Diaghilev's works. Sergei Diaghilev: short biography, personal life

As you know, the beginning of the 20th century was the time of triumph of Russian ballet throughout the world, and the merit of Sergei Diaghilev is invaluable in this. His personal life has more than once become the subject of heated discussions in society. However, this man, who elevated the entrepreneurial profession to the rank of art, was forgiven for what would have made many others outcasts.

Brief biography of Sergei Diaghilev: childhood and youth

The future organizer of the “Russian Seasons” was born on March 19, 1872 in the village of Selishchi, Novgorod province, into a noble family. The boy did not remember his mother, since she died shortly after his birth. The stepmother, who was an educated and intelligent woman, took up the upbringing of little Sergei.

The boy's father was a military man, and due to his service, the Diaghilev family was forced to frequently move from place to place. After graduating from the gymnasium in Perm in 1890, Sergei Diaghilev went to St. Petersburg and entered the Faculty of Law. At the same time, he studied music with N. A. Rimsky-Korsakov.

From 1896 to 1899

In 1896, Sergei Diaghilev graduated from the university, but he did not become a lawyer. However, he soon became known in St. Petersburg as one of the founders of Russia’s first art magazine, “World of Art,” which united Vrubel, Serov, Levitan and others. Over time, Sergei Diaghilev and his closest like-minded friends D. Filosofov and A. N. Benois organizes several exhibitions. In particular, shows of works by German watercolor painters (in 1897), paintings by Scandinavian artists, paintings by Russian and Finnish painters at the Stieglitz Museum (in 1898) and others are held with great success.

In public service

In 1899, the director of the Imperial Theaters S. Volkonsky appointed Sergei Diaghilev to the position of official on special assignments. In addition, he was entrusted with editing the annual publication dedicated to the activities of this department. Diaghilev turns the magazine into a high-quality artistic publication, and attracts A. Vasnetsov, A. Benois, L. Bakst, A. Serov, K. Korovin and others to work at the Imperial Theaters. However, cooperation with Volkonsky ends quite quickly, as Sergei Diaghilev has disagreements with his superiors in the process of preparing the ballet “Sylvia”. In addition, he has a painful break with Dmitry Filosofov, the cause of which is Zinaida Gippius. As a result, Diaghilev decides to cease the existence of the World of Art and in 1904 leaves St. Petersburg.

"Russian Seasons"

Sergei Diaghilev's active character and connections in the art world allowed him in 1908 to organize in Paris a showing of Russian operas “Boris Godunov” by M. Mussorgsky, “Ruslan and Lyudmila” by M. Glinka, etc., which were a huge success.

A year later, 1909, the first “Russian Seasons” took place in Paris, which became a striking event in the cultural life of all of Europe. Sergei Diaghilev's ballets were also seen in London, Rome and even in the United States. The ballet “Seasons” ended shortly before the outbreak of the First World War, after which the great entrepreneur decided to leave his homeland forever.

"Russian Ballet"

Having settled in New York, where memories of performances with the participation of Anna Pavlova, Vaslav Nijinsky and other famous dancers and ballerinas were still fresh, Sergei Diaghilev organized a permanent troupe. It became known as the Russian Ballet and existed until 1929. During this period, Diaghilev was having a hard time breaking up with Vaslav Nijinsky, who had been the subject of his homosexual passion for many years. Unable to forgive his lover for his secret wedding with the Romanian ballerina Romola Pulskaya, he again became close to Mikhail Fokin. The latter created for him his best ballets, which became classics of dance art.

Last years of life

Sergei Diaghilev (see photo above) always took his health extremely seriously. Back in 1921, he was diagnosed with diabetes. At the same time, Diaghilev practically did not comply with doctors’ orders and did not spare himself, going on exhausting trips. Since 1927, he developed severe furunculosis. Some researchers believe that this was one of the manifestations of AIDS, which Diaghilev may have suffered from. In those years, antibiotics did not yet exist, so the presence of numerous foci of purulent infection meant a direct threat to life. Later, Diaghilev ignored the doctors' orders and went on a tour with his troupe, including visits to Berlin, Cologne, Paris and London. In the British capital, doctors advised him to undergo treatment with thermal waters, but instead the great entrepreneur visited Baden-Baden to discuss a new ballet with Hindemith, and from there went to Munich and Salzburg to listen to the operas of Mozart and Wagner. Feeling worse, he decided to spend some time in Venice.

Death

Sergei Diaghilev, whose biography is inextricably linked with the history of Russian ballet during the first quarter of the 20th century, arrived in Venice on August 8, 1929. Doctors stated that due to abscesses he developed blood poisoning. After 4 days he fell ill, but continued to make plans for the future. On August 18, Diaghilev took communion and died the next morning without regaining consciousness.

After the funeral service, his body was transferred to the island of San Michele, and he was buried in the Orthodox part of the cemetery.

Personal life of Sergei Diaghilev

As already mentioned, the famous entrepreneur showed homosexual tendencies from his early youth. His first love was his cousin Dmitry Filosofov, with whom he founded the World of Art and, as they would say today, began promoting Russian art. Later there were rumors that the reason for his dismissal from the Imperial Theaters was his connection with Vaslav Nijinsky, which he did not even think of hiding. The next person to win Diaghilev’s heart was the young dancer Leonide Massine, who allowed himself to be loved in the name of his career, in which he succeeded. However, his marriage to Vera Savina put an end to the relationship between the ballet star and his patron. Afterwards, Diaghilev repeatedly brought young people closer to him, whom he helped with all his might to make a successful career. In particular, Sergei Lifar and Anton Dolin achieved fame in this way, while it was rumored about the first of them that he was devoid of homosexual inclinations, and the master’s love remained platonic. Be that as it may, as a result of these hobbies, several famous ballets were born to the music of Stravinsky, Balanchine and Rouault.

Now you know who Sergei Diaghilev was. The biography, personal life and novels of this famous Russian entrepreneur have often become the subject of discussion and condemnation. However, no one can deny his enormous role in the development of domestic and world ballet art.

Russian theater and artistic figure

Sergei Diaghilev

Brief biography

Sergei Pavlovich Diaghilev(March 31, 1872, Selishchi, Novgorod province - August 19, 1929, Venice) - Russian theater and artistic figure, one of the founders of the World of Art group, organizer of the Russian Seasons in Paris and the Diaghilev Russian Ballet troupe, entrepreneur.

Sergei Diaghilev was born on March 19 (31), 1872 in Selishchi, Novgorod province, in the family of a cavalry officer, hereditary nobleman Pavel Pavlovich Diaghilev. His mother died a few months after Sergei was born, and he 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. My father's brother, Ivan Pavlovich Diaghilev, was a philanthropist and founder of a music circle.

In Perm, on the corner of Sibirskaya and Pushkin streets (formerly Bolshaya Yamskaya), the ancestral home 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 1850s according to the design 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’s intelligentsia gathered on Thursdays. Here they played music, sang, and performed home plays.

