Masquerade ball content. "Un ballo in maschera" by Giuseppe Verdi: a political thriller on the opera stage

D. Verdi opera “Un ballo in maschera”

In the history of opera, perhaps, there is not another masterpiece that has two sets of main characters, moreover, so far from each other: Swedish aristocrats in one case and American officials in the other. This is the main intrigue of the creation of Giuseppe Verdi’s seventh most popular opera, which is still performed today in both plot variations.

Brief summary of the opera Verdi “Ballo in Masquerade” and many interesting facts about this work can be found on our page.

Characters		Description
Richard, Earl of Warwick	tenor	Governor of Boston king of sweden
Renato Count Rene Anckarström	baritone	Creole, secretary to the governor king's secretary
Amelia	soprano	wife of Renato (Rene)
Ulrika Mademoiselle Arvidson	mezzo-soprano	fortune teller
Oscar	soprano	page
Samuel Earl Ribbing	bass	organizers of the conspiracy against Richard (Gustav III)
Volume Count Horn	bass	organizers of the conspiracy against Richard (Gustav III)

Summary of “Masquerade Ball”

Morning at the Royal Palace of Stockholm, 1792, Gustav III receives visitors. His secretary, Count Anckarström, warns of danger - here among the crowd are Count Ribbing and Count Horn, planning his murder. But what is more important for Gustav is that Ankarström has no idea about the love he has for his secretary’s wife, Amelia - her name on the guest list for the upcoming masquerade excited the king. However, after pleasant memories of his beloved, Gustav draws attention to another invitee - Mademoiselle Arvidson. Having learned that this is a famous fortune teller, the king decides to visit her. The conspirators see a chance to realize their plans.

Mademoiselle Arvidson's home is crowded with the influx of visitors; a noble lady is looking for a meeting with her. Gustav, who is incognito among the people in a fisherman's costume, recognizes Amelia in this lady - she came to ask for help in getting rid of forbidden love. The fortune teller recommends that she collect herbs growing on the execution field. As Amelia leaves, Gustav asks the fortune teller to tell him about his future. She predicts that the friend who first gives him his hand will kill him. Since it turns out to be Ankarström, everyone laughs at such an incredible prophecy.

Amelia, under the cover of darkness, comes to a deserted place to buy herbs. Gustav secretly follows her, confesses his love and receives confirmation of the reciprocity of his feelings. Ankarström suddenly appears, warning the king that he has been tracked by the conspirators. Amelia throws on her veil. Gustav and Ankarström exchange cloaks. Before disappearing, the monarch takes his secretary's word that he will escort the lady out without revealing her face. The enemies surround the couple, believing that it is Gustav in front of them. Amelia defends her husband, but in doing so she betrays herself. Ankarström becomes the object of ridicule and vows revenge.

A dramatic scene takes place in Ankarström's house - the count is determined to kill his wife, but realizes that the main culprit is not she, but Gustav. He hosts the conspirators and forces Amelia to draw lots to see which of them will kill the king. This fate falls on himself. Gustav signs a decree transferring Ankarström to serve in England. Amelia tries to warn her lover about the danger through an anonymous letter, but the king ignores him.

Masquerade ball evening. Ankarström asks Oskar what mask his master is hiding under. Amelia tries to persuade Gustav to leave the ball, but does not have time - the secretary hits him with a knife. The king assures his killer that nothing happened between him and Amelia, says words of forgiveness and dies.

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Interesting Facts

There is not a single major opera star in the 20th century who did not participate in productions of Un ballo in maschera. L. Pavarotti, J. Björling, D. Di Stefano, C. Bergonzi, P. Domingo, J. Carreras shone in the part of Gustav (Richard); in the part of Ankarström - E. Bastianini, R. Merrill, T. Gobbi, P. Cappuccili, R. Bruzon, D. Hvorostovsky, in the role of Amelia - M. Callas, C. Ricciarelli, B. Nilsson, L. Price, R. Tebaldi, M. Caballe.
The historical fact that served as the basis for the plot - the attack on Gustav III, happened at a masked ball at the Royal Swedish Opera on March 15, 1792. The king was mortally wounded by a pistol and died two weeks later. The conspiracy had purely political motives - a group of conservative nobility, among which was J. Yu. Ankarström (he, of course, did not serve as a royal secretary), wanted to free themselves from a ruler who followed the principles of enlightened absolutism. Until his execution, Ankarström did not reveal the names of his comrades to the investigation. However, they still became known and punished. As for the love line, it was an absolute fiction, starting with the never-existent Amelia. According to contemporaries, Gustav III had no interest in women at all.

