Балети Миколи Трегубова “Мідний вершник”, “Юність” 1951 року на сцені Львівського театру опери та балету

Abstract

У статті розглянуто особливості балетів “Мідний вершник” та “Юність” 1951 року в постановці головного балетмейстера Львівського театру опери та балету, заслуженого артиста УРСР Миколи Трегубова. На основі матеріалів періодичних видань наведено маловідомі факти про творчий доробок майстра: відображені найкращі танцювальні епізоди, акторські роботи, а також проблемні сценічні рішення у згаданих балетах.

В статье рассмотрены балеты “Медный всадник” и “Юность” 1951 года в постановке главного балетмейстера Львовского театра оперы и балета, заслуженого артиста УССР Николая Трегубова. На основе материалов периодических изданий наведены малоизвестные факты творческих достижений мастера: отражены лучшие танцевальные эпизоды, актерские работы, а также проблемные сценические решения в данных балетах.

The article deals with the ballets “The Bronze Horseman” and “Yunist” (1951) in the production of the Chief Choreographer of the Lviv Opera and Ballet Theatre, Honoured Artist of the USSR Mykola Trehubov. On the basis of periodical materials, little-known facts about the artist’s creative work are reproduced. The main attention is paid to the best dance episodes and acting works, as well as problematic scenic decisions in these ballets. A significant part of the creative life of the famous choreographer is the work in the Lviv Opera and Ballet Theatre. There he performed more than 18 ballet performances in 1950–1958 years, including ballets of the classical heritage “Sleeping Beauty” (1952), “Swan Lake” (1955) by P. Tchaikovsky, “Raymondа” (1953) by O. Glazunov, original National ballets to the music of Ukrainian composers “Khustka Dovbusha” (1951), “Soychine Krylo” (1957) by A. Kos-Anatolskyi, “Marusya Boguslavka” by A. Svednikov (1953), two stagings of ballets by Pushkin’s works: “The Bronze Horseman” by R. Glier (1951), “The Fountain of Bakhchisaray”, by B. Asafiev, and others like that. Lviv versions of the ballets “Bronze Horseman” by R. Glier and “Yunist” by M. Chulaki (1951) played an important role in the search for new scenic decisions and took their place of honour among the works of contemporary composers in theatre repertoire. In 1953, the “Bronze Horseman” ballet entered the repertoire of the first summer tours in the capital, Kyiv. In the reviews that appeared those days in the Republican press, the ideological and artistic achievements of the theatre, its extensive and meaningful repertoire, and a high culture of execution were noted. In the ballet “Yunist”, M. Trehubov found for each acting character individual, inherent only to him, movements. The composition of the dance, sometimes it was even concise and severe, but every movement, gesture, facial expressions expressed the feelings of actors. The specialists noted that the actor’s work in “Yunist” significantly exceeded the previous ballet performances of the theatre. With a real inspiration, the choreographic team worked on the new ballet, and this creative work has born fruit. All major roles in the ballet were performed at a high acting level. There were many new and valuable choreographic decisions, successful dance episodes, and interesting actors’ works in Trehubov’s ballets. In the “Bronze Horseman”, the master paid his attention to the love of two ordinary people – Eugene and Parasha, which was reproduced in lyrical duets and tragic scenes, relegating the state in the face of Peter I to the background. In the ballet “Yunist” – he accurately transmitted the basic idea of the libretto and music, has achieved the imagery and expressiveness of the dance, its inextricable connection with the pantomime. Preferring the images of young heroes, their personal relationships and actions, the choreographer was able to find the individual characters and unique characteristic movements for each personage. Each episode added a new touch, becoming the next stage in the formation and development of the images of heroes. Due to the fact that in both performances M. Trehubov was most interested in the feelings of the heroes, their state of mind and their experiences, and not the ideological basis of the plot, the choreographer has been repeatedly criticised. Certain miscalculations, which the observers pointed out, prompted the artist to work further, search for interesting images, a new choreographic vocabulary, and original scenic decisions. Despite the material found, the questions relating to the history of the subsequent stage life of these ballets require new scientific research.