After graduating from the Perm gymnasium in 1890, he returned to St. Petersburg and entered the law faculty of the university, while simultaneously studying music with N. A. Rimsky-Korsakov at the St. Petersburg Conservatory. In his youth, Diaghilev tried in vain to find his field. An important moment in his life was a meeting with the writer Leo Tolstoy, after which he decided to devote himself to collecting autographs of famous contemporaries. In 1896, he graduated from the university, but instead of going into law, he began working in the field of fine arts.

Conventionally, the activities of S. P. Diaghilev can be divided into two periods:

1898-1906 - Diaghilev’s life in Russia, when his interests were concentrated mainly in the field of fine arts;
1906-1929 - Diaghilev's activities as an impresario abroad: starting with the organization of an exhibition in 1906, he soon focused on the field of musical theater, primarily ballet.

Activities in St. Petersburg

In 1898, together with the artist A. N. Benois, he initiated the creation of the magazine “World of Art”, published by S. I. Mamontov and Princess M. K. Tenisheva; was its editor (since 1903 - together with Benoit), since 1902 he directed the publication. In 1898-1904 he also wrote art criticism articles; is the author of a monograph about the artist D. G. Levitsky (1902).

During this period, he organized exhibitions that caused wide resonance in St. Petersburg:

1897 - an exhibition of British and German watercolorists, introducing the Russian public to a number of major masters of these countries and modern trends in fine art;
Exhibition of Scandinavian artists in the halls of the Society for the Encouragement of the Arts;
1898 - an exhibition of Russian and Finnish artists at the Stieglitz Museum, which the World of Art students themselves considered their first performance (in addition to the main group of the initial friendly circle from which the World of Art association arose, Diaghilev managed to attract other major representatives of young art to participate in the exhibition - Vrubel , Serov, Levitan);
1905 - historical and artistic exhibition of Russian portraits of the 17th-18th centuries in the Tauride Palace;
1906 - exhibition of Russian art at the Autumn Salon in Paris with the participation of works by Benois, Grabar, Kuznetsov, Malyavin, Repin, Serov, Jawlensky, Roerich and others.

In 1899, Prince Sergei Volkonsky, who became director of the Imperial Theatres, appointed Diaghilev as an official on special assignments and gave him the editing of the Yearbook of the Imperial Theatres. Diaghilev transformed the yearbook from a dry publication into an artistic journal.

Together with Diaghilev, many modern artists came to the Imperial Theaters (Ap. M. Vasnetsov, A. N. Benois, L. S. Bakst, V. A. Serov, K. A. Korovin, E. E. Lanceray).

In the 1900-1901 season, Volkonsky entrusted Diaghilev with the production of Delibes' ballet Sylvia. Diaghilev attracted artists from the World of Art group to the production, but the project fell through due to the protest of management officials. Diaghilev did not obey the orders of director Volkonsky, pointedly refused to edit the Yearbook, and the matter ended with his dismissal.

Russian seasons

Since 1907, Diaghilev has organized annual foreign performances by Russian artists, called “Russian Seasons”. In 1907, as part of the “seasons”, performances by musicians were held - “Historical Russian Concerts”. They were attended by N. A. Rimsky-Korsakov, S. V. Rachmaninov, A. K. Glazunov, F. I. Chaliapin, harpsichordist V. Landowska and others. Together with the musicians involved in the “Historical Concerts”, Diaghilev visited Paris and C. Saint-Saens.

In 1908, Diaghilev organized a season of Russian opera in Paris; The opera “Boris Godunov” was staged with the participation of F.I. Chaliapin. Despite the success with the public, the season brought losses to Diaghilev, so the next year, assessing the tastes of the public, he decided to bring ballet to Paris. At the same time, at that moment Diaghilev treated ballet with disdain:

both smart and stupid can watch it with equal success - all the same, there is no content or meaning in it; and to perform it you don’t need to strain even small mental abilities
- M. V. Borisoglebsky. Materials on the history of Russian ballet, vol. II. L., 1939, p. 135.

In 1909, the first ballet season of the Diaghilev enterprise took place in Paris; from that time until 1929, the Russian Ballets ballet troupe operated under his leadership.

For the first ballet seasons, Diaghilev invited such soloists of the Imperial Theaters as M. M. Fokin, A. P. Pavlova, V. F. Nijinsky and B. F. Nijinska, T. P. Karsavina, A. R. Bolm, L. F. Shollar, V. A. Karalli, L. P. Chernysheva. Subsequently, he invited many Polish artists and dancers of other nationalities, many of whom received “Russian” names in the troupe.

Already from the second ballet season (1910), Diaghilev annually presented exclusively world premieres to the Parisian public. The main choreographers of his troupe at different times were M. M. Fokin, V. F. Nijinsky, L. F. Myasin, B. F. Nizhinskaya, J. Balanchine. His “stars” V.F. Nijinsky, L.F. Myasin and S.M. Lifar were simultaneously his favorites.

Outstanding artists who were members of the “World of Art” participated in the design of the ballets, in particular A. N. Benois, L. S. Bakst, A. Ya. Golovin, N. K. Roerich, B. I. Anisfeld. "Seasons" were a means of promoting Russian ballet and fine arts. Over the twenty years of their existence, they completely changed traditional ideas about theater and dance, and also contributed to the flourishing of ballet in countries where this genre was not developed.

Before the First World War, Diaghilev was obsessed with the idea of presenting his productions in Russia - however, despite his efforts, for various reasons he did not succeed. During the war, starting in the mid-1910s, he radically changed the style of performances, leaving exoticism, court pomp and Orientalism and turning to the avant-garde. The first performance of the new musical form and choreography was the ballet Parade by Erik Satie, whose scandalous premiere took place in Paris in 1917. Moving away from the style of the “World of Art”, Diaghilev began to collaborate mainly with European artists; Also, his permanent employees were the spouses N. S. Goncharova and M. F. Larionov.

Diaghilev's troupe rehearsed in Monte Carlo, where the first performances of many premieres took place, gave seasons in Paris and London, and also toured in Italy, Germany, and the USA. Diaghilev also made numerous unsuccessful attempts to perform in St. Petersburg, which was his dream.

The troupe existed until 1929, that is, until the death of its organizer. According to the recollection of the permanent director of the troupe, S. L. Grigoriev, their last performance was in Vichy on August 4, 1929.

According to A. N. Benois, “not one of the ideas would have been realized if Diaghilev had not headed it and brought his energy to where there was already a lot of creativity, but where there was no main thing - a unifying role.” M. F. Larionov believed that “Diaghilev is an enthusiast who gave all of himself with some kind of pagan passion to art.” “Someone said that the enterprise was Diaghilev’s personal business... Only an evil tongue and an evil mind could utter such slander against this crusader of beauty,” stated N.K. Roerich.