Un ballo in maschera is an opera filled with sinister laughter. There is a laughing aria and even a laughing quintet.
In this job Verdi used a new type of hero for himself - the page Oscar. This is a man's role for a woman. Such a character is typical of the French operatic tradition, with verse songs and a masterfully decorated coloratura part.
Ulrika (Mademoiselle Arvidson) is one of the most striking characters Verdi wrote for mezzo-soprano. This heroine is comparable to gypsy Azucena from Troubadour and is one of the composer’s ways to indicate the fatal nature of events.
The performers of the main male roles at the premiere of the opera, Gaetano Fraschini (Richard) and Leone Giraldoni (Renato), had previously become the first interpreters of Verdi's heroes. Fraschini sang 4 more premieres - “Alzira”, “Corsair”, “Battle of Legnano” and “Stiffelio”. Giaraldoni performed the title role at the premiere of " Simone Boccanegra ».

The best arias from the opera “Un ballo in maschera”

“La rivedra nell estasi” - Richard’s aria (listen)

“Eri tu che macchiavi quell’anima” - Renato’s aria (listen)

“Re dell"abisso” - Ulrika’s aria (listen)

“Volta la terrea” - Oscar’s aria (listen)

History of creation and productions

Playwright Antonio Somma was approached by Verdi about working on the libretto for King Lear, which was left unfinished after the death of his longtime collaborator Salvatore Cammarano. Thus, in 1853 and 1855, two versions of the libretto of King Lear were created, which never found their musical form. Meanwhile, the San Carlo Theater in Naples was waiting for the maestro's new work. In September 1857 Verdi invites Somme to write a text based on the plot of E. Scribe’s play “Gustav III, or the Masquerade Ball”. The composer was captivated by this story, which twice became the basis of operas: in 1833 – “Gustav III” by D. Ober, in 1843 – “The Regent” by S. Mercadante.

But difficulties arose during the work: Bourbon censorship banned the libretto for the production. In her opinion, it is better to replace the king with a duke, move the action to the pre-Christian era, the conspirators should not hate the king, but should simply fight for power, and - no firearms on the stage! The authors devoted the Christmas week of 1857 to editing the libretto. As a result, the action took place in Pomerania, the king became a duke, and the opera was called “Revenge at Domino.” It would seem that a compromise has been found, and Verdi returns to Naples in January 1858 with the score of the modified opera.

Rehearsals were about to begin, but on January 14 there was an unsuccessful attempt on the life of Emperor Napoleon III, a few days later the culprit, who turned out to be an Italian, was captured, and a serious threat loomed over the opera again. The following censorship requirements were: replace the wife with a sister, remove the ball, remove the episode with the lot, and not show the murder on stage at all. The impresario of the San Carlo Theater tried to rework the libretto on his own, changing the time and place of action, the main characters and the plot - the opera would have been called “Adelia from Adimari”, but Verdi did not agree to this and initiated the termination of the contract. The theater sued him, which, however, the maestro won.

