Kathryn Kaiser of Verity Blue Studio
Chagall – Theatre & Opera

Set Designs, Costumes and Panels

Aleko – The Ballet (Mexico, 1942)

Aleko-and-Zemphira-by-Moonlight.-Study-for-backdrop-for-Scene-I - Marc Chagall
Aleko and Zemphira by Moonlight. Study for backdrop Scene I

In 1942, Chagall was commissioned by the Ballet Theatre to design the sets and costumes for the ballet Aleko. The ballet was planned for New York, but the cost of mounting it there proved too exorbitant so the production was moved to Mexico, where qualified labour was far cheaper. Chagall travelled to Mexico City with his wife Bella, Massine and the Ballet Theatre troupe, to complete work on the production and begin rehearsing in the Palacio de Bellas Artes.

Chagall fell under the charm of the city of Mexico. The mythologies of Mexico and Russia seemed to come together for him at this time, and he drew upon his most precious memories, infusing them with new life. Chagall executed the four backdrops for Aleko in Mexico . They were monumental compositions that set the tone for each of ballet’s four scenes.

Costume-&-Set-Design-Web-Chagall's-'Aleko'
Costume & Set Design Web Chagall’s Aleko
Marc Chagall. A Fortune Teller and a Gypsy, costume design for Aleko
A Fortune Teller and a Gypsy, costume design for Aleko
gypsies-costume-design-for-aleko
Gypsies costume design for Aleko
Gypsy With Playing Cards - Aleko
Gypsy With Playing Cards – Aleko – Musee des beaux-arts de Montreal

The story of Aleko has the simplicity of a melodrama or an ancient tragedy. Aleko, a young Russian aristocrat, weary of his frivolous life, has joined a band of gypsies. He then falls in love with Zemphira, the daughter of the tribe’s chief, but surprises her in the arms of another man. Mad with jealousy, he kills the gypsy girl and her lover. Devastated by the death of his daughter, the gypsy chief banishes Aleko from the community forever. The story is based on one of Pushkin’s most famous poems and touched Chagall deeply, as it evoked exile, the nomadic life and his own lost Russia.

Aleko- “A Wheatfield on a Summer’s Afternoon,” 1942 - March Chagall
Backdrop design for Aleko: “A Wheatfield on a Summer’s Afternoon,” 1942, gouache, watercolour and pencil on paper, 38.5 x 57.2 cm.

The Firebird – The Ballet (New York, 1945)

Model for the curtain in the first act of The Firebird by Stravinsky- The Enchanted Forest 1945. Marc Chagall
Model for the curtain in the first act of The Firebird by Stravinsky- The Enchanted Forest 1945.

In 1945 Chagall designed the backdrops and costumes for a New York production of Igor Stravinsky’s ballet The Firebird. The Firebird premiered on October 24, 1945. Diaghilev had staged a first version in 1910 for the second season of the Ballets Russes. The premiere, which took place later that year at the Opéra de Paris, was a triumph. Sol Hurok, impresario of the Ballet Theatre in New York, had the idea of restaging the legendary ballet. Scheduling it for the company’s 1945–46 season, he invited Adolph Bolm to create a new choreography and Chagall to design the sets and costumes and Stravinsky was asked to rework his score.  

Marc Chagall - Set Design for The Firebird
Set Design for The Firebird

In 1944, Chagall suffered the terrible blow of his beloved Bella’s death. Working on the preparatory sketches for the sets and costumes for The Firebird, he rediscovered in painting something of the paradise he had lost. Inspired by a Russian tale, The Firebird tells the story of a young prince, Ivan Tsarevitch, who frees a captive princess from a spell by means of a magnificent bird with feathers of fire. The old Russian tale the ballet is based on corresponded perfectly to his fantastic imaginary world. The painting he did for the project was life affirming for Chagall, because it allowed him to re-create the hope he believed in so deeply and the message at the heart of The Firebird; the life-affirming power of love.

The Firebird- “The Enchanted Palace” (Act II)
Backdrop design for The Firebird: “The Enchanted Palace” (Act II), 1945, gouache, graphite and gold paper collage on paper, 37.5 x 62 cm.
Firebird - Green Monster
Firebird – Green Monster
Costume Design for The Firebird, 1945 Marc Chagall
Costume Design for The Firebird – 1945
Marc-Chagall-Montreal-Firebird-costumes
Costumes for the Firebird – Musee des beaux-arts de Montreal

Daphnis & Cloe – The Ballet (Brussels & Paris, 1958-1959)

Backdrop for Daphnis and Chloe 1958 - Chagall
Backdrop design for Daphnis and Chloe, 1958, gouache, graphite, coloured pencil and tempera on paper, 56 x 79.5 cm.

The French publisher Tériade was eager to produce an illustrated edition of the ancient Greek romance Daphnis and Chloe, written by Longus, and asked Chagall to produce illustrations for the book. Chagall travelled to Greece in 1952, which made a profound and lasting impact on him. He was moved by the clarity of the light in Greece. Over the the next few years, Chagall would interpret the story of Daphnis and Chloe in lithographs, on ceramics and in costumes and sets for the ballet.

