With a libretto (in Italian) by Antonio Somma, based on a text by Augustin Eugène Scribe, written at one time for Daniel Aubert, who had already used it for his opera Gustav III, or Un ballo in maschera.
Characters:
RICHARD, EARL OF WARWICK, Governor of Boston (tenor)
RENATO, his friend and secretary (baritone)
AMELIA, wife of Renato (soprano)
ULRIKA, fortune teller (contralto)
OSCAR, page (soprano)
SAMUEL, conspirator (bass)
TOMMASO, another conspirator (bass)
SILVANO, sailor (bass)
Time of action: XVIII century.
Location: Boston.
First performance: Rome, Apollo Theater, February 17, 1859.
Please note: the scene of action is sometimes transferred to Naples, sometimes to Stockholm; Character names are sometimes changed accordingly, sometimes not. The music always remains unchanged.
Un ballo in maschera is the only one of Verdi's operas set in the United States. Moreover, it was transferred there by accident, or rather by a censor. The plot of Verdi's opera was based on a play by French playwright Eugene Scribe, and his play was originally based on the episode of the assassination of King Gustav III of Sweden. But in 1858, almost on the eve of the premiere, there was an attempt on the life of Napoleon III. The authorities in Naples were frightened: they believed that an opera about the murder of the king could inspire the Neapolitans to revolt. As a result, Verdi was required to make certain changes to the plot. The censors (people are always very smart and cunning) agreed that the plot would not offend anyone if the murdered person was not a king at all, but simply a governor in some colonial Boston. They may have known (though I doubt it) that there was no viceroy in Boston at all, but rather one in Massachusetts. And anyway, who cared? Thus the opera was eventually performed on next year- not in Naples after all these ups and downs with censorship, but in Rome. And now we say this with confidence - there was no uprising, and not a single king was killed as a result of the production of this opera.
When the Metropolitan Opera revived the production in the 1940s and again in the 1950s, the location was moved to Sweden, where it was originally intended to be. original plan. But even this was not without its oddities. For example, the directors kept the names of the characters - that’s how the singers learned them. Thus, the hero was still Riccardo, that is, Richard, Earl of Warwick, who may have been an excellent governor of Massachusetts, but certainly not the king of Sweden. And the two villains - Sam and Tom, who sometimes appear on stage as blacks or Indians - suddenly turned into Samuel and Tommaso, a pair of elegantly dressed Swedish aristocrats!
So, in order to avoid major absurdities, let us stick to the smaller ones and present the story as it was first told from the stage of the Apollo Theater in Rome on February 17, 1859. This is indeed a very good opera plot.
ACT I
Scene 1. After the overture, which includes several of the opera's main themes, the stage action begins with a chorus praising Earl Richard, governor of colonial Boston. His entire court has gathered, and the young page Oscar announces the exit of the governor himself. Richard looks through the official papers, among them the list of guests invited to the masquerade. In it he sees the name of Amelia, with whom he is in love; he sings an aria about her “La rivedro nell estasi” (“My love again, at least for a moment”). No matter how beautiful this melody is, it seems to be for no one, that is, none of the participants in the action hears it (only, naturally, the listeners in the hall). And this is good, because Amelia is Renato's wife, and Renato is Richard's secretary and his close friend. Meanwhile, a group of conspirators discuss their plan of action. Renato enters. All the other courtiers disperse. The secretary warns his master about a plot against him to assassinate him, which he has heard about, and in his aria “Alla vita che t"arride” (“Remember, Count, with your destiny”) reminds the governor how valuable his life is But Richard was not at all bothered by this news of the danger. Several judges enter with a decree that he must sign. This decree concerns the punishment of the sorceress (fortune teller) Ulrika. Oscar returns to stand up for the old woman (and at the same time demonstrate his virtuoso vocal technique). aria “Volta la terrea” - “The star is at one with her”, since his part is intended for coloratura soprano).
Good-natured Richard sees this as a reason for a joke. Despite Renato's warnings, he invites his entire court to join him in his visit to the sorceress. He himself intends to take on the guise of a sailor. In the final ensemble number, everyone expresses a desire to take part in this entertainment (“Ogni cura si doni al biletto” - “I’ll go with you to the fortune teller at night”). Even the two conspirators - Samuel and Tommaso - see this as a good chance to carry out their insidious plans.
Scene 2. Hut of Ulrika, the sorceress. In front of a large crowd, she mixes her witchcraft brew and at the same time pronounces an ominous spell: “Re dell"abisso affrettati” (“King of the underworld, appear to me”). She is asked a question by a sailor named Silvano: will he ever receive a salary or promotion, which he thinks he deserves? Ulrika predicts that he will receive. Meanwhile, Richard, disguised and therefore not recognized by anyone, sneaks up on Silvano and puts money in his pocket. Naturally, everyone is amazed and happy when the next moment Silvano unexpectedly. discovers a reward in his pocket.
Now Silvano, Amelia's servant, asks the sorceress for a secret meeting between his mistress and her. When everyone leaves (except for Richard, who is hiding here in the hut), Amelia enters. She speaks of her love for Richard and asks the witch to give her a potion that would cure her of her criminal passion. Ulrika says that there is only one way: she (Amelia) must that very night collect the magic herb that grows in the wasteland where executions are carried out (“Della citta all" ocasso”). And one more prerequisite: she must do it alone But in the terzetto that follows this command, Richard makes it clear to us that Amelia will not be alone - he will secretly follow her.
Everyone, including the courtiers, returns. Richard, still in the guise of a sailor, sings a wonderful barcarolle (“Di" tu se fidele” - “Tell me if a storm at sea threatens me”) and asks to predict his future. By his hand, Ulrika recognizes him as an aristocrat. The sorceress turns away from him - she doesn’t want to guess for him. Finally, after much persuasion, she predicts: Richard will be killed! But by whom? The one who shakes his hand first, that is, his own friend. follia" - "Madness or a joke") He laughingly asks that someone immediately shake his hand. But at that moment Renato, his friend and Amelia’s husband, comes in to protect his friend. Of course, he knows nothing about the prediction. He shakes Richard's hand. Now Richard reveals to the witch who he really is. He also tells her that her predictions are completely absurd (she is therefore not a witch at all), and she can calmly stay. in the country. The action ends with another chorus in praise of the true Richard, son of England.
