lietuvos nacionaliniu

His repertoire includes over 40 operatic works such as G.

simfoniniais, Vilniaus ir Lietuvos kameriniais orkestrais, Kremerata Baltica , Ðiaurës Baltijos ðaliø jaunimo

Verdi Nabucco, Macbeth, Aida, Otello, La Traviata, Un Ballo in Maschera, La Forza del Destino, Don Carlo, G.

kameriniu, Ðiaurës Reino-Vestfalijos jaunimo simfoniniu, Ankaros simfoniniu, Sankt Peterburgo muzikos

Puccini Tosca, Gianni Schicchi, Suor Angelica, Turandot, Madama Butterfly, J. V. Halevy La Juive, J. Strauss Wiener

akademijos operos orkestrais ir kt.

same year he was engaged at the Lithuanian National Opera and Ballet Theatre as an Assistant Conductor and

Blut , W. A. Mozart Entführung aus dem Serail , Don Giovanni, Le nozze di Figaro, H. M. Weber Der Freischütz, Gounod Faust, J. Gaiþauskas Buratino, B. Britten Letÿs Make an Opera!, Ch. W. Gluck Orfeo ed Euridice, L. van Beethoven Fidelio etc.; ballets M. Theodarakis Zorba the Greek , P. Tchaikovsky The Nutcracker , G. Bizet–R. Shchedrin Carmen , F. Mendelssohn – Bartholdy A Midsummer Nightÿs Dream, M. Ravel Daphnis et Chloe, Prokofiev Romeo and Juliet, A. L. Minkus La Bayadere, H. Lovenskjold La Sylphide, A. Adam Giselle, E. Balsys Eglë the Queen of Grasssnakes etc.; many works of symphonic, chamber and choral music by Beethoven, Ravel, Mozart, Brahms, Mussorgsky, Haydn, Mendelssohn-Bartholdy and others.

has been one of the companyÿs resident conductors since 1996. In 1997–1998 he was Chief Conductor of the

Martynas Staðkus has been the music director of three

Gastroliavo Danijoje, Estijoje, Italijoje, Lenkijoje, Olandijoje, Prancûzijoje, Ðvedijoje, Ðveicarijoje, Taivane, Turkijoje, Vokietijoje ir kitur.

Martynas Staðkus Conductor Martynas Staðkus graduated from the Lithuanian Academy of Music in opera and orchestral conducting in 1995. That

Lithuanian National Opera and Ballet Theatre.

world premieres, Mindaugas Urbaitisÿ ballet Acid City and Bronius Kutavièiusÿ operas The Bear (released on Ondine

Martynas Staðkus is the prize-winner of many national and international competitions such like International

in 2002 – Audio CD) and Ignis et Fides.

Choir Conducting Competition in Wrozlaw, Poland (first

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N. Razina nuotr.

Martynas Staðkus has conducted performances of internationally acclaimed artists Virgilijus Noreika, Irena Milkevièiûtë, Vytautas Juozapaitis, Violeta Urmana, Edgaras Montvidas, Badri Maisuradze, Gidon Kremer, Kshishtof Broya, Alexander Paley and many others.

His stage partnerships include those with renowned stage directors Jonas Juraðas, Gintaras Varnas, Jonas Vaitkus, Dalia Ibelhauptaitë, Eimuntas Nekroðius, Günter Krämer, Monika Wiesler, Detlef Soelter, Anthony Minghella, choreographers Vesta Grabðtaitë, Anþelika Cholina, Andrej Melanjin, Krzysztof Pastor and Boris Eifman among others.

Martynas Staðkus has conducted in many prominent festivals such like Gaida International Festival of Modern Music, Schubert – Haydn Festival, the Vilnius Festival, Murten Classics Festival in Switzerland, the Trakai Festival, to name a few. His concert credits include programmes with the Lithuanian Academy of Music Chamber Orchestra, Lithuanian State Symphony Orchestra, Lithuanian National Symphony Orchestra, Vilnius Chamber Orchestra, Lithuanian Chamber Orchestra, International Nordic/Baltic Youth Chamber Orchestra, Jugendsimfonieorchester Nordrhein – Westfalen, Kremerata Baltica, Ankara Opera Symphony Orchestra, St. Petersburg Music Academy Opera Orchestra and other ensembles.

Guest performances have taken him to Holland, Germany, Italy, Estonia, France, Denmark, Taiwan, Switzerland, Turkey, Sweden, Poland and elsewhere.

