Pskovitjanka
| Opera dates | |
|---|---|
| Title: | The girl from Pskov |
| Original title: | Pskovitjanka (Псковитянка) |
Title page of the score |
|
| Shape: | Opera in three acts |
| Original language: | Russian |
| Music: | Nikolai Rimsky-Korsakov |
| Libretto : | Nikolai Rimsky-Korsakov |
| Literary source: | Lev Alexandrovich Mei |
| Premiere: | January 13, 1873 |
| Place of premiere: | Mariinsky Theater , Saint Petersburg |
| Playing time: | approx. 2 ½ hours |
| Place and time of the action: | Pskov and environs, 1570 |
| people | |
|
|
Pskowitjanka (Russian: Псковитянка ; German title: Das Mädchen von Pskow or Die Pskowerin ) is an opera in three acts by Nikolai Rimsky-Korsakow with a libretto by the composer based on the tragedy of the same name by Lev Alexandrovich Mei . The first version of the opera premiered on January 13, 1873 in the Mariinsky Theater in Saint Petersburg .
action
The content of Mei's play and Rimsky-Korsakov's opera deal with the question of why Tsar Ivan the Terrible devastated the city of Novgorod on his campaign in 1570 , but spared the sister city of Pskov . The fictitious explanation presented here is an illegitimate daughter (Olga) living in Pskow from an earlier love affair with the tsar. She gets into a conflict between her incomprehensible affection for the tsar and her love for the rebel leader Tutscha, who ultimately costs her life. It thus represents the city of Pskov, whose inhabitants have to choose between rebellion and submission.
first act
First image: Prince Tokmakov's garden, the Kremlin and the city of Pskov in the distance; dusk
While her friends play catch and pick berries under the supervision of wet nurses Vlasjewna and Perfiljewna, the young princess Olga Tokmakova thinks of her lover Mikhail Tutscha, a young orphaned citizen of Pskov. Perfilievna has heard rumors that Olga is not really the daughter of mayor Yuri Tokmakov. Olga's nurse Vlasjewna wants to avoid this topic. Instead, she reports on a new terror campaign launched by Tsar Ivan against the residents of Novgorod. The girls finish their game and ask Vlasjewna to tell them the tale of Tsarevna Lada ("Natschinajetsja skaska"). Along the way, Olga learns from her friend Stjoscha that Tutscha wants to tell her something in the garden that evening. While the story is still going on, Tutscha tries to attract Olga's attention with a whistle. The wet nurses bring the girls to the tower room to be on the safe side.
When everyone is gone, Tutscha sings a song about a cuckoo behind the fence (“Raskukschissja ty, kukushetschka”). Wrapped in a veil, Olga rushes to him. He informs her that he currently has no hope of a future together with her, as her father wants her to marry the old boyar Nikita Matuta (duet "Knjaschna, ty ne trewoschsja i ne pugaissja"). So he decided to travel to Siberia to gain wealth by trading in fur and silver and then to ask her father for her hand. Olga is shocked. She wants to beg her father to give up her wedding plans, to emphasize her wish by threatening to enter a monastery, and to tell him about her love for Tutscha. Tutscha hesitantly promises to stay.
When Olga's father Tokmakov and her fiancé Matuta come out of the tower, Tutscha quickly retreats behind the fence. Olga, on the other hand, hides in the bushes to overhear the conversation between them. The two fear that Ivan could extend his campaign to Pskov. Tokmakov asks Matuta to take care of Olga's protection. He reveals to him that she is not his real daughter, but the daughter of his sister-in-law Wera Scheloga and an unknown man. Bells call the townspeople to the meeting. Tokmakov and Matuta are on their way. For Olga, the bells seem like the death knell for her happiness.
Second picture: Market square, Wetsche square, illuminated by beacons, bells ringing from the tower of the Trinity Church; night
After the residents of the city to veche have gathered, the messenger Juschko Welebin reported by the brutal subjugation of Novgorod by the Tsar, warning that Ivan was on his way to Pskov now. Tokmakov tries to calm the concerned population down. He proposes to meet the tsar in peace and hospitality. The boyars see it too. Tutscha and some others do not want to bow to the ruler ("Powolte, muschi pskowitschi i ljudi wolnyje"). Matuta worriedly asks Tokmakov to call on the Strelitzen to help restore order. Tokmakov angrily refuses. Matuta feels this rejection as humiliation. The rioters leave the city to the ringing of the bells. They seek refuge in the forest.