Many contemporaries, artists and poets, used bright symbols and metaphors to convey the perception of S. P. Diaghilev’s personality: “radiant sun” (V. A. Serov), “Hercules”, “Peter the Great” (A. N. Benois), “an eagle strangling little birds” (V.F. Nijinsky), “The Yellow Devil in the arenas of European countries” (A.L. Volynsky), “Nero in a black tuxedo over burning Rome” (A. Bely)

Personal life

Diaghilev was homosexual, which was a serious obstacle in his career. He became aware of his homosexuality at an early age and, according to Nikolai Nabokov, was “the first great homosexual to come out and be accepted by society.”

Illness and death

In 1921, Diaghilev was diagnosed with diabetes, but he hardly followed the prescribed diet. The development of the disease was facilitated by lifestyle, as well as constant sudden changes in body weight. Beginning in 1927, he developed furunculosis, which could lead to the development of sepsis, which was deadly in those days when antibiotics were not yet known. In the summer of 1929 in Paris, a doctor ordered Diaghilev to follow a diet and get plenty of rest, warning that failure to follow the recommendations would have dangerous consequences for his health. Diaghilev ignored the order, going with the troupe to Berlin, then to Cologne and through Paris to London, where he again visited the doctor, who advised him to hire a nurse, which was also not done: Kokhno looked after him every day, doing the necessary procedures and dressings. Having sent the troupe on vacation and returned to Paris, he again visited his attending physician, who insisted on a course of treatment with thermal waters in Vichy. Instead, Diaghilev, along with his protégé Igor Markevich, took a "musical" trip along the Rhine, visiting Baden-Baden (where he discussed the new ballet with Hindemith and saw Nabokov, who later wrote: “Despite his appearance, he seemed to be in a good mood. He cheerfully talked about his plans for the rest of the summer and for the new fall season."), Munich (for the operas of Mozart and Wagner) and Salzburg. From there, Diaghilev sent Koribut-Kubitovich a letter with an insistent request to come to him in Venice. Having parted with Markevich in Vevey, on August 7 Diaghilev went to Venice. The next day he checked into the Grand Hotel de Ban de Mer, where Lifar arrived in the evening. By that time, he had already developed blood poisoning due to abscesses. Since August 12, he no longer got out of bed; Lifar looked after him. Even while ill, Diaghilev continued to make plans and hum from Wagner and Tchaikovsky. On August 16, Kokhno came to see him, and on the 18th, Misia Sert and Chanel visited him. Having received a telegram from Koribut-Kubitovich, who was in no hurry to come at his call, Diaghilev remarked: “Well, of course, Pavka will be late and will arrive after my death.”. In the evening a priest came to him. At night, Diaghilev’s temperature rose to 41°, he no longer regained consciousness and died at dawn on August 19, 1929.

Since Diaghilev had no funds with him, the funeral was paid for by M. Sert and G. Chanel. After a short funeral service in accordance with the rites of the Orthodox Church, the body was transferred to the island of San Michele and buried in the Orthodox part of the cemetery.

The name of Diaghilev is engraved on the marble tombstone in Russian and French ( Serge de Diaghilew) and the epitaph: “Venice is the constant inspirer of our tranquility” - a phrase written by him shortly before his death in a dedicatory inscription to Serge Lifar. On the pedestal next to the photograph of the impresario there are almost always ballet shoes (to prevent them from being blown away by the wind, they are filled with sand) and other theatrical paraphernalia. In the same cemetery, next to Diaghilev's grave, there is the grave of his collaborator, the composer Igor Stravinsky, as well as the poet Joseph Brodsky, who called Diaghilev "Citizen of Perm".

Diaghilev's official heir turned out to be his father's sister, Yulia Parensova-Diaghileva, who lived in Sofia (she refused the inheritance in favor of Nouvel and Lifar). On August 27, Nouvel organized a memorial service for the deceased in Paris, in the Alexander Nevsky Cathedral.

Essays

Complex questions, “World of Art”, 1899, No. 1-2, No. 3-4 (co-authored with D. V. Filosofov);
Russian painting in the 18th century, vol. 1 - D. G. Levitsky, St. Petersburg, 1902.

Addresses

In St. Petersburg

1899 - autumn 1900 - apartment building on Liteiny Prospekt, 45;
autumn 1900-1913 - apartment house of N. I. Khmelnitsky, embankment of the Fontanka River, 11.

In Venice

Lido, Grand Hotel des Bains

The fate of the Diaghilevs in the USSR

The fates of Sergei Diaghilev's two brothers - Yuri and Valentin - are tragic. Valentin was shot on Solovki in 1929 on a fabricated criminal case; Yuri was sent into exile (according to other sources, he was subjected to administrative deportation), died in Tashkent (according to other sources, in the city of Chirchik, Tashkent region) in 1957.
The eldest nephew Sergei Valentinovich Diaghilev was a symphony conductor. Like his father, Valentin Pavlovich, was repressed in 1937 on the basis of a fabricated political article. Spent 10 years in camps and 5 years in exile. After rehabilitation, he returned to Leningrad, where he continued his creative activities. Died on August 13, 1967.
The younger nephew Vasily Valentinovich Diaghilev, a neuropathologist, was forced to hide his relationship with his famous uncle.
Great-grandnephew Sergei Alexandrovich Diaghilev is a composer and conductor. Lives in St. Petersburg.

Memory

In Paris

In 1965, the square near the Grand Opera Theater, in the 9th district of the city, received the name Diaghilev Square.
In 2003, a monument-bust of Diaghilev by St. Petersburg sculptor Levon Lazarev was unveiled in Paris at the Chatelet theater.
In the year of the centenary of the Russian Seasons, interest in Diaghilev’s personality increased again. In 2008, Sotheby's auction house organized in Paris in honor of the 100th anniversary of Diaghilev's Ballets Russes the exhibition "Dancing towards Glory: The Golden Age of the Ballets Russes", which presented about 150 paintings, sketches, costumes, sets, drawings , sculptures, photographs, manuscripts and programs. Among the exhibits were costumes, sketches for which were made by Leon Bakst and French artists Andre Derain and Henri Matisse. An installation by Belgian sculptor Isabelle de Borschgrav, inspired by the legacy of Diaghilev, was also presented.
In 2009, preparations for a project for a monument to Diaghilev began in Paris. The winner of the competition was the project of sculptor Viktor Mitroshin. His Diaghilev stands at full height in a top hat, tails and with a cane in his hand, on a high pedestal on which Petrushka opens the curtain. At the time of the competition, the project was supported by President Jacques Chirac, his wife Bernadette expressed a desire to supervise the work on the project; then the project came under the patronage of Pierre Cardin. Since the mayor of Paris, Jean Tibery, was against it, work on the construction of the monument could begin only after he was replaced by Bertrand Delanoë. The monument is planned to be installed on the square in front of the Grand Opera building.

