Evgeny Diaghilev is an actor. Young lovers, luxury and money. The life story of Sergei Diaghilev. Historical Russian concerts. Russian seasons. Diaghilev's Russian ballet

October 17, 2013, 17:49

I thought to make a post about "Russian seasons"Diaghilev, but decided that it would be more correct to first acquaint the readers with the name of the outstanding Russian theatrical and artistic figure S.P.Dyagilev. I suspect that he, of course, is familiar to many gossips, and yet I hope that some unknown facts will be interesting to read))

portrait of Diaghilev, written by the hand of the great opera singer Fyodor Chaliapin in 1910

So, the first part is about Diaghilev.

(1872-1929) -Russian theater and art figure, the first ballet impresario of the twentieth century, who glorified russian art at home and abroad. Together with Alexander Nikolaevich Benois created the art association "World of Art", co-editor of the magazine of the same name. Organizer of exhibitions of Russian art, historical Russian concerts, "Russian Seasons" abroad. Created the troupe "Russian Ballets of Diaghilev" (1911-1929)

Portrait of Sergei Pavlovich Diaghilev with his nanny (artist: Leon Bakst), 1905

Sergei Diaghilev was born on March 19 (31), 1872 in Selishchi, Novgorod province, in the family of a career soldier, hereditary nobleman, cavalry guard Pavel Pavlovich Diaghilev. His mother died a few months after the birth of Sergei, and he was raised by his stepmother Elena, the daughter of a Russian railway engineer, one of the founders of the Russian engineering and technical school V.A.Panaev, an educated and intelligent woman. As a child, Sergei lived in St. Petersburg, then in Perm, where his father served. Father's brother, Ivan Pavlovich Diaghilev, was a philanthropist and founder of a musical circle. It is not surprising that, being brought up in such a family, Sergei himself sang well, played the piano, painted, although he was just an amateur in various fields of art.

diaghilev family: Pavel Pavlovich, Elena Valerianovna, their sons Valery, Yuri and Sergei (1880s)

For three decades, the house in Perm belonged to the large and friendly Diaghilev family. In addition to Sergei, 2 more sons were raised in the family - Sergei's brothers - Yuri and Valery. In the house called by contemporaries “Perm Athens”, the city intelligentsia gathered on Thursdays. Here they played music, sang, played home performances. After graduating from the Perm grammar school in 1890 (the grammar school bears his name since 1992), Diaghilev returned to St. Petersburg and entered the law faculty of St. Petersburg University, while studying music under N. A. Rimsky-Korsakov at the St. Petersburg Conservatory. These studies become a turning point - thanks to Rimsky-Korsakov, Diaghilev meets the young composer Igor Stravinsky, and this acquaintance becomes the most important in the life of all three. Diaghilev's friendship with Stravinsky continued for many years. “It was always scary to work with this person, and at the same time calm, his strength was so irresistible”, - recalled Stravinsky in his book "Chronicle of my life".

Sergei in student uniform (1980s)

In 1896, Diaghilev graduated from the university, but instead of studying law, he began his career as an artist. He was an official of special assignments under the director of the Imperial Theaters and in 1899-1900. - Editor of the "Yearbook of the Imperial Theaters".

Sergei Diaghilev and Igor Stravinsky

Several years after receiving a degree in jurisprudence, he founded the World of Art association together with A. Benois. Still traveling through Western EuropeDiaghilev became interested in new trends in art and decided to create a magazine dedicated to them in his homeland. On his initiative, in the fall of 1898, a magazine of the same name began to be published. Diaghilev himself was the editor of the magazine and wrote articles on art history. Editing the magazine "World of Art" for six years, Diaghilev united in it all the most significant writers and artists of the new trend: his collaborators were D. Merezhkovsky, K. Balmont, V. Bryusov, I. Levitan, V. Serov, M. Vrubel , A. Benois and many others. The magazine introduced the Russian public to the latest foreign writers and artists, gave reports on new exhibitions, on new trends in theater and music, and on architecture. In parallel with the magazine, Diaghilev published separate books on the history of Russian art.

cover of the magazine "World of Art", 1901

In addition to working on a magazine and books during that period, Diaghilev organized exhibitions that caused wide resonance:

1897 - Exhibition of English and German watercolors, then Exhibition of Scandinavian artists.

1898 - Exhibition of Russian and Finnish artists. Diaghilev managed to attract other major representatives of young art - Vrubel, Serov, Levitan, and others - to participate in the exhibition, in addition to the main group of the initial friendly circle, from which the World of Art association arose.