Second act
First image: The large square, in the foreground Tokmakov's palace
The population is anxiously waiting for the arrival of the tsar ("Great tsar idjot wo weliki Pskow"). Tables with bread and salt are ready for his reception.
Olga tells her wet nurse that she knows about her true origin. She complains of being a wise man, but at the same time feels a strange feeling of affection for the tsar, whose arrival she impatiently looks forward to (“Oh, mama, mama, Net mne krasnogo vesselja”).
To the ringing of bells and excited shouts of the people (“Udarili w Sassenji!”) The tsar arrives on the square. Those present fall on their knees before him and beg for mercy.
Second picture: room in Tokmakov's house
On the threshold of the palace, Ivan asks the prince if he can enter. The answer to this question will decide the fate of the city. Tokmakov replies with a deep bow. Together with Matuta and Prince Vyazemsky, he leads the tsar to his place. Ivan wishes to be served by Tokmakov's daughter Olga. She, her friend Stjoscha and other girls serve food and drinks. When Olga lifts her head, the Tsar recognizes those of his former lover Wera Scheloga in her features. It takes a moment for him to overcome his confusion. Then he gives Olga a ring and kisses her. The girls sing a song in praise of him (“Is pod cholmika, Pod selenogo”). After Ivan learned of Olga's origins from Tokmakov, he gave orders to end hostilities against Pskov.
Third act
First picture: Path to the Pechorsky monastery, dense forest all around
A musical interlude depicts the forest, the Tsar's hunt and a storm. Olga's friends sing a song about nature (“Ach ty dubrawa dubrawuschka”). Olga herself has withdrawn from the others in order to meet with Tutscha ("Odna ... w lessu ... O, kak straschno-to!"). The two greet each other lovingly ("Olga! - Mily moi! Yes sdes, sdes, moi drug!"). Olga asks Tutscha to understand the Tsar, who has spared Pskov. Tutscha continues to refuse submission. He asks Olga to leave home with him. Olga agrees.
Suddenly Matuta appears with his people. A scuffle ensues in which Tutscha is injured. On Matuta's orders, his men take Olga away. Tutscha remains unconscious. Matuta wants to take revenge for his humiliation by Tokmakov.
Second picture: the tsar's tent, the rear wall open with a view of a forest area and the steep river bank; Night, moonlight
_1896_as_Ivan_the_Terrible_in_Rimsky-Korsakov%27s_The_Maid_of_Pskov.jpg)
After meeting his daughter, Ivan ponders his past youth and his political goal of unifying Russia (“Obelil ja Pskow”). Vyazemsky interrupts his thoughts. He arrested Olga's kidnapper, Matuta. The tsar furiously wants to order his execution, but Matuta explains that he had met Olga with the rebel Tutscha. Ivan has Olga brought to him immediately. He had hoped to take her to Moscow with him and capture Tutscha.
Olga can appease the tsar ("Tsar-gossudar! Ne otkaschi w pomogi bespomoschtschnoi"). She says she prayed for him from childhood and always loved him like her own father. Ivan is ready to confess his fatherhood to her (“Skaschi mne lutschsche bes utaiki”). The rioters' calls for freedom resound nearby. Tutscha and his people have come to free Olga. The tsar angrily orders the attackers to be killed and the leader arrested alive. Olga runs out because she recognized the voice of her lover. In the following exchange of fire, all rioters are killed. Olga is also hit by a stray bullet. You bring them into the tent. Iwan desperately calls for his doctor Bomeli. But Olga is already dead. The Tsar throws himself desperately over his daughter's corpse.
