Conductor Ayub Guliyev took the baton, and the percussion section led the way, drawing out the exotic melodies performed by the National Ballet of China Symphony Orchestra with their melodic tones. The rich Arabian culture extended from ears to eyes. As the curtain rose on stage, an array of colors and patterns unfolded like the pages of a book, bringing the stories of "One Thousand and One Nights" to life. The pages turned, and the tales flowed, weaving fantastical legends from the illustrations to the audience's view. From August 23 to 25, the Primorsky Stage of the Mariinsky Theatre presented the ballet "One Thousand and One Nights" at the Beijing Performing Arts Center, revealing a spectacular, dazzling world of fantasy to the audience.
The ballet "One Thousand and One Nights" is adapted from the famous collection of Arabian and Persian folktales of the same name. In the story, to calm the anger and madness of King Shahryar, who was betrayed by his wife, the protagonist Scheherazade volunteers to tell him attractive tales to save the lives of innocent women who are to be executed. The ballet "One Thousand and One Nights" premiered in 1979 at the Azerbaijan Opera and Ballet Theatre. Unlike traditional ballets, it featured neither dazzling crowns nor the familiar tutu skirts but instead drew audiences in with its mysterious and rich oriental atmosphere.
This time, presented by the Primorsky Stage of the Mariinsky Theatre, the version of "One Thousand and One Nights" is newly choreographed by Eldar Aliyev. Aliyev boldly interlaces elements of Eastern dance styles and a touch of acrobatics with the classical ballet foundation, which presents a neoclassical "language of form." "The choreography is the most distinctive highlight of 'One Thousand and One Nights.' It is very challenging to incorporate traditional and folkloric elements into ballet and then express them through a folkloric style," says Eldar Aliyev. To better capture the essence of the Oriental charm, the ballet dancers undergo at least six months of training in Arabic dance.
The story begins in a lavish palace, with elegantly intricate columns and lampstands as brilliant as a starry night, and creates a breathtakingly dreamy atmosphere. From passionate love to the shocking discovery of betrayal, the relationship between King Shahryar and his wife, Nurida, takes a drastic turn. The powerful dance of archers, the despairing wandering of maidens in white dresses like lost souls, and the crimson-clad, brutal executioners rapidly change the atmosphere on stage. The brave Scheherazade gracefully appears, and through her storytelling, we see Sinbad with the Roc, Aladdin with Princess Budur, and Ali Baba with the chieftain. These three stories are vividly portrayed, each with its unique charm. In the end, Scheherazade moves Shahryar, and the two are united as a couple.
Over three consecutive days, the two principal dancers, Anna Samostrelova and Irina Sapozhnikova, along with the first soloist, Lada Sartakova, each led their respective groups of performers, bringing the dramatic and magnificent story to life. The music composed by Azerbaijani composer Fikret Amirov for "One Thousand and One Nights" is particularly intriguing, intertwining Eastern melodies with European classical forms. He skillfully incorporates a variety of percussion instruments, such as bongos, gongs, xylophones, and vibraphones, alongside the Azerbaijani traditional string instrument, the tar. Under the baton of Ayub Guliyev, the live performance by the National Ballet of China Symphony Orchestra was filled with dramatic tension and impact, laying a magnificent and grand foundation for the entire performance.
While the performances were open to the general public, the Arts Development Foundation of NCPA also invited special guests to the current run of "One Thousand and One Nights" through the "Public Welfare Seats" initiative. These special guests included public civilization guides from Tongzhou District, traffic volunteers, youth volunteers, and public security volunteers, who were given the opportunity to experience the infinite charm of stage art up close.
Translator: BAI Jing
Reviewer: DING Zhizhong