Verdi agreed on the production with the Apollo Theater in Rome. His impresario was delighted with the opera, but warned the composer that problems with the censor might arise here too. Verdi was amazed - why is Scribe's play freely performed on Roman stages, but an opera on the same plot cannot be staged without hindrance? Having overcome everything, on February 17, 1859, “Ballo in Masquerade” received its first resounding success. This was facilitated by the plot, which combines tragic and funny, and excellent music, and a patriotic audience, which, after the premiere, sang melodies from the opera in the streets, and the walls of Roman houses were covered with the phrase “VIVA VERDI”, where the composer’s surname had the acronym meaning “Vittorio Emanuele” Re d'Italia" (Victor Emmanuel - King of Italy). The main roles were performed by the leading soloists of their generation - Gaetano Fraschini (Richard), Leone Giraldoni (Renato), Eugenia Julien-Dejean (Amelia). But was the maestro himself satisfied with this work? After all, in the end, his “Gustav III” was never realized: the opera was called “Un ballo in maschera”, A. Somma, despite the fact that he completed the work, due to numerous changes, refused to put his name under the libretto and slightly Later, the text was finalized by the composer's constant collaborator F. M. Piave. The action moved to the USA, Gustav became Richard, the Boston governor, and other characters changed. Theaters in Italy took the opera into their repertoire under the name “Amelia”.

Only a few years will pass, in 1861 Italy will unite, and it will become possible for the author to recreate the opera in its original form. But Verdi will not take advantage of this opportunity - either because he does not want to return to work that has taken so much mental strength, or because he is already tired of opera in principle - after 1862 he will not have a premiere for 5 whole years. Therefore, until 1935, Un ballo in maschera told the story of an overseas rather than a European tragedy.

In the 20th century, an attempt was made to reconstruct the original version of the opera, then called Gustav III, based on the surviving drafts of Verdi. This edition was staged in Gothenburg, Sweden in 2002. In 2004, Gustav III was performed on the stage of San Carlo - the theater saw this opera 146 years later.

In 1861, an Italian troupe first presented Un ballo in maschera in St. Petersburg. But Russian productions of the opera, even in the “American” version, were banned until 1880. Since 2001, the opera has been in the repertoire of the Mariinsky Theater, and since 2010 - of the Mikhailovsky Theater. The 2017 production at the Novosibirsk Opera and Ballet Theater was called a “thriller opera.” In 2018, the long-awaited premiere of “Ball in Masquerade” will take place at the Bolshoi Theater.

Music of "Ballo in Masquerade" in cinema

The music of Un ballo in maschera was used in the films: “The Moon” by B. Bertolucci, “The Ten Commandments” by D. Wein, and the collection of short films “Aria”.

Productions of the opera have been filmed several times:

2012, Metropolitan Opera, director G. Halvorson, in the main roles M. Alvarez, S. Radvanovsky, D. Hvorostovsky.
1991, Metropolitan Opera, director B. Large, in the main roles of L. Pavarotti, A. Millo, L. Nucci.
1986, Vienna Opera, director J. Kulka, in the main roles L. Pavarotti, G. Lechner, P. Cappuccili.
1975, Covent Garden, directed by D. Vernon, starring P. Domingo, C. Ricciarelli, P. Cappuccili.

“Ballo in Masquerade” became the harbinger of a new period in creativity D. Verdi , after him, in the 42 years of his remaining life, the maestro would write only 5 operas, but among them there would be such indisputable masterpieces as “ Aida " And " Othello ».

Video: watch the opera “Un ballo in maschera” by Verdi

Taking this into account, as well as the fact that masquerades in Russia appeared before balls and especially “masquerade balls”, we will act in line with the naming traditions that have developed in Russia since the 18th century, i.e. call it "masquerade" any an event in which participants acted in special costumes or masks. At the same time, we emphasize that most traditionally, the word “masquerade” is used to mean costumed and masked balls.

Masquerade and pre-Petrine cultural traditions

The traditions of masquerade in Russia, like many similar forms of public leisure, are of a directive borrowed nature and began in the era of Peter the Great. One can, of course, emphasize the traditional nature of costumes in Russian folk culture, which laid the foundation for later masquerades. You don’t have to do this, but repeat after Pylyaev his brief indication at the time of the birth of Russian masquerades: “... the first masquerades in Russia were introduced by Emperor Peter the Great on the occasion of peace with the Swedes, in the year; they then continued at court for seven days in a row. In the sense of Christmas games and dressing up, masquerades were still known under Tsar Ivan the Terrible. Masquerades in Europe have become common throughout the year; Michel Angelo's student, Granizi, staged the first such solemn masquerade in honor of Paul Aemilius"