The people proclaim the submission of the city of Pskov and pray for Olga, who gave her life for peace ("Sowerschilassja volja Boschija").
layout
The opera contains a number of folk song quotations and folk elements for which the works of Michail Glinka were the inspiration. The first version is closely based on the aesthetics of the Group of Five and Dargomyschski's opera The Stone Guest . Instead of traditional arias, there are carefully developed recitatives .
Pskowitjanka has some parallels with the simultaneous opera Boris Godunow by Modest Mussorgsky , who was living with Rimsky-Korsakov at the time. Both works deal with a historical theme. In both cases the declamation develops over a number of leitmotifs . There are also folk music quotes and bells in both operas. The choir treatment of both works differs, however. In Rimsky-Korsakov's work, the choral setting is less characterized by speech imitations, but more differentiated up to eight voices. Choir recitatives, rondos and symphonic forms can also be found here.
In the much more extensive second version, Rimsky-Korsakov broke away from the aesthetics of his youth. The recitatives are linked more organically, the harmony appears smoother, and the composer placed greater emphasis on contrapuntal elaboration. In the third version, which dispenses with most of the additions to the second version, he says he was based on the instrumentation of Glinka and Richard Wagner .
Rimsky-Korsakov took the melodies of three pieces of the first act as a quote from Mili Balakirev's folk music collection : Tutscha's “cuckoo song” and the love duet Olga / Tutscha (after “Ush ty, polje mojo” - “Oh, you, my field”) in the first picture as well as the song of Wolniza in the second picture. The song of the Pskov citizens in the first picture of the second act is based on a piece from Rimsky-Korsakov's own collection (“Wo polje tuman” - “Fog lies over the field”). This choir (“Grosen zar idjot”) is modeled on the orthodox funeral chant “Pomni, Gospodi, duschoi raba Twojewo” (“Remember, Lord, the soul of your servant”). The girls' choirs in the first and third act act like folk songs.
The frequent chimes of bells are striking. At the beginning of the second image of the first act there is a "nabat", the historical Russian storm bell. Rimski-Korsakow creates it with the help of atonal sounds in order to create the impression of fear and horror, which the peaceful basic attitude of the opera can only be countered with difficulty. When the rebels move out at the end of this picture, the sound of the bell, in which the choir is also involved, turns into a signal of departure. In the first picture of the second act, the bells support the pleading of the population for mercy.
The most important leitmotif is the so-called "Tsar theme". It is a kind of chorale that is heard for the first time in the overture and appears around forty times during the opera. When Matuta Tokmakov asks about the real father of his foster daughter, the prince replies that he is not known. However, the tsar theme sounds in the orchestra and thus reveals the truth.
Rimsky-Korsakov assigns the tsar's music some concise orchestral motifs and harmonies to portray his character. Typical of this are a diminished fourth (also at the end of the note example above) and the diminished seventh chord, as well as “high-speed strings” and trills as symbols for “suppressed anger”. When the fearsome figure of the tsar appears in conversation with other people, this is usually accompanied by a whole-tone scale . Tutscha's singing style is reminiscent of fanfare motifs, corresponding to his destiny as a freedom fighter. The music of Olga's prudent foster father Tokmakov appears somewhat archaic due to its modal twists and turns in the style of Old Slavic church music. The model for this was Iwan Sussanin in Glinka's opera A Life for the Tsar . The pure character of Olga is represented by the so-called "Olga chords" by the composer himself. The orchestral interlude in the second act is also dedicated to her.
The final chorus is integrated into the operatic plot through the prayer for Olga, but it is also to be understood as a commentary by the chronicler.
