Beautiful galatea. Beautiful galatea Suppe beautiful galatea clavier

MAY 18, 2016 at 19.00

Operetta theater

Pyatigorsk, Kirov Ave., 17

On March 26, 2016, the Stavropol State Operetta Theater celebrates International Theater Day and Cultural Worker Day.
The premiere of the operetta "The Beautiful Galatea" will take place.
The author of the music, the Austrian composer Franz von Suppe, went down in history as one of the founders of the Viennese operetta. The libretto of the modern production was written by Andrey Menshikov.
Beautiful Galatea! An ancient and eternally young story about a statue created and animated by the power of the great talent and great love of its creator.
The sculptor Pygmalion, having fallen in love with his creation, asks the gods to breathe life into the statue. The revived beauty Galatea longs for fame, wealth, luxury and admirers, demands the fulfillment of all her whims. She does not need the sincere and sublime love of a poor sculptor. She accepts gifts from the wealthy philanthropist Midas, and she likes the prudent servant of Pygmalion - Ganymede. Having caught his beloved in his arms, Pygmalion, driven to despair, prays to the gods to turn Galatea back into a statue .....
A fairy tale, a legend, a myth... And yet there is a lot of reality here. The plot of the operetta is relevant: the relationship between people is always in the spotlight. The eternal problem of choosing between feelings and wealth is reflected in works of art today.
On our stage, the revived heroes of the ancient myth will tell about this.
The performance was staged by:
director - Inna Khachaturova,
conductor - honorary worker of arts of the SC Vasily Remchukov,
choreographer - honorary worker of arts of the SC Tatyana Shabanova,
set designer - Inna Avgustinovich,
lighting designer - Anton Vasyutin.

Die schone Galathee

(Operette (komisch-mythologische Oper) in 1 Akt)

Beautiful Galatea

(operetta (comic-mythological opera) in 1 act)

Libretto by Leonhard Kolya von Kolenega [under the pseudonym Paulie Henrion] and Franz von Suppe after a libretto by (Paul-)Jules Barbier and Michel(-Antoine-Florentin) Carré for the opera Galatea (1852) by Victor Masse

Premiere: 30.6.1865, Maisels-Theater [Woltersdorf Theatre], Berlin; 9/9/1865, Karltheater, Vienna

Actors and performers:

Beautiful Galatea! An ancient and eternally young story about a statue animated by the power of great Talent and the great love of its creator... Beautiful Galatea! Fairy tale, legend, myth... And yet, there is so much real here. After all, always, at all times, a woman remains a woman!

Many thanks to the highly respected Vsevolod Garib (cervus) for kindly providing the content of the operetta!

In the workshop of the sculptor Pygmalion lies on the couch his idle servant Ganymede. His master, along with other boys and girls of the island, went to the temple of Venus. An admirer of the fine arts, Midas, appears. This philanthropist and great connoisseur of "femininity" heard about the new creation of Pygmalion - a marble female statue - and would like to take a look at it. Although Pygmalion strictly forbade the servant to show Galatea to anyone, a few coins are enough to lull his conscience. Midas admires the statue. Pygmalion returns and, catching Midas by surprise, drives him out in a rage. Left alone, he shows passion for his creation and, turning to Venus, asks her to awaken the statue to life. And a miracle happens. But, instead of showing a reciprocal feeling for Pygmalion, the "newborn" shows a feeling of hunger and sends him for food. Left alone with Ganymede, the beauty beckons him to her. She likes him much more than his master, and she begins to flirt with him. The idyll is interrupted by Midas, who, at the sight of Galatea, cannot hide his delight. He tries to buy her love by paying for it in advance, with all kinds of jewelry that he takes out of all his pockets. He hangs Galatea with them, while not forgetting to name the price of each of them. Galatea remains cold to his passion, and he, demanding gifts back, receives a slap from her. Pygmalion appears with food and Midas hides behind a curtain. All three sit down at the table. Galatea gets drunk and goes on a rampage. Midas jumps out of his hiding place and confronts Pygmalion. At first, he wants to strangle the patron, but is forced to set off with him in pursuit of the fleeing Galatea. Galatea manages to throw them off the trail, she returns and, staying with Ganymede, continues her love affair with him. Pygmalion and Midas return. Seeing a couple kissing, the sculptor in anger grabs an ax to break his creation. Frightened, Galatea runs behind the curtain. In desperation, Pygmalion prays to Venus to turn her back to stone. Venus heeds his prayer and returns it to its previous state. Midas is horrified: all his jewelry was petrified along with Galatea. He buys a statue from Pygmalion in order to somehow recoup his losses. Pygmalion is permanently cured of the temptation to fall in love with his creations.

The power of love can revive even marble! At the request of a sculptor in love, the Gods breathed life into a beautiful statue. But ... The revived beauty turned out to be so capricious that her creator deeply regretted his request. Artists of the Krasnoyarsk Musical Theater will tell the ancient and eternally young story about the statue, animated by the power of the great Talent and the great love of its creator.