1905-1906 - Historical and art exhibition of Russian portraits in St. Petersburg; Exhibition of Russian art at the Autumn Salon in Paris with the participation of works by Benoit, Grabar, Kuznetsov, Malyavin, Repin, Serov, Yavlensky, etc.

participants of the "Russian Historical Concerts in Paris" visiting the composer C. Saint-Saens. Paris, 1907

In the spring of 1907, Diaghilev staged in Paris a number of concerts dedicated to Russian music, from Glinka to Scriabin. In the following years Diaghilev staged Grand operaand then in the theater Chatelet, a number of Russian operas: « Boris Godunov » and « Khovanshchin» Mussorgsky, « Pskov woman» and others, and a number of ballets: « Scheherazade» Rimsky-Korsakov, « Cleopatra» Arensky, « Parsley» Stravinsky, « Pavilion Armidym» Cherepkina and others. For these performances, the scenery was written by the best contemporary artists, and the performers were outstanding artists. These annual foreign performances by Russian artists are called "Russian seasons"... They will be discussed in the next post.

Tamara Karsavina and Vaslav Nijinsky in the ballet "Giselle"

Sergzh Lifar

"Russian Seasons" was a means of promoting Russian ballet and visual arts and contributed to the flourishing of ballet in countries where this genre was not developed. In addition to Paris, the troupe toured London, Rome, Berlin, and the United States.

In 1911 Diaghilev organized a ballet troupe Diaghilev's Russian Ballet... The troupe began performing in 1913 and continued until the death of its organizer in 1929. Unfortunately, Sergei Pavlovich left his homeland with the outbreak of the First World War and never returned. According to the recollections of Sergei Leonidovich Grigoriev, the permanent director of the troupe, their last performance was in Vichy on August 4, 1929.

Diaghilev and ballet dancer Serge Lifar

Despite the enormous success of the Russian Ballet, Diaghilev often experienced financial difficulties and always resorted to the help of wealthy philanthropists. He also spent his personal funds on new productions. In the 1920s, Diaghilev became interested in collecting rare books - his collection was made up of unique publications in Russian, autographs of Alexander Pushkin. Being an extremely superstitious man, he was afraid of sea travel.

Igor Stravinsky, Sergei Diaghilev, Leon Bakst and an unknown woman.Switzerland, 1915

In 1921, Diaghilev was diagnosed with diabetes, but he almost did not follow the prescribed diet. The development of the disease was facilitated by lifestyle, as well as constant sudden changes in weight. Beginning in 1927, he developed furunculosis, leading to the development of extensive infections and a sharp rise in temperature, which was deadly in those days. Despite the doctor's orders, Diaghilev continued to tour Europe with the troupe. On August 7, 1929, he went to Venice, where he died on August 19 - on the water, as a gypsy predicted to him in his youth. Even when ill, Diaghilev continued to make plans and hum from Wagner and Tchaikovsky. The day before his death, he was visited by Misia Sert and Coco Chanel, who later paid for the funeral, since Diaghilev did not have the funds with him. Diaghilev was buried on the island of San Michele in the Orthodox part of the cemetery.

The marble tombstone bears the name of Diaghilev in Russian and French and an epitaph: "Venice is the constant inspirer of our tranquility" - a phrase written by him shortly before his death. Ballet shoes are almost always on the pedestal next to the impresario's photo. They say that choreographers and dancers have a tradition - when visiting the grave of Sergei Diaghilev, they put their shoes on a marble pedestal. This supposedly brings good luck in a career ...

"... Sometimes, especially at night, Diaghilev recalled his youth, said that it was the happiest time of his life. And cried, remembering the beautiful Volga and Levitan's landscapes,
yearned for Russia, which he would never see. Yes, he created world fame for Russia, Russian art ... Proust, Rodin and Apollinaire admired him ... Debussy wrote that "barbaric, but such attractive Russian art helped the West
get to know and understand yourself better ... " (From the memoirs of Sergei Lifar)

After his death Diaghilev's Russian Balletdisintegrated, and the repertoire was preserved only thanks to the efforts of the dancers and choreographers of his troupe.

Sergei Diaghilev had a tremendous influence on the formation of the entire ballet art of the twentieth century. Novels are written about him, films and theatrical performances are created. He proved that being an impresario is a great art. At the moment, work is underway to create a monument to Sergei Diaghilev on the square in front of the Grand Opera building in Paris under the patronage of Pierre Cardin.

DYAGILEV Sergey Pavlovich, Russian theater and art figure, critic. Until 1890 he lived mainly in Perm, then in St. Petersburg, where he graduated from the Faculty of Law of the University (1896), was a volunteer at the St. Petersburg Conservatory in the composition class of N. A. Sokolov and the class of solo singing A. Cotonya. Having become close to a circle of St. Petersburg artists and art critics (his cousin D. V. Filosofov, A. N. Benois, L. S. Bakst, K. A. Somov, etc.), he became interested in the history of art, especially painting and theater. Since 1890 he traveled to Europe several times. In 1899-1901 he was an official of special assignments in the Directorate of the Imperial Theaters in St. Petersburg (collaborated with Prince S. M. Volkonsky), in 1898-1901 he was the editor of the "Yearbook of Imperial Theaters". As a result of a conflict with the Directorate (Diaghilev considered it necessary to reform opera and ballet performances, focusing on the productions of the Moscow Art Theater), he was dismissed without the right to enter public service.