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : three flutes (2nd also alto flute, 3rd also piccolo ), two oboes , English horn , two clarinets , bass clarinet , two bassoons , contrabassoon
- Brass : four horns , two trumpets , alto trumpet, three trombones , tuba
- Timpani , drums : bass drum , cymbals , triangle , tam-tam
- harp
- Strings
- Incidental music behind the scene: two cornets (III.1), tam-tam (I.2)
Music numbers
The piano reduction published by Breitkopf & Härtel in 1912 contains the following musical numbers (English version by Rosa Newmarch, Russian original titles based on the libretto with analogous translation):
- Overture
First act, first picture
- The tale of Tsarevna Lada: "Начинается сказка" ("Natschinajetsja skaska" - "Now, the story begins" - 'The fairy tale begins')
- Mikhail Tutscha's song: "Раскукшися ты, кукушечка" ("Raskukschissja ty, kukuschetschka" - "Now repeat your song, cuckoo" - 'Singe, du Kuckuck')
- Duet, Tutscha and Olga: "Княжна, ты не тревожься и не пугайся" ("Knjaschna, ty ne trewoschsja i ne pugaissja" - "Princess, do not be started" - "Prince's daughter, do not worry")
- intermezzo
First act, second picture
- Tutscha's song (with chorus): "Повольте, мужи псковичи и люди вольные" ("Powolte, muschi pskowitschi i ljudi wolnyje" - "Men of Pskov, good townsfolk free" - 'Allowed and you free men of Pskov')
Second act, first picture
- Chorus, the people: "Грозен царь идёт во великий Псков" ("Great tsar idjot wo weliki Pskov" - "Now to mighty Pskov comes the ruthless tsar" - 'The terrible tsar marches to the great Pskov')
- Arietta, Olga: "Ах, мама, мама, Нет мне красного веселья" ("Oh, mama, mama, Net mne krasnogo wesselja" - "Ah, Nursie dear, for me life is not glad and merry" - 'Ah, mommy 'For me there is no such thing as joy')
- Choir to welcome the tsar: "Ударили в Засеньи!" ("Udarili w Sassenji!" - "They're ringing from the belfry!" - 'One is ringing in Sassenje!')
Second act, second picture
- Second interlude
- Choir to praise the tsar: "Из под холмика, Под зеленого" ("Is pod cholmika, Pod selenogo" - "From beneath the hill, Thro 'the valley green" -' From beneath the hill, the green ')
Third act, first picture
- Intermezzo Sinfonico: The forest, the Tsar's hunt, the storm
- Choir of girls: "Ах ты дубрава дубравушка" ("Ach ty dubrawa dubrawuschka" - "Ah, ancient oak tree" - 'Oh you oak forest')
- Olga's aria: "Одна ... в лесу ... О, как страшно-то!" ("Odna ... w lessu ... O, kak straschno-to!" - "Alone in the woods ... O, how dark it is!" - 'Alone ... in the forest ... O, how afraid I am! ')
- Duet, Olga and Tutscha: “Ольга!” - “Милый мой! Я здесь, здесь, мой друг! "(" Olga! - Mily moi! Yes sdes, sdes, moi drug! "-" Olga! - I'm here. Here, my friend! "- 'Olga! - My love! I'm here, here, my friend! ')
Third act, second picture
- Arie, Tsar Ivan (addition to the original score, dedicated to Fyodor Chalyapin): "Обелил я Псков" ("Obelil ja Pskow" - "Well, I have pardon'd Pskov" - 'I have forgiven Pskov')
- Aria, Tsar Iwan (original version)
- Arioso, Olga: “Царь-государь! Не откажи в помоги беспомощной "(" Tsar-gossudar! Ne otkaschi w pomogi bespomoschtschnoi "-" Tsar, Gossoudar! Do not refuse to aid a helpless orphan! "- 'Tsar and ruler!
- Arioso, Tsar Ivan: "Скажи мне лучше без утайки" ("Skaschi mne lutschsche bes utaiki" - "Speek frankly child, have no fear" - 'Tell me better without hiding')
- Final chorus: "Совершилася воля Божия" ("Sowerschilassja wolja Boschija" - "All is over now, mighty Pskov has fallen" - 'The will of God has been fulfilled')
Work history
_1911_as_Ivan_the_Terrible_in_Rimsky-Korsakov%27s_The_Maid_of_Pskov.jpg)
Pskowitjanka is Rimsky-Korsakov's first opera and at the same time the first national opera from the group of five or the “Mighty Heap”. It is based on the eponymous tragedy by Lev Alexandrowitsch Mei , to which he was made aware in 1867 by his friends Mili Balakirew and Modest Mussorgsky . Rimsky-Korsakov created the first sketches of his opera in 1868. On January 8, 1872, he completed the score. He dedicated the work to his “dear musical friends”. From the autumn of 1871 Rimsky-Korsakov lived with Mussorgsky in a shared apartment, and Pskowitjanka was created at the same time as his Boris Godunow . The two plants, however, have different focuses. While Boris Godunov is a folk drama, the Pskovitjanka is an individual tragedy , although here too the people play an essential role. Mussorgsky himself contributed the lyrics to two popular choirs of the Pskovitjanka .
