Kulturkompasset | critics of culture events

The Golden Cockerel in Paris in 2013



In 2013 Les Ballets Russes, who just had a great success with their 2012 production,  shall present Nikolai Rimsky-Korsakov´s The Golden Cockerel at Théâtre des Champs Élysées. With the choire, ballet and orchestra from Theatre Musical d´Etat “Natalia Sats” from Moscow conducted by Georgyi Isaakyan.

By Henning Høholt

Ivan Bilibin stage Coq d Or

The Golden Cockerel (Russian: Золотой петушокZolotoy petushok) is an opera in three acts, with short prologue and even shorter epilogue, by Nikolai Rimsky-Korsakov. Its libretto, by Vladimir Belsky, derives from Alexander Pushkin‘s 1834 poem The Tale of the Golden Cockerel, which in turn is based on two chapters of Tales of the Alhambra by Washington Irving. The opera was completed in 1907 and premiered in 1909 in Moscow, after the composer’s death

Relationship difficulties(2) invasiveness, (3) reversibility, (4) cost and (5) the viagra pill.

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Nikolay Rimsky-Korsakov

Outside Russia it has often been performed in French as Le coq d’or. Paris premiere in 1914; in Paris it was staged as an opera-ballet, choreographed by Mikhail Fokine with set designs by Natalia Goncharove for Ballets russe by Serge Dhiaghilev.

Preface to The Golden Cockerel by librettist V. Belsky (1907)

Tsar Dadon meets the Shemakha queen

The purely human character of Pushkin‘s story, The Golden Cockerel – a tragi-comedy showing the fatal results of human passion and weakness – allows us to place the plot in any surroundings and in any period. On these points the author does not commit himself, but indicates vaguely in the manner of fairy-tales: “In a certain far-off kingdom”, “in a country set on the borders of the world”…. Nevertheless, the name Dodon and certain details and expressions used in the story prove the poet’s desire to give his work the air of a popular Russian tale (like Tsar Saltan), and similar to those fables expounding the deeds of Prince Bova, of Jerouslan Lazarevitch or Erhsa Stchetinnik, fantastical pictures of national habit and costumes. Therefore, in spite of Oriental traces, and the Italian names Duodo, Guidone, the tale is intended to depict, historically, the simple manners and daily life of the Russian people, painted in primitive colours with all the freedom and extravagance beloved of artists.

Aleksandr Pushkin 1799-1837

Pikok as the Astologer in The Golden Cockerel in 1909

In producing the opera the greatest attention must be paid to every scenic detail, so as not to spoil the special character of the work
. The following remark is equally important. In spite of its apparent simplicity, the purpose of The Golden Cockerel is undoubtedly symbolic.

This is not to be gathered so much from the famous couplet: “Tho’ a fable, I admit, moral can be drawn to fit!” which emphasises the general message of the story, as from the way in which Pushkin has shrouded in mystery the relationship between his two fantastical characters: The Astrologer and the Queen.

Did they hatch a plot against Dodon? Did they meet by accident, both intent on the king’s downfall? The author does not tell us, and yet this is a question to be solved in order to determine the interpretation of the work. The principal charm of the story lies in so much being left to the imagination, but, in order to render the plot somewhat clearer, a few words as to the action on the stage may not come amiss.

Many centuries ago, a wizard, still alive today sought, by his magic cunning to overcome the daughter of the Aerial Powers. Failing in his project, he tried to win her through the person of King Dodon. He is unsuccessful and to console himself, he presents to the audience, in his magic lantern the story of heartless royal ingratitude.

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