“All ballets are about love”: Denis Rodkin and Eleonora Sevenard about work in the Bolshoi Theatre, partnership and competition. Moderator angry ballet and opera ballet foyer

The Bolshoi Ballet project continues.

During the filming of the program, the dancers practically lived in the Mosfilm pavilion: they rehearsed and performed. The games had to be learned in a few days.

Amanda Gomez and Wagner Carvalho are a couple from the Tatar Opera and Ballet Theater named after Musa Jalil. The dance of Romeo and Juliet was prepared in a week.

“Learning everything to be free is not enough time. I want to dance more and then show. But we have such a project - this is also what is difficult, ”

Amanda Gomez admitted.

Participants of the Bolshoi Ballet are the best young ballet dancers from Russian cities and other countries: the Czech Republic, Brazil, America.

Julian McKay was born in the USA. Now he is a soloist of the Mikhailovsky Theatre. He combined work with filming in the project.

“I flew from Paris to St. Petersburg in the morning to be in St. Petersburg and rehearse Cinderella. And in the afternoon I was already flying to Moscow to rehearse here, ”

Julian McKay said.

Participants are not afraid of difficulties. Juliana's partner was injured just before the start of the project. And in just a few days he found a new dancer at the American Ballet Theatre. Skyla Brandt learned the numbers from video recordings.

“Skyla had three days. She taught some things on the plane, arrived and knew some things better than me, ”

The second program of the project is dedicated to Duets - Soviet, neoclassical, classical pas de deux staged by Petipa, Grigorovich, MacMillan. The Bolshoi Ballet sets the bar high.

The jury is the masters of the world ballet. They evaluate the partner and the partner separately. The verdict is delivered immediately, although sometimes the opinions of the judges are radically opposite.

“You can’t just listen: everything was fine, everything was amazing, you need to add a little tar”,

- considers choreographer, jury member Vladimir Malakhov.

The strictness of the jury members is somewhat softened by the hosts of the project - Andrejs Žagars and Svetlana Zakharova - empathize and support the artists. The prima ballerina of the Bolshoi Theatre, Etoile La Scala, is performing as a TV presenter for the first time.

“It's a big difference from what I'm used to doing. When we go on stage, we do not have the opportunity to repeat, to do a second, third, fourth take. Our artists who perform here do not have this either. But Andrejs and I have such an opportunity,”

- says the prima ballerina of the Bolshoi Theater, People's Artist of Russia Svetlana Zakharova.

This TV project is an opportunity for young artists to experiment, reveal themselves in a new way, try on unexpected images. The audience has several weeks ahead to enjoy the "Big Ballet".

It is not often that you meet a like-minded person in order to discuss a topic of interest, to chat about what is interesting to both. And how good it is that the Internet unites people by creating thematic groups and forums...

Being interested in the poster of the Bolshoi Theater, for a long time I was indecisive about buying a ticket for the performance. And then suddenly a colleague called - on the forum they sell one ticket just for this performance at a cheaper price.

You need? she asks.

Ballet and Opera - a forum for opera and ballet lovers.

The Internet portal offers the possibility of live communication - discussion of new performances, purchase and sale of tickets (privately, from hand to hand due to, for example, illness or something else).

At the moment, the existence of the ballet forum has 18 years. A lot of time, right? During this time, the portal is actively developing, new members appear here - the total number of visitors is constantly increasing.

The standard design of the forum immediately pleases - no difficulties, everything is simple and convenient.

There is an offer to register - in fact, if you have come in once or twice just to look and read the forum threads, then you may not register. And if you intend to settle here, so to speak, then it will not work without registration.

I think it's best to register right away - in this case, it becomes possible to enjoy all the benefits of this forum. So, after the registration procedure, it becomes possible to leave messages and personally write off the authors of this forum. It was in this way that a colleague got me a cheap ticket just for the performance that I so wanted.

Registration

Just a couple of minutes - and I became a real resident of this forum.

Registering here is simple: come up with a name for yourself, enter your email address, write down some data and secure everything with a password. Works for two minutes, no more.

This is the topmost thread of the forum, it is also the most important. There are a lot of topics that are the most important. And it is here that a beginner should look in order to know what rules of conduct are accepted here and strictly observe them, and, of course, it is here that you can get answers to urgent questions, sell, buy or exchange a profitable ticket.

A set of rules that every registered user must abide by.

The requirements are standard: a polite manner of communication, if there is a deviation from a given topic, it should occur within acceptable limits. If the conversation has gone far, then it is important to ask the moderator to move the conversation to another thread - an existing one, or create a new one.

