The tsar's bride

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Opera dates
Title: The tsar's bride
Original title: Царская невеста
(Tsarskaya newesta)
Title page of the piano reduction, Leipzig 1899

Title page of the piano reduction, Leipzig 1899

Shape: Opera in four acts
Original language: Russian
Music: Nikolai Rimsky-Korsakov
Libretto : Nikolai Rimsky-Korsakov and Ilya Tyumenew
Literary source: Lev Mei : The Tsar's Bride
Premiere: October 22nd July / November 3, 1899 greg.
Place of premiere: Solodownikov Theater, Moscow
Playing time: approx. 2 ¾ hours
Place and time of the action: The Alexandrova Sloboda (village-style suburb of Moscow) in autumn 1872
people
  • Wassili Stepanowitsch Sobakin (Василий Степанович Собакин), merchant from Novgorod ( bass )
  • Marfa (Марфа), his daughter ( soprano )
  • Grigori Grigoryevitch Grjasnoi (Григорий Григорьевич Грязной) Oprichnik ( baritone )
  • Grigori Lukjanowitsch Malyuta -Skuratow (Малюта Скуратов), Opritschnik (bass)
  • Ivan Sergejewitsch Lykow (Иван Сергеевич Лыков), Boyar ( tenor )
  • Ljubascha (Любаша), lover Grjasnois ( Mezzosopran )
  • Jelissei Bomeli (Елисей Бомелий), personal doctor of the tsar (tenor)
  • Domna Ivanovna Saburova (Домна Ивановна Сабурова), merchant's wife (soprano)
  • Dunjascha (Дуняша), her daughter and friend Marfas ( old )
  • Petrovna (Петровна) housekeeper of the Sobakins (mezzo-soprano)
  • Stoker at the Zarenhof (bass)
  • Maid (mezzo-soprano)
  • a young lad (tenor)
  • Tsar Ivan Vasilyevich (the Terrible) and another distinguished horseman (two silent roles )
  • Oprichniki, boyars, boyar women, singers, singers, maids, servants, people ( choir )
  • Dancers (ballet)

The Tsar's Bride (Russian: Царская невеста, Zarskaja newesta ) is an opera in four acts by Nikolai Rimsky-Korsakov (music) with a libretto by Nikolai Rimsky-Korsakow and Ilya Tjumenew based on the eponymous historical tragedy (1849) by Lev Mei . She was born on October 22nd . / November 3, 1899 greg. Premiered by the ensemble of the Russian private opera of Savva Mamontov in the Solodownikov Theater in Moscow.

action

Ivan Bilibin : stage design for the first act, 1930

The following table of contents is based on the German translation of the libretto. The scene instructions in italics are taken from the piano reduction of 1899. The spelling has only been slightly modernized.

First act: "The little feast"

A large room in the house of the boyar Grigory Grjasnoi

In the background the low entrance door, next to which a bar table is filled with mugs, bowls and ladles. To the right three ornate windows and opposite them a long table covered with a tablecloth; on the table candles in tall silver candlesticks, a salt barrel and a centerpiece. Left entrance to the inner chambers and a wide bench with a carved wall board; a spear leaned against the wall; on the wall hang a crossbow, a large hunting knife, various items of clothing and, not far from the door, closer to the foreground, a bearskin. On the walls and on either side of the table, benches covered with red cloth. Gryaznoi stands thoughtfully bowed his head by the window.

Ivan Bilibin : Costume design for Ivan Lykov, 1930

Scene 1. The Oprichnik Grigori Grjasnoi, once a reckless daredevil, has violently in Marfa, the daughter of the Novgorod merchant Vasily Sobakin, love and stopped at her father for her hand. However, he rejected Grjasnoy's suitor because the girl had already been promised to boyar Ivan Lykov. Lykow recently returned from a long journey (recitative and aria: "S uma neidjot krassawiza!" - "Kuda ty, udal preschnjaja, dewalas"). To get other thoughts, Grjasnoi invited guests, including Lykov and Jelissei Bomeli, the personal physician of Tsar Ivan the Terrible .

Scene 2. Grigori Maljuta-Skuratow , Lykow, Bomeli and other oprichniki arrive and are entertained with food and wine by Grjasnoi's servants (Fughetta a 3 voci: “Slashche medu laskwoje slowo”). At Grjasnoi's request, Lykov tells of the way of life of the Germans he met on his trip (Arioso: “Inoje wsjo, i ljudi, i semlja”). They raise their glasses for the good of the tsar.

