Fifteen years passed since the idea of “Spartacus” came to the composer’s mind till its first night. The famous librettist and specialist in drama study N. Volkov initiated the creation of the ballet on the antique subject – in 1940 he suggested Aram Khachaturian (1903–1978) composing it. However, due to various reasons Khachaturian could begin that work only ten years later after he had already composed Second Symphony and the ballet “Gayane”. The composer wrote: “‘Spartacus’ was conceived as a monumental narration about the mighty avalanche of the antique slaves’ uprising who defended a person’s freedom and to whom I, as a Soviet artist, wanted to pay homage and express admiration”.
At the immediate height of the work Khachaturian visited Italy as a member of the Soviet delegation of the cultural workers: “I studied antique pictures, sculptures, looked at the structures of the Ancient Rome, triumphal arch built by slaves’ hands, gladiators’ casernes, Coliseum; I often walked in the places where once Spartacus and his comrades in arms went”.
In fact, the creation of the ballet music took eight months and a half though the whole work lasted for three years and a half. In June 1954 the second full discussion in the USSR Composers’ Union was held (the first one was devoted to Shostakovich’s Tenth Symphony) where the music to “Spartacus” was highly evaluated. Dmitry Shostakovich paid special attention to the ballet publishing detailed article on “Spartacus” in the newspaper “Soviet Culture”.
According to the words of the composer, the main difficulty of composing the music of the ballet was in searching the suitable means of the musical language for creation of the atmosphere of the long passed time. Khachaturian recollected: “There were no any musical documents of Spartacus’ epoch, next to nothing of folklore came to the ears; and I couldn’t use anything in my work. However, I wouldn’t like to stylize this music as the one of the epoch. My main aim was to show Spartacus’ tragedy in the times of slave-owning, his breakthrough, his historical ordeal for the sake of freedom of the oppressed”.
“Spartacus” owes its life on the stage to three talented choreographers. The first staging belonged to Leonid Jacobson who prepared the original premiere that took place in Leningrad State Academic Opera and Ballet Theatre named after Kirov. Jacobson’s “Spartacus” was remarkable for its cast: Ascold Makarov in the title part, Phrygia – I. Zubkovskaya and Aegina – A. Schelest.
The Moscow first night on the stage of the Bolshoi Theatre followed the Leningrad one. Igor Moiseyev was the stage director and the part of Aegina was performed by charming Maya Plisetskaya. However, the really magnificent and convincing staging of the ballet was accomplished by the Bolshoi Theatre head choreographer Yuri Grigorovich in 1968. He called his treatment of the work “a performance for four soloists and corps de ballet”. Wonderful images of the main characters were created by V. Vasiliev and M. Lavrovsky as Spartacus, E. Maksimova and E. Bessmertnova as Phrygia, M. Liepa as Crassus, and N. Timofeyeva as Aegina. The composer admitted that Grigorovich’s production was the most successful. “The perfect work of the choreographer is in the first place here that is permeated with wisdom and logics, the dancers are brilliant, the scene painter S. Virsaladze is splendid. To top it all, both music and the conductor Gennady Rozhdestvensky and the outstanding orchestra…”
Definitely, “Spartacus” (or “Spartacus eroico” as it was called) was the centerpiece in Khachaturian’s creative work. In 1959 Khachaturian was awarded the highest title of the Soviet epoch – the title of Lenin laureate – for the music of the ballet. He became the third one after S. Prokofiev and D. Shostakovich.
Act I
Scene I. Triumph of Rome
The triumphant legions headed by Commander Crassus return after the successful campaign to Thrace. The captives are being driven. Spartacus is among them who is chained to Crassus’ chariot. His gigantic figure is full of strength and dignity. Phrygia, his wife is near him. A slender and handsome Thracian young man attracts everybody’s attention; his name is Harmodius.
Being absolutely exhausted, Phrygia falls down. A slave driver’s lash is going up but Spartacus rushes forward to her help against the slave driver and with all his might stops Crassus’ chariot.
The Romans are flabbergasted with Spartacus’ physical strength and grandeur of his spirit. When the procession renews its progress, chained Spartacus becomes the true hero, not Crassus crowned with a gold wreath. This is Spartacus’ challenge to powerful Rome.