ACT II
The second act begins with a scene that takes place late at night. Rugged rocky terrain; in the foreground is a hill on which there are gallows, illuminated by moonlight. Trembling with fear, Amelia appears to pick magic grass (“Ecco l" orrido campo” - “Here it is, this field”). She laments that she must forever erase her love for Richard from her heart, but, nevertheless, she decisive (“Ma dall"arido” - “I will find the witch’s herb”). As she finishes her aria, she sees a figure approaching in the darkness. At first she is scared, but it turns out to be Richard himself. In the next duet, he begs her for love, but she points out to him the dishonesty of such love, since her husband, Renato, is Richard's most devoted friend. Being noble man, he agrees with her; and as their tragic feelings reach a musical climax, they see another figure approaching. This time it's Renato! Amelia quickly hides her face under her cloak. Renato arrives to once again warn Richard of the danger, as the conspirators are on their way. Richard asks Renato to escort the lady back to town, but he must do so without ever speaking to the lady or trying to find out who she is. Renato readily agrees, and Richard quickly leaves.
Richard disappears just in time, as two villains now appear - Samuel and Tommaso - ready to kill the Count. When, to their disappointment, they find only Renato and not Richard, they begin to make barbs at the covered-faced beauty who is with him. Renato indignantly draws his sword, the conspirators draw theirs, and Amelia steps forward to protect her husband. At this moment, the veil falls from her face, and Renato recognizes his wife. A quartet full of drama follows: the sarcastic remarks of the conspirators emphasize Amelia’s despair, Renato’s anger and bitterness. In the end, Renato radically changes his attitude towards Richard. He invites the conspirators to his house: now he is on their side and against his former friend and master, the noble governor of Boston.
ACT III
Scene 1 begins with the drama of Renato returning home with his wife, Amelia. It is quite obvious to him that she cheated on him with his best friend, and - according to the tradition of French drama and Italian opera - only one thing can be demanded by an operatic baritone - the death of his wife. She passionately wants to explain everything, but in vain. And then, in the aria “Morro, ma prima in grazia” (“Let me before I die”) with an obligate cello, she makes a plaintive request: she asks to be allowed to last time see and hug them little son. When she leaves, Renato sings an aria that absolutely everyone knows - “Eri tu che macchiavi quell" anima" (“It was you who poisoned the soul with poison”). He addresses it to his traitor friend Richard, whose portrait hangs on the wall, Richard, who ruined all Renato's happiness.
The robbers re-enter - Samuel and Tommaso. Renato tells them that he knows about their plot to kill the Count, and, to their amazement, demands a role in their plot. Each of the three wishes to deliver the fatal blow. They decide to cast lots for who will get this privilege (terzetto “Dunque l"onta di tutti sol una” - “Our secret wound has brought us together”). At this moment Amelia returns, and in a mockingly sardonic tone Renato demands that she draw the lot: to the accompaniment of an ominous-sounding orchestra, she pulls out a folded piece of paper. On it is the name - Renato. The climax of the scene is a quartet in which the voice of each character expresses it. own feelings. A new voice and a new melody are added to the ensemble when Oscar, the page, brings an invitation to a masquerade ball. The final scene is Oscar's description of the upcoming festivities; Amelia sings tragically about her despair; the other three dream of the implementation of their sinister plan. This final quintet is a brilliant polyphonic episode of the opera. Scene 2 takes place on the evening of the ball itself. Count Richard is alone: he decided to send Renato and Amelia back to England. So, with this self-sacrifice, he can find peace for himself and give happiness to his friend and his beloved Amelia. At the end of the aria, he receives an anonymous note advising him not to attend the ball he himself is organizing. But Richard is not afraid of anything and decides to go to the ball.
Scene 3. Without any interruption, the scenery changes, and we find ourselves at the ball in its midst. Everyone, of course, is wearing masks. However, by the way young Oscar addresses one of the masks and gives her a letter warning her to be careful, because at the masquerade the killers are looking for her, this mask, Renato manages to recognize Richard underneath it. Amelia (she, like everyone else, is wearing a mask) meets Richard while dancing. Trying to change her voice so as not to be recognized, she warns of a conspiracy against him, because, of course, it was she who sent him the warning letter. But Richard recognizes his beloved. He tells her of his plan to send her and Renato to England, and their voices merge in a final love duet. Renato, who overhears them, stands behind Richard and, with a cry of glee, deals him a fatal blow with a dagger. Renato is immediately captured. But last words Richard - Renato's words of forgiveness. Dying, he conveys a decree - already signed - to return him, Renato, and Amelia to England. Everyone mourns the loss of such a noble ruler as Richard was. The opera ends richly in artistically, but a gloomy concert number; Almost all the characters in the opera participate in the final ensemble: Richard saying goodbye to his life, Renato overcome with remorse, deeply grieving Amelia and Oscar, conspirators shocked by the count’s generosity.
Postscriptum regarding historical circumstances. On the night of March 16, 1792, the liberal-minded Swedish monarch Gustav III was mortally wounded at a masquerade ball by the leader of the aristocratic party, Jacob Johann Ankerström. Thirteen days after this, King Gustav died. Ankerström was arrested, tried and sentenced to be flogged, have his hand cut off and then beheaded. However, the sentence could have been overturned if he had named the names of his many other accomplices. He refused to do this. The sentence was carried out, and the other participants in the conspiracy, against whom there was no convincing evidence, were expelled from the country.
Henry W. Simon (translated by A. Maikapara)
The words of D’Annunzio are usually cited, who managed to give an apt definition to “Masquerade Ball”: “the most melodramatic of melodramas.” Of course, the libretto itself caused his sincere surprise, in which Somma surpassed all Verdi’s librettists in courage and brightness of language. Primitivism and mannerisms, sensuality, darkness, brilliance and humiliation, bloodlust, frivolity and tragic tension - everything is merged in this “physically tangible picture.” Let us add to this the nature of the plot, which cost Verdi great troubles due to the intervention of the Neapolitan censorship. The opera was originally intended for the San Carlo Theatre, but the plot, drawn from the drama by E. Scribe, which centered on the murder of the Swedish king Gustav III, seemed quite dangerous. The location and characters were changed. Un ballo in maschera earned fair recognition at Rome's Apollo Theater, although the production was "partly good, partly disgusting", especially due to the squalor of the stage design, as Verdi himself noted. Subsequently, the opera survived only thanks to the most liked arias, in which the singers, especially the tenors, shone.
Today, appreciated in its musical and dramatic integrity, the opera appears as the first example of the next stage of the composer's skill, refreshing and softening the colors of his palette after the completion of a stylistic period that was reflected with particular confidence in three masterpieces - Rigoletto, Troubadour and La Traviata. The second manner, which “Masquerade Ball” began, is consistent with its ballroom character * (if we allow ourselves such a pun). The brilliance of bel canto and various dances, rhythmically close to comic opera, give Verdi’s work the charm of an aphorism. Here is the page Oscar (Richard's double, a symbol of carelessness) - brilliant coloratura soprano, 18th-century Cupid or Shakespearean spirit; but here are the satirical comments of the conspirators at the execution site or Renato’s call to “Run away from here quickly” (from the terzetto of the second act), which is a demonic tarantella. These episodes contrast with the gloom and ecstatic enlightenment of Renato’s aria “It was you who poisoned the soul with poison” (in its deep essence reminiscent of Rigoletto’s appeal to the “courtesans”), with the fanatical sequences of Ulrika (similar to Azucena), the heartbreaking cries and maternal suffering of Amelia. In the murder scene, the already shed blood is hidden by the thick fabric of the mazurka.
