Source and topics

The main rock of F. Amirov's ballet is the "Arabian Nights" tales with an ancient history, the cruel Shahriyar and the wise Shahrizade, the intelligence, bravery and kindness of the Eastern woman, and her victory with the strength of all these aspects.^[4] In ballet, there are many conflicts and moments of contrast. The emotional palette of the play is very rich: brutality and tenderness, hatred and love, death and joy meet here.

Authors of the libretto, Maqsud and Rustam Ibrahimbeyov, took the main point of the tale and managed to reveal its philosophical essence.^[4] Therefore, the red line here is the struggle between good and evil and the celebration of mercy. Compared to the original collection of fairy tales, the number of tales and characters in the ballet has been reduced. Mainly, three tales were used, which have an initial exposition, a conclusion, a finale, and also an independent theme. The fairy tales used are "Sindibad and the Magical Emerald Bird", "Aladdin and the Beautiful Here", "Alibaba and the Forty Thieves".^[4]

Fikret Amirov's work "A Thousand Nights" opened a new stage in the history of Azerbaijani ballet.^[5] Thus, in this work, the traditions of multi-act play and small-form ballets are combined. The composer was already an accomplished symphonist when he wrote in the ballet genre. In his work, in general, the symphonic way of thinking was formed by benefiting from the traditions of eastern culture. Deep philosophical concept, accuracy and logic of the author's thinking are the most remarkable points in the ballet "Arabian Nights", which is a very colorful and bright work. The dramaturgy of the ballet is born from the concept of this work, which is based on a rare monument of the peoples of the East. In other words, there are two worlds here: real and fairy-tale world.^[6] F. Amirov uses classical forms in this ballet and connects them in complete melodic and rhythm-intonation complexes.^[6]

Fikret Amirov, the author of ballet music, says in an interview that

The philosophical wisdom, humanistic ideas, and humanity of this outstanding monument of this medieval Arabic literature inspired me to create a ballet. The play was conceived as a eulogy to a woman, her wisdom, and spiritual beauty. The authors of the libretto, brothers Maqsud and Rustam Ibrahimbeyov, have made a great contribution to the solution. They offered very interesting dramaturgical material. In the performance, the most precious pearls of the treasury of fairy tales, the pearls reflecting women's intelligence, benevolence, and loyalty in love, have been gilded with the language of music and plastic.^[7]

Writing

Arabian Nights ballet is a special stage in Fikret Amirov's creativity.^[2] Fikret Amirov, who usually takes the artistic content of his works from subjects close to the people, while writing the Thousand and One Nights ballet, remained faithful to the tradition and turned to the folk tales. S. Tahmiragizi notes that "the composer glorifies his thoughts, ideas of love and loyalty with the language of this epic genre." ^[2] F. Amirov made the following statement in one of his interviews about the reasons for turning to the plot of "Arabian Nights" Arabic fairy tales:

The theme of Arabian Nights has not left me alone for many years. This immortal monument of art, rich in wise ideas, kneaded with the great love of life and high feelings of the East, has inspired many artists and will undoubtedly continue to inspire.^[8]

One of the most valuable pearls of world folklore, the choreographic embodiment of the Arabian fairy tale "Arabian Nights" required F. Amirov's high mastery and creative courage as a composer. Because, before Amirov, the famous Russian composer N. A. Rimsky-Korsakov, who has a special place in the history of world music, and the French composer M. Ravel also created famous works addressing the themes of "Arabian Nights".^[9]

In general, the subject of the East has always interested F. Amirov. Music for the drama "Sheikh Sanan" by H. Javid, "Concert on Arabic Themes for Piano and Orchestra" written jointly with Elmira Nazirova, "A Thousand Nights" after the symphonic mugham "Gulustan-Bayati-Shiraz" inspired by the works of the great poets of the Middle East, Sadi and Hafiz. The ballet was another embodiment of the composer's attitude to the Arab world and Arab culture.^[9]

Before starting work on the ballet, the composer traveled to Iran, Iraq, Turkey, Egypt, Syria, Morocco and India, and was in close contact with the Middle Eastern culture. During his visits to these countries, Amirov noticed a number of commonalities in professional music with an oral tradition. Amirov's constant contact with Arabic music, in particular, encouraged him to understand the similarities between Azerbaijani folk music and the music of eastern peoples.^[4]

The choice of F. Amirov's "Arabian Nights" fairy tales is determined by a number of factors, among which the composer's love for oriental fairy tales and the materials collected from the music of Arab countries are among the main conditions. The composer explains the reason for addressing this topic as follows:

I had other creative issues in front of me. I was writing "Oriental-Arabic" music based on an Azerbaijani composer who was in close contact with the culture of many eastern peoples. Therefore, it makes no sense to look for these or other specific Arab melodies as a primary source in the ballet.^[10]