In 1872 Rimsky-Korsakov submitted his opera to the censors. In the Chronicle of My Musical Life from 1968 he wrote that "every slightest allusion to a republican form of government in old Pskov had to disappear from the libretto". The “ Wetsche ” (People's Assembly) in the second picture had to be represented as a simple uprising. For the order of Nicholas I that no ruler of the Romanov family was allowed to appear on the opera stage, Rimsky-Korsakov received a special permit due to a personal advocacy of Grand Duke Konstantin Nikolajewitsch . This made the management of the St. Petersburg Mariinsky Theater aware of the work and added the work to the program.
The first performance took place on January 13, 1873 under the direction of Eduard Nápravník in the Mariinsky Theater. The main roles were sung by Ossip Petrow (Ivan), Julija Platonowa (Olga), Ivan Melnikow (Tokmakov) and Dmitri Orlow (Tutscha). The production was a huge success with fourteen shows sold out in one year.
Since he was dissatisfied with the quality of his early work, Rimsky-Korsakov began in 1877 with a first revision of his opera, which he completed in 1878. He added several new scenes, including a meeting of the Tsar with a scene from Mussorgsky's Boris Godunov inspired Holy Fool and at the suggestion of Balakirev a Pilgerchor traveling blind singer at the beginning of the third act. According to his own statement, he was influenced by the operas of Mikhail Glinka , which he re-edited at the same time. On this occasion he also set the first act of Mei's drama with the prehistory of the opera in the form of an independent scene, from which later the opera one- act Bojarynja Vera Scheloga emerged. This is often played as the prologue of the third version. A performance of the second version of Pskovitjanka at the Petersburg Theater was rejected by its management. Since Rimsky-Korsakov himself now considered this version to be too “lengthy, dry and cumbersome”, it was not a great disappointment for him. He used some of the music from it for an incidental music for Mei's original drama, which was performed in 1882. He used the pilgrim choir in 1877/1878 for the secular cantata Die Legende von Alexios, der Gottesmann, op.20.
He created the third version of his opera in 1891/1892 as the conclusion of a complete revision of almost all of his works. He rejected the additions to the second version and essentially revised the first version in terms of composition and style. This version was performed for the first time on April 18, 1895 in the St. Petersburg Panajewski Theater by the Ensemble of the Society of Friends of Music. In 1896 it was played by the ensemble of the private opera of Savva Mamontov with Fyodor Chaliapin as Tsar Ivan in the Solodownikow Theater in Moscow. Chaliapin had great success in this role and also sang it in most of the following productions inside and outside Russia. This benefited both his own fame and the level of awareness of the opera.
In 1898 Rimsky-Korsakov composed a new aria for Chaliapin for the beginning of the second image of the third act. Chaliapin was not satisfied with it, however, and sang it only once during a rehearsal.
There were other performances mainly in Russia, but also in other countries:
- 1901: Bolshoi Theater Moscow, with Boyarynja Vera Scheloga as prologue. Conductor: Ippolit Altani; Ivan: Fyodor Chalyapin. There the work stayed in the repertoire from 1922 to 1936.
- 1903: Mariinsky Theater Saint Petersburg, with prologue. Ivan: Fyodor Chalyapin
- 1909: Théâtre du Châtelet Paris, guest performance by the Mariinsky Theater under the title Iwan le terrible. Conductor: Nikolai Tscherepnin , Director: Alexandr Sanin, Stage: Alexander Golowin and Nikolai Rjorich; Ivan: Fyodor Chalyapin, Olga: Lidija Lipkowskaja, Tutscha: Wassili Damajew
- 1912: Milan; Italian version by Michail Aschkinasi and Gustavo Macchi. Conductor: Tullio Serafin ; Ivan: Fyodor Chaliapin, Tutscha: Bernardo De Muro.