The action is driven by excellent casting. Richard holds all the threads: while he is alive, others act, even if it is to crush him; when he dies, everyone, both friends and enemies, becomes numb with grief. He charms Amelia, favors the conspiracy, defies death on the execution field, singing the hymn of life (this is one of the most ardent love duets known to us, with an elegant, childishly simple conclusion); he puts a knife in the hand of his best friend and schedules a fateful ball, which he takes part in with unshakable faith in himself. Amelia exists only for his sake. Fascinated by Richard, although faithful to her husband, she shakes off the witchcraft spell (but is not freed from her love for Richard) only when she realizes her maternal duty. Renato, standing nearby with her, represents the defender of family honor. He addresses his master with a sad and at the same time warlike invective. Richard is guilty and doomed, but he doesn't care. He acts as if in a dream, in a delirium that finally takes possession of him. Nothing can wake him up. Richard could have been saved by Don Juan's cynicism, but his essence is purity. Throughout the opera he calmly and continuously takes risks, and Verdi's mastery gives his vocal performance an extreme boldness.
*Pun: carattere di ballata (Italian)- dancing character.
G. Marchesi (translated by E. Greceanii)
History of creation
In 1857, in search of a libretto for a new opera, Verdi turned to the play by the French playwright E. Scribe (1791-1861) “Gustav III of Sweden”, which was based on the original historical fact. The murder of the Swedish king Gustav III in 1772 at a masquerade ball by a representative of the noble opposition, the head of the guard, Count Ankarström, was arbitrarily interpreted in a romantic spirit. Motives of personal jealousy, mysterious premonitions (prediction of the sorceress Ulrika), the struggle between love and duty - all this impoverished the ideological content of the drama. The play was being performed in Rome at that time, performed by one of the drama troupes. In 1832, Aubert's five-act opera Gustav III, or Un ballo in maschera, was staged in Paris, for which the playwright himself wrote the libretto based on his own play. However, it did not meet the plans of Verdi, who wanted to create a work that was politically relevant, close to the Italian people who were fighting for their independence. The composer invited Antonio Somma (1810-1863), a Venetian lawyer and writer, author of a number of dramatic works, to write a new libretto based on Scribe's drama. On January 14, 1858, when Verdi arrived in Naples with the finished opera, which he called “Revenge at the Domino,” to transfer it for production at the Neapolitan Teatro San Carlo, in Paris, the political emigrant Italian Felice Orsini made an attempt on Napoleon III. This caused a new explosion of reaction in Italy. Previously, the librettist and composer had to bypass numerous slingshots of censorship, but now the opera was strictly prohibited. A new version of the libretto was written anew by one of the employees of the police censorship department.
The theater management, wanting to force the composer to come to terms with the libretto imposed on him, tried to arrest him until he remade the opera or paid the penalty. In response, Verdi filed a lawsuit. When the Neapolitans found out about this, such indignation arose in the city that King Ferdinand II ordered the matter to be stopped and the composer allowed to leave Naples. However, the opera still had to be remade.
The action was moved from Sweden to North America, King Gustav became the English governor of Boston, Count Richard Warwick, and his murderer, Count Anckarström, became Renato's secretary. Some motivations have changed, which somewhat muted the political sound of the work - the personal drama of the characters came to the fore. Somma did not consider it possible to subscribe to the libretto, which was distorted in a similar way. Instead of the surname of the librettist of the opera “Un ballo in maschera” (as it was now called), the letters NN were placed. Later, the libretto was finalized under the guidance of the composer by F. Piave (1810-1876).
The premiere of Un ballo in maschera took place on February 17, 1859 at the Apollo Theater in Rome. The success was enormous, thanks to the remarkable merits of Verdi's music.
Currently, when staged on the domestic stage, the action of the opera is transferred either to Italy at the beginning of the 17th century, or to Sweden in the 18th century.
Music
The music of the opera is distinguished by its liveliness, beauty and richness of melodies, expressiveness of orchestral colors. The action is replete with bright contrasts: gloomy scenes give way to joyful ones, the dramatic denouement takes place against the backdrop of a ball. The composer widely used song and dance genres, which gave the music special expressiveness. Verdi's dramatic mastery was most fully demonstrated in the superb choral and ensemble scenes. The overture is built on two opposing leitmotifs - the lyrical theme of Richard's love and the ominously sounding "prickly" theme of the conspirators.
The first act is framed by choral scenes. At its center are arias-characteristics of the main characters. Richard's aria “Once again she will shine before me,” built on the leitmotif of love, paints a charming, enthusiastic and sincere image of a young lover. Renato’s arioso “Entrusted with Power from Above,” written in the rhythm of a bolero, is full of nobility. Oscar's ballad “The Stars Are Together with Her” sounds fun and carefree.
The orchestral introduction to the second act is gloomy. Ulrika’s spell “King of Underground Darkness” is ominous and majestic. Amelia’s sad appeal to the witch “I want to forget” is reminiscent of an everyday romance in its intonations. In the terzetto, the wide melodic chant of Amelia and Richard's parts is intertwined with the short recitative remarks of the sorceress. Richard’s romantically elevated barcarolle “The gray wave will not betray me in the gray sea” complements the musical portrait of the count given in the first act with new features - courage, bravery, youthful enthusiasm. The carelessness of Richard, who does not believe the prediction, the trepidation of the conspirators, afraid of discovery, Oscar's fear and confusion, and Ulrika's surprise are conveyed in the quintet.
In the third act, a large orchestral prelude depicts an old cemetery, expressing the feelings that excite Amelia. Her monologue “This is the place” is very expressive, developing from calm sadness to intense drama full of despair. The large dialogue between Richard and Amelia is rich in contrasts: short exclamations, the pleas of the frightened Amelia, the moving, as if gasping melody of Richard’s passionate confession, the poetically sublime lyrics of the final section lead to a dramatic terzetto (Amelia, Richard and Renato). The finale of the act is magnificent: the mocking remarks of the conspirators emphasize Amelia’s despair, Renato’s anger and bitterness.
In the first scene of the fourth act, Renato’s tragic aria “You broke my heart” and the quintet stand out, in which the vindictiveness of the conspirators and Renato and Amelia’s grief are contrasted with Oscar’s carelessness.
The second scene of the fourth act is Richard's monologue; The theme of love is repeated in the orchestra.