Pan's Banquet, from Daphnis and Chloe
Pan’s Banquet, from Daphnis and Chloe
Daphnis and Gnathon, from Daphnis and Chloe
Daphnis and Gnathon
Daphnis and Lycenion, from Daphnis and Chloe
Daphnis and Lycenion
Costumes for Daphnis et Cloe
Costumes for Daphnis et Cloe on display at LACMA.

Commissioned by the Opéra de Paris ballet, Chagall’s version of Daphnis and Chloe was first staged with a new choreography by Serge Lifar in 1958, at the Brussels World’s Fair. A year later, George Skibine created a new version of the ballet, which was performed in Paris. Chagall worked closely with the choreographers and the dancers. He had an acute understanding of bodily movement and gesture and the dynamism of line was so important to him that some costumes were painted directly on the dancers’ leotards.

Daphnis & Chloe Suite Lithograph
Daphnis & Chloe Suite Lithograph
Wedding Feast in the Nymph's Grotto, from Daphnis a Cloe
Wedding Feast in the Nymph’s Grotto

The Magic Flute – New York Metropolitan Opera 1967

The Magic Flute - February 1967
The Magic Flute – February 1967 Photo © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris, photo © Fredrik Nilsen.

Chagall’s ultimate stage experience would focus on Mozart’s Magic Flute. The idea for the production came from Rudolph Bing, director of New York’s Metropolitan Opera, who was planning a revival of The Magic Flute as part of the inaugural season of the new Met. Chagall, who felt the same admiration for Mozart as he did for Rembrandt, embraced the project enthusiastically. The Magic Flute was not only a musical masterpiece but also a philosophical source comparable to the Bible. He saw the work as a form of religious ritual, illustrating the opposing forces that are part of creation and that battle for power over the human soul.

Poster for The Enchanted Flute (La Flûte Enchantée) – Chagall
Magic Flute Costume - Chagall
Magic Flute Costume
Chagall_ Magic_Flute
Chagall – Magic Flute ©marc chagall art
Magic-Flute-Sketch-2
Sketch for The Magic Flute ©marc chagall art

He saw the work as an illustration of the opposing forces that are part of creation and the battle for power over the human soul. “Perfection is close to death,” Chagall said in reference to The Magic Flute as it premiered just two months prior to Mozart’s death on December 5, 1791, continuing on to say, “For me there is nothing on Earth that approaches those two perfections– The Magic Flute and the Bible.”

It took Chagall three years to design the sets and costumes, and the huge number of sketches, drawings and models he executed. His excitement over this project was evident in his enthusiasm. Working on the complex staging, it was vital to take full account of the singers – their precise position on the stage and their poses as dictated by the narrative, vocal technique and stage directions. It required a scenographic approach that was less balletic and closer to the strategies employed for theatre and the mass spectacles of Russia’s revolutionary period.

magic_flute_costumes
Magic Flue Costumes
Marc-Chagall-Montreal-Magic-flute-costumes-3
Magic Flute Costumes – Musee des beaux-arts de Montreal 2017

“Chagall paid attention to the smallest detail of scenery and costumes: every rock, flat, column and statue, every accessory was infused with meaning. But the greatest care was devoted to the fantastic beings that seemed to spring from a realm imagined jointly by Mozart and Chagall. The luminous world of Chagall’s Magic Flute, combining enchantment, farce and drama, is at once a fairy tale and an initiation story.” Jonathan Kantrowitz – Art History News

The Magic Flute premiered on February 19, 1967, during the Metropolitan Opera’s inaugural season. The two monumental panels by Chagall, The Sources of Music and The Triumph of Music hung in the Met’s lobby.

Variation on Theme of Magic Flute - Chagall
Variation on the theme of The Magic Flute, 1966-1967, gouache, coloured pencil and collage on Japan paper, 50.5 x 62 cm.

Chagall’s repertory of images, including massive bouquets, melancholy clowns, flying lovers, fantastic animals, biblical prophets, and fiddlers on roofs, helped to make him one of the most popular major innovators of the 20th-century School of Paris. He presented dreamlike subject matter in rich colours and in a fluent, painterly style that-while reflecting an awareness of artistic movements such as Expressionism, Cubism, and even abstraction-remained invariably personal. Although critics sometimes complained of facile sentiments, uneven quality, and an excessive repetition of motifs in the artist’s large total output, there is agreement that at its best it reached a level of visual metaphor seldom attempted in modern art. – Roy Donald McMullen

By Art Blog

Art Blog author Kathryn Kaiser is a figurative artist who lives and works in Central Ontario, Canada. Her preferred subject matter is human form, and her prime focus is expressing story. Her blog is a (somewhat) self-indulgent visual journal of inspiring art, artists and creatives.


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