Based on common sense, there is every reason to be more inclined to Pylyaev’s opinion. The masquerade was borrowed not in its individual elements, but as a whole, as a structure that has special properties that are characteristic of it as a whole and cannot be deduced from a simple listing of individual parts. Costuming is characteristic of any national culture. C. Compan, for example, traces the origin of masquerades to the Roman Saturnalia

These traditions had deep roots in Rus', so the masquerade of Russia of the New Age, being pan-European in nature, established itself, having in its individual elements a certain national support (“countercurrents” according to Veselovsky). However, it did not evolve from folk culture, but was introduced once in a complete form, often distancing itself from folklore in style, content of elements, contextual basis, connection to real-life events, and even in its own semantic load, ignoring mystical symbolism and traditional rituals, having joined secular rituals, which have a different expressive language and distinct symbolism. And on the contrary, in the composition of individual elements one can see similarities with what already existed in Russia before Peter.

The similarity of the phenomena was felt by contemporaries themselves. This was manifested, in particular, in the adequacy of the old terminology used in the first stages of borrowing to refer to new events. The change of terms was especially noticeable in the times of Peter the Great, when innovations were still fresh and the vocabulary was not completely established. For example, a fragment of a story about Italian opera from the Notes of Tolstoy’s steward in Venice: “... they begin to play in those operas at the first hour of the night, and finish at the 5th and 6th hour of the night, and they never play during the day. And comes to those operas many people in mashkars, in Slavic in kharyas».

So, the masquerade of the times of Peter is a different masquerade, originating from Europe, but not from the Russian folk tradition. However, along with borrowings, many elements in the style of its design are introduced from folk celebrations. Let's compare two events that are extremely similar in appearance, the first of which is a completely European secular holiday using folklore elements (the wedding of Nikita Zotov in 1715) and the second is an ordinary folk festival, from a series of entertainments of Russian landowners of the early 19th century.

1. “As soon as the procession started, all the city bells rang and all the drums beat from the ramparts of the fortress to which they were heading; various animals were made to scream. The whole community was playing or strumming various instruments, and together it produced such a terrible deafening noise that it is impossible to describe." 2. “In winter, there was a horse race and a masked Maslenitsa. Crowds of girls and women gathered for this purpose in the master's courtyard; there they smeared their faces with soot to make the train look more like a masquerade performance. The smeared and dirty ones were put in a large sleigh like baskets and, surrounding the train with horse riders, they moved from village to village, from village to village, to the sound of tambourines, basins and frying pans. Hearing this noisy orgy from afar, people flocked from everywhere to admire how the gentlemen were having fun.”

As we see, in Peter’s times the closeness of stylistics with folk mummers’ amusements was expressed quite confidently. The most important differences related to the symbolic, semantic basis of the celebrations. Later, in the European-influenced masquerades of the era of Catherine II, the intimacy becomes less obvious. Meanwhile, folklore traditions of mummery are still alive, but only within their own circle of existence. They continued to exist in the everyday life of the people and the layer of district landowners close to them, while the enlightened classes of both capitals cultivated a different European masquerade.

The first masquerades in Russia

The very idea of camouflage does not imply dancing as a mandatory element, which is especially noticeable at the initial stage of its existence in Russia. Masquerade in Peter's times originated not as a ball, but as a masquerade procession or other public (often street) action. One can even strengthen this statement by saying that, in general, masquerades from the time of Peter the Great distanced themselves from dance.

The era is characterized by several manifestations of such a masquerade: a masquerade procession, masquerade sleigh rides and motley clownish masquerade performances, which can rightfully include rituals and, in general, the existence of the All-Joking Cathedral, frequent clownish weddings (alternately of dwarfs and giants) and even a clownish funeral. For example, the Frenchman Vimenya - a cheerful, intricate man, for the sake of fun, promoted to the amusing “Samoyed kings”, and therefore permanently drunk, until his inevitable death, being forced to entertain a high person in the role of a drinking companion. Among the examples are the masquerade sleigh rides that took place in Moscow in the year, “which were given the shape of sea vessels,” the wedding of Prince-Pope P.I. Buturlina in a “masquerade” dress. This also includes colorful costumed and masked processions through the streets of St. Petersburg. One of these, which happened in the year, is called - "Masquerade Company".