Verdi's opera Un ballo in maschera is one of the most mysterious masterpieces of musical theater. It is associated with two assassination attempts on European rulers, censorship bans and a mysterious love story. The creation of the great composer does not leave the stage of the world's leading opera houses even today, a century and a half after the first production.
"Masquerade Ball" Content
The events take place in the American city of Boston, Massachusetts. The opera, according to tradition, is preceded by an overture, which presents the main themes of the musical work. The first scene of the first act immerses the viewer in the atmosphere of the governor's palace. There, soldiers and other subjects of the ruler gathered in a spacious hall.
Their friendly choir sings the glory of Governor Richard, mentioning his many services to the fatherland. Those present swear allegiance to him. Periodically during this song of praise, the voices of Tom and Samuel are heard, who do not share a common feeling of gratitude to Richard, but, on the contrary, speak of their hatred of him. These people are among the conspirators preparing an assassination attempt on the ruler. Their words that the time for revenge has not yet come serve as the refrain of this opera number.
A servant named Oscar gives Richard a list of guests to a ball that is to take place soon. The governor sees the name of his beloved Amelia, who is the wife of his friend and one of his most devoted people, Renato. Richard dreams of an upcoming meeting with the object of his passion. The people, meanwhile, continue to praise their ruler, thinking that he is immersed in thoughts about the well-being of his subjects. Having declared the reception over and left alone, the ruler continues to indulge in sweet thoughts, repeating the name of his beloved. At this time, Renato appears in the palace. The servant lets him in without reporting to his master, since he is sure that the governor’s friend is always welcome in this house.
Unexpected news
The opera “Ballo in Masquerade” continues with an episode of a meeting between two friends. Renato, seeing Richard deep in thought, also mistakenly believes that he is busy state affairs. But the governor tells him that sadness constantly torments his soul. Renato assumes that he knows the reason for this disturbance. Richard is worried.
But a friend tells him about an impending assassination attempt on the governor. These words reassure the ruler: Renato knows nothing about his feelings for his wife. Devoted friend wants to tell the names of the conspirators, but Richard stops him, saying that he doesn’t want to know them because he hates these people. However, he still does not want anyone's blood to be shed because of him. And if the names of the rebels become known to him, the governor will be obliged to execute them. Renato objects to him, saying that he must think not only about himself, but also about the fate of his homeland, which, if he is killed, will lose a wise ruler who will have no one to replace him.
A witty idea
Verdi's opera Un ballo in maschera continues with the episode of the judge's appearance in the house of Count Richard. He submits to the governor for consideration an order to expel a certain Ulrika from the city. Richard inquires who this woman is. The judge explains that she is a witch and must be punished.
The servant Oscar, on the contrary, asks for mercy from the sorceress, who accurately predicts the fate of all people who come to her. The governor asks to call the courtiers and invites them to visit Ulrika together. He says he just wants to have fun and show everyone how gullible people are in taking her tricks seriously.
Oscar is glad to have this opportunity to ask the witch if he will ever meet a girl who will love him. The governor instructs him to get fisherman's clothes, which he will have to put on in order to get to the witch unrecognized. Count Richard sets a time for his visit to the sorceress - three hours. Everyone says that they will definitely be there on time.
The Witch's Dwelling
Richard says that he came first and therefore must know before others what will happen to him in the future.
He is wearing the clothes of a simple fisherman, so none of those gathered recognize him. They laugh at the insolent person and push him away.
The sailor Silvano speaks first. He complains that he has been serving the fatherland and the count for thirty-five years, but has not yet been awarded any awards. Richard says he likes the man's sincerity. He takes out a piece of paper and begins to write, after which he puts the document into the sailor's pocket.
A sailor's dream
The witch predicts to this person promotion and monetary reward. Silvano puts his hand in his pocket to take out his wallet and pay the sorceress for his work, and discovers a document there that talks about the bonus due to him and the new title. He reads this paper out loud. All those gathered are surprised by what happened and thank Ulrika for her mercy. After this, Amelia’s servant comes to the witch’s home. He says that he came with his mistress. But the lady must speak to the witch only face to face, without witnesses. Ulrika asks everyone gathered to leave. Richard, disguised as a fisherman, hides, hoping to overhear what his beloved has to say.
Wish fulfillment
The second scene of the first act of Giuseppe Verdi's opera Un ballo in maschera continues with Amelia's conversation with Ulrika. A woman comes and asks the witch to save her from her destructive passion for the man with whom she is in love while married. The sorceress says that in this case only one remedy can help. On the outskirts of the city there is a place where many atrocities were committed in years past. There is a herb growing there, a decoction of which will help a woman get rid of her troubles. An important condition is that you need to go there alone and certainly at night. Ulrika asks Amelia if she agrees to this. She says that she is ready to do anything to save her family, and says that that same night she will do what is prescribed.
Richard, who heard this conversation, is glad that his love was divided. He says to himself that he will certainly go after sunset to the outskirts of the city, where he will have a chance to see Amelia.
The wife of his friend and secretary leaves. The room fills with many people again. Richard approaches the witch and, holding out his palm, asks to predict his fate. Ulrika says that she sees in front of her the hand of a man endowed with great power.
Silvano recognizes him as the Governor of Boston. The sorceress predicts to the ruler that he will die at the hands of a friend. When asked who exactly will be his killer, Ulrika replies that it will be the one who first shakes his hand. Richard doesn't take her words seriously.
The governor, jokingly, extends his hand, offering to shake it with anyone who wants it. None of those present dare to do this. At this moment Renato appears on the scene. Suspecting nothing, he shakes hands with his friend Richard. Everyone around laughs at the witch’s prediction, because they know that Renato is one of the governor’s most loyal subjects.
Scary date
At night, Amelia, as promised, went to the outskirts of the city. In this creepy place, near the gloomy gray rocks, magic grass really grew. The woman began to collect it, but suddenly saw a shadow approaching her. She was scared because she thought it was the ghost of one of the people killed at this place. Unexpectedly, she heard Richard's voice. The Count said that she had nothing to fear, since he loved her and was always ready to protect her. The woman replied that she came to this place in order to get rid of her passion for him.
Suddenly Renato appears on stage, who tells Richard that he at the moment danger threatens. A whole crowd of rebels is now heading towards him. The governor's adviser does not recognize his wife, since her face is covered with a thick veil.
The opera Un ballo in maschera continues with Richard promising to leave only if Renato takes an oath to deliver his lady to the city gates and break up with her there. The secretary undertakes to fulfill his request. The governor leaves them.
Lot
The conspirators, led by Tom and Samuel, enter the scene. They see that the man whom they had mistaken for the ruler from afar turned out to be his secretary. At this time, the woman’s veil falls from her face, and Renato suddenly sees his wife in front of him. In the heat of rage, he asks the conspirators to come to him the next day for lunch. He says he wants to tell them something important.