- 1913: London as Ivan the Terrible . Ballets Russes by Sergei Djagilew .
- 1918: Manchester; English version by Rosa Newmarch
- 1919: Petrograd
- 1924: Krefeld; German version by Heinrich Möller
- 1925: Frankfurt am Main. Director: Lothar Wallerstein , stage: Ludwig Sievert
- 1951: Kirov Theater Leningrad
- 1972: Barcelona
- 1955: Birmingham
- 1959: Palermo
- 1969: Genoa and Rome. Ivan: Boris Christoff
- 1971: Bolshoi Theater Moscow; New staging. Conductor: Juri Simonow , director: Iossif Tumanow, stage: Wadim Ryndin
- 1972: Belgrade
- 1978: concert performance with prologue in the Radiotelevisione Italiana Turin
Recordings
- 1913 - Tutscha's cuckoo song (first act, 1st image).
Vasily Damayev (Tutscha).
In: Russian Singers of the Past. Nikolai Rimsky-Korsakov performed by his contemporaries. Vol. 1. Russian Disc 1996. RD CD 15 032. - 1947 - Semyon Sakharov (conductor), orchestra and choir of the Bolshoi Theater Moscow.
Alexander Pirogow (Ivan), Alexander Peregudow (Tokmakow and Nikita Matuta), Michail Solowjew (Afanassi Wjasemski), Georgi Nelepp (Tutscha), Jelena Schumilowa (Olga), Natalja Sokolowa (Stjoscha).
Studio shot; with prologue Boyarynja Vera Scheloga .
harmonia mundi LP: LDX 78021 (3 LPs), Melodia 019333 (3 LPs). - Dec. 12, 1954 - Nino Sanzogno (conductor), orchestra and choir of the RAI di Milano.
Boris Christoff (Iwan), Marcella Pobbe (Olga).
Live, in concert from Milan; Italian version. - Jan. 13, 1968 - Samo Hubard (conductor), orchestra and choir of the Teatro Giuseppe Verdi Trieste.
Boris Christoff (Iwan), Lorenzo Gaetani (Tokmakow), Giuseppe Botta (Nikita Matuta), Enzo Viaro (Afanassi Wjasemski), Vito Susca (Bomeli and Welebin), Radmila Bakocevic (Tutscha), Daniela Mazzuccato-Meneghini (Stjos Kozma), (Vlasjewna), Bruna Ronchina (Perfiljewna).
Live from Trieste; Italian version Ivan il terrible.
Gala GL 100.739 (2 CD). - Mar. 18, 1969 - Thomas Schippers (conductor), orchestra and choir of the Teatro dell'Opera di Roma .
Boris Christoff (Iwan), Lorenzo Gaetani (Tokmakow), Aldo Bertocci (Nikita Matuta), Ruggero Bondino (Tutscha), Nicoletta Panni (Olga).
Live from Rome; Italian version.
Great Opera Pes CD: GOP 720 (2 CDs), House of Opera CD 477 (2 CDs), Opera d'Oro 1254 (2 CDs). - February / July 1994 - Valery Gergiev (conductor), orchestra and choir of the Mariinsky Theater in Saint Petersburg.
Vladimir Ognovenko (Ivan), Gennady Bezzubenkov (Tokmakow), Nicolai Gassiev (Nikita Matuta), Yevgenij Fedotov (Afanassi Vjasemski), Yuri Laptev (Bomeli), Vladimir Galouzine (Tutscha), Georgi Zastavny (Welebin), Galina Gorchak, Olga Korzhenskaya (Stjoscha), Ludmila Filatowa (Vlasjewna), Eugenia Perlassova (Perfiljewna).
Studio shot; Version from 1895.
Philips CD: 446 678-2 (2 CDs). - 1998 - Yevgeny Svetlanov (conductor), orchestra and choir of the Bolshoi Theater Moscow.
Viacheslav Pochapski (Ivan), Yuri Grigorjew (Tokmakow), Oleg Biktimirow (Nikita Matuta), Pawel Kudryavchenko (Tutscha), Maria Gavrilowa (Olga).