Political, religious and other issues can only be discussed in the context of ballet and opera performances.

Meaningless messages, groundless criticism, pointless confrontation, as well as rudeness, insults and ridicule are not allowed.

For me, this topic is golden, because here you can find a lot of things that are interesting for a real ballet fan (in the theme of the musical foyer, the same applies to music).

Everyone advises at his own discretion what you can read about your favorite art form.

My favorite topic and demanded by many - here you can buy a ticket at half price. And if you have already bought it yourself, but you can’t go, you can immediately sell it. Very convenient, this topic has helped me more than once, and in this way I managed to save a lot on purchases in this part.

I want to warn you right away that this post will be interesting, and, perhaps, understandable only to visitors to the Friends of Ballet and Opera forum, if such people still wander here.

First of all, a few words about the reasons that prompted me to write this text in LiveJournal, and not on the forum. Since the moderators of the forum are people of liberal views, then, as is customary in this environment, the forum participants are divided into “white and fluffy”, i.e. those who praise the artists and leaders they love, and those "impure" who have other views and opinions. At the same time, they act in full accordance with Franco's principle "Everything is for friends, the rest is the law." But even this would not be scary, after all, it is not at all difficult to follow the written rules of the forum. But, belonging to the second category of participants, I finally got confused in the interpretation of these rules by the moderators.

When they poured mud on Tsiskaridze when he was appointed rector of the ARB, one of the moderators made an explanation to the paragraph of the rules on insult. It turns out that you can not insult forum members, because. this upsets them, while non-participants can, because they do not read the forum. For example, I was repeatedly insulted on the forum, but none of these participants even received a warning, while for the statement: “Asylmuratova gave Shapran a red diploma in her own way” I received a ban for lack of evidence, although, without reading the forum every day , I didn’t even have time to find out about what they demand from me. Then it turned out that some participants spread speculation, and this is prohibited by the rules, while others are just assumptions that it is not prohibited. That you can’t spread rumors, but you can refer to the opinions of some “seamstresses-minders”.
It's time to finally make your case.

Firstly, Shapran did not graduate yesterday, but five years ago. It was released with great fanfare, PR and numerous assurances of its stellar future. At the same time, she was never able to overcome herself and go out as Nikiya in the graduation performance. Over the years, she has changed three theaters, being everywhere at the highest or highest levels of the ballet hierarchy, had a full carte blanche of the relevant management, the best tutors, experienced and famous partners. At the beginning of a long journey, there was standing to the fouette music at a concert dedicated to the anniversary of the ARB, and the result was the disastrous Swan Lake on the stage of the Mariinsky Theater, performed so helplessly that, really, it would not be an exaggeration to say that any (in the literal sense of the word) coryphey, just having learned the order of movements in a couple of weeks, will dance no worse.

How many people would believe that the reason for the rapid rise through the ranks of the young chairman of the board of a large company or a bank that stubbornly fails all orders is solely his potential genius? With her five-year attempts, Shapran herself left only two possible explanations for such an amazing phenomenon. Either the ARB teachers who taught Shapran are so qualified that they could not teach a talented student at least at the level of an average graduate, or she is so unsuitable that even the ARB teachers could not do anything with her. But then it turns out that these same teachers for 9 years have not been able to recognize this incompetence. Is it possible? If you are the niece of the People's Artist of the Russian Federation, artistic director of the ARB Altynai Asylmuratova, then yes (“seamstresses-minders” are found not only in theaters).

And here is Shapran's interview, given by her after the removal of Asylmuratova and the appointment of Tsiskaridze (http://www.rosbalt.ru/piter/2013/11/12/1198334.html). It has a lot of wonderful things, but the following is especially cynical: “She (Shapran) entered the Vaganov School absolutely honestly, because she was simply talented. But she admits that localism, bribery and the so-called “blat” are also possible in ballet. Some colleagues are already hinting that now (after the appointment of Tsiskaridze) they will be admitted to the ARB not by competition, but by concepts. However, Kristina Shapran is sure that such artists will not last long - you will not deceive the audience. Then she still believed that she would be able to stretch out for a long time.

