Libretto by Yuri Grigorovich
after the novel of the same name by Raffaello Giovagnolli,
ideas from the scenario by Nikolai Volkov used

Having exchanged his native Leningrad for Moscow, and having been appointed Bolshoi Theatre chief choreographer, he immediately became one of the pacesetters for contemporary art. Ballet, it might seem, had always been part of culture, but this was something else — Grigorovich's arrival renewed our ideas of our own cultural legacy.

Spartacus, as is known, was produced twice at the Bolshoi Theatre before Grigorovich, first by Igor Moiseyevy, then by Leonid Jakobson — both well-known masters. The same grandiose music by Aram Khachaturyan, the same legendary stage, virtually the same dancers in the lead roles, and the same mass of historical parallels: the heavy millstones of ancient history turned on stage, and, in the name of that very same freedom, the Thracian Spartacus lost his life, submitting to tragic inevitability. With the appearance of Grigorovich, it was as if all these truths spoke anew. It was as if a different age had set in, a different ballet civilization and this was felt immediately — both in the auditorium and by professionals. Historical and philosophical definitions do not change — what changes is the way they are presented.

But first we should remember what Spartacus meant for the Russian people. It is by no means fortuitous that the best loved Russian football team bears this famous name. Spartacus was identified in the Russian mind with Alexander Matrosov who, during the Second World War, threw himself on to a German pill-box, blocking the machine-gun with his own body, to allow his unit to advance; or Nikolai Gastello, who carried out a suicide attack in his plane on an enemy echelon; or the collective farm worker who led his horses out of a burning stable. He represents fearlessness and daring, but also an extraordinary inner freedom. For the Russian man, outer constraints notwithstanding, freedom is an inner, spiritual quality, it carries a sense of his immortality and innocence.

Is Spartacus, perhaps, one of the Russian saints?

It was as a saint, in fact, that the Russian reader saw Spartacus, the hero of Raffaello Giovagnoli’s famous novel of the same name, which first appeared in translation, in Russia, in 1881 and was immediately popular. And again historical parallels: lvan Bolotnikov, Stenka Razin, Emelyan Pugachyov, very different figures of course and with different behavioral motives, but all, like Spartacus, charismatic and dedicated in their defense of personal freedom and the ability to carry with them, as we used to say until quite recently, ‘the masses’ The novel is about a revolutionary from the ancient world, a prisoner gladiator who rose up against oppression. In Russia, there were two cult books about ‘revolutionaries’ — Giovagnoli’s Spartacus and Ethel Voynich’s Gadfly. They were both an appeal to the struggle for social injustice. Spartacus Grigorovich produced, The Gadfly, he had thought about producing in his youth, and had got as far as writing the libretto (together with ballet critic Poel Karp).

What was the immediate stimulus which prompted Aram Khachaturyan to write his ballet in 1954? Apart from a light Armenian coloring which gives the music a particular — in the words of Grigorovich himself —‘romantic sound’ beyond its dance rhythms, which are so easily assimilated in dance, one was conscious that a different, triumphant force was asserting itself. Where did this mood come from? From the recently, ended war, perhaps, or were these the revolutionary motifs which, in one form or another, always visit a major composer?

What was the immediate stimulus which prompted Yuri Grigorovich to create his ballet in 1968? Outer reason was a commission, the Theatre had need of a heroic work. But there are commissions and commissions. His observations and thoughts on the matter had occurred at a considerably earlier date: as a young dancer, he had ‘absorbed’ this music and story through his own nerves and muscles. In the very first Leningrad production of Spartacus by Jakobson, soloist Yuri igorovich, not being a heroic dancer, had performed the part of the Retiarius, an expressive ballet episode in which he, a naked gladiator-slave, armed with net and trident, fights for his life against a marmilon, a gladiator-slave with a short sword. The Roman audience was not interested in death as such, what it demanded to see was a refined murder and struggle for life. Was it, perhaps, then that the «inner heroic spirit» a la Grigorovich materialized, to which Vladimir Vasiliev was later to give form so brilliantly on stage? It was then the realization came that this brilliant music needed to be mounted and danced in a different way. For Grigorovich’s generation, a man and his emotions were the main criteria of life. He was not going to allow historical props to swallow up his art and his spirit, “vase painting” was OK, but only on vases. Without doubt, it was at that time too that his assimilation of the music occurred — for the choreographer the ear was just as important as the imagination and dance. Grigorovich was prepared for his future conversation with Aram Khachaturyan which was to take place almost twenty years later. And at first these were difficult conversations — their significance and intent, however paradoxical, was to defend the music from its author, who was used to a specific style for its embodiment in ballet.