Fairy tale, legend, myth ABOUT LOVE IN MUSIC AND MARBLE…

The ancient Greek story about the extraordinary power of love that can revive a stone on the stage of the Krasnoyarsk Theater will be presented in a modern way - the director Nikolai Pokotylo and the artist Yuri Namestnikov chose the middle of the 19th century, when Zuppe lived and worked. The audience enters the world of bohemia - talented men and their beautiful, free, but capricious women. Galatea wears not a Greek chiton, but fashionable dresses. The retinue of patron Midas will appear in tailcoats, and the muses will appear in the costumes of cabaret dancers. Everything that is on the stage: details of the scenery, musical instruments, and even the musicians themselves, participate in the action.

La Belle Galatea is one of Zuppe's early works. The story of how the sculptor Pygmalion, having fallen in love with his creation, asks the gods to breathe life into the statue. The revived Galatea agrees to bear the name given to her by Pygmalion, but this is the only thing she agrees to take from the poor artist. She does not need the sincere and sublime love of the sculptor: Galatea craves fame, wealth, luxury and admirers - a worthy frame for her beauty. In a word, she instantly understands the things around her and turns into a lover of a beautiful life. The romantic Pygmalion is incredibly happy to revive his beloved, but he is clearly confused: what to do with a masterful beauty? The sculptor cannot afford the claims of Galatea. She acts simply: since there is no money - goodbye, dear! But even the “simple ancient Greek oligarch”, patron Midas, is needed by the revived statue only as long as he continues to give luxurious gifts. She herself likes the servant of Pygmalion, the prudent Ganymede. When the unfortunate Pygmalion, driven to despair by the behavior of Galatea, again pleads for help from higher powers, the supreme god personally turns her back into a statue. As the famous ancient Greek proverb says, "Zeus gave - Zeus took."

Men sincerely regret the departure of Galatea. Each in their own way. Pygmalion yearns for his creation and unfulfilled love, Midas yearns for the jewels that were petrified along with Galatea. Only Ganymede, despite the fact that he is also sad without the beauty, is the only one left to win - with Midas' money!

Note: despite the fact that the operetta was written in 1865, its plot is still relevant - the relationship between people will always be in the spotlight. The eternal problem of choosing between wealth and feelings still continues to be reflected in art.

It is known that the classical operettas by J. Offenbach, C. Lecoq, F. Suppe never went in Russia in the author's edition. The directors either wrote new plays, or reworked the original beyond recognition, adapting the libretto to the Russian stage and adding one or another share of topicality to it. The author of the libretto of “The Beautiful Galatea” A. Menshikov created his own version, in which the well-aimed “ancient Greek sayings” flicker every now and then: “the road is not a sacrifice, attention is dear”, “hope on the goddess, but don’t make a mistake yourself”, “I gave birth to you - I will break you." There are also associations with the Soviet stage: "Let's sing!" - the tipsy Galatea demands, and Midas, hiding behind the curtain, comments: "Let's sing, friends." And what is the value of “Is it okay, Ganymede? "Excellent, Galatea!" These moments added to the operetta topicality already of the Russian persuasion. Here she is - "Beautiful Galatea" - mischievous, sparkling, ironic and a little hooligan - myths live today if they are about love!

Nikolai POKOTYLO “…When I look at operettas and choose one to stage, music plays a decisive role… In Zuppe's music there is a place for both tenderness, passion, and even a duet of kisses; written under the influence of J. Offenbach and Italian opera music, with magnificent vocal ensembles, sophisticated solos, "Galatea" allows singers to demonstrate acting abilities, as well as the technique and beauty of the voice, it has grace, there is something to sing, there is where to play, there is over what to be ironic, there is a life. This is interesting. Franz von Suppe's work is notable for its disregard for stage patterns, which is unusual for an operetta. There are almost no stable characters here, which are so inherent (sometimes to the point of toothache ...) in the operetta genre. Pygmalion's servant Ganymede - sings like a hero, plays like a simpleton. In the operetta there are bel canto episodes where you have to sing for real, and then there are grotesque, playful episodes. Roles flow into one another, the boundaries between them are blurred, and this makes the performance truly alive and modern. Suppe has written music that not only fits well with the dramatic task, but dictates the acting itself.”

The name of the Austrian composer Franz von Suppe (1819-1895) still continues to be in the shadow of his brilliant contemporary Johann Strauss-son. However, if it were not for Suppe, perhaps there would be no operetta in Vienna. It was Suppe who remained in history as the founder of the Viennese operetta, who opened its golden age. Inspired by Jacques Offenbach and his operetta Le Marriage by Lanterns, the clavier of which arrived in Vienna from Paris in 1856, Suppe begins to work in a new genre. When the star of J. Strauss rose, Suppe did not compete with him, but did not stop composing operettas. His best creations, "Dona Juanita", "Boccaccio", "The Queen of Spades" were successfully staged in Europe and Russia.

An ancient and eternally young story about a statue created and animated by the power of the great talent and great love of its creator.

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