In Russia

In Perm

Since 1992, the Diaghilev family home in Perm has housed a gymnasium named after S.P. Diaghilev and a museum, which forms a single complex with the gymnasium. In 2007, a monument to Sergei Pavlovich by sculptor Ernst Neizvestny was erected in the concert hall of the Diaghilev House. Since 2009, the possibility of moving the monument to one of the streets has been discussed in Perm, but the monument is cast from colored patinated bronze - a fancy material that is afraid of rain and exhaust fumes.
On the initiative of the Perm Opera and Ballet Theater, the annual Diaghilev Festival is held in Perm. The theater building, constructed thanks to the significant financial support of the Diaghilevs, is, according to many Perm residents, the most beautiful in the city.
In September 2011, the Minister of Culture of the Perm Territory Nikolai Novichkov proposed calling the new Perm airport “Sergey Diaghilev International Airport”.

In other cities

The Lyceum of Arts in Yekaterinburg and the School of Arts in Zelenograd, as well as the motor ship Sergei Diaghilev, are named after Diaghilev.
In the spring of 2006, the Diaghilev nightclub (also known as the Diaghilev project) opened in the building of the Shchukin Stage on the territory of the Moscow Hermitage Garden. Its 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 S.P. Diaghilev.

Image in art

fine arts

Portrait by Valentin Serov (1904).
Portrait of Sergei Pavlovich Diaghilev with his nanny by Lev Bakst (1905).
In bonistics: Diaghilev is depicted on the front side of the 500 Ural francs banknote issued in 1991.
In philately:

Postage stamps of Russia

original stamp on a postal envelope, 1997

Sergei Diaghilev and “Russian Seasons”, 2000

In cinema

S. P. Diaghilev became the prototype of the impresario Lermontov in the film “The Red Shoes” (1948, the role was played by Austrian actor Anton Walbrook).
In the film “Nijinsky” (1980, USA), the role of Diaghilev was played by Alan Bates.
In the film “Anna Pavlova” (Mosfilm, 1983, director Emil Loteanu), the role of Diaghilev was played by Vsevolod Larionov.
“Coco Chanel and Igor Stravinsky” (2009) - the film, in particular, shows Diaghilev’s relationship with the composer Stravinsky.
“The Paris of Sergei Diaghilev” - a documentary film directed by Nikita Tikhonov, scriptwriters Violetta Mainietse and Yulia Tikhonova (39 min.; 2010, Russia).
“A merchant for all times. Virtual Museum of Sergei Diaghilev" - a documentary film-interview with Edward Radzinsky, Nikolai Tsiskaridze, Alexander Vasiliev directed by Svetlana Astretsova (2017, Russia).
In the television series “Mata Hari” (2017), the role of Diaghilev was played by Andrei Tartakov.

At the theater

The image of Diaghilev is shown in Maurice Bejart's ballet “Nijinsky - God's Clown” (1972, La Monnaie Theater) and in several performances by John Neumeier dedicated to the fate of the dancer Vaslav Nijinsky.

Diaghilev's roles were performed in the drama theater.

St. Petersburg State University of Culture and Arts
(SPb GUKI)

Faculty of Cultural Studies. Group 137-d

Subject "History of SKD"

ABSTRACT
on the topic:

S. P. Diaghilev and his “Russian Seasons”

2005

Introduction

S.P. Diaghilev was an outstanding figure in Russian art, a promoter and organizer of tours of Russian art abroad. He was neither a dancer, nor a choreographer, nor a playwright, nor an artist, and yet his name is known to millions of ballet lovers in Russia and Europe. Diaghilev opened Russian ballet to Europe; he demonstrated that while ballet was declining and dying in European capitals, in St. Petersburg it strengthened and became a very significant art.

From 1907 to 1922, S. P. Diaghilev organized 70 performances from Russian classics to modern authors. At least 50 performances were musical novelties. He was “eternally followed by eight carriages of scenery and three thousand costumes.” The Russian Ballet toured Europe and the USA, always receiving thunderous applause.

The most famous performances that delighted audiences in Europe and America for almost two decades were: “Pavilion of Armida” (N. Cherepanin, A. Benois, M. Fokin); “Firebird” (I. Stravinsky, A. Golovin, L. Bakst, M. Fokin); “Narcissus and Echo” (N. Cherepanin, L. Bakst, V. Nijinsky); “The Rite of Spring” (I. Stravinsky, N. Roerich, V. Nijinsky); “Petrushka” (I. Stravinsky, A. Benois, M. Fokin); “Midas” (M. Steinberg, L. Bakst, M. Dobuzhinsky); “The Jester” (S. Prokofiev, M. Lermontov, T. Slavinsky), etc.

Connection of S. P. Diaghilev with the period of the Silver Age

The turn of the XIX-XX is celebrated as the “Silver Age”. To replace the mood of stability widespread in the 80s. some kind of psychological tension comes, the expectation of a “great revolution” (L. N. Tolstoy).

The understanding of the “limits” of time was widespread in the public consciousness – both among politicians and among the artistic intelligentsia.

“It was an amazing time,” recalled Z. N. Gippius. – Something in Russia was breaking, something was left behind, something... was rushing forward... where? No one knew this, but even then, at the turn of the century, it was felt in the air. Oh, not everyone. But by very many, in very many.”

The scope of a realistic vision of life is expanding, and a search is underway for ways of personal self-expression in literature and art. The characteristic features of art are synthesis, an indirect reflection of life, in contrast to the critical realism of the 19th century, with its inherent concrete reflection of reality.

A feature of that time was the development of various associations of cultural figures (i.e. circles: there were about 40 of them in the capitals, about 30 in the provinces). The idea of a synthesis of arts, widespread in the artistic consciousness, contributed to this, uniting representatives of different art directions in the search for new forms of artistic activity.

The “extraordinary” character, internal make-up and ultimately the fate of Diaghilev are in many ways akin to the era in which he lived and worked. Twenty-two years of energetic and intense activity in the field of Russian culture have left a deep furrow.

In 1905, at the opening of the “historical and artistic exhibition of Russian portraits” in the Tauride Palace in St. Petersburg, Diaghilev prophetically declared: “We are witnesses of the greatest historical moment of results and ends in the name of a new unknown culture that is emerging by us, but will also sweep us away. And therefore, without fear and disbelief, I raise a glass to the destroyed walls of beautiful palaces! Just as for the new testaments of the new aesthetics" (Dyagilev S.P. At the hour of results... // Libra, 1905, No. 4. P. 46–47).