Grigorovich, the path-breaking choreographer, had his own artistic strategy and his own totally innovative approach to scenario. The flow of the action is intercepted by the monologues of the four main characters, who appear to be commenting on events. The alternation of direct action with self-commentary, the departure of the epos into the sphere of psychological reflection — this had never been done before in ballet. It became necessary to make several cuts to the music, a re-arrangement of episodes, everything had to be subordinate to an integrated, dramatic through-line, “organizing the action around the theme of the uprising”. Grigorovich wrote very expressively about his conversations with Khachaturyan and from them it is clear how acute, at first, was the problem of mutual understanding, how the «battle for the notes» unfolded. The Bolshoi Company reacted, at first, without particular enthusiasm: yet another attempt: Spartacus — we've already danced that... But this was just to begin with, before the first rehearsals with soloists started, and before the rumor, mixed with concealed enthusiasm, began to circulate in the Theatre — with the new Spartacus, everything will be quite different.

By the time of the. dress rehearsal, there were rumors going round in Moscow too. A dress rehearsal is, perhaps, both more difficult and more important than even the premiére, there are too many of «one’s own» there, who will notice that to which the spectator will pay no attention. But it is at the dress rehearsal that first impressions arise, and ‘opinions’ are formed. The theatre is packed, heads hang over the upper tier and the gallery. Ministerial bureaucrats are as guarded as eagles on a mountain peak. Famous ballerinas and dancers are majestically concentrated. An expectantsilence — and after the first e pisodes, the applause grows from scene to scene. The transformation of silence into a stormy ovation was marvelously described by Vlas Doroshevich, when Chaliapin was on tour at La Scala, appearing in Boito’s Méphistophéles.

... And so started in those April days of 1968 — the unforgettable flights of Vladimir Vasiliev, Ekaterina Maximova's quivering tenderness; Maris Liepa’s stately walk and Nina Timofeyeva's triumphant glitter. And all those who danced after them, in the next performance — Mikhail Lavrovsky and Natalia Bessmertnova, Svetlana Adyrkhaeva and Borfis Akimov. And after them, all who followed, participants in the ‘freedom movement’ under the name of Yuri Grigorovich's Spartacus. And ever new forces are joining this legendary movement, it is already the 21st century and it appears to be unstoppable.

Sergei Esin
text from the handbook,
published on the occasion of the 40th anniversary of the ballet, 2008
abridged

Act I
Scene 1
Invasion.
The military machine of imperial Rome, led by Crassus, wages a cruel campaign of conquest, destroying everything in its path. Among the chained prisoners, who are doomed to slavery, are Spartacus and Phrygia.

Spartacus’c Monologue.
Spartacus is in despair. Born a free man, he is now a slave in chains.

Scene 2
The Slave Market.
Slave dealers separate the men and women prisoners for sale to rich Romans. Spartacus is parted from Phrygia.

Phrygia’s Monologue.
Phrygia is overcome with grief. She thinks with horror of the terrifying ordeals that lie ahead of her.

Scene 3
Orgy at Crassus’s Palace.
Mimes and courtesans entertain the guests, making fun of Phrygia, Crassus’s new slave. Aegina draws Crassus into a frenzied, bacchanalian dance. Drunk with wine and passion, Crassus demands a spectacle. Two gladiators are to fight to death in helmets with closed visors, i.e., without seeing each other. The victor’s helmet is removed. It is Spartacus.