When they came to him, Renato told them that he wanted to join the conspiracy, and offered his son as a guarantee of his honesty.
After this, Tom, Samuel and Renato decided to cast lots to see who should kill the governor. They put pieces of paper with names in a vase and asked Amelia to take one of them. The lot fell on Renato.
Masquerade ball
Amelia warns her lover in a note that they are going to kill him during the masquerade. Therefore, he wears a mask that completely covers his face for the holiday. Amelia, present at the event, once again warns Richard of the danger.
The conspirators cunningly forced the governor's servant to reveal to them the secret under what mask their master was hiding. Richard is killed. Before his death, he asks for mercy for the criminals.
Thus ends Verdi's immortal opera Un ballo in maschera.
Plot history
The plot for the libretto of Un ballo in maschera was borrowed by its author from another, less famous opera Daniel Ober. It is based on the tragic events that occurred in Sweden at the end of the eighteenth century: the assassination of King Gustav III.
The literary basis for that work was created by the famous playwright Eugene Scribe.
This writer was a professional author of librettos for many operas. He often took new subjects from real life. This time he had to change the names of the characters and introduce a romantic storyline to avoid scandal due to the similarities with the actual events.
Problems with censorship
Despite the fact that the location was moved to the United States of America, and thus the plot was changed almost beyond recognition, the Nepalese theater refused to carry out the production. The reason for this was the events in political life France, where at that time there was an attempt on the life of King Napoleon III.
And although this time the attempt of the conspirators was not crowned with success, with the production of the opera where the murder takes place European monarch, I had to wait. The situation was aggravated by the fact that this crime, committed in France, clearly had an Italian trace.
The first production was carried out only one year later in Rome.
The fate of opera in Russia
“Ballo in Masquerade” was first staged at the Bolshoi Theater in Moscow in the early eighties of the nineteenth century. Before the beginning of the new century, this opera returned to this stage several more times. However, those performances, according to the memoirs of contemporaries, were not particularly successful and did not leave a noticeable mark on the history of Russian art. After this, “Ball in Masquerade” returned to these walls only in the late seventies. This production lasted on stage for about thirty years. The following took part in it: famous singers, like Zurab Sotkilava, Yuri Mazurok, Elena Obraztsova.
This opera recently returned to the Bolshoi.
This time the performance was staged by an Italian director. Some parts were also entrusted to singers from the Apennine Peninsula.
You can find the most varied reviews about this “Masquerade Ball”: from sharply negative to the warmest. Basically, almost everyone who has seen the production agrees that the vocal performance of the current actors and their acting are inferior to the troupe that took part in the 1979 production.
The current “Ballo in Masquerade” at the Mariinsky Theater, directed by Andrei Konchalovsky, has gained greater success with the public. Played an important role in this decoration. At the Mariinsky, the Masquerade Ball is staged in 17th-century costumes.
In any case, it is safe to say that the work of the great Verdi is of great interest to the modern public.
Have you been dreaming of throwing an amazing party for a long time, but don’t know what theme to choose? We propose to organize a masquerade carnival, which will not only bring its own special atmosphere, but will also allow you to make a truly unusual celebration!
Mysterious masks and silhouettes, exquisite outfits and beautiful music - all this is a masquerade ball-style party for adults! Here you can enjoy the truly magnificent spirit of the Middle Ages, because that period was so full of interesting and colorful balls.
You can organize a masquerade for a corporate party or a birthday party, because a masquerade is always fun, unrestrained dancing and many, many original competitions! you can find interesting options for kids!
How to organize a masquerade so that everyone is happy? Read in our article today!
Invitations and outfits
Invitations to such a holiday must fully correspond to the theme. Therefore, it is better to decorate them with images of masks.
Don't forget to include dress code requirements!
When choosing an outfit for a masquerade, you can choose a simple image of a mysterious guest.
But if you are looking for more original and interesting ideas, then we can please you! we have collected all the best for those who dream of winning a prize for the best costume :).
By the way, you can make a mask for your costume from feathers. It looks very unusual and stylish!
Themes for masquerade
Of course, it is important in what season the holiday takes place. For example, here we have collected interesting ideas for an autumn ball. You can also tie it to a specific holiday, for example, Halloween!
The theme of your holiday can be very diverse. For example, “film adaptations” of famous children's fairy tales or cartoons - Cippolino, Cinderella or even Shrek. Each of those present can be assigned roles in advance and then their costumes will fully correspond to the image :).
The circus theme will also be interesting, you can play as courtiers under King Louis and even become the heirs of the Qin dynasty for one day!
A “Masquerade Ball” themed party with a musical or vintage theme will be no less interesting.
You can choose characters from your favorite movies or computer games. The main thing is that everyone present is completely imbued with the idea and the chosen topic.
How about an urban theme?
Or the animal world?
It will be great to play with a single color scheme in a masquerade. This can be embodied both in the costumes of the guests and in the overall design of the holiday.
Indoor decor: ideas for a masquerade ball
What is a masquerade? This is to be able to pass off wishful thinking as reality :). This means you need to try to create an atmosphere that is unusual for you and your guests.
Let the main decorations of the premises be feathers, beads, mirrors and lights. Of course, we shouldn’t forget about the main attribute of the holiday – masks! You can draw them and add them wherever your heart desires!
By the way, great idea will be decorating the premises in a single color style. This will not only make the task of decorating easier, but will also save you from the problem of combining colors and shades!
Don’t forget about elegant and at the same time chic table setting!
And, of course, how can you have a masquerade without a chic table? It is best to choose not a banquet menu, but a buffet table format. This will allow guests to move around the restaurant or home and find time to communicate with friends and colleagues.
A delicious and themed cake can also be the highlight of your evening!
Entertainment
Looking for interesting entertainment, pay attention to the games and competitions that we have selected for you here.
Asking the question “How to organize a masquerade ball?” think about what holiday you would like to attend. After all, a corporate masquerade or a masquerade at home should in any case be fun, lively and leave a sea of positive photos! That’s why it’s best to ensure that your guests take the time to take photos in a magical photo booth, which should be placed in one of the areas of the room!
To ensure that the mood of your guests is always at its best, it is necessary that the music for the masquerade ball is also carefully thought out and selected. You can use our selection posted
Opera by G. Verdi three actions; libretto by A. Somme based on the drama by E. Scribe “Gustav III, or the Masquerade Ball”.
First production: Rome, Apollo Theater, February 17, 1859.
Characters:
Richard, Earl of Warwick (tenor), Renato (baritone), Amelia (soprano), Ulrika (contralto), Oscar (soprano), Sylvan (bass), Samuel and Tom (bass), Judge (bass), Amelia's servant (tenor) . Deputies, officers, sailors, guards, men, women and children of the people, gentlemen, supporters of Samuel and Tom, servants, masks and dancing couples.
Set in and around Boston late XVII century.
