This ballet will be broadcast live from the Bolshoi on Sunday, February 2. For casting, see this post:
http://toursenlair.blogspot.ca/2014/01/diana-vishneva-stars-in-bolshoi-lost.html
In Canada, it is being shown at selected Cineplex and Galaxy cinemas, check
www.cineplex.ca for a venue near you.
In the US: LOST ILLUSiONS LIVE: Carmike Cinemas, The Screen in Sante Fe, Boedecker Theater, Harkins Theatres, The Crest in LA, Movies of Delray, Regency Theatres - South Coast Village, Pickford Film Center, Tropic Cinema in Key West, Rose Theatre in Port Townsend WA, Silverspot Cinema in Naples FL, Jane Pickens Theater & Event Center, Baxter Avenue Theaters Filmworks in Louisville, and Bryn Mawr Film Institute - CHECK YOUR THEATER'S WEBSITE FOR CORRECT TIMES AND TICKETS!
It is based on a novel by Honoré de Balzac, but whereas Balzac's hero is a poet and novelist consorting with actresses, Ratmansky, not surprisingly, has changed this to a composer consorting with dancers (a similar literature/dance shift was made by John Neumeier in adapting Chekhov's
The Seagull). Below are the plot synopses for the novel (from
Wikipedia) and for the ballet (from the
Bolshoi Theatre website).
For a recent review, click here:
http://www.nytimes.com/2014/01/07/arts/dance/bolshoi-performs-ratmanskys-lost-illusions-at-paris-opera.html?ref=dance&_r=1&
"All of this is delightful for balletomanes,
who can revel in Ratmansky’s ingenious re-creation of these miniature
ballets and the studio scenes that seem lifted straight from a Degas
painting, with violinists accompanying the dancers and a stick-wielding
ballet master."
NOVEL:
Lucien Chardon, the son of a lower middle-class father and an impoverished mother of remote aristocratic descent, is the pivotal figure of the entire work. Living in Angoulême in southwest France,
he is impoverished, impatient, handsome and ambitious. His widowed
mother, his sister Ève and his best friend, David Séchard, do nothing to
lessen his high opinion of his own talents, for it is an opinion they
share.
Even as Part I of
Illusions perdues, Les Deux poètes (
The Two Poets), begins, Lucien has already written a historical novel and a sonnet
sequence, whereas David is a scientist. But both, according to Balzac,
are "poets" in that they creatively seek truth. Theirs is a fraternity
of poetic aspiration, whether as scientist or writer: thus, even before
David marries Ève, the two young men are spiritual brothers.
Lucien is introduced into the drawing-room of the leading figure of
Angoulême high society, Mme de Bargeton, who rapidly becomes infatuated
with him. It is not long before the pair flee to Paris where Lucien
adopts his maternal patronymic of de Rubempré and hopes to make his mark
as a poet. Mme de Bargeton, on the other hand, recognises her mésalliance and, though remaining in Paris, severs all ties with Lucien, abandoning him to a life of destitution.
In Part II,
Un Grand homme de province à Paris, Lucien is
contrasted both with the journalist Lousteau and the high-minded writer
Daniel d’Arthez. Jilted by Mme de Bargeton for the adventurer Sixte du
Châtelet, he moves in a social circle of high-class actress-prostitutes
and their journalist lovers: soon he becomes the lover of Coralie. As a
literary journalist he prostitutes his talent. But he still harbours the
ambition of belonging to high society and longs to assume by royal
warrant the surname and coat of arms of the de Rubemprés. He therefore
switches his allegiance from the liberal opposition press to the one or
two royalist newspapers that support the government. This act of
betrayal earns him the implacable hatred of his erstwhile journalist
colleagues, who destroy Coralie’s theatrical reputation. In the depths
of his despair he forges his brother-in-law’s name on three promissory
notes. This is his ultimate betrayal of his integrity as a person. After
Coralie’s death he returns in disgrace to Angoulême, stowed away behind
the Châtelets’ carriage: Mme de Bargeton has just married du Châtelet,
who has been appointed prefect of that region.