In the exhibition he organized, he combined old portraits of the 19th century and new ones. Comparing “old” portraits with “new” ones, the author of a note in the “Spectator” magazine wrote: “...what a difference in the attitude of old and new masters towards their models. The old people believed in the uniform and were sincerely inspired by it... Whatever the portrait is, it is a masterpiece and awe-inspiring. All these dignitaries, ministers, leaders, their wives and daughters - all of this breathes the power of the land power and the uniform. Not so the new artists of our time. The uniform is the same... But there is no inspiring reverence for the uniform. There is a face in a uniform, an ordinary, weak, human face” (Sternin G.Yu. Artistic life in Russia in the 1890–1910s. M., 1988. P. 198). This is no longer “Caesar” or “hero”. A sad human face is a harbinger of unpredictable drastic changes.

About S. P. Diaghilev. His characterization by contemporaries

S.P. Diaghilev can be called an administrator, entrepreneur, organizer of exhibitions and all kinds of artistic events - all these definitions suit him, but the main thing about him is his service to Russian culture. S.P. Diaghilev brought together everything that without him could have happened on its own or already existed on its own - the work of various artists, performers, musicians, Russia and the West, past and present, and only thanks to him all this was linked and consistent with each other , acquiring new value in unity.

“Diaghilev combined diverse and often contradictory tastes, affirming artistic perception and eclecticism.<…>In awe of the masters of the “Great Age” and the Rococo century, he was delighted with Russian wild children like Malyutin, E. Polyakova, Yakunchikova..., he was touched by the landscapes of Levitan and the skill of Repin, and when he saw enough of the Parisian “constructive” innovations, he became closest friends with Picasso, Derain, Léger<…>Few are given such an ability to feel beauty...” - from the memoirs of contemporaries.

He was richly gifted musically, sensitive to beauty in all its manifestations, well versed in music, vocals, painting, and from childhood he showed himself to be a great lover of theatre, opera, and ballet; Subsequently, he became a skillful and enterprising organizer, a tireless worker who knew how to force people to implement their ideas. Of course, he “used” them, taking from his comrades what he needed, but at the same time he made their talents blossom, charmed and attracted their hearts. It is also true that, with equal charm to his ruthlessness, he knew how to both exploit people and part with them.

Diaghilev's broad sense of beauty attracted extraordinary people, individuals and individualists to him. And he knew how to communicate with them. “Diaghilev had the ability to make the object or person to whom he paid his attention especially shine. He knew how to show things from their best side. He knew how to bring out the best qualities of people and things.”

He was a born organizer, a leader with dictatorial tendencies, and he knew his worth. He did not tolerate anyone who could compete with him, and nothing that could stand in his way. Possessing a complex and contradictory nature, he knew how to maneuver among the intrigues, envy, slander and gossip that abound in the artistic environment.

“His intuition, his sensitivity and his phenomenal memory allowed him to remember an innumerable number of masterpieces (paintings) and never forget them again.
He had an exceptional visual memory and an iconographic sense that surprised us all,” recalled Igor Grabar, his university classmate. “Quick and categorical in his judgments, he, of course, made mistakes, but he made mistakes much less frequently than others, and by no means more irreparably.”

“He was a genius, the greatest organizer, seeker and discoverer of talent, endowed with the soul of an artist and the manners of a noble nobleman, the only fully developed person whom I could compare with Leonardo da Vinci” - this was the assessment received by S. P. Diaghilev from V. F. . Nijinsky (T. 1.− p. 449).

His activities and “Russian Seasons”

S.P. Diaghilev received a good musical education. While still in the student circle of A. N. Benois, he gained fame as a fan and connoisseur of music. D. V. Filosov recalled: “His interests then were mainly musical. Tchaikovsky and Borodin were his favorites. All day long he sat at the piano, singing Igor’s arias. He sang without much school, but with innate skill.” His musical mentors were called either A.K. Ledov or N.A. Rimsky-Korsakov. In any case, he received good training so as not to be an “outsider” in the composer’s environment; he felt the specifics of musical composition, he himself possessed the gift of composition, as evidenced by the surviving manuscripts of his youthful compositions, and he possessed musical theoretical knowledge.

In 1896 He graduated from the Faculty of Law of St. Petersburg University (for some time he studied at the St. Petersburg Conservatory with N.A. Rimsky-Korsakov). He studied painting, theater, and the history of artistic styles. In 1897 he organized his first exhibition at the St. Petersburg Academy, dedicated to the works of English and German watercolorists. In the autumn of the same year he organized an exhibition of Scandinavian artists. Having acquired a strong reputation as an art connoisseur and a law degree, he received a position as assistant director of the Imperial Theaters.

In 1898 was one of the founders of the World of Art association; in 1899-1904, together with A. Benois, he was the editor of the magazine of the same name. His activities in promoting Russian art - painting, classical music, opera - S.P. Diaghilev started in 1906. In 1906-1907 organized exhibitions of Russian artists in Paris, Berlin, Monte Carlo, Venice, among whom were Benois, Dobuzhinsky, Larionov, Roerich, Vrubel and others.

The exhibition of Russian fine art was a revelation for the West, which did not suspect the existence of such a high artistic culture.

Supported by circles of the Russian artistic intelligentsia ("World of Art", music Belyaevsky circle, etc.), in 1907 Diaghilev organized annual performances of Russian opera and ballet artists "Russian Seasons", which began in Paris with historical concerts.

That year he organized 5 symphony concerts in Paris ("Historical Russian Concerts"), introducing Western Europe to the musical treasures of Russia, presenting Russian music from Glinka to Scriabin: S. V. Rachmaninov, A. K. Glazunov, F. I. . Chaliapin, Rimsky-Korsakov, etc.

Russian musical and theatrical art began its victorious march across Europe on May 6, 1908, with the premieres of Russian operas taking place: “Boris Godunov” by M. Mussorgsky, “Woman of Pskov” by N.A. Rimsky-Korsakov, “Judith” by A. Serov, “Prince Igor” by A. Borodin. The part of B. Godunov was performed by F. I. Chaliapin. The audience was captivated by the unique timbre of Chaliapin's voice, his performance, full of tragedy and restrained strength.

The troupe selected by Diaghilev for the foreign tour included A. Pavlova, V. Nijinsky, M. Mordkin, T. Karsavina, and later O. Spesivtseva, S. Lifar, J. Balanchine, M. Fokin. M. Fokin was appointed choreographer and artistic director. The performances were designed by artists: A. Benois, L. Bakst, A. Golovin, N. Roerich, and in later years M.V. Dobudzhinsky, M.F. Larionov, P. Picasso, A. Derain, M. Utrillo, J. Braque.

For the first time, the “world of art” ballet was presented not in Paris, but in St. Petersburg, at the Mariinsky Theater. These were ballets to the music of N. Cherepnin “Animated Tapestry” and “Pavilion of Armida” (designer A. N. Benois, choreographer M. M. Fokin). But there is no prophet in his own country. The new collided with the traditionally all-powerful Russian bureaucracy. Illiterate, hostile editors appeared in the press. In an atmosphere of outright persecution, artists and artists could not work. And then the happy idea of “ballet export” was born. The ballet was exported abroad for the first time in 1909. May 19, 1909 in Paris, at the Chatelet Theater, productions by M. Fokine were shown: “Polovtsian Dances” from op. A. Borodin, "Pavilion of Armida" on music. Tcherepnin, "La Sylphides" to music. F. Chopin, suite - divertissement "Celebration" to music. M.I.Glinka, P.I.Tchaikovsky, A. Glazunov, M.P. Mussorgsky.