Spartacus’c Monologue.
Against his will, Spartacus has been forced to murder a fellow man. His despair develops into anger and protest. He will no longer tolerate captivity. He has but one choice of action — to win backhis freedom.

Scene 4
The Gladiators’ Barracks.
Spartacus incites the gladiators to revolt. They swear an oath of loyalty to him and, of one accord, break out of the barracks to freedom.

Act II
Scene 5
The Appian Way.
Having broken out of their captivity and finding themselves on Appian Way, surrounded by shepherds, Spartacus’s followers call the latter to join the uprising. Shepherds andpopulace proclaim Spartacus as their leader.

Spartacus’s Monologue.
The thought of Phrygia’s fate as a slave gives Spartacus no peace. He is haunted by memories of his loved one whom he thinks of day and night.

Scene 6
Crasuss’s Villa.
His search for Phrygia leads Spartacus to Crassus’s villa. The two lovers are overjoyed at their reunion. But, due to the arrival of a procession of patricians, led by Aegina, they are forced to hide.

Aegina’s Monologue. Aegina has long dreamed of seducing and gaining power over Crassus. Her goal is to win him and there by gain legal admittance to the world of the Roman nobility.

Scene 7
Feast at Crasuss’s Villa.
Crassus celebrates his victories. The patricians sing his praises. The festivities are cut short by an alarming piece of news: Spartacus and his min have all but surrounded the villa. The panic-stricken guests disperse. Crassus and Aegina are also forced to flee. Spartacus breaks into the villa.

Spartacus’s Monologue.
Victory! It elates him and fills him with faith that the uprising will be successful. Victory!

Scene 8
Spartacus’s Victory.
Spartacus’s men have taken Crassus prisoner and want to kill him, but Spartacus is not bent on revenge and suggests that they should engage in single-handed combat.Crassus accepts the challenge and suffers defeat: Spartacus knocks the sword out of his hand. Crassus makes ready demonstratively to meet his death, but Spartacus, with a gesture of contempt, lets him go. That all shall know of Crassus’s dishonor is punishment enough. The jubilant insurgents praise the victory of Spartacus.

Act III
Scene 9
Crasuss Takes His Revenge.
Crassus is tormented by his disgrace. Fanning his hurt pride, Aegina calls on him to take his revenge. There is only one way forward — death to the insurgents. Crassus summons his legions. Aegina sees him off to battle.

Aegina’s Monologue.
Spartacus is Aegina’s enemy too. The defeat of Crassus will be her downfall. Aegina devises a perfidious plan — she will sew dissension in Spartacus’sencampment.

Scene 10
Spartacus’s Encampment.
Spartacus and Phrygia are happy to be together. But suddenly his military commanders bring the news that Crassus is on the move with a large army. Spartacus decides to give battle but, overcome by cowardice, some of his warriors desert their leader.

Scene 11
Dissension.
Aegina infiltrates the ranks of the traitors who, though they have abandoned Spartacus, might still be persuaded to go with him. Together with the courtesans she seduces the men with wine and erotic dances and, as a result, they put all caution to the winds. Having lured the traitors into a trap, Aegina hands them over to Crassus.

Spartacus’s Monologue.
Crassus is consumed by the wish for revenge. Spartacus shall pay with his death for the humiliation that he, Crassus, was forced to undergo.

Scene 12
The Last Battle.
Spartacus’s forces are surrounded by the Roman legions. Spartacus’s devoted friends perish in unequal combat. Spartacus fights on fearlessly right up to the bitter end but, closing in on the wounded hero, the Roman soldiers crucify him on their spears.

Requiem.
Phrygia retrieves Spartacus’s body from the battle field. She mourns her beloved, her grief is inconsolable. Raising her arms skywards, Phrygia appeals to the heavens that the memory of Spartacuslive forever...