Scene II. Slaves' Market
The scene takes place at the market in Rome on a bright sunny day. Life is bustling on the streets. The centerpiece of the scene is the slave trade. The slaves have been driven there from different conquered parts. Both An Egyptian girl and a Greek slave, who looks like a buffoon, are dancing.
Two sedan-chairs are moving through the crowd to meet half way. The rich Crassus is reclining on one of them; on the other one – his concubine, Greek dancer Aegina. She throws a red rose to Crassus, he answers with a purse full of gold. Crassus is leaving the market place. Aegina stays there and buys an old slave woman.
The prisoners of war are being driven to the market place for sale. Spartacus and Harmodius are chained together. Phrygia is beside Spartacus. Aegina takes fancy of handsome Harmodius – she needs a partner for dancing. A sword cuts the chain that binds Spartacus and Harmodius.
Lentul Batiat, the owner of the gladiator school wants to buy Spartacus but Phrygia is unnecessary for him. However, Phrygia and Spartacus prefer to die than to part. Phrygia raises dagger over her breast and Spartacus is about to stab himself with a sword that he snatches from the legionary who is standing near him. Batiat has to yield to the people’s indignation who are watching this scene and buys Phrygia as well as Spartacus.
Spartacus and Phrygia’s duet is the embodiment of great power of loyalty, friendship and love.
Scene III. Circus
Here is the inside part of the enormous circus. Crassus, Aegina and other patricians are sitting in the luxuriously decorated box. Harmodius is standing at Aegina’s back, her slave.
The feast that is given to the people of Rome to celebrate his victory is opened with the pantomime on the subject of “Abduction of the Sabian Women”. Then the gladiators’ fight follows. The first fight is between the blindfolded gladiators. Retiary, –“a fisherman” with a net and a trident and Mormilon, – “a fish” in a Gallic helmet with an image of fish on it followed them. The battle finishes with the “fisherman’s” defeat.
Two parties of gladiators armed with swords appear on the arena – they are the Samnites and the Thracians. The fight is violent. Soon Spartacus remains alone against five enemies. He is a skillful warrior and wins. In his last combat he stuns his enemy with the hit of his shield and knocks him down. Being out for blood the crowd demands that Spartacus should kill the defeated gladiator. However, Spartacus stabs the sword into the sand of the arena and proudly walks to the gate. The astounded crowd keeps silent. This is a new challenge that Spartacus throws down to Rome.
Act II
Scene IV. THE Gladiators' Caserne
The gladiators are having rest after the fight in a gloomy vaulted room. Phrygia bends down over the dying gladiator. She wants to ease his last minutes of life.
Spartacus is deep in thought. He hates the bondage of slavery and calls his comrades to fight for freedom. Furnishing themselves with anything available, the gladiators put the sentinels to flight. Spartacus and his comrades break the bars that blocked the exit and disappear in the darkness of the night.
Scene V. Appian Way
We see the fields that stretch near “Appian Way”. The shepherds and their wives are having rest near the fires. One shepherdess acts a lamb slipping on herself a sheep’s hide. The young man acts a wolf slipping on a wolf’s hide. The dance of a lamb and a wolf is merry and playful – it delights the shepherds.
However, among the rocks there appear the gladiators who have escaped form the circus. Spartacus’ story gets the shepherds indignant. They blow the horns and the peasants and slaves gather from far and near. The fire of the rebellion envelops all the country.
Scene VI. Orgy at Crassus'
Crassus’ rich villa on the coast of the Neapolitan bay. The feast is in full swing. The centerpiece of it is the scene with classical dances performed by Aegina and her “partner” Harmodius. At the end of the performance Harmodius brings Aegina onto Crassus’ coach. The nymphs shower the guests with flowers.
The crotala dance changes the classical one that is performed by four slaves and a bacchante. Crassus treats his guests to the Gaditanae maidens – the beauties brought from Gadis.
The sound of battle is getting closer. A frightened legionary informs Crassus about Spartacus’ offensive. Crassus stops the celebration and the guests run away. Harmodius throws a shawl over Aegina’s shoulders lovingly kissing its fringe.