Act one
Morning. Richard, governor of Massachusetts, receives visitors, among them are Richard's enemies Samuel and Tom, whose dissatisfied murmurs are mixed with general praise of the governor (chorus "Posa in pace"; "Sleep, our Richard"). The page Oscar brings Richard a list of guests to the ball, which is to take place soon. Among the guests is Amelia, the wife of the secretary and friend of the Creole Governor Renato, with whom he is secretly in love (“La rivedra nell”estasi”; “Again, at least for a moment, my love.”) Renato tells Richard that Samuel and Tom are preparing a plot that threatens life governor (“Alla vita che t”arride”; “Remember, Count, with your destiny”). Then they, as well as Oscar and the judge, go in masks to the black woman Ulrika, the famous sorceress (final ensemble “Ogni cura si doni al biletto”; “I will go with you to the fortune teller at night”).
Ulrika casts a spell in her home (“Re dell”abisso”; “King of the Underworld, appear to me”). Richard appears in a fisherman’s costume, but at that moment Silvano, Amelia’s servant, asks to receive his mistress. Ulrika is left alone with her. Richard, hiding, she hears their conversation. Amelia admits that she is in love and asks to give her a potion that would cure her of her criminal passion. The sorceress tells Amelia to go at night to the wasteland where executions are carried out (“Della citta all”occaso”; “If you go to the west.” "), and collect magic herbs there. As soon as the young woman leaves, Richard asks Ulrike to predict his fate (“Di tu se fedele”; “Tell me if a storm at sea threatens me”). Ulrika says that he will die by the hand of a friend. Richard is skeptical (“E scherzo od e follia”; “Madness or a joke”). The sorceress warns the count that whoever shakes his hand first will be his killer. This person turns out to be Renato, and everyone is convinced of the falsity of her predictions.
Act two
Night. A deserted field outside Boston. The moon illuminates the silhouettes of the gallows. Amelia came here ("Ecco l"orrido campo"; "Here it is, this field"). She is in love with Richard, and the thought of being separated from him is unbearable for her ("Ma dall"arido stelo"; "I will find the witch's grass" ). Richard appears and confesses his love for her (“Non sai tu che se l"anima mia”; “You don’t know how hard conscience is.”) He is delighted to learn that Amelia loves him too (“Ah, qual soave brivido”; “Oh, these sweet words”) Their idyll is disrupted by the unexpected arrival of Renato: he warns the governor about the imminent danger, Richard asks to take care of his lady, who has hidden her face under a veil, and runs away (terzetto “Odi tu come fremono cupi”; “What-.” there was a rustling sound there." Renato blocks the way for the conspirators, Amelia, coming to his aid, accidentally reveals her face. Samuel and Toi laugh at Renato. He, burning with a thirst for revenge, arranges a meeting with them, intending to participate in the conspiracy .
Act three
Office in Renato's house. In the background is a full-length portrait of Richard. Renato threatens Amelia with death, she asks to be allowed to hug her son for the last time (“Morro, ma prima in grazia”; “Let me before I die”). The husband understands that he must take revenge not on her, but on his traitor friend and bitterly turns to the portrait (“Eri tu che macchiavi quell”anima"; “It was you who poisoned the soul with poison.”) Samuel and Tom arrive and, together with Renato, decide to draw lots , who should kill the count (terzetto “Dunque l”onta di tutti sol una”; “Our secret wound brought us together”). Renato forces Amelia to draw lots: it falls on her husband. The murder is to take place during a masquerade ball, and the conspirators are already anticipating victory.
Richard's office. He signs a decree requiring Renato and his wife to move to England (“Forse la soglia attinse”; “That’s right, she’s already home”). Sad forebodings oppress his soul when he thinks about Amelia (“Ma se m”e forza perderti”; “We must part forever”).
Music can be heard from the hall. Richard is in a hurry to see his beloved (“Si, rivederti Amelia”; “To see you, Amelia”). Having mingled with the crowd of guests, Renato finds out from Oscar what mask Richard hid under. Amelia warns him of danger, both are again seized by passion (duet “Ah! perche qui!.. fuggite”, “T”amo, si, t”amo, e in lagrime”; “Ah, you’re all here! Run!”, "You see, I beg you in tears"). Richard informs Amelia of the upcoming separation. When he says goodbye to her, Renato deals him a fatal blow. Amidst general confusion, Richard acquits Amelia (“Ella e pura: in braccio a morte”; “As I die, I swear to you... she is innocent”). He dies having forgiven his killers.
G. Marchesi
A MASQUERADE BALL (Un ballo in maschera) - opera by G. Verdi in 5 acts (6 scenes), libretto by A. Somma and F. M. Piave. Premiere of the 1st edition (3 days): Rome, Apollo Theater, February 17, 1859; 2nd edition - Paris, Imperial Academy of Music, 1861
The murder of the Swedish king Gustav III at the ball served as the plot for melodramas and operas, including “Gustav III, or the Masquerade Ball” by D. F. E. Ober based on the plot of the play “Gustav III of Sweden” by E. Scribe. This drama and the libretto created based on it were the plot basis for Verdi’s works. The script was composed by the composer, the text was composed by Somma. The final edition of the libretto was made by Piave. None of Verdi's operas experienced such censorship ordeals as Un ballo in maschera (the original title was Revenge at Dominoes). Austrian censorship categorically prohibited the depiction of the regicide on the scene. The ban was due to political events: in 1858, the Italian F. Orsini attempted to kill Napoleon III for his betrayal of Italy. The composer was asked to move the action to the Middle Ages, to Florence, and turn the king into a simple nobleman, eliminating at the same time the murder at the ball. Verdi refused to disfigure the opera, although he was threatened with a lawsuit from the theater impresario. Only a year later the censorship ban was lifted, but the author still had to make concessions. Depict the murder of the English governor in North America, since the monarchy never existed there and, therefore, undesirable associations could not arise. So King Gustav III was replaced by the governor of Boston, Richard Warwick, and his killer, officer Anckarström, was replaced by the governor's secretary. The names of the remaining characters have changed accordingly. Verdi reluctantly agreed to this alteration in order to save the opera.
In the version allowed by censorship, the stage action acquired the following character. Earl Richard, Governor of Boston ( late XVIII c.), against whom a conspiracy is brewing, loves Amelia, the wife of Renato’s close friend and secretary. Despite warnings about the danger threatening him, the count decides with a group of disguised courtiers to go to the fortune teller, the gypsy Ulrika, whose house serves as a haven for suspicious people. Richard, disguised as a fisherman, enters Ulrika's house with other visitors. He hides behind a curtain when Amelia comes to the fortune teller, begging the old woman to help her conquer her love for the governor. Ulrika advises going to the gorge at night and picking the magic grass growing there. Richard decides to follow Amelia, but in the meantime he asks her to tell his fortune. The fortune teller predicts that he will be killed by the first person to shake his hand. Richard does not believe in predictions, especially since he is the first one he meets after the fortune teller’s words. - his faithful friend Renato.