On August 3, the article "Triumphant return to the Bolshoi" was removed from the forum "Friends of the Bolshoi Ballet" by the moderator with the wording "This is not an article, but a stream of consciousness of a fan with bad Russian and a lack of thinking."
This is not surprising, since the article expressed assessments that were diametrically opposed to those expressed by the moderator himself in June after the anniversary concert of the Academy of Russian Ballet at the Bolshoi Theater on June 19, 2018. There is a special “ARB” thread on the forum, but not a single coherent statement has appeared on it for a month and a half. The moderator's post was published in the Ballet 271 thread dedicated to what is happening at the Bolshoi Theater. A serious discussion flared up in this thread after Makhar Vaziev's interview with Rossiyskaya Gazeta. The participants in the dispute were especially excited by the question of the possible directorship of Tsiskaridze. And then the distortions and distortions of facts began. After a remark about the successful performance of the duties of rector by Nikolai Tsiskaridze, a remark followed: “So two-thirds of the teachers remained at the Academy. They made it a success." But sorry, if two-thirds remained, then it turns out that one-third quit! But during the rectorship of Tsiskaridze, only one teacher left the Academy, who clearly does not pull on these "one third". To my remarks about incorrectness, the only answer is “how difficult it is to talk to you.”
Distortions of facts on this forum are not news to me, but the absence of the main moderator Mikhail Aleksandrovich in the discussion is surprising and alarming. He usually reacts very quickly to any mention of Tsiskaridze or the Academy. Does not tolerate positive feedback. This is all the more surprising since, from the moment of organizing the Friends of the Bolshoi Ballet forum, Nikolai Tsiskaridze helped to “spread” this site, as well as lectures on ballet at the Bakhrushin Museum. However, over time, he became enemy number one for Mikhail Alexandrovich. Since January 2013, personally in a discussion with him, I have observed the transformation of a previously respectable forum into a tool for persecuting an artist.
My "baptism" took place after the New Year's "Nutcrackers" on December 31, 2012 and January 2, 2013. The story about the performances in which Nikolai Maksimovich and his student Anzhelina Vorontsova danced resulted in a tedious discussion about the circle of rotations in the pas de deux code, which was staged for Vladimir Vasiliev (left-handed) from the left foot, but the dancers were right-handed, in agreement with Grigorovich, stood in the corner of the stage while the partner performed the circle. We went over all the performers, finding out who was “spinning” to the left and who was standing. Left-handers were spinning - Vasiliev, Gudanov, Gordeev. Stoyaloi Mukhamedov, Lantratov and Ovcharenko. All the cheese boron flared up due to the fact that I testified about the circle of Tsiskaridze to the left. The video confirmed my correctness, and one of the participants Amaliris exclaimed: “So Tsiskaridze can both right and left?”

It turned out so. Very unpleasant for the haters of the dancer. Therefore, the discussion dragged on for many pages, and in the end, somehow, Mikhail Aleksandrovich translated it into a comparison of the choreography of Grigorovich and Neumeier. Soon the ballet expert Natalia Zazulina joined us. We had a very interesting conversation on January 16-17, 2013.
Even then, I was alerted by the withdrawal from the theme of "The Nutcracker" to Grigorovich. We ended by discussing the Golden Age. Then I realized that this is a typical technique of “chattering” a topic when you don’t know how to “cut” an opponent.
The next discussion was waiting for us after Sleeping Beauty on March 16, 2018. The subject of my dispute with Mikhail Aleksandrovich was the notorious double assemblies, which, in his opinion, the dancer did in a wrong way, but he did not explain what the mistake was. Each time showing the weakness and flimsiness of my arguments. A whole group of forum participants Tamura, Leshaa, I.B.A, Alexander Yakovlev tried to prove the unprovable, namely that Tsiskaridze is a “mediocre dancer”. Well, the question naturally arises, what then did Grigorovich and Petit, Forsythe and Wheeldon see in him? How did respected people in art put him forward and awarded him the Golden Masks, State Prizes and made him the youngest people's artist of Russia at 27 years old?
It was absolutely impossible to argue, since again the topic was taken aside, this time by various editions of Sleeping Beauty. With Amaliris and others, we analyzed the performance of Gerdt, Sergeyev's version, found out the duration of the variations, recalled the manuscripts from Harvard. In a word, just not to talk about the applause that the audience awarded the famous dancer.
According to the debaters, Artem Ovcharenko has long surpassed his teacher. The proof of this, according to Leshaa, was written by the audience ....poems. This is how Artem inspires his fans. No one writes poems about Tsiskaridze, only prose and mournful cries of “Bravo”. And I was asked to compose a sonnet about Nikolai Maksimovich. Then Mikhail Alexandrovich rushed in and announced the move to the next topic.
But the most amazing and funny thing happened in May-June. Another Nureyev festival opened in Kazan. Tsiskaridze was blamed by the forum participants for his only performance in the West in Nureyev's "La Bayadère" in the last century. I had to correct that already in the 21st century. They argue, but they cannot learn the dates. Connoisseurs. In addition, in 2009, Tsiskaridze brilliantly danced Nuriev's The Nutcracker at the Grand Opera. It should be noted that the famous French theater allows only French graduates to dance on its stage. An exception was made for a unique dancer from Russia.
Tsiskaridze came to Kazan with his student Angelina Vorontsova to dance Giselle. It was a unique event not only for Kazan citizens, who gave the magnificent couple a twenty-minute standing ovation. It was the penultimate Giselle and the only one in which he danced with Angelina. That's it, fate didn't give them a chance anymore. Therefore, every frame, every photo from that festival is so valuable.