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Andrej Voitenko Scenografas Andrejus Voitenka baigë Leningrado V. Serovo menø mokyklos (dabar Sankt Peterburgo N. Rericho menø mokykla) Teatro dizaino skyriø.

1979–1983 m. jis dirbo Baltarusijos nacionaliniame akademiniame didþiajame operos ir baleto teatre. Pirmieji A. Voitenkos kaip scenografo darbai – spektakliai Kapelmeisterio rinkimai, Tarnaitë ponia ir Gëliø ðventë Dþencane.

Kaip scenografo J. Lysykos asistentas jis padëjo kurti baletø Spartakas ir Spragtukas dizainà. Baltarusijos valstybinës konservatorijos Operos studijoje sukûrë operø Pajacai ir Figaro vedybos scenografijà.

Nuo 1983 m. A. Voitenka – Sankt Peterburgo Marijos teatro scenos dizaino vyriausiasis specialistas. Kaip dailininkas

Andrei Voitenko Set Designer

maketuotojas ir scenografø asistentas jis prisidëjo kuriant daugiau kaip ðimtà spektakliø. A. Voitenka sukûrë Marijos

Andrei Voitenko graduated from the theatre design

teatro spektakliø Parsifalis (1995), Likimo galia (1998) ir Mieganèioji graþuolë (1999) scenografijà. Kaip M. Ðe-

department of the Leningrad Serov Art College (now the St. Petersburg Roerich Art College).

miakino asistentas padëjo kurti spektakliø Spragtukas (2001), Princesë Pirlipatë, arba Pelnyta bausmë (2003),

From 1979-1983 he worked at the national Academic

Stebuklingas rieðutëlis (2005), Metafizika, Nuolankioji ir Ðventasis pavasaris (2006) scenografijà.

Bolshoi Theatre of Opera and Ballet in the Republic of Belarus. As a production designer he worked on Die

A. Voitenka kuria knygø grafikà ir spektakliø plakatus, tapo paveikslus. Baltarusijos nacionaliniame dailës muziejuje apipavidalino tarptautiná parodø projektà Léono Baksto

gyvenamasis metas ir kûryba (2016). Surengë personaliniø parodø Rusijoje ir uþsienyje. Jo darbø yra ásigijæ Sankt Peterburgo istorijos muziejus, Rusijos dailës muziejai, privatûs JAV, Prancûzijos, Latvijos, Lietuvos ir Suomijos kolekcininkai. A. Voitenka yra Rusijos dailininkø sàjungos Sankt Peterburgo skyriaus narys.

Permëje, P. Èaikovskio operos ir baleto teatre (Rusija), jis sukûrë spektakliø Bachèisarajaus fontanas (2001), Orangas ir Tariamai nuþudytieji (abu 2015), Karelijos Respublikos muzikiniame teatre (Rusija) – Spragtuko (2009), Sarajevo nacionaliniame teatre (Bosnija ir Hercegovina) – Damos su kamelijomis (2012), Berlyno nacionaliniame balete – Spragtuko (2013), Samaros operos ir baleto teatre (Rusija) – Korsaro (2014), Jekaterinburgo operos ir baleto teatre (Rusija) – Gulbiø eþero (2015), Lietuvos nacionaliniame operos ir baleto teatre – Kopelijos (2010, M. Ðemiakino asistentas) ir Don Kichoto (2016) scenografijà.

Erwählung eines Kapellmeisters, La serva padrona and Flower Festival in Genzano, and as an assistant to principal designer Yevgeny Lysyk he was involved in productions of Spartacus and The Nutcracker. In the opera studio of the Belorussian State Conservatoire, as a production designer he created I pagliacci and Le nozze di Figaro.

Since 1983 A. Voitenko has been working at the Mariinsky Theatre, being an artist technologist for pictorial works.

He has taken part in the creation of over one hundred productions as a model designer and assistant production designer. As a production designer at the Mariinsky Theatre he has staged productions of Parsifal (1995), La

forza del destino (1998) and The Sleeping Beauty (1999).

As an assistant designer to Mikhail Chemiakin he worked on productions of The Nutcracker (2001), Princess Pirlipat, or Worthiness Punished (2003), The Magic Nut (2005), Metaphysics, The Meek One and Le Sacre du printemps (2006).