Diaghilev was one of the founders of the World of Art association (1898) and the magazine of the same name (also editor and publisher, 1898-1904). He was the initiator and organizer of a number of St. Petersburg exhibitions of Russian and foreign art, based on a strict conceptual selection of exhibits and a high artistic level of the exposition: Scandinavian artists, German and English watercolorists (both 1897), Russian and Finnish artists (1898), the Mir art "(1900-03, 1906); the grandiose Historical and Art Exhibition of Russian portraits in the Tauride Palace (1905), the exhibits of which Diaghilev selected from many estates and private collections in Russia, presented a unique panorama of Russian portraiture of the 18th - early 20th centuries.

Since 1906, all of Diaghilev's activities were aimed at promoting Russian art abroad, mainly in Western Europe. On his initiative, a Russian art exhibition was organized as part of the Autumn Salon in Paris (1906), where for the first time the European viewer was shown ancient Russian icons, the work of Russian artists from the 18th to the beginning of the 20th centuries (V.A.Serov, M.A.Vrubel and etc.). In 1907, Diaghilev organized the Historical Russian Concerts in Paris, in which music was performed from M.I.Glinka to A.N. Scriabin. The success of these concerts, the participation in them of the greatest musicians of their time (conductors F.M.Blumenfeld, A.K. Glazunov, A. Nikish, N.A.Rimsky-Korsakov, pianist I. Hoffman, pianist and conductor S.V. Rachmaninov , singers F.I.Shalyapin, F.V.Litvin, E.I. Zbrueva, and others) prompted Diaghilev to organize Russian seasons abroad in 1908, which became a triumph of Russian musical and theatrical art. Their programs featured new Russian ballets (choreographed by MM Fokin) and a number of Russian operas.

In 1911-29 Diaghilev was artistic director Diaghilev's Russian Ballet troupe. Thanks to his organizational talent, unmistakable artistic taste, heightened sense of novelty in art, Diaghilev was able to attract many outstanding artists to work in his enterprise (A.P. Pavlova, V.F.Nijinsky, T.P. Karsavin, O. A. Spesivtsev and others), composers (I.F. Stravinsky, S.S.Prokofiev, K. Debussy, M. Ravel, E. Satie, F. Poulenc, etc.), choreographers (Fokin, Nijinsky, B.F. B. G. Romanov, L. F. Massine, S. Lifar, J. Balanchine), conductors (E. A. Cooper, G. Piernet, P. Monteux, E. Ansermet, R. Desormier). Artists from the World of Art, as well as N. S. Goncharova, M. F. Larionov, P. Picasso, A. Matisse, J. Rouault, J. Braque and others took part in the design of the performances (a number of major masters first turned to scenography influenced by Diaghilev). Diaghilev's personal authority helped to attract funds from many patrons of the arts - both in Russia (Grand Duke Vladimir Alexandrovich, Princess M.K.Tenisheva, etc.) and in Europe. The performances of Diaghilev's entreprise, which were based on the synthesis of contemporary music, choreography and decorative art, largely contributed to the establishment of avant-garde in music, choreography and scenography, had a great impact on the art of the 20th century; they affirmed the prestige of Russian ballet and at the same time contributed to the revival of ballet art throughout the world.

In 1896-1906 he acted as an art critic (over 100 publications); author of a monograph about D.G. Levitsky (1902). IN last years life Diaghilev turned to collecting books (about 2 thousand rare Russian editions) and autographs (including G.R.Derzhavin, V.A.Zhukovsky, A.S. Pushkin, M. Yu. Lermontov), \u200b\u200bintending to create a book depository in Russia with handwriting department. In 1966, a square in Paris (adjacent to the Paris Opera) was named after him. In 1990, the S. Diaghilev Center for International Art was opened in St. Petersburg (Leningrad). The Diaghilev House charitable foundation and the Memorial Museum (1990) have been opened in Perm, the Diaghilev Readings international seminar (since 1987) and the Diaghilev Seasons International Music and Theater Festival (since 2003) have been held.

Lit .: Beaumont C. W. The Diaghilev Ballet in London. L.,; Sokolova L. Dancing for Diaghilev. L., 1960; Kochno B. Diaghilev and the ballets Russes. N. Y. 1970; Krasovskaya V. M. Russian ballet theater of the early XX century. L., 1971-1972. T. 1-2; she is. Nijinsky. L., 1974; Lieven, P., The birth of Ballets-russes. 3rd ed. L., 1973; Haskell A. Diaghileff. N. Y. 1977; Buckle R. Diaghilev. L., 1979; Percival J. The world of Diaghilev. L., 1979; Fokin M.M. Against the current. Memories of a choreographer. 2nd ed. L., 1981; S. Diaghilev and Russian art / Comp. I. Zilbershtein, V. Samkov. M., 1982. T. 1-2; Garafola L. Diaghilev's ballets Russes. Oxf .; N. Y. 1989; Benois A. N. My memoirs. 2nd ed. M., 1990. T. 1-2; Grigoriev S. Diaghilev's ballet. 1909-1929. M., 1993; Lifar S. M. Diaghilev and Diaghilev. M., 1994; Laskin A.S. The Unknown Diaghilevs, or the End of the Quote. SPb., 1994; Diaghilev and his era: Album / Ed. text V. Lenyashin. SPb., 2001; Stravinsky I. F. Chronicle of my life. M., 2005.