I carefully monitored all publications, videos, TV news and placed them in the “Tatar Academic Theater” thread. She wrote not only about Tsiskaridze, but also about the performances of Evgenia Obraztsova, Valery Gergiev. Then about the gala concert, hosted by Tsiskaridze. This thread was in the top news of the forum, twenty thousand views in a few days. This drove Mikhail Alexandrovich out of himself and he constantly reproached me for “smoke screen checkers”. The theme of the Nureyev festival for him became a kind of red rag. He seemed to be arguing with Rudolf Nureyev. Now he has removed many of his remarks. Readers also thanked for the interesting material about premieres in the theater, and about films and exhibitions about Nureyev. What did Nuriev do wrong to Mikhail Alexandrovich?
But the haters of Tsiskaridze did not calm down. I don't want to repeat what they wrote about Angelina's debut. Such wickedness is astounding.
At the end of May, another festival began with the participation of Tsiskaridze in Vladikavkaz, "Visiting Larisa Gergieva." The topic under this title was filled with interesting material. The performance of Tsiskaridze together with Yulia Makhalina in Scheherazade, the arrival of Maria Guleghina, their joint lezginka with Nikolai Maksimovich, captured on sight. The participants read about everything with great interest. And then I received a personal letter from Leshaa with a rude demand to remove congratulations to Larisa Abisalovna on awarding her the Order of Friendship of Peoples by the President of North Ossetia and congratulations to Maria Guleghina on her birthday. Enraged, Mikhail Aleksandrovich threatened to close the topic, but did not keep his threat. Apparently smart people advised me and Larisa Abisalovna not to offend in vain. Well, and Maria Guleghina too. The topic is still on the forum.

In that crazy summer, I tried for the last time to open a branch of Angelina Vorontsova about the successful debuts of a young ballerina already at the Mikhailovsky Theater. But the topic was removed by Mikhail Adeksandrovich with the wording "You have not yet been to her performances, and the list of roles is of no interest to anyone." But when I actually attended Angelina's debut in Swan Lake the following year, I didn't have the slightest desire to share my impressions with the participants of this forum. For what? You will hear nothing but rabid criticism. I perfectly understood that it was not even about me, not about my Russian language and not about my thinking, but about the obvious dislike of the main moderator of the forum for two characters - Nikolai Tsiskaridze and Angelina Vorontsova. This was noticed not only by me, but also by other participants, for example, Gella, who left the forum, wrote a small note in her LiveJournal "Love according to the order." She called a spade a spade in May 2013 "Mikhsan praises those who are ordered, but also scolds those who are ordered."
Due to the abnormal situation from the forum, Irina Mil was regularly sent to the ban, whose posts about the performances she attended were the best. But due to disagreements with Mikhail Alexandrovich, she was sent to a ban for a week or even a month, that is, access to the forum was closed. How many times I was surprised by her stoicism and endurance.
I appeared less and less frequently on the forum. In June 2015, we again argued with the moderator about the graduation performance of the Academy of Russian Ballet in the Kremlin Palace. He did not agree with my word "arranged an ovation." So he was there and did not notice this very applause, although the hall rose in unison. On June 30, 2015, she posted the following text on the forum:
“Agrippina Yakovlevna Vaganova, whose name the Academy of Russian Ballet proudly bears, received a royal gift from its rector on her birthday - a brilliant graduation performance in the Kremlin with the participation of young stars who embody the future of Russian ballet.
This is symbolic. Moscow is stunned, subdued, delighted. While critics of serious ballet publications are silent, an enthusiastic rumble is going through the city. Comments in superlatives on forums, facebook, twitter, live magazines, groups in contact. Spectators share their impressions of an extraordinary event in the ballet and cultural capital. Everyone understands that together with the graduates of 2015, the rector held the exam in the capital. His arrival at the Academy two years ago prompted a flurry of questions about his impending failure in that position. The graduation ball, I'm not afraid of this word, dispelled the prediction of the unlucky Cassanders. Tsiskaridze passed the exam as the rector of the Academy of Russian Ballet with excellent marks. He showed extraordinary organizational skills, made a trip that his predecessors did not dare to undertake for almost thirty years.
For two years on video, I watched the flowering of the talents of Anastasia Lukina, Renata Shakirova, Nika Tskhvitaria from role to role, from simple to complex. This is called the right introduction to the repertoire, the definition of personality, the search for the right image, that is, who is suitable for Aurora and who for Laurencia.
The choice of performers in the bull's-eye. Unmistakable. Irreproachable. But behind the success of young ballerinas is a huge, colossal, titanic rehearsal work. The rector spent days and nights in rehearsal rooms. The Vaganovites, under his leadership, took Moscow by storm. But Muscovites were happy with such a sweet captivity. The Petersburgers danced with inspiration, streams of energy poured from the stage and charged the gigantic hall, which not everyone can shake.
The logical conclusion was a standing ovation that did not end. The audience called the young artists again. Bravissimo!"
A few days later, namely on July 4, 2015, Mikhail Aleksandrovich ironically answered me:
“Letters from afar about the assault and capture of the Kremlin, about the sweet captivity and buzz around Moscow, about the rector's exam and a gift to the late Vaganova. - all these empty and meaningless slogans do not cause any complaints, of course .. For the third time I urge you to stop and not flood the topic with a flood.

