Arabian Nights (ballet)

At the beginning of the ballet, the women's chorus, which sounds against the background of the orchestra's gentle, charming flowing intonations, is sad, but reflects the belief in bright dreams and devotion.

[3] The main rock of F. Amirov's ballet is the "Arabian Nights" tales with an ancient history, the cruel Shahriyar and the wise Shahrizade, the intelligence, bravery and kindness of the Eastern woman, and her victory with the strength of all these aspects.

Deep philosophical concept, accuracy and logic of the author's thinking are the most remarkable points in the ballet "Arabian Nights", which is a very colorful and bright work.

[2] Fikret Amirov, who usually takes the artistic content of his works from subjects close to the people, while writing the Thousand and One Nights ballet, remained faithful to the tradition and turned to the folk tales.

Music for the drama "Sheikh Sanan" by H. Javid, "Concert on Arabic Themes for Piano and Orchestra" written jointly with Elmira Nazirova, "A Thousand Nights" after the symphonic mugham "Gulustan-Bayati-Shiraz" inspired by the works of the great poets of the Middle East, Sadi and Hafiz.

[9] Before starting work on the ballet, the composer traveled to Iran, Iraq, Turkey, Egypt, Syria, Morocco and India, and was in close contact with the Middle Eastern culture.

Its creation is based on the register variation of a single intonation that passes through different stages of the image, appearing each time at the highest level of emotional tension.

In the intro, this theme is painted with lyrical tones, and when a female chorus joins it backstage, it takes on an exciting mood.

In the finale, this theme completely dominates the orchestra, is renewed in tone, emotional aspect and is sounded in a competent, solemn C major.

[14] During dramatic climaxes and tense scenes, the composer's addition of the soprano and the chorus to the ballet makes certain situations and circumstances seem believable and natural.

[19] It is the idea of good triumphing over evil in these tales that improves Shahriyar internally, and a sense of love and justice is established in the heart of the cruel ruler.

The non-traditional 8/8, 10/8, 12/8 metric systems found in the score are characteristic of the musical thinking of the Middle Eastern peoples and give a special variety to the orchestral palette.

After learning that the shah before her had caused the death of thousands of innocent young girls, Shahrizade decided to put an end to this unjust massacre by risking her life.

The deceived husband, the humiliated ruler, in front of the eyes of the witnesses, frozen by this disgrace, takes the couch to his wife and gives a terrible decree to execute all the young women.

In order to regain faith in his former love and kindness, he enters Shahrizad's mysterious fairy-tale world and spends a thousand and one nights.

This story took place very anciently, during the reign of royalty, in an environment where unfaithfulness to love was punishable by death, and the customs and traditions of the past people were completely different from the present.

Having sentenced his wife to death, the king made a terrible decision and ordered the execution of one of the young ladies in the palace every day.

But even this tender feeling does not soften the king's cruel heart, and he says that Shahrizade should be executed, like thousands of women who have been punished.

However, in the confrontation with Maghribli, Aladdin gains the upper hand, and the loyal genie from the lamp helps to bring back the beautiful Budur.

The Shah is interested in Shahrizade's ability to show loyalty, he wants to believe that good does not triumph over evil only in beautiful fairy tales.

29 Finale: Allegretto elevato In the first performance, the artists of Azerbaijan State Academic Opera and Ballet Theater Tamilla Shiraliyeva - Shahrizad, Rafael Grigoryan - Shahriyar, I. Nizamaddinova - Nurida, R. Arifulim and R. Zeynalov - Nurida's favorite slave, S. Bordanov - Spirit bird, A. Kurkov - Aladdin, F. Yusifova - Budur, S. Rahmatulin - the leader of 40 robbers, V. Andreyev - Alibaba, L. Povliy - Marjana, O. Vorgonov - performed as a witch.

The performance on the stage of Tbilisi Academic Opera and Ballet Theater named after Paliashvili was a remarkable event at the celebrations dedicated to the 60th anniversary of the founding of the Communist Party of the Republic...

[28] Conductor Boris Gruzin says that "the success of the ballet is connected with the beautiful music of Fikret Amirov", and ballerina Lyubov Kershinova, People's Artist of Russia, says that "I was lucky enough to be the first performer of the role of Shahrizad in the Novosibirsk theater.

[30] L. Minkin writes that "the ballet master succeeded in the appropriate choreographic interpretation of the music of V. Shumeik, Honored Artist of Tatarstan.

Shahrizadeh's final part attracts attention with the successful fusion of the classical duet with a short steady, typical oriental pose.

The new mysterious choreography of the founding ballet master, People's Artist of Azerbaijan Madina Aliyeva, the brilliant performance of the symphonic orchestra led by Eyyub Guliyev, the laureate of international competitions, the conductor of the Azerbaijan State Academic Opera and Ballet Theater, the colorful scenery and costumes created by the designer-artist Inara Aslanova, embodying the spirit of the Eastern world, Belarus was received with great admiration by the audience.

Soloists of the Belarusian State Musical Theater, Sergey Glukh (Shahriyar), Irina Voytekunas (Shahrizad), Polina Garunovich (Zibeida), Igor Goncharik (Sinbad the Sailor), Dmitry Lazovik (Aladdin), Mika Suzuki (Prince Budur), Vitaly Borovnev ( Jin), Mike Partush (Chief of Bandits), Aleksandra Krasnoglazova (Marjana) and Nikolai Umerenkov (Alibaba) performed.

Continuing the traditions of M. Ravel, N. Rimsky-Korsakov, and A. Onneger, F. Amirov created such a beautiful work that helps us to travel again to the world of poetic fairy tales of the East and to understand that they have a deep human meaning.

"[38] R. Zohrabov notes that "the authors of the libretto understood the genre well and managed to create an interesting, ideologically exhausted work.

People's artist of the USSR, composer Fikret Amirov and ballet master Naila Nazirova managed to create a gallery of images and interesting scenes based on concise and expressive musical numbers.