Meanwhile, at Angoulême David Séchard is betrayed on all sides but is
supported by his loving wife. He invents a new and cheaper method of
paper production: thus, at a thematic level, the commercialization of
paper-manufacturing processes is very closely interwoven with the
commercialization of literature. Lucien’s forgery of his
brother-in-law’s signature almost bankrupts David, who has to sell the
secret of his invention to business rivals. Lucien is about to commit
suicide when he is approached by a sham Jesuit priest, the
Abbé Carlos Herrera: this, in another guise, is the escaped convict Vautrin whom Balzac had already presented in
Le Père Goriot. Herrera takes Lucien under his protection and they drive off to Paris, there to begin a fresh assault on the capital.
BALLET:
Summarized synopsis:
The
action takes place in Paris in the 1830sAct
1
Lucien,
a budding composer, dreams of having his works produced at
the Paris Opera and manages to find his way into the Foyer de la
Danse. There, the rival ballerinas, Florine and Coralie, are
supported by their patrons — Camusot, a banker who finances
the Theatre, and the Duke, a man about town. The dancers and patrons
are not impressed by Lucien's music, except for Coralie, who obtains
a commission for him: the music for La Sylphide.
Coralie becomes Lucien's muse and lover.
At the premiere
of La Sylphide,
Lucien sees himself as the Youth, a romantic in search
of happiness. But separation is inevitable; earthly love
is forbidden for the sylph.
The premiere's resounding
success for Lucien and Coralie incites Florine's envy.Act
2
The
success of La Sylphide
has brought the two lovers fame and happiness, but everything in
Coralie's home reminds her that she is not free, it all
belongs to her protector the banker, who, suspecting her of
infidelity, turns up unexpectedly. Not wishing to lie,
Lucien appears from the hiding place Coralie had found for him.
Camusot leaves, but is sure that life will again deliver Coralie into
his hands. Coralie and Lucien feel happy and liberated.
Camusot
and the Duke, united by their hatred of Lucien, plot to get him
into their power by dazzling him with the bait of glamorous
fame and money and forcing him to write a ballet for
Florine.
At
a masked ball at the Duke’s palace, Lucien pursues an unknown
woman dressed as the Sylphide. Tearing off her mask, he
discovers Florine and is defenceless before her charm. The
Duke lures him into a card game where everything has been arranged
so that luck is with Lucien. All his hopes have come true:
Paris is at his feet; money, women, fame — all are
his. Florine dances seductively and completely wins him over.
Back
at her apartment, Coralie is worrying about Lucien. Friends try
in vain to distract her. Lucien soon appears with Florine
and the Duke. Lucien is in a very highly strung state.
He pulls gold out of his pockets by the fistful —
his winnings. Success, happiness, recognition, love will now be his
forever. Intoxicated by his winnings and wine, Lucien fails
to notice Coralie’s torment and alarm.
The Duke and
Florine leave, taking Lucien with them. His departure
is a catastrophe for Coralie. The gold Lucien left on the
table gives rise to another outburst of despair. Unconsoled
by her friends' efforts to calm her down, a desperate
Coralie bids farewell to her love.Act
3
Lucien
is depressed, having lost his freedom and creative
independence. He is composing a ballet for Florine,
but Florine, the Duke and the Ballet Master reject his ideas. They
want an obedient composer of banal, happy little tunes
which are essential for an effective, but empty ballet about
a dancer who wins over bandits with her charms. Gritting his
teeth, Lucien improvises, giving in to their demands. The
Duke’s hypocritical approval flatters the composer, who obediently
trots out trivial motifs which are easy to dance to.
For
the premiere, the Duke pays claqueurs to give it a rapturous
reception. In the ballet, bandits, performed by female dancers,
lie in wait for passersby on a main road. They
stop a carriage in which a ballerina (Florine)
is travelling with her maida and threaten the travellers with
death, but the ballerina’s charms tame them. As they dance
around her, the police arrive, summoned by the quick-witted
maid.
The claque ensures a triumph for Florine, but not for
Lucien: his music is no more than banal accompaniment. Only
a polka, a motif commissioned by Florine, earns him
applause. The Duke and Camusot cynically congratulate Lucien, and
Camusot presents him with money. Lucien’s illusions, his hopes
of success and glory, his dreams of seeing Paris at his
feet go up in smoke. Realizing that for the sake
of money and hypocritical compliments he has betrayed his
love for Coralie and his musical talent, a horrified Lucien
rushes out of the theatre to the Seine, intent on committing
suicide. But he lacks the determination to die. He thinks
of Coralie — the only person who sincerely loves him.