Parisian chroniclers and critics called the Russian “surprise” a “revelation”, “revolution”, and the beginning of a new era in ballet.

Diaghilev, as an entrepreneur, counted on the preparedness of Parisians to perceive new art, but not only that. He foresaw the interest in the original Russian national essence of those works that he was going to “discover” in Paris. He said: “The entire post-Petrine Russian culture is cosmopolitan in appearance, and one must be a subtle and sensitive judge in order to note the precious elements of originality in it; you have to be a foreigner to understand Russian in Russian; they sense much more deeply where “we” begin, that is, they see what is most dear to them, and to which we are positively blind” (T. 2.− p. 325).

For each performance, M. Fokin selected special means of expression. Costumes and decorations corresponded to the style of the era during which the action took place. Classical dance took on a certain color depending on developing events. Fokin wanted pantomime to be danceable, and dance to be mimically expressive. The dance in his performances carried a specific meaning. Fokine did a lot to update Russian ballet, but never abandoned classical dance, believing that only on its basis can a real choreographer, artist-dancer, choreographer, and artist-dancer be educated.

A consistent exponent of Fokine’s ideas was T. P. Karsavina (1885-1978). In her performance, the “world artists” especially appreciated the amazing ability to convey the beauty of the inner essence of images of the past, be it the mournful nymph Echo (“Narcissus and Echo”), or Armida, who came down from the tapestry (“Pavilion of Armida”). The ballerina embodied the theme of an alluring but elusive beautiful ideal in “The Firebird,” subordinating the development of this exotic image to the purely decorative, “picturesque” ideas of the new synthetic ballet.

Fokine's ballets could not have been more in line with the ideas and motives of the culture of the “Silver Age”. Most importantly, drawing new things from related muses, Fokine found equally new choreographic techniques that revealed the dance, advocating for its “naturalness.”

Since 1910, Russian seasons have been held without the participation of opera.

The best productions in 1910 were "Scheherazade" by N.A. Rimsky-Korsakov and the ballet-fairy tale "The Firebird" to music. I.F. Stravinsky.

In 1911 Diaghilev decided to create a permanent troupe, which was finally formed by 1913 and received the name Diaghilev's Russian Ballet, which existed until 1929.

The 1911 season began with performances in Monte Carlo (continued in Paris, Rome, London). Fokine's ballets were staged: "The Vision of a Rose" to music. Weber, "Narcissus" on music. Cherepnin, “The Underwater Kingdom” to the muses from the opera “Sadko” by N. A. Rimsky - Korsakov, “Swan Lake” (a shortened version with the participation of M. Kshesinskaya and V. Nijinsky).

The ballet "Petrushka" based on music was particularly successful. I. Stravinsky, and the ballet was designed by A. Benois. A huge share of the success of this production belongs to the performer of the main role, the part of Petrushka, the brilliant Russian dancer Vaslav Nijinsky. This ballet became the pinnacle of Fokine’s choreographer’s creativity in the Diaghilev enterprise; it marked the beginning of the world recognition of I.F. Stravinsky, the role of Petrushka became one of the best roles of V. Nijinsky. His refined technique and phenomenal jumps and flights have gone down in the history of choreography. However, this brilliant artist was attracted not only by his technique, but above all by his amazing ability to convey the inner world of his heroes with the help of plasticity. In the memoirs of his contemporaries, Nijinsky-Petrushka appears either as tossing about in impotent anger, or as a helpless doll, frozen on his fingertips with stiff hands pressed to his chest in rough mittens...

Diaghilev’s artistic policy changed; his enterprise no longer had the goal of promoting Russian art abroad, but became an enterprise that was largely oriented towards the interests of the public and commercial goals.

With the outbreak of World War I, the performances of the Russian Ballet were temporarily interrupted.

Season from 1915-16 The troupe toured Spain, Switzerland and the USA.

The troupe later staged the ballets “The Rite of Spring”, “The Wedding”, “Apollo Musagete”, “Leap of Steel”, “The Prodigal Son”, “Daphnis and Chloe”, “The Cat”, etc.

After the death of S.P. Diaghilev's troupe disbanded. In 1932 on the basis of the ballet troupes of the Monte Carlo Opera and the Russian Opera in Paris, created after the death of S.P. Diaghilev, organized by de Basile "Valle Russe de Monte Carlo".

Russian ballets became an integral part of the cultural life of Europe from 1900 to 1920 and had a significant influence on all spheres of art; Perhaps never before has Russian art had such a large-scale and profound influence on European culture as during the years of the “Russian Seasons”.

The works of Russian composers, the talent and skill of Russian performers, the scenery and costumes created by Russian artists - all this aroused the admiration of the foreign public, the musical and artistic community. In connection with the enormous success of the Parisian Russian season in 1909, A. Benois pointed out that the entire Russian culture, the entire peculiarity of Russian art, its conviction, freshness and spontaneity was a triumph in Paris.

Afterword

Activities of the Russian Ballet troupe S.P. Diaghilev constituted an era in the history of ballet theater, which unfolded against the backdrop of the general decline of choreographic art.

The Russian Ballet, in fact, remained perhaps the only carrier of high performing culture and custodian of the heritage of the past.

For two decades, being at the center of the artistic life of the West, the Russian Ballet served as an impetus for the revival of this art form.

The reform activities of choreographers and artists of Diaghilev’s troupe influenced the further development of world ballet. J. Balanchine in 1933 moved to America and became a classic of American ballet, Serge Lifar headed the ballet troupe of the Paris Opera.

Handling millions and having the support of such creditors as Emperor Nicholas 1, entrepreneurs Eliseevs, Grand Duke Vladimir Alexandrovich, etc., the owner of the famous “Pushkin collection”, he lived on credit and “died alone, in a hotel room, poor, as he had always been "

He is buried in the Saint Michel cemetery, next to Stravinsky's grave, at the expense of French charities.

Literature

S. Diaghilev and Russian art / I. S. Zilbershtein, V. A. Samkov. − M., 1982. − T. 1−2;
Nestyev I.V. / Diaghilev and the musical theater of the 20th century. − M., 1994;
Pozharskaya M.N. / Russian seasons in Paris. − M., 1988;
Rapatskaya L. A. / Art of the “Silver Age”. − M.: Enlightenment: “Vlados”, 1996;
Fedorovsky V. / Sergei Diaghilev or the Behind-the-scenes history of Russian ballet. − M.: Zksmo, 2003.

