The Valse/ Bolero Ballet by Morris Ravel's music

Libretto, choreography, and direction by Prof. HIKMET Mehmedov

Set design and costumes - TSVETANKA PETKOVA-STOYNOVA


First part



 Alborrada del Grazioso, or the Morning Serenade of the Jester

Pawan for the dead infanta


 Second part



“The Waltz begins… Under the emerald glare of the palaces

chandeliers. Taken carelessly from the pink clouds.

From the whirlwind of compelling music and the falling golden rain.

Ethereal, shiny, lush and sparkling.

And then, in the wake of his whirling apotheosis, the sun went out

glittering chandeliers. The dance hall sinks into the darkness.

The irregular chords of the soundtrack fuse

with the roar of the maddened crowd.

It is strange, but the dance is gradually continuing. The Chaos Under Dancing

the shadow of the pale moon. Dancing… Diamonds glitter on

the rags. Kings have fun joking. NCOs clutch marshal

a rod. And saints kneel before prostitutes.

The Chaos Dance….

… The moon will fill.

It will warm the dancing crowd with anxiety.

To see, there somewhere, far from the doom core, how does anyone

still dancing waltz. Slow, uncertain and painful. With bloody feet.

On the heat of your burning dreams. "

Tanya Simeonova



 Ballet by Morris Ravel's Music



Choreography and Directing by Prof. HIKMET MEHMEDOV

Set design and costumes -TSVETANKA PETKOVA-STOYNOVA


About the work


      "The element of dance pervades all of Ravel's work, but in none of his works has the compelling power of dance rhythm manifested as vividly and irresistibly as in Bolero, written to order and dedicated to the famous Ida Rubinstein.

     Writing this play, Ravel hardly imagined that it would become available on the symphony podium - he thought it as a choreographic performance. But the premiere of Bolero (November 22, 1928) brings a lot of disappointment and frustration to the composer. (A Spanish pub with a middle table in the middle of which Ida Rubinstein dances. With her challenging dance, it inflames the passion of the men around her. As in the hypnosis of voluptuous dance, all participants engage in a temperamental play.) this is not Ravel's true Bolero. The amazing variety of stage interpretations offered by the choreographers for this work is rooted in the composer's creative nature - his art is reminiscent of an iceberg whose submarine part is much larger than the visible. Some define Bolero as a "carousel of sounds," others, on the contrary, see in it a harbinger of drama that has loomed over the world; "Echoes of the dance of death."

       Ravel's universalism is backed by production director Hikmet Mehmedov, while also striving to break the "Spanish" stamp and create a spectacle in which every viewer "seeks for himself."

   At the center of his biases is the fate of a sensitive, non-standard-minded man, doomed to loneliness and misunderstanding. Only the love that makes people good, open to the truth, is only winning. In order not to be rejected ... "

Violeta Consulova