I. Salomé
II. Ophélie
III. Le songe de Cléopâtre

At the beginning of the 1900s, Sergei Diaghilev worked variedly to promote and encourage new and radical Russian culture. This work included establishing the Ballets Russes in Paris, for which the young and still unknown Igor Stravinsky had orchestrated music by Chopin. It wasn’t long before he was commissioned to write new music for a Russian folk tale, which was to become Stravinsky’s big breakthrough.

The first of Stravinsky’s Russian ballets, The Firebird, was dedicated to Andrey Rimsky-Korsakov, a friend of the same age, and son of composer Nikolai, who had been like a second father to Stravinsky, and also taught him orchestration.

Nikolai Rimsky-Korsakov’s influence can be more than discerned in the background of the music. Not least Stravinsky’s treatment of the orchestra should have garnered appreciation. Stravinsky’s use of musical motifs and structure show clear impressions from his role model. Some of the folk song tunes in The Firebird can also be found in Rimsky-Korsakov’s earlier work.

At night, the radiant firebird dances into the immortal Koschei’s enchanted garden, stalked by Prince Ivan. The prince manages to catch the bird after a duel, but sets it free again in return for a magical feather. In the garden, the prince watches 13 princesses dancing, and falls instantly in love with one of them. He reveals himself and is invited to participate in the princesses’ Khorovod, a Russian folk dance.

When dawn breaks, the princesses disappear into Koschei’s palace. Ivan forces the gate open to free his beloved, but is captured by Koschei’s monstruous subjects. The wizard threatens to turn the prince to stone, but Ivan raises the magical feather in despair, and the firebird comes to his rescue. It forces Koschei and all his subjects to dance an infernal dance to the point of exhaustion, and the egg that hides Koschei’s immortality is broken in pieces. The wizard dies, the spell is broken and the prisoners are freed.

Ann-Marie Nilsson