To a large extent, such “masquerades” seem to be a special case of the manifestation of the traditions of “carnival”, where, in fact, costumes, masks, dressing up and similar procedures were not always overtly expressed.

Masquerade in Russia at the beginning of the 18th century

The 18th century is a turning point in the culture and art of Russia + the formation of a new mentality => interest in man as an individual. Passion for embodiments, hoaxes, stage => development of theatrical festivals => appearance of costume portraiture. Trends in comprehensive Europeanization. The first manifestations of theatricality were mummers and buffoons (folk entertainment was timed to coincide with calendar holidays and had a cult character). Carnivals - origins in pagan antiquity - mummers who took on an animal form. The popularity of “popular comedies” and Maslenitsa games. Gradually, the performance and masquerade lose touch with the cult. In Europe to this day, many carnivals are associated with the holidays of certain saints.

In Europe, everything was incognito; in Russia, masks were removed before entering.

Masquerade - the tradition of dressing up and putting on masks comes from ritual actions (shamanism, totemic rituals, paganism). This tradition continued into the Middle Ages and beyond. Permissiveness and impunity are a feature of masquerades. Mummers, clownish dressing - from Byzantium. Over time - loss of cult meaning => entertainment. People with physical disabilities often took part in carnival processions. The ideological load is a course towards secularization. Nystadt world => celebrations, carnivals, fireworks. 1723 - masquerade - national costumes + professional (miners, sailors). That same year there were magnificent celebrations on the occasion of the founding of the fleet. Masquerade characters: ancient heroes, ethnic, professional costumes, animal and bird costumes. They wore masks. Anna Ioannovna has a whole army of crackers and rattles. Elizaveta Petrovna is a lover of celebrations, rules for events. 1744 - men appeared in women's outfits, women in men's outfits, creating a kind of travesty. Front sights were widely used. Invitations were used, and checks were carried out on persons arriving for the holiday. A list of absentees was compiled. Court masquerades - in the houses of the nobility. December 1739 - January 1740 - Ice House (Kraft, Eropkin). The length of the Ice House is 17 m (ice cannons, trees, birds, dolphins, life-size elephant). Inside the house, the entire interior is icy. Elizabeth introduced French taste into masquerades.

Masquerade in Russia in the second half of the 18th century

1754 - 3 days of masquerade dinners in honor of the birth of Paul I. Masquerades were often held in country residences (Oranienbaum - Peter III organized many celebrations there, performances of Italian opera, masquerades). Peter III often organized riotous festivities (which turned into bacchanalia). Many did not like them (Catherine about Peter III’s entourage - “the local bastard”). Catherine organized a theatrical performance in Oranienbaum - people of different classes could visit it, including those who could not get to the Winter Palace. Masquerades were also organized for people of lower classes - “free masquerades” (tickets - 3 rubles / piece). Posters were posted. At such events one could have dinner, have a drink, and play cards on the card tables (Italian Lacatelli). The trend towards French taste, adopted under Elizabeth, is intensifying. Under Catherine, masquerades were supposed to show the power and wealth of Russia to foreigners. Catherine marked her accession to the throne with festivities (“Minerva Triumphant” - script by actor Volkov).

“Catherine II in the image of a triumphant Minerva” (Stefano Torelli) - a painting in the Tretyakov Gallery, there are repetitions in Tsarskoe Selo. The coronation took place in Moscow in 1763, then Catherine returned to St. Petersburg. Masquerade in the Winter Palace and Tsarskoe Selo.

The age limit for visiting masquerades is 13 years, then it was raised to 15 years. The Winter Palace hosted 8 masquerades a year. Admission is free, 10 thousand tickets were sent out, about 5 thousand came. Not only nobles, but also merchants and townspeople (but not all) could attend. There were also children's masquerades - they took place in the Winter Court (in the southern wing, half of Paul I). They were held for children from 7 to 12 years old (children could be accompanied by their parents in a regular, not fancy dress). For one of these holidays they made Turkish costumes (Paul was the Sultan). 1770 - festivities in honor of the Prussian Prince Henry (Apollo Hall, 3.5 thousand masks). Masquerades were often held after theatrical performances at the Opera House. Private Naryshkinsky Garden on the Moika - every Wednesday and Sunday. (1 rub. - ticket, if there were performances - 2 rubles.).