To return to her, to return his former self by making
good his betrayal — with these thoughts in mind he goes
in search her.
All of Coralie's furniture has been sold
to pay off debts. Coralie is overcome by memories of her
former radiant illusions, now lost forever. Indifferent to whether
she dies or returns to Camusot, she leaves with the
banker.
Lucien runs into the empty room, but it is too
late. He realizes his lost illusions will never return.
Detailed synopsis:
Act l
Prelude
Scene 1
Episode 1. Morning Paris
The square before the Paris Opera is living its usual, everyday life.
Artists are hurrying to the morning rehearsal. Lucien, a budding
composer, makes for the Theatre accompanied by his friends. He
is full of hope and dreams of having his works produced on this
illustrious stage... Lucien goes up to the director, but the latter
gives him the brush off. His friends advise him to persist and,
picking up his courage, Lucien goes through the hallowed door.
Episode 2. The Paris Opera Ballet Foyer
A rehearsal is in progress — the dancers are doing the morning exercise.
The lesson is twice interrupted by the appearance of the ballerinas,
Florine and Coralie, accompanied by their patrons —
Camusot, who finances the Theatre, and the Duke, who is a social bon
vivant. They represent, as it were, two competing parties: Camusot
supports Coralie, the Duke — Florine, her rival.
A nervous Lucien enters the room. Under the curious eyes of those
present the composer becomes flustered, but begs permission to perform
one of his works. Lucien begins to play — at first timidly,
then with greater feeling. However, his listeners do not take to his
passionate music, full of romantic aspiration. The groups of guests and
dancers who, initially, had gathered round the composer,
start to melt away. The outcome becomes clear — for the Theatre Director
is bound to abide by the opinions of his all-powerful patrons. Lucien’s
hopes are shattered. Desperate, his spirits in his
boots, he is about to leave, when he is stopped by Coralie. She had been
profoundly moved by his music. Making use of her influence with Camusot
and the Director, Coralie obtains a commission for
Lucien: he is to write the music for
La Sylphide, a ballet specially created for Coralie.
Scene 2
Lucien’s room
Lucien is struggling over the composition of his ballet. Enter Coralie.
Her appearance inspires the composer, in her he acquires his Muse. The
main theme of the future ballet is found. Inspiration
and love uniting forces, give birth to the music.
Scene 3
Back stage at the Paris Opera
Premiere of the ballet
La Sylphide. Lucien is on tenterhooks:
how will the public react to his debut? Scenes from the ballet develop
in his imagination. In place of the Youth, a romantic in
search of happiness, he sees himself. The romantic scene of the avowal
of love unfolds, bathed in elegic tones: separation is inevitable. The
Sylphide must vanish — terrestrial love is forbidden for
her. Slipping away as lightly as a dream, she flies off...
The premiere is a resounding success. All applaud the young composer and
Sylphide-Coralie. Florine is full of envy, the Duke shares her
sentiments.
Act 2
Scene 4
Coralie’s room
Coralie is happy with her Lucien. The success of
La Sylphide has brought them fame and love. The lovers would be totally happy were it not for the fact that everything in her home reminds
Coralie that she is not free, it all belongs to her protector the banker.
Camusot turns up unexpectedly. Vexed because he is not admitted for such
a long time, the banker suspects Coralie of infidelity. Coralie tries
in vain to pass off Lucien’s top hat, which Camusot has
discovered, as part of her concert costume. Not wishing to lie, Lucien
appears from the hiding place Coralie had found for him. All that
remains for Camusot to do is to make his exit. The banker,
however, is confident that life will again deliver Coralie into his
hands.
Coralie and Lucien are as happy as can be: it is as if a terrible load has fallen from their shoulders — they are free.
Scene 5
The Duke’s Palace
Forgetting their recent rivalry, Camusot and the Duke are united
by their wish to subdue Lucien to their will, make him their obedient
pawn. Their plot is simple: they will get the young man into
their power by dazzling him with the bait of glamorous fame and money
and force him to write a ballet for Florine. Florine hands Lucien
an invitation for a ball at the Duke’s palace.