The conspirators who tried to kill Richard are forced to postpone their intention. At night in the mountains, he meets Amelia and confesses his love to her. Renato suddenly appears, warning the governor that the killers are on his heels. Amelia, not recognized by her husband (her face is covered with a veil), begs Richard to hide, he instructs Renato to escort the lady to the city. The conspirators who appear find his secretary and an unknown lady instead of Richard. They tear off her veil - Renato recognizes his wife. Jealousy and a thirst for revenge take possession of him, and he agrees to participate in the conspiracy. Only the death of the governor can wash away the shame. Who will kill the count? The lot falls on Renato. At the ball, he mortally wounds Richard. The dying man swears to Amelia's innocence. Renato realizes his fatal mistake.
In terms of brightness, melodic richness, drama, and psychological truth, the opera belongs to the peaks of Verdi's work. Psychological conflicts, the struggle of feelings (in Amelia, Renato, Richard) are expressed with Shakespearean power. At the same time, strength and drama are combined with the recording of the subtlest shades of mental states. The music depicts the atmosphere of the action, its color, and especially expressively the mysterious setting of Ulrika’s home and the night scene in the gorge. Verdi skillfully uses the technique of contrast, introducing ominous images into an atmosphere of festive fun, light lyrics into a mysterious and gloomy scene. Contrast and drama define movement musical images, starting with a brief introduction that runs through themes of revenge and conspiracy, as well as the theme of love. The richness and expressiveness of the vocal parts, the brilliance of the orchestra, the skill of constructing ensembles - all this also puts “Ballo in Masquerade” at one of the first places in the composer’s legacy. The finale of the 2nd episode of the 1st episode, where the feelings of the antagonists are revealed in the quintet, is one of the peaks of the musical dramaturgy of the opera.
"Un Ballo in Masquerade" was a huge and well-deserved success at its first performance. Soon the opera, called "Amelia", was staged in other theaters in Italy, then with no less success it was performed in a new, 5-act version in Paris, Berlin and other Western European capitals. Subsequently, a 4-act version became widespread in theatrical practice. The first performance in Russia by an Italian troupe took place on November 17, 1861 in St. Petersburg. For a long time, censorship did not allow opera to enter the Russian stage; the premiere took place at the Moscow Bolshoi Theater on December 8, 1880. One of the most interesting interpretations was shown in 1927 by the Leningrad Opera and Ballet Theater (under the direction of A. Coates). Other notable productions in Russia: Moscow, Musical theater them. Stanislavsky (1941); Leningrad, Theater named after. Kirov (1957, under the direction of E. Grikurov). In 1935, the original version, set in Sweden, was presented in Copenhagen. In 1955, in New York, the role of Ulrika was performed by the outstanding singer M. Anderson - the first black artist admitted to the stage of the Metropolitan Opera.
December 3, 2015
What exactly do you associate with a masquerade ball? With something mysterious and romantic or mysterious and ancient?
Unsolved mysteries of masks and silhouettes in the twilight, stunning images and songs that penetrate straight to the heart - all this is a masquerade ball for adults! Only here can every guest feel like an aristocrat of the Middle Ages, feel the full depth of colorful colors and costumes in the MardiGras style, an exquisite carnival in Venice, a noble ball in the palace of Louis XIV or a Victorian operetta.
All these ideas can be brought to life at a birthday party, corporate event, prom, New Year, Halloween, wedding or just a meeting of good old friends. A masquerade ball is a holiday where old traditions and modernity harmoniously combine.
The essence of a masquerade ball
Masquerades originate from ancient Greece, where noisy holidays were held with dressing up and processions in masks accompanied by music, singing and fiery dancing in honor of the god Dionysus. In medieval Europe, masquerades became very popular in aristocratic circles starting from the 14th century. By changing into a different costume or putting on a mask, a person went beyond the norm and was transported into a world of prohibitions, harmony, and otherworldly power. Feeling like someone else, at least for one evening, people took a break from the daily hustle and bustle and were distracted from the harsh reality of the world. Soon the mask began to symbolize equality between different segments of the population; it did not divide people by their religion or status.
The masquerade was an ideal event for weaving intrigues, gossip, unbridled fun, and, naturally, forbidden love. Anyone who was wearing a mask could pretend to be a different person for the evening, show a different side of themselves, which had a positive effect on the fight against own complexes. The true “I” of each person was lost at the ball, in the twilight of the masquerade was born new personality, with its mystical history...
What kind of story you write depends on how the party is organized correctly.
Defining the topic
A masquerade ball can have different themes, and depends on the preferences and imagination of the organizers, as well as the general vision of the holiday. Let's consider the most striking topics for the event:
- MardiGras is a holiday for lovers of rich colors, unusual images and unbridled fun.
- The Phantom of the Opera is a Victorian party set to classical music.
- An aristocratic party in the spirit of 18th-century France - a celebration of luxury, pompous outfits, expensive jewelry and gourmet food.
- Old Hollywood is an event dedicated to glamor and social life, all the guests of the event coquettishly hide their faces behind exquisite masks.
- Movie-cartoon masquerade is a celebration of the heroes of your favorite cartoons and movies, suitable for both children's and adult parties.
Important factors when determining the theme of the party are the allocated budget and the location of the holiday. Some masquerade balls are relatively budget-friendly, such as the Old Hollywood themed party, while MardiGras requires you to shell out quite a bit for the ballroom and costumes.
Invitations to a masquerade ball
After determining the theme of the masquerade, you need to organize invitations for guests. The main symbol of such celebrations is a mask, so it is not surprising that invitations are most often made in its style. The front side can be decorated like a Venetian boudoir, that is, covered with elegant fabric, painted with gold paints and sparkles.
You can do more simple options, for example, cut out a mask from cardboard, paint it with glitter glue, paints, markers or confetti. 
The text of the invitation may be different, but it is important to indicate the date, location of the event, theme, and dress code. Each guest can come up with a name for themselves in accordance with the theme of the holiday. For example, if the party is in the style of the French aristocracy of the 18th century, then the guests can become Josephines, Constances, Jacques, Louis, etc. This will be interesting and at the same time piquant.
Masquerade outfits
Attire is very important for a theme party, and it is bad if some guests ignore the line warning about the theme of the evening. To avoid embarrassment, you need to introduce several rules:
- Invitations are given to guests of the event at least 2 weeks before the masquerade.
- The dress code is required to be discussed with each guest.
- You need to have a few extra masks for those who still prepare poorly for the holiday.
A costume for a masquerade ball should be thought out to the smallest detail and extremely luxurious, with notes of sexuality and humor. He must show all the mystery of the image. 