V. A. Kulakov, O. V. Frayonova.

He led a luxurious life, knowing that he was the subject of observation for many people. But after his death he did not leave a penny. The funeral of the legendary entrepreneur was paid for by his longtime patrons Mission Sert and Coco Chanel... They were far from last people in the long list of those who for a long time helped him to realize the most daring projects and to conquer the impregnable Paris. France fell at the feet of the provincial boy thanks to his organizational skills and the money of generous sponsors.

Sergei Diaghilev in his school years. Photo: RIA Novosti

Failed lawyer

When 18 year old Sergey Diaghilevcame from Perm to St. Petersburg, it was difficult to imagine that this young provincial would be able to break out into the people and become a real legend of his time. At the insistence of his father, the young man was going to study law, but the northern capital with its incredible opportunities changed his plans. Sergei was in a hurry to educate himself: he attended theaters and exhibitions, studied vocals. It was in the city on the Neva that he decided to fulfill his childhood dream - to become a composer. Once Diaghilev invited a select audience to listen to excerpts from the opera Boris Godunov, composed by him, in which he himself played the role of an impostor. Alas, the attendees did not appreciate the efforts of the future entrepreneur. Later, Sergei himself admits that this failure came at an opportune moment, since his voice was "very strong and very disgusting."

The next stage in life young man became a passion for the fine arts. In search of knowledge and masterpieces, he traveled to various European cities, visited art galleries and workshops of artists. In 1897, Diaghilev successfully held his first exhibition of German and English watercolors. Then together with Alexander Benoiscreated the creative community of artists "World of Art" and the magazine of the same name.

At the age of 28, Sergei received the position of an official for special assignments under the director of the Imperial Theaters. However, several years later he left the post due to a conflict with his superiors. And yet it was this place that helped the young man find new useful acquaintances. One of which was the close friendship with favorite tsarevich Nicholas Matilda Kshesinskaya... Diaghilev often accompanied the famous ballerina home after the performance. It was Kshesinskaya who brought him to her patron prince Vladimir and grand Duke Andrew (cousin Nicholas). Even then, the aspiring entrepreneur understood that money and talent work much more efficiently than just talent.

"Taking" of Paris

In 1906, thanks to the efforts of Diaghilev, Paris saw the exhibition Two Centuries of Russian Painting and Sculpture. A year later, the sophisticated French were conquered by "Historical Russian Concerts", in which they took part Rimsky-Korsakov, Rachmaninov, Glazunov, Chaliapin... The latter was particularly successful with the Europeans. In 1908, he shone on the stage of the Parisian Grand Opera in the production of Boris Godunov. The time of the "Russian Seasons" came only in 1909.

By the way, Diaghilev did not immediately become a fan of choreography: they say that his love for this art form opened up after watching The Sleeping Beauty Petipa in 1893. This incredible performance then literally shook the whole of St. Petersburg. For some time, instead of the usual greeting when meeting, local residents asked one single question: “Have you already seen the“ Sleeping Beauty ”?”.

Preparing for the "seasons" was not easy. A small spat between the entrepreneur and Kshesinskaya, who was outraged that she had received one role in such a large-scale project, and the sudden death of a friend, Grand Duke Vladimir, left him without the once promised support of the royal court. I had to urgently go to Paris, look for new sponsors. Fortunately, the financing issue was resolved. One of those who invested their money in this, in fact, a risky event was the owner of a music salon and a very wealthy lady, Mission Sert. Subsequently, Sert and Diaghilev would become not just partners for each other, but also true friends.

"Russian Seasons" was supposed to be on the stage of the Chatelet, but when Sergei saw the theater hall, he instantly realized that this dilapidated building requires immediate renovation. Within a few weeks, it was completely transformed, adding more luxury to the interior. On the day of the premiere, the audience sat in luxurious seats upholstered in dark red velvet, everything around seemed to tell them that they were the chosen one.

That evening the unsurpassed Anna Pavlova and a number of other strong ballerinas. But all the audience's love went to Vaclav Nijinsky... It is worth noting that before that, the male dancer was always in the shadow of his partner. Nijinsky managed to outshine the female part of the troupe. The audience christened the young man “the god of dance”. Of course, not all of the artist's colleagues liked such a triumph, and Pavlova was the first to leave the race because of professional jealousy. Although she herself claimed that she broke off relations with Diaghilev, because she wanted to create her own troupe.

Despite the success, the entrepreneur's investment was incomparable to the income. However, Diaghilev did not seem to be embarrassed by the huge debts. With his characteristic enthusiasm, he again began looking for patrons and planning the second visit of the "Russian Seasons".