As a production designer at the Perm Tchaikovsky Opera and Ballet Theatre he has staged productions of the ballets The Fountain of Bakhchisarai (2011), Orango and

Hypothetically Murdered (2015), at the Musical Theatre Don

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Valery Vasilevsky nuotr.

of the Republic of Karelia he designed ballet The

Nutcracker (2009), Lady of the Camellias (2012) at the National Theatre of Sarajevo (Bosnia-Herzegovina), The Nutcracker (2013) at the Staatsballet in Berlin, Le Corsaire (2014) at the Samara Opera and Ballet Theatre, Swan Lake (2015) at the Yekaterinburg Opera and Ballet Theatre, Don Quixote (2016) and Coppélia (Assistant Production Designer, 2010) at the Lithuanian National Opera and Ballet Theatre.

A. Voitenko produces graphics for books, easel paintings and works in the genre of theatre poster design. As a designer at the National Art Museum of the Republic of Belarus he designed the international exhibition project The Times and Art of Léon Bakst (2016). The designer has had personal exhibitions both in Russia and internationally. The designerÿs works feature in the collections of the Museum of the History of St. Petersburg, Russian art museums and private collections in the USA, France, Latvia, Lithuania and Finland. He is the member of the St. Petersburg branch of the Union of Artists of Russia.

Jelena Zaiceva Kostiumø dailininkë Jelena Zaiceva gimë Sankt Peterburge. 1991 m. baigusi Sankt Peterburgo valstybinæ teatro meno akademijà, bendradarbiavo su Lenfilmo kino studija. Filmø Namas ant smëlio (reþ. N. Adomënaitë), Rusijos svajos (reþ.

Dz. Sato), Misija (reþ. A. Negrinas) ir Chrustaliovai , maðinà! (reþ. A. Germanas) kostiumø dailininko asistentë.

Sukûrë filmø Dar ne laikas liûdëti (reþ. S. Seljanovas) ir Principingas ir gailestingas poþiûris (reþ. A. Suchoèiovas) kostiumus. Tuo pat metu dirbo spektakliø Ðikðnosparnis (Novosibirskas, dail. M. Azizian) ir Raudonoji Þizel (Boriso Eifmano teatras, dail. V. Okunevas) dailininke technologe.

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1997 m. J. Zaiceva tapo Sankt Peterburgo Marijos teatro kostiumø dailininke. Ji dalyvavo kuriant visus statomus teatro spektaklius, tarp jø Parsifalá, Pikø damà ir Figaro

vedybas . Yra spektakliø Skrajojantis olandas ir Mieganèioji graþuolë (S. Vikarevo versija) kostiumø autorë.

Tuo pat metu dramos teatre kûrë Vyturio pagal J. Anouilhÿo dramà ir Ðventøjø pabaisø pagal J. Cocteau dramà kostiumus (Sankt Peterburgas).

2001 m. J. Zaiceva pradëjo dirbti Maskvos naujojoje operoje. 2003 m. ji buvo pakviesta á Maskvos didájá teatrà, kur tapo dizaino, scenografijos ir kostiumø vyriausiàja specialiste. Tarp jos darbø Maskvos didþiajame teatre – operos Mcensko apskrities ledi Makbet (2004), Vocekas (2009), Don Þuanas (2010, su D. Èerniakovu), Ruslanas

ir Liudmila (2011), Caro suþadëtinë (2014), baletai Korsaras (2007), Esmeralda (2009), Didysis Zacharovo þaidimas (2009), Petruðka (2010), Brangakmeniai (2012) ir Grand Pas ið Pakitos (2008).

Karmelièiø pokalbiai (2010) ir Simonas Bokanegra (2013, Bayerische Staatsoper Munich ), Don Þuanas (2010, Provanso Ekso festivalis), Esmeralda (2011, Staatsballet Berlin), Simonas Bokanegra (2011, Anglijos nacionalinë opera), Bajaderë (2011), Konservatorija (2013), Cantus Arcticus (2013), Pakita (2013), Saljerio variacijos (2013) ir Spragtukas (2013, Jekaterinburgo operos ir baleto teatras), Gulbiø eþeras (2012, Astrachanës operos ir baleto teatras), Sakmë apie nematomàjá Kiteþo miestà ir mergelæ Fevronijà (2012, Nyderlandø opera), Trubadûras (2012, Théâtre de la Monnaie), Jenufa (2012, Ciuricho opera), Caro suþadëtinë (2013, Staatsoper Berlin ), Traviata (2013, Teatro alla Scala), Don Þuanas (2013, Teatro Real ), Kunigaikðtis Igoris (2014, Metropolitan Opera ), Spragtukas (2013), Uþdanga (2015) ir Neapsaugotoji duktë (2015, Jekaterinburgo operos ir baleto teatras), Mûsø laikø herojus (2015), Don Kichotas (2016, Maskvos didysis teatras), Jolanta ir Spragtukas (2016, Opera Garnier ), Trubadûras (2014, Sankt Peterburgas), Don Þuanas (2015, Kanados operos teatras), Parsifalis (2015, Staatsoper Berlin), Lulu (2015, Bayerische Staatsoper) ir Mcensko apskrities ledi Makbet (2015, Anglijos nacionalinë opera) kostiumus.