Masquerades in honor of military victories - 1791 - in honor of the victory over Ishmael (3 thousand participants). Under Pavel, a masquerade dress became mandatory (under Catherine, you could only use a mask + strict regulations down to the color). The festivities at the end of the century became elaborate (and at the beginning of the century, holy fools, as a rule, took part in them). Evolution from Peter the Great's Yuletide amusements to stylized colorful masquerades.

Masquerade in Russia in the first half of the 21st century

The cultural meaning of the masquerade lies primarily in the special atmosphere of entertainment associated with the incognito of the participants. In politically unstable periods, in particular at the present time, the desire to use masquerade traditions for political purposes is clearly evident. The law “On assemblies, rallies, demonstrations, processions and picketing”, adopted in 2012, limits this trend and, under the threat of very significant fines, prescribes at any political public event “not to use masks, means of concealment, or other items specifically designed to make it difficult to identify " At the same time, even a cursory observation of modern practice shows that masking outside of politics, in purely entertainment procedures, various kinds of celebrations, honors and carnivals, is completely acceptable and is not forbidden by anyone.

Literature

Berezovchuk L. N., Voznesensky M. V. Masquerade // Musical Petersburg. Encyclopedic Dictionary. XVIII century. - T. 1. - Book. 2. - K - P. - St. Petersburg: Composer, 1998. - P. 185-189.
Company Sh. A dance dictionary containing the history, rules and foundations of the art of dance with critical reflections and interesting anecdotes relating to ancient and modern dances / Trans. from French - M.: In type. V. Okorokova, 1790. - Articles “Masquerade” and “Mask” see: p. 291-298.
Masquerade in St. Petersburg in 1841. Poster/ Message Ya. I. Dovgalevsky, preface. M.I. Semevsky // Russian antiquity, 1883. - T. 39. - No. 8. - P. 411-420.
An old poster for a masquerade in the Mikhailovsky Palace. February 2, 1844/ Message P. A. Efremov // Russian Archive, 1884. - Book. 3. - Issue. 5. - pp. 59-64.
Taneev S. I. Masquerades in capitals (Material for history) // Russian Archive, 1885. - Book. 3. - Issue. 9. - pp. 148-153.
Timofeev S. Regarding the article “The era of carousels and masquerades in Russia” // Historical Bulletin, 1885. – T. 22. – No. 11. – P. 482-484.
Uspensky B. A.“Stupid wedding” in St. Petersburg in 1740 // Uspensky B.A. Around Trediakovsky. Works on the history of the Russian language and Russian culture. - M.: Indrik, 2008, p. 534-545

