Scheherazade/ Romantic Music Ballet by N. Rimsky-Korsakov/ Music Ballet by Fr. Schubert
Choreography and Directing - Prof. HIKMET Mehmedov
Set design - BORIS STOYNOV
Costume Designer - TSVETANKA PETKOVA-STOYNOVA
Ballet Tutors: NEDKO GEORGIEV, LORA PEHLIVANOVA
Accompaniment - MARGARITA PETRANOVA
Head of production and theater director - Ivan Furtunov
Head of artistic lighting - KARADIMOV
Lighters - TANIA STAVREVA, NINA NEDELCHEVA
Head of the sewing studio - KITCHA GROZEVA
Seamstresses - KITCHA GROZEVA, MAGDA GALCHEVA, DIMKA RUSEVA
Wardrobe manager - DIMKA RUSEVA
Hair and Makeup - HOPE TANEVA
Artistic sound - VESELIN PENCHEV
Multimedia and photo studio - NEDELKO BAMBEKOV
In the broadest line of thought, the notion of the iconic name Sherehzadah is related to the tales she tells of Shah Shahriar during the Thousand and One Nights. The main core of the stories told by Scheherazade is from an ancient Persian book called Hezar-afsana or Thousand Myths (in Persian هزار افسانه). But in the preface to each literary edition, there is invariably a mention of a parable that many authors use as the main theme of their stage works, and which, because of (absolutely reasonably, by the way) taboo is saved to the fragile consciousness of young readers.
For the first time on June 4, 1910, at the Paris Theater de l`Opera, at the invitation of Sergei Diaghilev for "The Russian Seasons", Mikhail Fokin staged the Scheherezade ballet with music by Rimsky-Korsakov with Leon Bakst's set design and costumes. The libretto is the work of Fokin and Bakst. The one-act ballet is based on the prologue of "1001 Nights" - tales that Scheherazade, the legendary Persian queen, tells. Although all this is happening despite the protests of the heirs, and especially Nadezhda Rimskaya-Korsakova, the composer's widow, who sees the utter confusion of her husband's music in this choreographic drama, the performance reaped enormous success, predetermined by the color and the beautiful scenery. an extremely consistent story.
State Opera - Burgas presents the version of the choreographer Hikmet Mehmedov. In line with the dynamic of the time, he emphasized not the pantomime narrative dance theater, such as Fokin's handwriting in the creation of Scheherazade, but of the era's distinctive dance. Through this endeavor, Mehmedov not only tells the story but changes the plot itself to recreate it, showing great respect for the modern generation of audiences.
Shahriar, the chessman of ancient Persia, goes to war, leaving his beloved wife Scheherazade in the company of concubines in his harem. Just after the chess has passed, the concubines manage, through a huge bouquet of fragrant and enchanting flowers, to lull the main eunuch, and then take the keys from the harem's gates and put the male slaves inside. The "kidnappers" invade the untouched abode with the blessings of concubines and Scheherazade himself. They all indulge in passionate caresses, curious and enthralled by the seductive, hitherto unknown to them ... In the midst of "fun," Shahriar unexpectedly returns much earlier than foreseen. The gravest disruption of the sacred orders is revealed to his eyes ... Out of his anger at Scheherazade's betrayal, he commands everyone to be executed immediately. And they are visited - all but Scheherazade, to whom chess forgives in the name of beauty and the enormous love that she has for her.
Forgiveness is the main point that Mehmedov puts in his reading of Scheherazade. In forgiveness, Shahriar revived the idea of a new beginning - love beyond death.
It should be noted that Hikmet Mehmedov is the only one to interpret the play in this way. Every choreographer who turns to this stage work has decided the finale by the classic plot formula: mad with jealousy, Shahriar kills Scheherazade, or she realizes the futility of her requests for mercy, pierces herself and falls breathless at the feet of the chess. However, a tragic ending is lacking in Rimsky-Korsakov's music. In this sense, Mehmedov's unmistakable musical flair gives the work a completely logical light finish.
The engine of the whole semantic carousel is precisely Love. But love, in which aggression is the result of dogmas and prejudices, and forgiveness - of individual will and decision. In this play, Hikmet Mehmedov proves himself once again as an individualist, defending the philosophical views and positions of one of the thinking and deeply sensitive choreographers.
There are choreographers who specialize in classical ballet and do not create new works. That's right. However, the development of the ballet theater is related to the emergence of new works.
Hikmet Mehmedov's work is dominated by the original works. He also sets classic patterns - always "on his own", with personal and unique choices. But what drives him is the quest to create performances that expand the repertoire of the Bulgarian Ballet Theater.
The trans-symphony genre has existed in European art since the early twentieth century. But Bulgaria hardly knows him.
By reviving Russia's "trans-symphony," Mehmedov proves the legitimacy of its existence on the Bulgarian stage. And yet - the delightful mastery of the various choreographic styles, conditioned by the peculiarities of the music.
The Romantic show features a dreamy, melancholic mood that is consistent with Schubert's music. The choreographer seeks to recreate the spirit of romantic ballet with its light and airy images. The artists are in long tufts related to the concept of sylphids and willows in romantic ballets. Historically, these packs preceded M. Petipa's ballet packs (sometimes called "romantic packs"). The performance is dominated by symphonic dance, but its compositions are smoother and the lines more flexible and variable.
First of all, this ballet highlights the choreographer's musicality, which allows him to create dances that are in the spirit and form of different music and character. Secondly, his ability to freely handle the various choreographic styles, most notably that he mastered the means of symphonic dance.
Academician V.V. VANSLOV