Masked ball at the Duke’s palace. Enter Lucien. He has changed — tail
coat, white gloves, blase gestures. In the mad whirl of the masquerade,
surrounded by beautiful women and elegant men, the young
man loses his head. Lucien pursues an unknown woman wearing the Sylphide
costume and tears off her mask — it is Florine, he is defenceless
before her charm. At the Duke’s invitation, Lucien takes his
seat at the card table and starts playing: everything has been arranged
so that luck is with him. The pile of gold at his side grows bigger and
bigger, and the force of an unknown passion clouds his
reason. All his hopes have come true: Paris is at his feet; money,
women, fame — all are his. At a tense moment in the game, Florine
appears. The seductive passion of her dance completely wins the
young man over, and he falls at her feet.
Scene 6
Coralie’s room
Coralie is worrying about Lucien. Friends try in vain to distract her.
Lucien soon appears, but not alone — with him are Florine and the Duke.
Lucien is in a very highly strung state. He pulls gold
out of his pockets by the fistful — his winnings. Success, happiness,
recognition, love will now be his forever. Intoxicated by his winnings
and wine, Lucien fails to notice his friend’s torment and
alarm.
The Duke and Florine leave, taking Lucien with them. His departure
is a catastrophe for Coralie. It mentally kills her, all her illusions
come tumbling round her head. The gold Lucien left on the
table gives rise to another outburst of despair. Her friends, the
involuntary witnesses of the dramatic scene try, without success,
to calm her down. A desperate Coralie bids farewell to her
love.
Act Three
Scene 7
The Paris Opera Ballet Foyer
Lucien is disappointed and oppressed. It is as if, having attained what
he wished for, he had lost his freedom and creative independence.
He is composing a ballet for Florine, but Florine, the Duke
and the Ballet Master reject his ideas. They want an obedient composer
of banal, gay little tunes which are essential for an effective, but
empty ballet about a dancer who wins over bandits with her
charms. Gritting his teeth, Lucien improvises, giving in to their
demands. The Duke’s hypocritical approval flatters the composer, who
obediently trots out trivial motifs which are easy to
dance.
Scene 8
Ballet In the Mountains of Bohemia
The Duke pays claqueurs to applaud and give a rapturous reception to the new ballet, written for Florine.
Premiere. Bandits, performed by female dancers, lie in wait for passers
by on a main road. A carriage appears in which a ballerina (Florine)
is traveling with her maid. The bandits stop the carriage
and threaten the travelers with death, but the ballerina’s charms tame
them. As they dance round her, the police arrive on the scene, summoned
by Florine’s quick-witted maid.
Claqueurs ensure a triumph for Florine, but not for Lucien: his music
is no more than banal accompaniment. Only a polka, a motif commissioned
by Florine, earns him applause. The Duke and Camusot
cynically congratulate Lucien, Camusot presents him with a sum of money.
Lucien’s illusions, his hopes of success and glory, his dreams
of seeing Paris at his feet go up in smoke. Realizing that for
the sake of money and hypocritical compliments he had betrayed his love
for Coralie and his musical talent, a horrified Lucien rushes out of the
theatre.
Scene 9
Seine Embankment
The Seine embankment shrouded in thick fog. Lucien has run to the
embankment with the thought of committing suicide. But he lacks the
determination to die. In a deeply perturbed state, the young man
thinks of Coralie — the only person who sincerely loves him. To return
to her, to return his former self by making good his betrayal — with
these thoughts in mind he goes in search of Coralie.
Scene 10
Coralie’s Room
The room is empty: all the furnishings have been sold to pay off debts.
Coralie’s maid Berenice is packing her mistress’s theatre costumes.
At the sight of her Sylphide tunic, Coralie is overcome by
memories of her former radiant illusions, now lost forever.
Enter Camusot with a confident tread. An experienced operator, he has
calculated everything right and persuades Coralie to return to him.
Coralie is indifferent to her fate: it is all the same to her
whether she dies or returns to Camusot. She leaves with Camusot.
Lucien comes running into the empty room, but it is too late. Coralie
has gone. And an anguished Lucien realizes his lost illusions will never
return.
Postlude
Composer: Leonid Desyatnikov
Choreographer: Alexei Ratmansky
Music Director: Alexander Vedernikov
Designer: Jerome Kaplan
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