Notes

The compiler of the first systematic work on dance published in Russian, Charles Compan, sees Arabic roots in the word “masquerade”: “This word comes from the Italian Mascarata, which is also derived from the Arabic mascara, meaning joke or ridicule...”
Description of the battle that took place on June 8, 1704, between the Russians and the Swedes near Narva // Camping Journal of 1704, St. Petersburg, 1854. – pp. 121-126.
This understanding of the term does not contradict its everyday meaning, which is firmly established in society, which is fully reflected in popular public dictionaries that define masquerade as “an entertainment gathering, a congress, a kind of ball, in unusual clothes and disguises” (Dal V. Explanatory Dictionary of the Living Great Russian language. - T. 2. - M.: Progress, Univers, 1994. - P. 298); “a ball at which the participants put on masks and dominoes” (Encyclopedic Dictionary of the Russian Bibliographic Institute Granat. - T. 28. - Ed. 12th. - M., B.G. - P. 282); “a ball at which those present are dressed in various characteristic, national, historical or fantastic costumes, mostly with masks on their faces” (Big Encyclopedia. Dictionary of publicly available information on all branches of knowledge, edited by S.N. Yuzhakov. - Ed. 4- e. - T. 12. - St. Petersburg, B.G. - P. 693); “a festival, a ball, the participants of which wear masks and special costumes” (Great Soviet Encyclopedia. – 2nd edition. – T. 26. – P. 422-423). For some reason, the compilers of the Brockhaus and Efron Dictionary did not give this phenomenon special attention, only touching upon it somewhat in the story about masks.
Timofeev S. Regarding the article “The era of carousels and masquerades in Russia” // Historical Bulletin, 1885. – T. 22. – No. 11. – P. 482-484.
Pylyaev M.I. The era of knightly carousels and allegorical masquerades in Russia // Historical Bulletin, 1885. – T. 22. – No. 8. – P. 309-339.
Kompan Sh. A dance dictionary containing the history, rules and foundations of the art of dance with critical reflections and interesting anecdotes relating to ancient and modern dances / Transl. from French - M.: In type. V. Okorokova, 1790.
Tolstoy P.A. The journey of steward P.A. Tolstoy / Preface. YES. Tolstoy // Russian Archive, 1888. - Book. 1. - Issue. 2. - pp. 161-204; Vol. 3. - pp. 321-368; Vol. 4. - pp. 505-552; Book 2. - Issue. 5. - P. 5-62; Vol. 6. - pp. 113-156; Vol. 7. - pp. 225-264; Vol. 8. - pp. 369-400. . The everyday dictionary was updated quite quickly, so such cases are exceptional.
Bruce P.G. From “Memoirs...” / Trans. Yu.N. Bespyatykh // Bespyatykh Yu.N. Petersburg of Peter I in foreign descriptions. - L.: Science, 1991. - P. 1181-182.
Dubrovin N. Russian life at the beginning of the 19th century // Russian antiquity, 1899. – T. 97. – No. 1. – P. 29
Bassevich G.-F. background. Notes of Count Bassevich, serving to explain some events from the reign of Peter the Great (1713-1725) / Trans. from French I. F. Ammon, preface. P. I. Barteneva // Russian Archive, 1865. – Ed. 2nd. – M., 1867. – Stb. 91-274. , The same // Youth of the Power. - M.: Sergei Dubov Foundation, 2000. - P. 325-436.
Kashin N.I. Actions and amusements of Emperor Peter the Great (Record of a contemporary) / Communication. and preface V.V. Maykova. - St. Petersburg: Printing house I.N. Skorokhodova, 1895. - 22 p. - In the series: Monuments of ancient writing. - T. 110.
Maskarada Company in St. Petersburg in 1723; began on the 30th day of August, ended on the 6th day of September // Youth of the Power. - M.: Sergei Dubov Foundation, 2000. - P. 179-196.
Decree “On the prohibition of going to a masquerade without a fancy dress”

Act one scene one

(Morning. The hall in the governor’s house. At the back of the stage is the door leading to his room. Deputies, nobles, officers and people. On the proscenium are Samuel, Tom and their accomplices. Everyone is waiting for Richard.)

Sleep without fear, our beloved Richard,

sleep will strengthen you.

We are all here to protect you

and we keep it in your house.

SAMUEL, TOM AND THEIR ACCELERATES

Our anger surrounds you...

Revenge for those you destroyed...

Our vengeance will soon be accomplished,

and our judgment will be fulfilled.

(Oscar leaves the count's chambers, followed by Richard.)

The Count is coming.

(bowing to others)

O my people and guards!

Everyone who is only dear to my heart.

(accepting requests from deputies)

I will do everything!

I have to think about you

and execute fairly

I am duty bound.

It's always nice to see joy

if you judge fairly.

(to Richard)

Here is a list of all the guests. You will look through it.

Have you included all the beauties?

(giving a sheet)

Browse!

(reading; silently)

Amelia!.. I see you again!

And for you I am ready to forget my duty,

I'm ready to forget

but only to admire you!

The sound of your sweet speeches

I will enjoy it with delight.

The stars will shine in the sky,

your image is cute before me!

And brighter than all the heavenly lights

your face will illuminate my soul!

Look, he's lost in thought.

How concerned he is with us.

With a soul full of nobility,

he always thinks about us.