Video.
HO DVDCC 843 (DVD).
literature
- Nikolai van Gilse van der Pals : NA Rimsky-Korssakow. Opera and sketch about life and work. Georg Olms Verlag, Hildesheim / New York 1977 (reprint of the Paris-Leipzig 1929 edition), ISBN 3-487-06427-8 , pp. 55–73 (many sheet music examples).
- Gerald Abraham: Pskovityanka: The Original Version of Rimsky-Korsakov's First Opera. In: The Musical Quarterly, Vol. 54, No. 1 (Jan. 1968). Oxford University Press, pp. 58-73 ( JSTOR 741083 ).
Web links
- The Maid of Pskov : Sheet Music and Audio Files in the International Music Score Library Project
- Manuscript of Ivan's bass aria in the Juilliard Manuscript Collection. Version from 1892; originally conceived for the last scene of the second version of the opera, then incorporated into the final version; Published separately in 1898, dedicated to Fyodor Chaliapin
- Libretto (Russian) on ceo.spb.ru
- Discography of The Maid of Pskov [Ivan the Terrible] at Operadis
- Work information and table of contents (English) on the website of the Mariinsky Theater
Individual evidence
- ↑ a b c d e f Richard Taruskin : Maid of Pskov, The [Pskovityanka]. In: Grove Music Online (English; subscription required).
- ↑ a b c d e f g h i j k l m Dorothea Redepenning : Pskowitjanka. In: Piper's Encyclopedia of Musical Theater . Volume 5: Works. Piccinni - Spontini. Piper, Munich / Zurich 1994, ISBN 3-492-02415-7 , pp. 254-257.
- ↑ a b c d e f g h i j k l m n Sigrid Neef : The operas of Nikolai Rimsky-Korsakov (= Musik Konkret 18 ). Ernst Kuhn Verlag, Berlin 2008, ISBN 978-3-936637-13-7 , pp. 1–22.
- ↑ a b c d Josif Filippowitsch Kunin: Nikolai Andrejewitsch Rimski-Korsakow. Translated by Dieter Lehmann. Verlag Neue Musik, Berlin 1981 (Original: Verlag “musyka”, Moscow 1979), pp. 34–44.
- ↑ a b c d e f g Pskowitjanka. In: Sigrid Neef : Handbook of Russian and Soviet Opera. Henschelverlag Art and Society, Bärenreiter 1989. ISBN 3-7618-0925-5 , pp. 398–404.
- ↑ a b Nikolai Rimski-Korsakow , Oskar von Riesemann (trans.): Chronicle of my musical life. Leipzig 1928, Ed .: L. Fahlbusch, Leipzig 1968.
- ↑ Information on Semyon Sakharov's CD Pskowitjanka (as well as the names in Russian ) on aquarius-classic.ru, accessed on May 23, 2020.
- ↑ a b c d e Nikolaj Rimsky-Korsakov. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
- ↑ Karsten Steiger: Opera discography. Directory of all audio and video recordings. 2nd, fully updated and expanded task. KG Sauer, Munich 2008/2011, ISBN 978-3-598-11784-8 , p. 669.
Pskovitjanka (The Pskov Girl, 1873) | Boyarynja Wera Scheloga (The Boyarin Wera Scheloga, 1898) | Maiskaja notsch (The May Night, 1880) | Snegurochka (Snow Maiden, 1882) | Mlada (1892) | Notsch pered Roshdestwom (The Night Before Christmas, 1895) | Sadko (1898) | Mozart i Saljeri (Mozart and Salieri, 1898) | Tsarskaya Nevesta (The Tsar's Bride, 1899) | Skaska o zare Saltane (The tale of Tsar Saltan, 1900 | Servilia (1902) | Kashchei bessmertny ( Kashchei the Immortal, 1902) | Pan Wojewoda (1904) | Skasanije o newidimom grade Kitesche i dewe Fewronii (The legend of the invisible city of Kitez and of the virgin Fevronija, 1907) | Solotoi petuschok (The golden rooster, 1909)