Colleague, lover, traitor

The performances of Russian Seasons, one after another, evoked the approval of the public: The Firebird, Scheherazade, Petrushka. But Diaghilev wanted even more experiments and recognition, fortunately, Sert supplied him not only with money, but also with useful contacts. One of them was a meeting with Claude Debussy... The tandem of the composer and the entrepreneur gave the audience a real sensation - an erotic male dance " Afternoon rest faun ”, which was created and performed by Nijinsky. This was the first scandal in the seasons, which in some way cheered up the audience and turned out to be much better than the usual success.

The ideas of Diaghilev and his team were often ahead of their time, and therefore it sometimes took the public months and even years to understand and appreciate what the artists of the “seasons” showed on stage. So it was with the "Sacred Spring" Stravinsky, which premiered on May 29, 1913. Nijinsky was again engaged in choreography. The production was given to him with difficulty, but the audience did not appreciate the effort expended. Within five minutes after the start of the performance, the audience began to resent, whistle and even stamp their feet. The play had to be stopped and started over. This failure touched the already fragile psyche of Nijinsky, who later ended his days in a clinic for the mentally ill.

From the very appearance of Wenceslas in the troupe, he became not only Diaghilev's colleague and lover, but also his personal discovery. The entrepreneur believed, and not without reason, that it was thanks to him that the star of the "God of dance" rose. Sergei kept his favorite, made him expensive gifts, which is only a sapphire ring from Cartier, which was used to seal the "engagement" of lovers, tried in every possible way to educate his protégé and instill in him a sense of beauty. However, along with the "carrot", Vaclav knew very well what a "stick" was. Sergei did not let him forget for a second that the dancer owed his success to his money and connections. Alas, instead of gratitude, Nijinsky repaid Sergey with betrayal. During a tour of South America, which Diaghilev missed due to superstition (a fortuneteller predicted his death on the water), Vaclav unexpectedly married a dancer Romola Pulski... Upon learning of this, the abandoned lover began to smash everything in a row, and having calmed down, he found a reason to dismiss the traitor from the troupe.

New love

Left without a choreographer and lead soloist, Diaghilev went to look for a replacement for Nijinsky. He found a suitable variant in the ballet school of the Bolshoi Theater. Handsome man Leonid Myasinperfectly suited to the role of the new prime minister and ... lover. Sergei acted according to an already well-developed scheme of seduction: expensive gifts, travel abroad, solving all the material problems of a protégé, and most importantly, the promise of an incredible career takeoff. 18-year-old Leonid, although he was pondering the proposal of a famous entrepreneur and even wanted to refuse, but could not. Subsequently, the dancer, just like his predecessor, became the choreographer of the Russian Seasons. And then, as if repeating the fate of Wenceslas, he married an American ballerina Vera Clarkebreaking the heart of his "creator".

However, the talented Massine also found a replacement in the person Serge Lifar... At the suggestion of Diaghilev and with his full financial support, the young man lived for some time in Italy, where he took lessons from the teacher Nijinsky and Pavlova, the legendary Chekcheti... At the very beginning of their meeting, Sergei promised to make a second Nijinsky out of his favorite, and he succeeded. But he did not enjoy the successes of his brilliant lover for long. Back in 1921, 57-year-old Diaghilev was diagnosed with diabetes mellitus, which progressed because he flatly refused to follow the diet and regimen prescribed by the doctor. In 1929, it became clear that the end was near, although Sergei himself tried not to get depressed and continued to make plans for the future. His condition deteriorated sharply when he was in Venice. The fortune-teller was right, the legendary entrepreneur died “on the water”. On August 19, Diaghilev's friends accompanied him on his last journey. All the expenses associated with the funeral, as before, were covered by the longtime patrons - Mission Sert and Coco Chanel. Even during the entrepreneur's life, these two women competed among themselves for Sergei's attention, while remaining friends. But this time they had nothing more to share. Beloved Serge left both of them.

Biography

Life in art

Russian seasons

Addresses in St. Petersburg

The fate of the Diaghilevs in the USSR

Diaghilev as a symbol in culture

In bonistics

Sergei Pavlovich Diaghilev (1872-1929) - Russian theatrical and artistic figure, entrepreneur, one of the founders of the World of Art group, organizer of the Russian Seasons in Paris and the Diaghilev Russian Ballet troupe.

Biography

Sergei Diaghilev was born on March 19 (31), 1872 in Selishchi, Novgorod province, in the family of a career military man, hereditary nobleman, cavalry guard. His father, P.P.Dyagilev, was early widowed, and Sergei was raised by his stepmother Elena, daughter of V.A.Panaev. As a child, Sergei lived in St. Petersburg, then in Perm, where his father served. Father's brother, Ivan Pavlovich Diaghilev, was a philanthropist and founder of a music circle.

In Perm, at the corner of Sibirskaya and Pushkin streets (formerly Bolshaya Yamskaya), the ancestral house of Sergei Diaghilev has been preserved, where the gymnasium named after him is now located. The mansion in the style of late Russian classicism was built in the 50s of the 19th century by the project of the architect R.O. Karvovsky.

For three decades, the house belonged to the large and friendly Diaghilev family. In the house called by contemporaries "Perm Athens", the city intelligentsia gathered on Thursdays. Here they played music, sang, played home performances.