SAMUEL, TOM AND THEIR ACCELERATES

(quiet)

Friends, the time has not come for us

carry out a terrible sentence,

and our vengeance we are here

we can't do it.

(to Oscar)

Go until further orders.

(Everyone leaves. Oscar, after a little hesitation, runs into Renato as he enters.)

(to Renato)

The door is always open for you.

(Leaves.)

(About myself)

He's lost in thought again!

(About myself)

(bowing)

(About myself)

Oh my God! Amelia's husband!

(approaching)

Are you concerned?

My lord!

Everyone deeply respects you.

For glory - a lot,

for the heart - nothing.

And there is a fierce melancholy in my heart.

Since when?

About what? Tell us!

(About myself)

I guessed…

I guessed.

You are not safe in your home!

Evil shackles ripen in the darkness of the night.

Death threatens you.

(joyfully)

Just this? What else?

I can name everyone.

For what? I hate them.

But I have to expose everyone!

Shut up!.. I will be forced

then unwittingly shed blood. But no!

Everyone here is devoted to me,

and protected by the sky.

From your greatness

full of glory and honors

the happiness of others also depends.

You are connected to their life.

Seal of nobility

lies on your forehead.

But you value your life

and protect yourself.

Friendship is always faithful

may be late for defense.

Hatred watches vigilantly

for the chosen victim!

(Oscar enters.)

The judge wants to see you.

Let him come in.

(Enter.)

(Submits the verdict for approval.)

What do I see?.. Expulsion of a woman?

For what? What's the name?

What did she do wrong?

Her name is Ulrika.

Black woman, damn her...

Witches flock to her at night.

Tells everyone's fortunes truthfully.

Unclean evil spirits

She calls her cave into hers.

She is suspected of giving evil advice.

She must be expelled.

(to Oscar)

What's your advice?

I am her protector!

She reads rock from the heavenly stars...

She helps all the lovely ladies

with your fortune telling.

Guess boldly

and assures everyone

in what pleases someone.

Satan is probably in touch with her.

Her defender is there.

Who will get ready to travel across the sea,

Does anyone want to know what awaits in life:

joy or sorrow - run to it as quickly as possible;

or what pleases us, she will tell everything.

Satan must be in touch with her!

Her defender is there.

She must be expelled...

(to Richard)

You must forgive her.

So, let everyone come in here quickly.

(Renato and Oscar invite those who have left.)

I want to invite you all

to Ulrika, gentlemen...

I myself, in disguise, want to be with her.

Just for fun.

It's a dangerous joke.

But for me it’s funny - I’m not afraid of it.

But they will recognize you there,

take my word for it, Count.

SAMUEL AND TOM

(mockingly)

Look how afraid he is

This advisor is evil.

(to Oscar)

You will get me a fisherman's dress as soon as possible.

SAMUEL, TOM AND THEIR ACCELERATES

(quiet)

And maybe there we will be able to carry out our sentence.

So friends, let's have some fun

a noisy crowd rushing to the witch...

And each of you there will know

how gullible the people are.

No matter what happens, I rush after him,

if danger awaits him.

I'll save him from the villain

or I will die defending him!

If a witch casts spells on everyone,

I want to know my fate.

By the stars she will know for sure

who in life will love me?

Now it's time for us to part ways,

Let's hurry up and have fun later.

This rarely happens in life...

We must have fun at least for a moment.

SAMUEL, TOM AND THEIR ACCELERATES

We harbor malice in our hearts,

We must wait for a minute of vengeance.

But that moment will come

Richard's star will set.

So, friends, I will be waiting for you,

dressed like me, in witch's clothes

home at exactly three o'clock.

You will find us in disguise, Count

in the witch's dwelling

Masquerade ball content. "Un ballo in maschera" by Giuseppe Verdi: a political thriller on the opera stage

Masquerade and pre-Petrine cultural traditions

The first masquerades in Russia

Masquerade in Russia at the beginning of the 18th century

Masquerade in Russia in the second half of the 18th century

Masquerade in Russia in the first half of the 21st century

Literature

Notes

see also

Act one scene one