F. Amirov, who loves intense contrasts, expressive and emotional comparisons in his work, uses those qualities in "A Thousand Nights". According to R. Zohrabov, "In the music of the ballet, three natural qualities attract more attention: figurative plasticity, bright melodic language; rhythmicity arising from the nature of character and movements, elements of folk dance music; the color that characterizes the colors and shades of his music. All this, the composer moves away from the "numbered" system and manifests the symphonic development in large, detailed scenes."^[11]

Instrumentation

In connection with the plot of the ballet, the composer skillfully creates the color of the music of the Middle East region in the ballet. Here the percussion group is given ample space. Thus, in addition to traditional percussion instruments, specific and rare instruments are also used in ballet. There are even scenes where the composer uses only percussion instruments.

The non-traditional 8/8, 10/8, 12/8 metric systems found in the score are characteristic of the musical thinking of the Middle Eastern peoples and give a special variety to the orchestral palette. The composer, in addition to being addicted to the beauty of the musical folklore of the Eastern peoples, searched for extremely rich rhythms and revived them in music. F. Amirov used these rhythms both in the orchestra and on separate percussion instruments - drums, vibraphones, timpani, and solos.^[11]

Shahrizada

Combining intelligence and wisdom, Shahrizade is also loyal and beautiful. Despite this, he faces a ruthless king who has been betrayed and whose heart is filled with anger. After learning that the shah before her had caused the death of thousands of innocent young girls, Shahrizade decided to put an end to this unjust massacre by risking her life.

Agreeing with the Shah, Shahrizade agrees to face her betrayal only after the end of the story she is going to tell. In this way, Shahrizade, who takes the king to the world of fairy tales that lasts for 1001 nights, succeeds in arousing trust and love in the king's cruel heart with the help of fairy-tale heroes. Thus, he saves both himself and all women.

Shahriyar

The young and majestic Shah Shahriyar bids farewell to his beloved wife and goes hunting. Unexpectedly returning to the palace, the king sees his wife in the hands of a slave. The deceived husband, the humiliated ruler, in front of the eyes of the witnesses, frozen by this disgrace, takes the couch to his wife and gives a terrible decree to execute all the young women.

The pleas of the women who were unjustly condemned to death did not quench the anger of the angry king. After some time, Shahrizade, who combines beauty and wisdom, enters the world of the king's anger. At this time, it seems like a miracle happens. Feelings of love begin to awaken in Shahriyar's cruel heart. However, even if she loves, she does not change her decision - death awaits Shahrizad. The fight between reason and anger and love and hate begins. Shahriyar does not want to give up suddenly. In order to regain faith in his former love and kindness, he enters Shahrizad's mysterious fairy-tale world and spends a thousand and one nights.

The libretto

This story took place very anciently, during the reign of royalty, in an environment where unfaithfulness to love was punishable by death, and the customs and traditions of the past people were completely different from the present.^[11]

The first act

According to an ancient legend,^[22] one day the mighty Shah Shahriyar said goodbye to his wife and went hunting. Unexpectedly returning to the palace, the king finds his wife in the arms of one of his servants. Having sentenced his wife to death, the king made a terrible decision and ordered the execution of one of the young ladies in the palace every day.

During that period, Shahrizade, who combines beauty and wisdom, enters the king's world of cruelty and anger. Love rises in Shahriyar's cruel heart. But even this tender feeling does not soften the king's cruel heart, and he says that Shahrizade should be executed, like thousands of women who have been punished. Shahrizade decides to tell tales to the Shah for a thousand and one nights.

The second act

Introduction

Lento - Amore

The first act

No. 1 Duet of Shahriyar and Nurida: Andante

No. 2 Dance of the Archers: Sveltezza

No. 3 Variation of Shahriyar: Esaltato

No. 4 Nurida's monologue: Moderato ancioso

No. 5 Orgy: Presto-vivace

No. 6 Death of Shahriyar and Nurida: Andante moderato

No. 7 Shahriyar's monologue: Andante tragico

No. 8 Dance of the executioners: Andante duramente

No. 9 Shahriyar's Wrath: Allegro irato

No. 10 Executioners chasing women: Inferhale-Lamento

No. 11 Women's prayer and supplication: Adagio - pianto suplicare

No. 12 Shahriyar's fury: Allegro feroce

No. 13 Shahrizade: Allegretto grazioso

No. 14 Shahriyar and Shahrizade's duet: Lento-Amore

The second act

No. 15 Night: Lento-Goncitato

No. 16 First Tale: The Maiden, Sinbad the Sailor, and the Spirit Bird: Adagio limpido