J. Zaiceva yra daugelio reþisieriaus ir scenografo D. Èerniakovo spektakliø kostiumø dailininkë. Ji buvo Chovanðèinos (2007, Bayerische Staatsoper Munich) kostiumø dailininko asistentë, sukûrë spektakliø Loðëjas (2008, bendras Staatsoper Berlin ir Teatro alla Scala pastatymas),

Mcensko apskrities ledi Makbet (2008, Deutsche Oper am Rhein), Þizel (Volgogradas, Permë), Korsaras (2006, Permë), Imperatoriðkojo baleto aukso amþius (2008, Èeliabinskas), Makbetas (2009, bendras Novosibirsko operos ir baleto teatro ir Opera Bastille pastatymas),

Elena Zaiceva Costume Designer Elena Zaiceva was born in Saint Petersburg. In 1991, she completed her studies at the faculty of theatre production at the Saint Petersburg Academy of Theatre Art. She started working with Lenfilm Studios and was an assistant costume designer on the following films: The House on

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Sand, Dreams of Russia, The Mission (director A. Negrin), Khrustalyov, My Car! (director Alexei German).

As costume designer she worked on the following films:

The Time for Grief has not yet Come (director S. Selyanov), The Principled and Compassionate View of Al K (director A. Sukhochev). Parallel to her work in cinema, she worked in theatre as designer-technologist on the productions of Die Fledermaus (Novosibirsk, designer M. Azizyan) and Red Giselle (Saint Petersburg, Boris Eifman Theatre, designer V. Okunev).

In 1997, she became costume designer for the Mariinsky Theatre. As designer-technologist, she participated in all the productions for this period including, among others, Parsifal, The Queen of Spades, The Marriage of Figaro.

As a costume designer she worked on The Flying Dutchman and the Sergei Vikharevÿs historical version of The Sleeping Beauty. At the same time, she created costumes for drama productions of J. Anouilhÿs The Lark and Holy Monsters for The Youth Theatre on the Fontanka, St. Petersburg.

In 2001, she began her work in Moscow for the New Opera Company. In 2003, she joined the Bolshoi Theatre as chief specialist in design, production and exploitation of theatre costumes. She did the costume designs for the Bolshoi Theatre operas Lady Macbeth of Mtsensk (2004), Wozzeck (2009), Don Giovanni (together with Dmitri Tchernyakov), Ruslan and Lyudmila (2011), The Tsarÿs Bride (2014) and ballets Le Corsaire (2007), Grand Pas from Paquita (2008), La Esmeralda (2009), Zakharova Supergame (2009), Petrushka (2010), Jewels (2012).

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Among her works with other companies: assistant costume designer for Khovanshchina (2007, Bayerische Staatsoper