I didn't write about 2017. Well, what happened in 2018 told above. And why are you angry?

The action takes place in Paris in the 30s of the XIX century.

Act I

Prelude

Painting 1

Scene 1. Morning Paris
The square in front of the Paris Opera lives its daily life. Artists hurry to the morning rehearsal. Lucien, an aspiring composer, is heading to the theatre, accompanied by his friends. He is full of hopes, dreams of staging his compositions on the famous stage... Lucien turns to the Director, but he brushes off the young man. Friends advise him not to give up, and Lucien still decides to enter the cherished door.

Scene 2. Ballet foyer of the Paris Opera
There is a rehearsal - the dancers are doing a morning exercise. The lesson is interrupted twice by the appearance of the ballerinas, Florine and Coralie, accompanied by patrons - Camusot, who finances the theater, and the Duke, a society bon vivant. They represent, as it were, two rival parties: Camuso supports Coralie, the Duke supports Florine, her rival.

Lucien timidly enters the hall. Under the gaze of those present, the composer is lost, but asks permission to perform his composition. Lucien begins to play - first timidly, then more passionately. However, his music, passionate, full of romantic aspirations, does not captivate listeners. The groups of guests and dancers who had surrounded the composer disperse. It becomes clear that the outcome of the test is a foregone conclusion, because the director of the theater listens to the opinion of all-powerful patrons. Lucien's hopes are dashed. Desperate, discouraged, he is about to leave, but Coralie stops him. She was deeply moved by the young composer's music. Using her influence on Camuso and the director, Coralie obtains an order for Lucien: he is assigned to write music for the ballet La Sylphide, created especially for Coralie.

Picture 2

At Lucien
Lucien struggles with the composition of the ballet. Coralie enters. Her appearance inspires the composer, in her he finds his Muse. The main theme of the future ballet has been found. Inspiration and love, united, give birth to music.

Scene 3

Behind backstage at the Paris Opera
Premiere of the ballet "La Sylphide". Lucien is excited: how will the public perceive his debut? Scenes from the play unfold in his mind. In place of the Young Man, a romantic looking for happiness, Lucien involuntarily sees himself. A romantic scene of a love explanation unfolds, painted in elegiac tones: separation is inevitable. The sylph must disappear - earthly love is inaccessible to her. Like an easily elusive dream, it flies away... The premiere is a huge success. Everyone applauds the young author and Sylphide Coralie. Florina is full of envy, the Duke shares her feelings.