There are many places in cities where costumes, wigs and necessary accessories are rented; you just need to provide the phone number to the guests. The suit can also be made to order or by hand if you have the skills of a seamstress. 
For the holiday, girls can dress up as a queen, lady, movie diva of the 20s, or Princess Elsa from the cartoon “Frozen.” For men, suits in the style of a count, baron, Zorro, or even the image of Marlon Brando are perfect - a black tailcoat with a bow tie will always be in place.
Party masks
Separately, it is worth mentioning the masquerade mask as a symbol of this holiday. Even an ordinary tailcoat or small black dress together with an elegant mask will look harmonious at the ball. The ideal plaster mask can be easily prepared at home. You will need some equipment and the skills of a decorative artist. For preparation you need:
- 20 strips of medical plaster based on gauze, measuring 2.5 cm by 4 cm.
- Cream.
The face is smeared with cream, and plaster strips soaked in water are applied to it. After drying on the face, the impression is taken and given the desired shape using a sharp knife. Then everything depends solely on will and imagination. The mask can be painted, decorated in different styles, decorate different materials, stones, threads, sequins, etc. 
It is much easier to make a fabric goggle mask at home. Pearls, guipure, sequins - this is a small part of what can bring notes of mystery and perfection to the look of a woman in a mask.
The most affordable accessory for a party will be a blindfold mask. Its presence will make a woman’s look full of charisma, expression and mystery.
Room decoration
The atmosphere at a holiday of this type simply must be mysterious and unusual for all guests, otherwise the whole meaning will be lost.
If you are planning a large party, you can order the services of special agencies for the design of banquet halls. If the masquerade will take place in an apartment or private house, then the organizers themselves should take care of decorating the rooms.
The main decorative elements for a festive room will be beads, feathers, candles, and mirrors. Well, masks, they should be everywhere. On the walls you can hang thematic posters depicting Venice, French balls of the 18th century, paintings famous artists period, tapestries and candelabra. 
Interesting and practical idea will decorate the room in one color scheme. This will significantly reduce the problems of choosing matching colors and save money.
The walls of the room can be draped with burgundy, green and blue fabrics. Garlands will perfectly complement the decor of the room; these can be pendants made of flowers and butterflies.
If the party is planned in a fun and modern movie-cartoon style, then you can decorate the walls with posters of your favorite cartoon and movie characters, install several funny tantamares (decorations with holes for faces for photography), and scatter confetti and streamers around the rooms. Gold, silver, yellow, red, blue balloons and electric garlands are also used as decorations for masquerade balls.
Musical arrangement
If the party is organized in the style of a masquerade ball from the Middle Ages, then the best music will be classics: Bach, Beethoven, Mozart and other masterpieces. Eternal music, like no other, will fill the evening with a pleasant atmosphere, encourage the guests' imagination, and invite them to talk about important topics or just have a good time with friends.
If the party is organized in a movie-cartoon style, then the musical accompaniment can be modern hits, songs that remind friends of a fun time in their youth, or any other fun music.
Entertainment at the ball
Undoubtedly, the main type of entertainment at the ball is dancing: classical, Latin or modern.
At the masquerade ball of the times of Louis XIV, dance cards were in circulation; each lady was awarded a certain gentleman with whom she was obliged to dance the entire evening. A similar practice can be offered to single guests at your masquerade. The ladies themselves will draw a card with the gentleman's name, and maybe by the end of the evening several more strong couples will be organized among your friends. 
At such a themed holiday, you can conduct the following entertainment.
"Theater"
The guests are divided into two groups. One draws up an interesting and fun scenario, and the other implements it on an improvised stage under the clear guidance of the “director” from the first group. The team's script could be a parody of everyone's favorite movie, theatrical performance, or fairy tale.
"Competition for the best image"
A traditional competition at almost all events. It is important that participants carefully prepare for it and think through their image to the smallest detail. The participant who receives the most applause for their costume wins.
"Queen of the Masquerade Ball"
Girls are simply in awe of various beauty contests. The most beautiful, mysterious, sophisticated, sexy and at the same time interesting lady becomes the queen of the masquerade ball. The winner will wear the crown all evening and be surrounded by all sorts of honors.
"Auction"
Holding an auction is an aristocratic occupation. An unusual mask can be used as lots self made, a bottle of rare wine, a shoe from the queen of the evening, etc. An important feature of this game is the host’s sense of humor, who is able to conduct an auction in a positive and cheerful atmosphere.
At the very beginning it is installed minimum bid per lot, it can be a coin of a designated denomination or a small bill.
"Themed photo shoot"
Who wouldn’t want to get a photo as a souvenir, and in such a chic look? Therefore, an interesting and positive photo session of holiday guests will give everyone present a great mood.
"Dress-Up Competition"
In the company of your best friends, you can be a little frivolous and, for example, dress up in a costume of the opposite sex. Ladies will become gentlemen and vice versa. After a fun dressing up and applying make-up on the newly minted “young ladies”, you can hold a competition where participants will compete for the title “Mrs Gentleman” and “Mr Lady”.
"Roomy petticoat"
This competition is only suitable for a party in the style Europe XVIII century, since it requires ladies in dresses with fluffy skirts. The essence of the competition: two girls in dresses and a team of guys choose, the more gentlemen each can fit under their skirt, the team wins. You need to hide completely under a fluffy dress, no peeking arms or legs. Fun is guaranteed for all guests of the holiday.
Another version of this competition: one of the girls has a gentleman hiding under her skirt. Guests must guess which of them is hiding the lucky one.
Gifts and prizes
Beautiful masks, hair accessories, pendants with keys, butterflies under an elegant tailcoat, or comic prizes can be used as gifts and prizes at a masquerade ball. For example, a bandage on a leg, a mustache on a stick, a mask with a nose or a funny shape. 
Treats and table setting
The idea of a classic masquerade ball does not provide for a standard feast. Guests of the party are treated to a buffet. Ideally, hire waiters, but if this is not possible, then you can simply organize the delivery of snacks and drinks yourself. 
The evening's treats may include beef medallions, mussel or shrimp salad, rosemary chicken, French bread, sesame buns, etc. 
Cognac, red or white dry wines, and champagne are perfect drinks.
Dessert can consist of “mask” cookies, strawberries, grapes, cakes decorated with lace chocolate patterns, and, of course, a cake decorated according to the theme of the holiday. 
The masquerade ball is a fun and original event, the relevance of which has not been lost for centuries. Every guest of the evening can feel like an aristocrat XIX century, an actor from the era of the 20s, or partners Bonnie and Clyde, trying on the appropriate image. The main thing is that it is fun, interesting and unusual.
A masquerade is a place where time periods intersect, the past becomes the present, so that a beautiful and bright future can take place.
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