After graduating from the Perm gymnasium in 1890, he returned to St. Petersburg and entered the law faculty of the university, while studying music under N. A. Rimsky-Korsakov at the St. Petersburg Conservatory.

Life in art

In 1896 Diaghilev graduated from the university, but instead of studying law, he began his career as an artist. A few years after receiving his diploma, he founded, together with A. Benois, the association "World of Art", edited the magazine of the same name (from 1898 to 1904) and wrote articles on art history himself. He organized exhibitions that caused a wide resonance: in 1897 - an Exhibition of English and German watercolors, introducing the Russian public to a number of major masters of these countries and modern trends in the visual arts, then an Exhibition of Scandinavian artists in the halls of the Society for the Encouragement of Arts, an Exhibition of Russian and Finnish artists in the Stieglitz Museum (1898) the World of Artists themselves considered their first performance (Diaghilev was able to attract other major representatives of young art - Vrubel, Serov, Levitan, etc.) Historical and art exhibition of Russian portraits in St. Petersburg (1905); Exhibition of Russian art at the Autumn Salon in Paris with the participation of works by Benoit, Grabar, Kuznetsov, Malyavin, Repin, Serov, Yavlensky (1906) and others.

"Yearbook of the Imperial Theaters"

In 1899, Prince Sergei Volkonsky, who became director of the Imperial Theaters, appointed Diaghilev an official on special assignments, and gave him editing of the "Yearbook of the Imperial Theaters." Together with Diaghilev, many artists came to the Imperial Theaters (Ap. M. Vasnetsov, A. N. Benois, L. S. Bakst, V. A. Serov, K. A. Korovin, A. E. Lansere).

In the 1900-1901 season Volkonsky commissioned Diaghilev to stage Delibes' ballet Sylvia. Diaghilev attracted artists from the World of Art group to the production, but the case fell through due to the protest of the directors. Diaghilev did not obey the order of director Volkonsky, defiantly refused to edit the Yearbook, and the matter ended with Diaghilev's dismissal.

Russian seasons

1907 Diaghilev organized the annual foreign performances of Russian artists, called "Russian Seasons." In 1907, within the framework of the "seasons", musicians' introductions - "Historical Russian Concerts" were held. They were attended by N. A. Rimsky-Korsakov, S. V. Rachmaninov, A. K. Glazunov, F. I. Shalyapin and others. In 1908 the seasons of Russian opera took place. Despite the success, the season brought losses to Diaghilev, so the next year, knowing the tastes of the public, he decided to take ballet to Paris. At the same time, at that moment Diaghilev was dismissive of the ballet:

Ballet seasons then continued until 1913. For the ballet tour, Diaghilev invited a number of famous artists, including M. M. Fokin, A. P. Pavlova, V. F. Nijinsky, T. P. Karsavina, E. V. Geltser.

He has toured with this troupe in London, Rome and the USA. The ballets were designed by outstanding artistswho were part of the "World of Art", in particular, A. Benois, L. Bakst, A. Ya. Golovin, N. Roerich, N. Goncharova. The Seasons were a means of promoting Russian ballet and visual arts and contributed to the flourishing of ballet in countries where this genre was not developed.

Troupe

In 1911 Diaghilev organized the ballet troupe "Diaghilev's Russian Ballet". The troupe began performing in 1913 and existed until 1929, that is, until the death of its organizer.

Death

Diaghilev died on August 19, 1929 in Venice, according to rumors, from furunculosis. He was buried on the nearby island of San Michele.

The meaning of Diaghilev's name at present

The gymnasium in Perm, where Diaghilev studied, has been named after him since 1992. In this gymnasium No. 11, a museum named after S. P. Diaghilev was opened.
In 2007, a monument to Diaghilev by sculptor Ernst Neizvestny was erected in the concert hall of the Diaghilev House.
Perm still hosts the annual international cultural festivals named after S. Diaghilev - "Diaghilev Seasons: Perm-Petersburg-Paris". The initiator of the first Diaghilev festival in Russia was the Perm academic theater opera and ballet. PI Tchaikovsky, whose building was built thanks to the significant financial support of the Diaghilevs and, according to many Permians, is the most beautiful in the city.
In the year of the centenary of the Russian Seasons, interest in the personality of S. P. Diaghilev increased again. In 2008 Auction house Sotheby’s organized the exhibition “Dancing Towards Glory: The Golden Age of Russian Ballets” in honor of the 100th anniversary of Diaghilev’s Russian Ballets, which took place in Paris. On it one could see about 150 paintings, sketches, costumes, decorations, drawings, sculptures, photographs, manuscripts and programs. The organizers of the exhibition reflected the key moments in the development of the Russian Ballets, which over the twenty years of its existence have completely changed the traditional ideas about theater and dance. Among the exhibits were costumes, sketches for which were made by the French artists Andre Derain ("The Magic Shop", 1919) and Henri Matisse ("Song of the Nightingale", 1920). Separately, it should be said about the costumes invented by Lev Bakst. Bakst is the first stage designer to become a world famous. Creating sketches of ballet costumes, he was inspired by oriental and ancient Greek costumes. The models he designed not only delighted theater audiences, but also influenced fashion trends. Of contemporary artistsinspired by Diaghilev's legacy, a paper installation by the famous Belgian sculptor Isabelle de Borchgrave took an important place.
In May 2009, Monaco released two stamps "Centenary of Diaghilev's Russian Ballet", created by the Russian artist Georgy Shishkin.
In 2009, in Perm, discussions began on the creation in the city of a number of monuments to S.P.Dyagilev, showing him in different years of his life.
In 2009, the preparation of a project for a monument to Diaghilev began in Paris. Sculptor Viktor Mitroshin's model won an international competition. His Diaghilev stands in full height in a top hat, dress coat and with a cane in his hand, on a high pedestal, on which Petrushka opens the curtain. Probably, the monument will be erected with the support of philanthropists, with donations, by the forces of the Russian diaspora. At the time of the competition, the project was supported by President Jacques Chirac, and his wife Bernadette expressed a desire to oversee the project. The former mayor of Paris, Jean Tibery, was against, but the construction of the monument was only started after he was replaced by Bertrand Delanoe. At the moment, work is being carried out under the patronage of Pierre Cardin. The monument to Diaghilev will be installed on the square in front of the Grand Opera building in Paris.