Sergei Pavlovich Diaghilev (1872-1929) - famous theatrical and artistic figure of Russia. He was a critic and creator of the World of Art magazine. He was involved in organizing “Russian Seasons” in France, namely in Paris. Sergei Pavlovich Diaghilev discovered the art of many famous choreographers. He devoted almost his entire life to promoting Russian ballet in Western Europe.

Biography

Sergei Pavlovich Diaghilev was born into a noble family on March 31 (March 19 according to the Julian calendar) 1872. Father - Pavel Pavlovich Diaghilev - officer. The place of birth is the Novgorod province, namely the town of Selishche. Pavlovich, whose personal life always attracted attention, grew up without a mother. Diaghilev's mother died during childbirth.

Childhood and family

Sergei Pavlovich had to grow up with his stepmother. However, she treated him with the same love as she treated her own children. This attitude led to the fact that the death of his brother became a tragedy for Diaghilev. This was the reason that Sergei Pavlovich did not seek to return to his native place.

The figure's father was a hereditary nobleman. He held the position of cavalry guard. However, numerous debts forced him to leave the army and move to Perm. At that time, this city was considered the outback of the country. The family home became central to the life of Perm. There was no end to people wanting to visit the Diaghilevs’ house. Often the family spent evenings where they sang songs for guests. Young Sergei Pavlovich Diaghilev also took music lessons. In general, he managed to get an excellent and very versatile education. After the young man returned back to St. Petersburg, he was in no way inferior to the intellectuals who lived there. Sergei Pavlovich Diaghilev was very well read, which surprised many of his peers.

Youth

Diaghilev was able to return to the cultural capital of Russia in 1890. Sergei Pavlovich had a very deceptive appearance. He looked like an ordinary provincial and had the build of a big man. Despite this, he was very educated, well-read, and also easily communicated in several languages. All this allowed him to easily fit into the life of the university where he began his studies. He studied in St. Petersburg at the Faculty of Law.

While mastering the basics of law and jurisprudence, the student began to become interested in theatrical and musical activities. Sergei Pavlovich Diaghilev, whose biography is very rich, began taking piano lessons and also attending classes at the conservatory. The young man also began writing music and studied the history of artistic styles.

Sergei Pavlovich Diaghilev made his first trip to Europe during the holidays. The young man wanted to find his calling and field of activity. At that moment, he began to make friends with many famous people.

Graduation from university

Since Diaghilev was very gifted by nature, he managed to complete a six-year course of study in four years. During these years, he began to understand that he must achieve something in life. Despite successfully graduating from university, Sergei Pavlovich Diaghilev, whose personal life is quite interesting, realized the fact that he was not attracted to being a lawyer. More and more he begins to immerse himself in art. Soon he makes a choice that left a mark on the entire Russian culture. He begins to promote art.

Activity

Sergei Pavlovich Diaghilev, interesting facts from whose life can captivate many, began to engage in social activities. In general, it could be divided into several parts. The first stage of his life is associated with the formation of the World of Art organization. She appeared in 1898, and was associated with a number of other figures. In 1899 - 1904 he acted as editor together with Benoit in the magazine of the same name.

He received funding from major patrons of the arts, and for some period Nicholas II himself sponsored him.

Diaghilev Sergei Pavlovich, a brief biography of whom will not provide complete information about his life, was also the initiator of a number of exhibitions. Each of them was organized at the highest level.

Statements about Repin and work in the "Yearbook of the Imperial Theaters"

At a certain period of his life, Diaghilev decided to create monographs about famous artists. Soon he wrote a work about Repin, who, in his opinion, was closer to the “World of Art” than to the Wanderers. At that time, few doubted that Repin lacked the gift of depicting realistic paintings. However, most did not notice that the artist began to gradually depict the personality, using modernist techniques. His talent was amazingly foreseen by Diaghilev, which was proven by time itself.

The authorities saw that Sergei Pavlovich Diaghilev, whose photo is presented in the article, was literally brimming with energy. Thanks to this, in the period from 1899 to 1901, he received the position of editor in the journal "Yearbook of Imperial Theaters". However, as many people know, Diaghilev had a peculiar character, constantly defended his point of view, and often provoked scandals. After one of the heated conflicts, Sergei Pavlovich was fired and lost the opportunity to work in government agencies. Nicholas II stood up for Diaghilev, who asked Secretary Taneyev to take him into his service.

New projects

The projects that Diaghilev had been working on for the last ten years ceased to interest him. He spends the next period of time traveling around the cities of Russia, where he studies and collects art objects. He decides to present them to the Russian reader. Soon he begins to speak with articles to interested people, and also writes a review about Levitsky’s work. At that time, the artist was little known. It was Diaghilev who revealed Levitsky’s talent to the public. For this he was nominated for the Uvarov award.

Next, he decided to organize an exhibition that would present the works of artists from 1705 to 1905. In order to collect a collection of paintings, he had to travel around many cities in Russia. He managed to collect six thousand works. Sergei Pavlovich also wanted to write a history of painting from the 18th century. But he failed to fulfill this plan. Collecting paintings, Diaghilev was able to deeply study the painting of that time.

Unfortunately, the exhibition was not preserved for long. After its completion, no special rooms were allocated for the paintings, and they were destined to go back to their authors. Most of these works were destroyed during the revolution.

Conquest of Europe

Diaghilev soon began to realize that in Russia he had done all he could. Here he organized the first art magazine, but was unable to continue publishing it. However, Sergei Pavlovich failed to create a national museum in his homeland, and interesting ideas about Russian ballet and opera were not realized.

In 1906, he set off to conquer Europe and organized the “Russian Art” show in Paris. They were followed by exhibitions of Russian artists in Venice, Berlin, and Monte Carlo.

These demonstrations became the opening of the “Russian season”. Diaghilev often mentioned that the blood of Peter I himself flows in his veins. The things that Sergei Pavlovich Diaghilev accomplished were truly large-scale and innovative. For example, in ballet shows he managed to combine painting, music, and performance. It was Diaghilev who introduced the people of France to Russian ballet. Thanks to him, Russian ones are considered the best ballet schools. In addition, Diaghilev brought a number of new names to world art. He discovered new brilliant dancers for ballet - Vaslav Nijinsky and others. It was he who became the founder of men's ballet dance. What was Sergei Pavlovich Diaghilev guided by? His orientation became the creative force that prompted the figure to embody bold ideas. Diaghilev was a homosexual. He loved men, admired them, and took care of the careers of his lovers.

Climbing

The appearance and activity of Diaghilev in European culture occurred in stages. The first step was exhibitions of paintings by Russian artists, as well as icons. Over time, he began to make connections, thanks to which he was able to organize a large-scale concert of Russian music.

Subsequently, he began to attract the most famous Russian dancers to perform, and after a year and a half he came to the decision to create his own troupe.