No. 17 Dance of the executioners: Andante duramente

No. 18 Night: Lento-Concitato

No. 19 The second tale: Aladdin and the magic lamp: Allegretto brillante

I. The market of Baghdad

No. 20 Dance of the executioners: Andante duramente

No. 21 Night: Lento-Concitato

No. 23 Third Tale: Alibaba and the Forty Thieves: Allegro vivace

I. Persecution

II. Dance of the Coral: Andante splendidezza

No. 24 Shahriyar and executioners: Allegro elevato

I. Shahriyar in the world of fairy tales

No. 25 Duet of Shahriyar and Shahrizadeh: Adagio amoroso

No. 26 Archers: Sveltezza

No. 27 Shahrizade's monologue: Moderato con anima

No. 28 Shahrizade's feast: Allegretto festante

No. 29 Finale: Allegretto elevato

Premiere

In the first performance, the artists of Azerbaijan State Academic Opera and Ballet Theater Tamilla Shiraliyeva - Shahrizad, Rafael Grigoryan - Shahriyar, I. Nizamaddinova - Nurida, R. Arifulim and R. Zeynalov - Nurida's favorite slave, S. Bordanov - Spirit bird, A. Kurkov - Aladdin, F. Yusifova - Budur, S. Rahmatulin - the leader of 40 robbers, V. Andreyev - Alibaba, L. Povliy - Marjana, O. Vorgonov - performed as a witch. Gamar Almaszade says that "Each first performance, as well as the performance of a new original work, is an outstanding event not only for the authors and the theater, but also for the audience... Along with the achievements of all the participants of the performance, I want to note the high artistry of ballet master Naila Nazirova. From the point of view of professionalism, this ballet master matures from performance to performance and pleases us with his new successes. The ballet "Arabian Nights" is his creative victory. Ballet is a new high level in the development of Azerbaijani choreographic art. Organically connecting classical choreography with elements of folk dances, including Arab folk dances, N. Nazirova created a memorable and beautiful performance."^[24] Elbey Rzaguliyev, speaking about the artistic design of the stage during the first staging, says: "Every play prepared with the participation of Togrul Narimanbeyov is eagerly awaited, you believe that communication with a high art example will definitely bring you joy. The decorations prepared by the famous artist for the play "Arabian Nights" turned out much better than I expected. These decorations are a novelty in Soviet scenography, the next success of Azerbaijani theater-decoration art. As always, Narimanbeyov has created a beautiful, handsome color with great influence. His decorations fascinate people with the richness of their colors and interesting creative style. Based on the sketches of the young artist Tahir Tahirov, the costumes for the play were also made with great taste and skill."^[25]

R. Zohrabov notes that "...the ballet troupe of the Azerbaijan State Academic Opera and Ballet Theater showed its best qualities in this performance. In the choreography of the ballet, Shahriyar's courageous and temperamental character, Shahrizad and Shahriyar's love duet, Baghdad bazaar, Alibaba and forty robbers are noteworthy. The choreographic solution of the play's storyline is a great invention of the ballet master...N. One of Nazirova's wonderful findings is that she was able to organically combine classical ballet movements and national dance terms."^[11]

Other stagings

The ballet "Arabian Nights" was staged not only in Azerbaijan, but also in various countries, and was always well received. Thus, in 1981, the work was presented to the Moscow audience for three consecutive days.^[5] The success of the work was widely covered in the Moscow press.^[26]

In 1981, the Georgian premiere of the ballet took place at the Tbilisi Academic Opera and Ballet Theater. Z. Anjaparidze notes that "Z. The performance on the stage of Tbilisi Academic Opera and Ballet Theater named after Paliashvili was a remarkable event at the celebrations dedicated to the 60th anniversary of the founding of the Communist Party of the Republic... I don't remember another performance that excited our collective so much. All the days that the production team from Azerbaijan worked in the theater were quite intense. The collective of our theater worked very responsibly on the ballet. Light came day and night from the workshops, where costumes were made, decorations and clothing were made. The rich choreographic dance language of the ballet fascinated the Georgian audience. Classical heritage and national folklore are boldly synthesized in music, artistic design, and choreography. The Georgian artists who played the main roles were able to convey the intention of the play's authors through dance."^[27]

Composer F. Amirov, commenting on the performance of the ballet in Georgia, says, "I am happy that the ballet was a great success among the discerning Tbilisi audience. I would like to specially mention such a point that our Georgian colleagues...they solved the most serious problems encountered in the course of the work with their feet."^[27]