The first Spartacus’ soldiers enter the hall. Spartacus and Phrygia are happy to see Harmodius not noticing his embarrassment caused by his parting with Aegina.
Some of the Roman patricians fail to escape and they brandish swords against the former gladiators. Spartacus’ warriors win and celebrate the victory with the dance with swords.
Act III
Scene VII. Spartacus' Camp
Spartacus, the commanders and the soldiers come back to the camp celebrating victory. After some time there begins the council of war in Spartacus’ tent. Some of the commanders whose heads the success has gone to demand marching to conquer Rome. Spartacus and other more sober leaders insist on the necessity of going home by sea. A split is brewing among the comrades-in-arms. Some of the commanders are leaving the tent being very irritated. Harmodius is the last who comes to the deserted square. There from the darkness appears the old woman clad in the cloak – this is Aegina’s maid. She unfolds Aegina’s shawl in front of him.
Being seized with passionate love, Harmodius kisses the shawl and hides it on his chest. Then he takes the old woman into his tent.
Spartacus’ tent opens and Phrygia enters into it with blossoming branches. Spartacus and Phrygia perform the adagio. At the first sound of the adagio a spring scene in Thrace appears like a phantasmal vision.
At the same time the Roman merchants are getting together on the square. The Gauls, Germans, Syrians pounce on the gold decorations, rich fabric. The beautiful harlots that accompanied the merchants attract them.
An orgy starts; Spartacus, who appears there, demands that the orgy should immediately be stopped. He understands that the poison of degeneration has penetrated into the ranks of the rebels. The Gauls and Germans are indignant with Spartacus’ order. They abandon the camp. Spartacus, the Greek and the Thracians, who are loyal to him, swear to carry the struggle to its conclusion and reach the sea in order to return to Motherland.
In the dark of the night Harmodius and the old woman are creeping from the camp. Harmodius becomes a traitor.
Scene VIII. Crassus’ CAMP
Crassus’ tent is luxuriously decorated. Crassus is lying on the coach. Aegina is dancing coquettishly and capriciously. A centurion reports that the captives have been brought. The latter orders to crucify them on the crosses along the road. At once he goes to enjoy the execution.
The old woman brings blindfolded Harmodius to Aegina. She takes the band off, and Harmodius sees Aegina. He wants to embrace her but Aegina slips away.
Crassus comes back. He demands that Harmodius should give away Spartacus’ plans, Harmodius subdues. With Aegina’s assistance Crassus persuades him to stay as a centurion with him. As soon as Harmodius agrees, Crassus gloatingly flings the curtain off – against the crimson sunset the numerous crosses with the crucified captives are standing along the road.
Act IV
Scene IX. Spartacus’ DEATH
The detachment of the legionaries under Harmodius’ command are hiding behind the rocks on the sea coast watching Spartacus’ actions.
The ships of the pirates are anchored in the sea not far from the coast. The pirates are having a binge. Accompanied by several soldiers Spartacus rides onto the shore. He bribes the leaders of the pirates with gold and talks them into taking his army out of Italy on their ships.
After Spartacus’ leave the legionaries and Harmodius go down to the shore and demand that the pirates should violate the agreement with Spartacus. Promises give place to threats.
The pirates betray Spartacus.
The Romans make an ambush. When the vanguard of Spartacus’ army appears they attack them. A fierce battle starts. Spartacus breaks the circle of the roman soldiers and tries to get to Crassus but the archers shower him with arrows. Mortally wounded he finds some strength to climb a rock. However, being pierced for the second time he falls down breathless.
Harmodius is no longer necessary for Crassus. By Crassus’ a legionary puts a noose on Harmodius’ neck from the rear. Aegina steps on his corpse leaving the shore. The coast looks deserted. The clouds hide the moon. The silhouette of mourning Phrygia wrapped in a cloak is showing up. She finds the body of perished Spartacus and covers him with the cloak. The antique weeper women join to her weeping. This is Requiem on Hero.
Four young Thracians lift Spartacus’ body on the stretcher.
The symbolic figure of Spartacus appears against the blue sky as an alive embodiment of the people fighting for their freedom against violence and slavery.