Munich, designer Dmitri Tcherniakov), costume designer for The Gambler at Staatsoper Berlin and Teatro alla Scala (2008, together with Tcherniakov), Lady Macbeth of Mtsensk in Dusseldorf, Giselle in Volgograd and Perm, Le Corsaire in Perm, The Golden Age of Ballet Imperial in Chelyabinsk (2008), Macbeth in Novosibirsk and at Opera Bastille (2009, together with Tcherniakov), Dialogues des Carmelites (2010) and Simon Boccanegra (2013) at Bayerische Staatsoper Munich, Don Giovanni at Festival dÿAix-en-Provence (2010, together with Tcherniakov), La Esmeralda at Staatsballet Berlin (2011), Simon Boccanegra for Londonÿs English National Opera (2011), La Bayadere (2011), Conservatory (2013), Cantus Arcticus (2013), Paquita (2013), Salieri Varia tions (2013), Nutcracker (2013) for Ekaterinburg Opera and Ballet Theatre, Swan Lake (2012) for Astrakhan Opera and Ballet Theatre, The Legend of the Invisible City of Kitezh and of the Maid Fevronia for Netherlands Opera (Amsterdam, 2012), Il Trovatore for the Théâtre de la Monnaie (Belgium), Jenufa for Zurich Opera, The Tsarÿs Bride for Staatsoper Berlin (2013), La traviata at Teatro alla Scala (2013), Don Giovanni (2013) for Teatro Real in Madrid, Prince Igor for Metropolitan Opera (2014), Nutcracker (2013), Curtain (2015), La fille mal gardee (2015, Opera and Ballet Theatre, Ekaterinburg), A Hero of Our Time (2015), Don Quixote (2016, The Bolshoi Theatre, Moscow), Iolanta / Nutcracker (2016, Opera Garnier, Paris), Il Trovatore (2014, Mikhailovskiy Theatre, St. Petersburg), Don Giovanni (2015, Canadian Opera Company, Toronto), Parcifal (2015, Berliner Staatsoper , Berlin), Lulu (2015, the Bavarian opera, Munich), Lady Macbeth of Mtsensk (2015, ENO, London).

(Ðvedija), Savonlinos (Suomija), Verdianos (Busetas, Italija) festivaliuose. Daug gastroliavo su LNOBT Baleto trupe M. Rostropovièiui diriguojant S. Prokofjevo baletà Romeo ir Dþuljeta. Dirbo ðviesø dailininkø P. Mumfordo, R. Fisherio, M. Jordano, A. Silvermano asistentu LNOBT.

Levas Kleinas Lighting Designer Levas Kleinas graduated from Vilnius University in 1975 and started working at the Lithuanian National Opera and Ballet Theatre in 1976. Since 1979 he has been the chief Lighting Designer with the LNOBT. During this period L.

Levas Kleinas Ðviesø dailininkas Levas Kleinas 1975 m. baigë Vilniaus universitetà ir nuo 1976 m. dirba Lietuvos nacionaliniame operos ir baleto teatre. Nuo 1979 m. – vyriausiasis ðviesø dailininkas. Per ðá laikotarpá LNOBT jis sukûrë daugiau nei 50 operø (Traviata, Faustas, Nabukas, Turandot, Kaukiø balius, Rigoletas, Makbetas , Don Þuanas , Karmen, Fidelijus,

Tanhoizeris , Toska , Otelas , Eugenijus Oneginas, Aleksandro puota, Kornetas, Ernanis, Manon ir kt.), daugiau nei 40 baletø ( Mieganèioji graþuolë , Gulbiø eþeras , Þizel , Silfidë , Kopelija , Romeo ir Dþuljeta , Dezdemona, Tristanas ir Izolda, Bolero+, Spragtukas ir kt.) ir daugelio koncertø ðviesø dizainà. 1986 m. L. Kleinas su LNOBT gastroliavo Maskvos didþiajame teatre (parodyti 7 pavadinimø spektakliai), 1988 m. – Varðuvos didþiajame teatre (5 pavadinimø spektakliai). Taip pat gastroliavo Ispanijoje, Olandijoje, Taivane, Vokietijoje, Dalhalos

Kleinas created lighting design for more than 50 operas, including La Traviata, Faust, Nabucco, Turandot, Un ballo

in maschera, Rigoletto, Macbeth, Don Giovanni, Carmen, Fidelio , Tannhäuser , Tosca , Otello, Eugene Onegin, Ernani, Manon etc., more than 40 ballets, including The Sleeping Beauty, Swan Lake, Giselle, La Sylphide, La Coppélia, Romeo and Juliet, Desdemona, Tristan and Isolde, Bollero+ etc., and many concerts. In 1986 L. Kleinas toured the Bolshoi Theatre in Moscow (here LNOBT presented 7 different performances), in 1988 – at the Teatr Wielki in Warsaw (5 different performances). Also, together with the LNOBT he appeared on tours in Germany, Holland, Taiwan, Spain, Savonlinna Opera Festival in Finland, Verdianaeum Festival in Busseto (Italy), Dalhala festival in Sweden. L. Kleinas has toured a lot with S. Prokofievÿs Romeo and Juliet, conducted by Maestro Mstislav Rostropovich and performed by the LNOBTÿs ballet company. At the LNOBT L. Kleinas has worked as an assistant lighting designer for Peter Mumford, Rick Fisher, Mimi Jordan, Adam Silverman and others.

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