In 1982, the ballet was performed on the stage of the Novosibirsk Opera and Ballet Theater. The ballet was created jointly by art masters of the Russian Federation and Azerbaijan. Choreographer Naila Nazirova, artist Togrul Narimanbeyov and conductor Boris Gruzin, Honored Artist of Ukraine, have created a performance with philosophical depth and humanism. The costumes were made based on the sketches of the artist Tahir Tahirov.^[28] Conductor Boris Gruzin says that "the success of the ballet is connected with the beautiful music of Fikret Amirov", and ballerina Lyubov Kershinova, People's Artist of Russia, says that "I was lucky enough to be the first performer of the role of Shahrizad in the Novosibirsk theater.^[28] It is a very emotional image, although it is technically difficult. It was not easy to combine the specifics of classical ballet with elements of oriental dance folklore. However, working with the talented ballet master N. Nazirova, who has a high professional training, I deeply penetrated the image of my hero, mastered the dance technique",^[28] and Honored Artist of the RSFSR Anatoly Berdyshev says that "Everything in the Arabian Nights ballet: music too , decorations, costumes, of course, choreography is also beautiful. I play the central role of Shahriyar in the play. This image is very complex, unusual."^[28]

In 1982, the ballet "A Thousand and One Nights" was staged in Morocco and Bulgaria.^[29] In 1983, the ballet was staged at the Donetsk Opera and Ballet Theater in Ukraine.^[30] L. Minkin writes that "the ballet master succeeded in the appropriate choreographic interpretation of the music of V. Shumeik, Honored Artist of Tatarstan. In the work, the organic unity of three aspects - the plasticity of Eastern dances, classical elements and modern dance lexicon - made the ballet interesting in terms of choreography. This is clearly expressed, for example, in the sharp dances of the executioners, in the sword-like cut of crossed hands. Shahrizadeh's final part attracts attention with the successful fusion of the classical duet with a short steady, typical oriental pose. The image of Shahrizade, created by E. Rykova, wins the sympathy of the audience with its youthful charm and feminine beauty. This is the undoubted success of the young ballerina. Honored Artist of Ukraine A. Boyntsov warmly and convincingly portrayed Shahriyar's complex psychological image. This party requires the embodiment of various emotional and psychological states. Transition from a calm, happy state (lyrical duet with Nurida - soloist Y. Ogurtsova) to a shocking, hopeless, angry, merciless state, then the first daring attempts to test Shahrizad, and finally, adoration before her - all this was masterfully given psychologically by the artist. "^[30][31]

On October 15, 1983, the ballet "Arabian Nights" was performed by the Azerbaijan Academic Opera and Ballet Theater on the stage of the Moscow Kremlin.^[32]

In 1985, the ballet was staged for the first time in Turkey. Ballet master Naila Nazirova, artist Togrul Narimanbeyov, conductor Nazim Rzayev, and costume designer Tahir Tahirov were included in the creative team that prepared the ballet for performance in Turkey for three months by order of Istanbul State Opera and Ballet Theater. The main roles were played by Oskan Arslan (Shahriyar) and Deniz Olgay (Shahrizadeh).^[33]

On October 25, 2010, the ballet performed by the Kremlin Ballet Theater was presented to the audience on the stage of the Kremlin Palace. Tahir Salahov was the production designer of the work, and Olga Polyanskaya was the costume designer. The ballet performance was accompanied by the Sergei Rachmaninov Symphony Orchestra. The main roles of the play were played by Alexandra Timofeyeva in the character of Shahrizad, Mikhail Yevgenov in the character of Shahriyar, Aliya Khasenova in the character of Nurida and others.^[34]

On February 14, 2014, the Belarusian premiere of the ballet took place at the Belarusian State Musical Theater. The new mysterious choreography of the founding ballet master, People's Artist of Azerbaijan Madina Aliyeva, the brilliant performance of the symphonic orchestra led by Eyyub Guliyev, the laureate of international competitions, the conductor of the Azerbaijan State Academic Opera and Ballet Theater, the colorful scenery and costumes created by the designer-artist Inara Aslanova, embodying the spirit of the Eastern world, Belarus was received with great admiration by the audience. The chief ballet master of the theater, People's Artist of the Republic of Belarus Vladimir Ivanov, as well as assistants of the choreographer-ballet master, Honored Artists of Belarus Zhanna Lebedeva and Olga Serko, artist Lyubov Sidelnikova, music editor, Honored Artist of Azerbaijan Samir Samadov took part in the production of the performance. Soloists of the Belarusian State Musical Theater, Sergey Glukh (Shahriyar), Irina Voytekunas (Shahrizad), Polina Garunovich (Zibeida), Igor Goncharik (Sinbad the Sailor), Dmitry Lazovik (Aladdin), Mika Suzuki (Prince Budur), Vitaly Borovnev ( Jin), Mike Partush (Chief of Bandits), Aleksandra Krasnoglazova (Marjana) and Nikolai Umerenkov (Alibaba) performed.^[35]