Act II

Scene 4

At corali
Coralie is happy with Lucien. The success of "Sylph" brought them both fame and love. The happiness of the lovers would be complete if the situation in Coralie's house did not remind that everything here belongs to her patron, the banker, that she is not free. Suddenly Camuso appears. The banker, who has not been opened for a long time, suspects Coralie of infidelity. In vain Coralie tries to pass off Lucien's top hat he discovered as part of her concert costume. Not wanting to lie, Lucien emerges from the hiding place where Coralie has hidden him. Camuso can only leave. However, the banker is sure that life will again give Coralie into his hands. Coralie and Lucien are happy: like a mountain has fallen off their shoulders - they are free.

Scene 5

At Duke
Camuso and the Duke, who have forgotten about the recent rivalry, are united by the desire to subordinate Lucien to his will, to make him an obedient pawn. The idea of ​​the conspiracy is simple: to lure the young man, dazzle him with the brilliance of fame and money and force him to write a ballet for Florina. Florine gives Lucien an invitation to the Duke's ball.

A costume ball at the Duke's. Lucien appears. He has changed - tailcoat, white gloves, careless gestures. In a carbon monoxide masquerade fun, among beautiful women and smart men, the young man loses his head. Lucien pursues a stranger dressed as a Sylph and unmasks her - this is Florine, whose charm he cannot resist. At the invitation of the Duke, the young man sits down at the cards. Lucien plays, and everything is arranged so that he is lucky. A mountain of gold grows around him, and the power of unfamiliar passions intoxicates him. The wish has come true: Paris is at his feet; money, women, fame - everything belongs to him. At the moment of the highest tension, Florina appears on the card table. The seductive passion of her dance finally conquers the young man, and he falls at her feet.

Scene 6

At corali
Coralie worries about Lucien. Her friends try in vain to distract her from her disturbing thoughts. Soon Lucien arrives, but not alone - Florine and the Duke are with him. Lucien is in a highly agitated state. He scoops out handfuls of gold from his pockets - his winnings. Now luck, happiness, recognition, love should always accompany him in life. Intoxicated with success and wine, he does not notice the sadness and anxiety of his girlfriend.

The Duke and Florine take Lucien away. His departure becomes a disaster for Coralie; she experiences spiritual death, the loss of beautiful illusions. The gold left by Lucien on the table causes another explosion of desperation. Friends, unwitting witnesses to the dramatic scene, unsuccessfully try to calm her down. Desperate, Coralie says goodbye to her love.

Act III

Scene 7

Ballet foyer of the Paris Opera
Lucien is disappointed and depressed. As if having achieved what he wanted, he lost his freedom and creative independence. He composes a ballet for Florina, but Florina, the Duke and the Ballet Master reject his ideas. They need a humble composer of banal lively melodies - the necessary "raw material" for creating a spectacular, but empty ballet about a dancer who subdued robbers with her talent. Reluctantly, Lucien improvises, adjusting to their requirements. The hypocritical approval of the Duke flatters the composer's vanity, he obediently writes down trivial, convenient motives.

Scene 8

Ballet "In mountains of Bohemia
The duke pays the clackers for applause and an enthusiastic reception for a new ballet written for Florina.
Premiere. Robbers performed by dancers are waiting for passers-by on the high road. A carriage appears, in which a ballerina (Florina) rides with a maid. The robbers stop the carriage and threaten the travelers with death, but the charms of the ballerina tame them. While they are dancing around her, the police arrive, called by an efficient maid.

Klaka creates success for Florine, but not for Lucien: his music is just a banal accompaniment. Only the polka, written to a simple motive commissioned by Florina, received applause. The duke and Camuseau ironically congratulate Lucien, Camuseau hands the composer money. Lucien's illusions, hopes for success and glory, dreams of seeing Paris at his feet dissipated. Realizing that for the sake of money and these fake congratulations, he betrayed Coralie's love and his musical gift, Lucien runs away from the theater in horror.

Scene 9

Seine embankment
Embankment of the Seine in dense fog. Lucien ran here with the thought of suicide. But dying is not enough. In the confused mind of the young man, the image of Coralie arises - the only person who sincerely loved him. To return to her, to return himself, having atoned for his betrayal, - with such thoughts he rushes to Coralie.

Picture 10

At corali
The room is empty: all furnishings are sold for debts. The maid Berenice folds theatrical costumes. At the sight of the Sylph's tunic, Coralie is overcome with memories of rainbow illusions lost forever. Camuso enters with a confident step. An experienced businessman, he calculated everything correctly, persuading Coralie to return to him. Coralie is indifferent to her fate: she doesn't care if she dies or goes back to the banker. She leaves with Camuso.
Lucien runs into the empty room, but too late. There is no coral. And Lucien painfully realizes that the lost illusions will never return.