Addresses in St. Petersburg

1899 - autumn 1900 - apartment building - Liteiny prospect, 45;
autumn 1900-1913 - N.I. Khmelnitsky's apartment building - 11 Fontanka river embankment.

The fate of the Diaghilevs in the USSR

The fate of Sergei Diaghilev's two brothers, Yuri and Valentin, are tragic. Yuri Pavlovich was repressed, and Valentin was shot in Solovki in 1929 in a fabricated criminal case.
The eldest nephew of Diaghilev Sergei Valentinovich was a symphony conductor. Repressed in 1937, like his father Valentin Pavlovich on a fabricated political article. He served 10 years in camps and 5 years in exile. After rehabilitation, he returned to Leningrad, where he continued creative activity... Died on 08/13/1967.
His grandson Sergei Alexandrovich Diaghilev (Sergei Diaghilev Jr.) is a composer and conductor. Lives in St. Petersburg.
The younger nephew Vasily Valentinovich Diaghilev was forced to hide his relationship with the famous uncle in the USSR.

Diaghilev as a symbol in culture

In the spring of 2006, the most famous club in Russia, with a capacity of 1,500 people, Diaghilev (also known as the Dyagilev project), opened in the building of the Shchukin stage on the territory of the famous Moscow Hermitage garden. The club's logo was a black and white drawing depicting a mustachioed man in a tailcoat, top hat and bow tie with a clear hint of the image of Sergei Pavlovich Diaghilev.

There is a tradition among choreographers and dancers - when you visit the grave of Sergei Diaghilev in Venice, put your shoes on a marble pedestal. Almost always on his grave there are pointe shoes and various theatrical paraphernalia left by someone. In the same Greek cemetery on the island of San Michele, next to the grave of Diaghilev, there is the grave of another great figure of the Russian scene - Igor Stravinsky, as well as the poet Joseph Brodsky, who called Diaghilev "Citizen of Perm". For “theatrical” visitors, a special sign “Diaghilew Strawinski” is installed at the cemetery.

The epitaph is engraved on the grave itself: "Venice is the constant inspirer of our tranquility." This phrase, written by Diaghilev shortly before his death in a dedication to Serge Lifar, became winged in the circle of cultural figures.

In bonistics

Diaghilev is depicted on the obverse of a denomination of 500 Ural francs in 1991.

Biography

Life in art

Russian seasons

Addresses in St. Petersburg

The fate of the Diaghilevs in the USSR

Diaghilev as a symbol in culture

In bonistics

Biography

Life in art

"Yearbook of the Imperial Theaters"

Russian seasons

Ballet seasons then continued until 1913. For the ballet tour, Diaghilev invited a number of famous artists, including M. M. Fokin, A. P. Pavlova, V. F. Nijinsky, T. P. Karsavina, E. V. Geltser.

He has toured with this troupe in London, Rome and the USA. Outstanding artists from the World of Art participated in the design of the ballets, in particular A. Benois, L. Bakst, A. Ya. Golovin, N. Roerich, N. Goncharova. The Seasons were a means of promoting Russian ballet and visual arts and contributed to the flourishing of ballet in countries where this genre was not developed.

Troupe

In 1911 Diaghilev organized the ballet troupe "Diaghilev's Russian Ballet". The troupe began performing in 1913 and existed until 1929, that is, until the death of its organizer.

Death

Diaghilev died on August 19, 1929 in Venice, according to rumors, from furunculosis. He was buried on the nearby island of San Michele.