The lists of speeches compiled by Diaghilev are amazing. In 1907, five symphony performances were organized, which were held with the participation of such famous musicians as Chaliapin and Rachmaninov. The next year was devoted to showings of Russian operas. The famous "Boris Godunov" was staged, and in 1909 France saw "The Woman of Pskov." The French public was delighted with the performances, almost all the spectators cried and screamed.

After the ballet performances of 1910, many women began to create hairstyles similar to those that the artists had during their performances.

Ballet performances

The ballets organized by Diaghilev were extremely popular in Europe. Over the course of twenty years, sixty-eight ballets were shown. Some of them have become world classics, for example, "The Firebird". Sergei Pavlovich was able to introduce several talented directors to the world.

Back in 1911, the figure managed to gather in his troupe the most famous dancers of Moscow and St. Petersburg. At some point in time, he went to perform in the United States of America. Soon the First World War began, and soon the revolution of 1917 began. All these changes prevented the group from returning to their homeland, but they had no intention of breaking up.

All the events that Diaghilev carried out were aimed at success. This happened largely due to his energy. He could easily persuade, convince, and charge his colleagues with his enthusiasm.

Recent years

In the last stages of his life, Diaghilev became less and less interested in ballet. His new hobby was collecting. For quite a long period, Sergei Pavlovich did not have a permanent home. However, at some point he stopped in Monaco. Here he began collecting valuable works of art at his home, as well as rare autographs, books, manuscripts, and so on. Sergei Pavlovich began to have serious problems with finances, as well as in his relationship with his next lover, Nijinsky.

In 1921, Diaghilev learned that he had diabetes. However, he did not follow the doctor’s orders or diet. This provoked the development of furunculosis. The result was infections and a sharp increase in temperature. At that time, penicillin had not yet been discovered, so the disease was very dangerous. On August 7, 1929, he suffered from blood poisoning. He did not get out of bed for the following days, and on the night of August 19, his temperature rose to forty-one degrees. Diaghilev lost consciousness and died at dawn. Sergei Pavlovich was buried in Venice.

Diaghilev's life and fate are very unusual. All the time he rushed between the choice of which culture to remain in - Russian or European. He made bold experiments, which almost all became successful, brought a lot of profit to Diaghilev, as well as recognition and love from the public. His activities undoubtedly greatly influenced not only Russian, but also the entire world culture.

Diaghilev Sergei Pavlovich (1872-1929), theater figure, art critic, promoter of Russian art abroad.

Born in the Novgorod province on March 19 (31), 1872, into a noble family of a major general in the tsarist army. As a child, he took piano and composition lessons and studied singing with the famous Italian baritone A. Cotogni. He graduated from St. Petersburg University (Faculty of Law), and at the same time studied in the composition class of N.A. Rimsky-Korsakov at the St. Petersburg Conservatory. At the university, together with friends Alexander Benois and Lev Bakst, he organized an informal circle where issues of art were discussed.

The great power of art lies precisely in the fact that it is self-directed, self-useful and, most importantly, free.<...>a work of art is important not in itself, but only as an expression of the personality of the creator.

Diaghilev Sergei Pavlovich

Diaghilev - publisher (1899-1904). In the late 1890s, he became one of the founders of the artistic association “World of Art” and editor (together with A.N. Benois) of the magazine of the same name (1898/99-1904), where he published the latest works of foreign writers and artists, gave reports on exhibitions, about new trends in theater and music, fine arts. And he himself wrote articles and reviews about performances, exhibitions, and books. In parallel with the magazine, he published books on the history of Russian art: Album of lithographs of Russian artists (1900), I. Levitan (1901), the first volume of Russian painting in the 18th century, dedicated to the works of D. Levitsky (1903), awarded the Uvarov Prize by the Academy of Sciences. In 1899-1901 he was the editor of the Yearbook of Imperial Theatres, which transformed it from a government official bulletin into an interesting art magazine.

Diaghilev - organizer of exhibitions (1899-1906). Since 1899 he organized exhibitions of paintings by artists from the World of Art circle in Europe. He organized an exhibition of Russian historical portraits at the Tauride Palace in St. Petersburg (1905), and in 1906 he organized an exhibition in Paris dedicated to Russian painting and sculpture over two centuries, including works of icon painting.

Diaghilev - theater figure and entrepreneur (1899-1929). In 1899 he directed a production of L. Delibes' ballet Sylvia on the stage of the Mariinsky Theater, which ended in failure. Trying to update the ballet's scenography, he was fired in 1901 for undermining academic traditions.

Since 1907, he organized annual performances of Russian musicians, the so-called. “Russian Seasons Abroad”: the first was the season of “Historical Russian Concerts”, in which N.A. Rimsky-Korsakov, S.V. Rachmaninov, A.K. Glazunov, F.I. Shalyapin performed together with artists and the Bolshoi choir theater, conducted by Arthur Nikisch, an unsurpassed interpreter of Tchaikovsky. Chaliapin's world fame began with these concerts. The unprecedented success prompted Diaghilev to prepare another season - Russian opera. He created a committee chaired by A.S. Taneev, and in 1908 presented masterpieces of Russian music in Paris: the opera Boris Godunov with the participation of F.I. Chaliapin in the scenery of A.Ya. Golovin, scenes from the operas: Ruslan and Lyudmila by M.I. Glinka , The Night Before Christmas, The Snow Maiden, Sadko and Tsar Saltan by N.A. Rimsky-Korsakov.

In St. Petersburg, he began preparing for the third ballet season. The preparation committee included choreographer M.M. Fokin, artists A.N. Benois, L.S. Bakst, V.A. Serov, ballet critic V.Ya. Svetlov, official of the Imperial Court V.F. Nouvel, a great connoisseur ballet state councilor, general N.M. Bezobrazov. The committee worked under the patronage of Grand Duke Vladimir Alexandrovich, president of the Russian Academy of Arts. A repertoire of ballets by M. M. Fokin was approved (Scheherazade by N. A. Rimsky-Korsakov, Cleopatra by A. S. Arensky, Armida Pavilion by N. N. Cherepnin, scenes of Polovtsian dances from A. P. Borodin’s opera Prince Igor). With the help of M.F. Kshesinskaya, he received a subsidy. A troupe is being created from young people who were interested in the choreography of M.M. Fokine (A.P. Pavlova, T.P. Karsavina), A.R. Bolm, A.M. Monakhov, V.F. Nizhinsky, V.A. Coralli, E.V. Geltser, M.M. Mordkin). But a quarrel with the powerful Kshesinskaya and the death of Vladimir Alexandrovich complicated preparations. It was necessary to have great organizational skills in order to revive the season; he found new patrons, French patrons of the arts Misia Sert, Countess de Gruffille and others. The Opera and Ballet Season of 1909 nevertheless took place and lasted two months.

The Russian ballet charmed everyone with its original choreography, high level of performing skills, corps de ballet dance, brilliant scenery, and spectacular costumes. Each performance was a single artistic whole of amazing beauty and perfection.