Scheherezade: Saki Nishida
Nurida: Lilia Berezhnova
Shahriar: Sergei Umanetc
Slave: Alexei Golubov
Music by Fikret Amirov
Libretto by Maksud and Rustam Ibragimbekov
Choreography by Eldar Aliev
Set and Costume Designer: Pyotr Okunev
Lighting Designer: Sergei Martynov
Video Designer: Vadim Dulenko
Repetiteur: Alexander Kurkov
Rehearsal Directors: Natalia Raldugina, Alexandra Arkhangelskaya, Sergei Zolotarev
The powerful king Shahriar bids goodbye to his beautiful wife, Nurida, and sets off for a hunt in the company of his bowmen. Nurida is not sad for very long without her husband. She commands her servants to organize a bacchanal with the participation of her favorite Slave. When Shahriar returns unexpectedly, the revelers are dumbstruck. Shahriar is inconsolable over his wife’s deceit and betrayal. Nurida pleads with her husband for mercy, but Shahriar sentences his unfaithful wife to death.
Driven mad by grief, Shahriar orders every maiden in his kingdom be put to death. The palace executioners set about their task. The young women’s pleas for mercy fall on deaf ears; Shahriar is merciless.
Suddenly, the king notices one of the condemned maidens. Her name is Scheherazade, and at the last moment the king stops her execution. Scheherazade implores him to delay the execution of the other maidens and to listen to her diverting stories instead, which would show him the most precious qualities of women: beauty, love, and wisdom. Shahriar agrees.
On the first night, Scheherazade tells the king a story about the beautiful Maiden whom fearless Sinbad saves from the clutches of the evil bird Roc. Awed by the Maiden’s beauty, Sinbad falls in love with her. She returns his feelings, and they live happily ever after.
As night falls, Scheherazade tells Shahriar her next tale: about Alladin, his magical lamp, Princess Budhur, and the Sorcerer. Young Alladin overcomes mortal danger and triumphs over the Sorcerer in the name of his love for Princess Budhur. The lovers live happily ever after again, love is victorious.
But the wounds inflicted by Nurida’s betrayal continue to torment Shahriar’s soul, so the next night, Scheherazade entertains the king with a tale about the Forty Thieves and Ataman, about Ali Baba and his wise servant Marjana, who saves her master’s life.
Scheherazade continues to soften the heart of the king with her beauty, virtue, and femininity. The pain in Shahriar’s heart eventually gives way to love, and he confesses his feelings to Scheherazade.
Shahriar once again sets off for a hunt, leaving Scheherazade alone. She is sad and pines for her lover. Upon returning from the hunt, Shahriar finds Scheherazade in the company of all the characters from her tales. The lovers live happily ever after.
The Orient or the Oriental tale has been a hobbyhorse for ballet theaters over the entire history of their existence. Oriental ballets are truly fairy because of special plastique, unordinary rhythms, exotically ornate melodies, gorgeous scenery, and costumes worthy to be called objets de vertu.
The ballet A Thousand and One Nights was premiered at the Azerbaijan Opera and Ballet Theatre in Baku in 1979. The music was written by Fikret Amirov (1922-1984) who had become a national pride by that time. His creative experience embraced original orchestral pieces – such conductors as Bernstein and Stokowski would include them in their concert programs – as well as operas and ballets on topics of Azerbaijani history. “I want Azerbaijanian music to be played throughout the world,” he said and boldly wove Oriental melodies into European classical forms, imitating a folk orchestra’s sounding he remembered from his childhood.
Any other Oriental culture was another source of inspiration for Fikret Amirov. Before composing the ballet he made tours of Iraq, Iran, Turkey, Egypt, Syria, Morocco and India. During each tour he endeavored to carefully study local traditions. “I aimed to penetrate deeply into the Arab culture of music, Arab sense of rhythm, beauty of Arab musical rites. I studied historic and architectural landmarks. I was faced with the task of making a synthesis of the national and the panhuman.”
A Thousand and One Nights became a quintessence of his creative explorations and achievements. “The ballet was conceived as a hymn to the woman, her wisdom and spiritual beauty and inspired by the national character, sapience and humanistic sounding of the outstanding medieval monument of Arab literature,” the composer wrote.
The libretto was created by the renowned Ibragimbekov brothers: Rustam, a future coauthor of Nikita Mikhalkov’s award-winning movies, and Magsud, a writer, scenarist and film director.
They incarnated their conception in two acts of the ballet. With the truly Oriental wisdom, they made a selection from the book to choose the first and primary tale The Story of the Ruler Shahriar and his Brother. Its narration alternates with the three most popular tales told by Scheherazade: Sinbad the Sailor and the Roc, Aladdin’s Wonderful Lamp and Ali Baba and the Forty Thieves. All the stories demonstrate such female chief traits as love, beauty and wisdom.
In accordance with the plot, the music backcasts the coloring of the Middle East. The ballet Orient is real, not nominal. The composer includes a tar (‘traditionally crafted long-necked lute’) in the score and uses an endless repertoire of percussion instruments – bongos, tom-toms, a xylophone, a vibraphone, drums, bells, timpani, cymbals, etc. – to express the rich Arab rhythmic. Their role in the score is so all-sufficient that some scenes run accompanied by percussion only, whether solo or ensemble.
The use of a female voice on the choral background gives a special tint to the tone color. Their sounding emerges in the key moments to create a fermented mood in the beginning of the ballet or to express the grief of women doomed to death or to sing the victory of good and the woman’s force in the love duet of Shahriar and Scheherazade.
Fikret Amirov dedicated A Thousand and One Nights to his well-beloved wife. “To Aida, my helpmate” is written down on the cover page of the score.
The first night in 1979 was a triumph. The ballet truly expressed the poetry of the ancient tales in sounds, movements and pictures and dazed the audience by its originality and variety of colors.
First in Russia’s Far East the ballet-goers have an opportunity to watch A Thousand and One Nights choreographed by Eldar Aliev. Born in Baku, he staged the ballet in America and Europe over the years. The new version has been created by Eldar Aliev for the Primorsky Stage.
Premiere at the Primorsky Stage of the Mariinsky Theatre: 14 August 2020, Vladivostok
Running time: 1 hour 50 minutes
The performance has one interval
The highlighting of performances by age represents recommendations.
This highlighting is being used in accordance with Federal Law N436-FZ dated 29 December 2010 (edition dated 1 May 2019) "On the protection of children from information that may be harmful to their health"