The meaning of Diaghilev's name at present

The gymnasium in Perm, where Diaghilev studied, has been named after him since 1992. In this gymnasium No. 11, a museum named after S. P. Diaghilev was opened.
In 2007, a monument to Diaghilev by sculptor Ernst Neizvestny was erected in the concert hall of the Diaghilev House.
Perm still hosts the annual international cultural festivals named after S. Diaghilev - "Diaghilev Seasons: Perm-Petersburg-Paris". The initiator of the first Diaghilev festival in Russia was the Perm Academic Opera and Ballet Theater. PI Tchaikovsky, whose building was built thanks to the significant financial support of the Diaghilevs and, according to many Perm residents, is the most beautiful in the city.
In the year of the centenary of the Russian Seasons, interest in the personality of SP Diaghilev increased again. In 2008, the Sotheby’s Auction House organized the exhibition “Dancing Towards Glory: The Golden Age of Russian Ballets” in honor of the 100th anniversary of Diaghilev’s Russian Ballets, which was held in Paris. On it one could see about 150 paintings, sketches, costumes, decorations, drawings, sculptures, photographs, manuscripts and programs. The organizers of the exhibition reflected the key moments in the development of the Russian Ballets, which over the twenty years of its existence have completely changed the traditional ideas about theater and dance. Among the exhibits were costumes, sketches for which were made by the French artists Andre Derain (The Magic Shop, 1919) and Henri Matisse (The Song of the Nightingale, 1920). Separately, it should be said about the costumes invented by Lev Bakst. Bakst is the first stage designer to become a world famous. Creating sketches of ballet costumes, he was inspired by oriental and ancient Greek costumes. The models he designed not only delighted theater audiences, but also influenced fashion trends. Among contemporary artists inspired by Diaghilev's legacy, a paper installation by the famous Belgian sculptor Isabelle de Borchgrave has occupied an important place.
In May 2009, two postage stamps "Centenary of Diaghilev's Russian Ballet" were issued in Monaco, created by the Russian artist Georgy Shishkin.
In 2009, in Perm, discussions began on the creation in the city of a number of monuments to S.P.Dyagilev, showing him in different years of his life.
In 2009, the preparation of a project for a monument to Diaghilev began in Paris. Sculptor Viktor Mitroshin's model won an international competition. His Diaghilev stands in full growth in a top hat, dress coat and with a cane in hand, on a high pedestal on which Petrushka opens the curtain. Probably, the monument will be erected with the support of philanthropists, with donations, by the forces of the Russian diaspora. At the time of the competition, the project was supported by President Jacques Chirac, and his wife Bernadette expressed her desire to oversee the project. Former Paris Mayor Jean Tiberi was against it, but the construction of the monument was only started after Bertrand Delanoe replaced him. At the moment, work is being carried out under the patronage of Pierre Cardin. A monument to Diaghilev will be installed on the square in front of the Grand Opera in Paris.

Addresses in St. Petersburg

1899 - autumn 1900 - apartment building - Liteiny prospect, 45;
autumn 1900-1913 - N.I. Khmelnitsky's apartment building - 11 Fontanka river embankment.

The fate of the Diaghilevs in the USSR

The fate of Sergei Diaghilev's two brothers, Yuri and Valentin, are tragic. Yuri Pavlovich was repressed, and Valentin was shot in Solovki in 1929 in a fabricated criminal case.
The eldest nephew of Diaghilev Sergei Valentinovich was a symphony conductor. Repressed in 1937, like his father Valentin Pavlovich on a fabricated political article. He served 10 years in camps and 5 years in exile. After rehabilitation, he returned to Leningrad, where he continued his creative activity. Died on 08/13/1967.
His grandson Sergei Alexandrovich Diaghilev (Sergei Diaghilev Jr.) is a composer and conductor. Lives in St. Petersburg.
The younger nephew Vasily Valentinovich Diaghilev was forced to hide his relationship with the famous uncle in the USSR.

Diaghilev as a symbol in culture

In the spring of 2006, the most famous club in Russia, with a capacity of 1,500 people, Diaghilev (also known as the Dyagilev project), opened in the building of the Shchukin stage on the territory of the famous Moscow Hermitage garden. The club's logo was a black and white drawing depicting a mustachioed man in a tailcoat, top hat and bow tie with a clear hint of the image of Sergei Pavlovich Diaghilev.

There is a tradition among choreographers and dancers - when you visit the grave of Sergei Diaghilev in Venice, put your shoes on a marble pedestal. Almost always on his grave there are pointe shoes and various theatrical paraphernalia left by someone. In the same Greek cemetery on the island of San Michele, next to the grave of Diaghilev, there is the grave of another great figure of the Russian scene - Igor Stravinsky, as well as the poet Joseph Brodsky, who called Diaghilev "Citizen of Perm". For “theatrical” visitors, a special sign “Diaghilew Strawinski” is installed at the cemetery.

The epitaph is engraved on the grave itself: "Venice is the constant inspirer of our tranquility." This phrase, written by Diaghilev shortly before his death in a dedication to Serge Lifar, became winged in the circle of cultural figures.

In bonistics

Diaghilev is depicted on the obverse of a denomination of 500 Ural francs in 1991.