Scene 3. Grjasnoi lets gusli players and singers perform (table song: “Slawa na nebe solnzu wyssokomu” - dance with choir: “Kak sa retschenkoi jar-chmel”). He then invites Lyubascha in, a beautiful girl whom the oprichniki forcibly abducted from Kashmir years earlier and who now calls the Malyuta-Skuratov his godchild. She was Gryaznoi's lover until he lost interest in her.

Scene 4. Despite her headache, Lyubascha has to sing to the guests (Lyubascha's song: “Snarjaschai skorei, matuschka rodimaja”). Then the guests leave the house. Only Bomeli stays at the host's request. Lyubasha hides behind the bearskin to eavesdrop on their conversation.

Scene 5. Under the pretext that it is meant for a friend, Gryaznoi asks the doctor for magic powder for a love potion. He wants to win the heart of Marfa with it. Lyubascha realizes that Grjasnoi no longer has any feelings for her (trio: "Och, ne weritsja").

Scene 6. Lyubascha and Grjasnoi have a discussion during which she reminds him of his once glowing kisses (duet: “Snat, ne ljubisch”). But all pleading remains in vain. He leaves the house for early mass without looking back to her. Lyubasha vows to release him from this witch's spell.

Second act: "The Magic Herb"

Street in the Alexandrowa Sloboda

Front left is a house (Sobakin's apartment) with three windows facing the street, gate and fence; at the gate under the windows a wooden bench. On the right, Bomeli's house with a hand gate. Behind it, in the ground, wall and entrance to the monastery. Opposite the monastery on the left in the background, the house of Prince Gwosdew-Rostovsky with a high porch facing the street. Autumn landscape; yellow and red tints on the trees. Towards evening.

Scene 1. The believers leave the monastery after mass (chorus: “Vot bog priwjol wetscherenku otsluschat”). They watch how oprichniki attack the house of the “traitor” Gwosdew-Rostovsky and, as a precaution, talk about something else, the tsar's forthcoming bridal show. Two young boys come from the Bomelis house with medicine. When the people point out that the doctor is German and therefore an unbeliever, they throw away the herbs as "witchcraft". Everyone goes their own way.

Scene 2. Sobakin's daughter Marfa, her friend Dunjascha and the housekeeper Petrovna come out of the monastery. The two girls sit on a bench to wait for Marfa's father and talk about their upcoming wedding to Lykow, with whom she has been friends since childhood (Arie Marfa: “W Novgorode my rjadom s Vanei schili”).

Scene 3. Two distinguished gentlemen ride past in the background. One of them is easy to recognize (musically through the Tsar's theme from Pskovitjanka ) as Tsar Ivan. He stops for a moment and looks intensely at Marfa. She shudders. Shortly afterwards Sobakin and Lykow appear and go into the house with the girls (quartet: “Pogodi, moja milaja”).

Intermezzo - Lyubascha appears in the background of the stage, wrapped in a veil; she creeps slowly, shyly looking around, between the houses and comes to the fore.

Scene 4. After looking through the window of the house, Lyubascha knows that she cannot do anything to counter the beauty of Marfa. So she goes to Bomeli and asks him for a poison. It's not supposed to be fatal, just slowly destroying the victim's beauty. Bomeli demands a night of love in return. Lyubascha runs away in horror, but since Bomeli follows her and threatens to tell Grjasnoi everything, she finally agrees. Bomeli rushes back to his house when he hears voices from Sobakin's house.

Scene 5. Lyubasha ponders her feelings of jealousy (aria: “Wot do tschego ja doschila”). She overhears Sobakin and Lykov as they say goodbye and learns that Grjasnoi wants to come the next day. Bomeli brings her the poison and pulls her into his house.

Scene 6. The drunken oprichniki leave Gwosdew-Rostowski's house shouting (chorus: “To ne sokoly w podnebessje sletalis”).

Third act: "The Bride Leader"

A room in Sobakin's house

On the right three decorated windows; a tiled stove in the left corner; next to him, closer to the foreground, the door into the vestibule. In the background, in the middle, a door; on the right a table in front of a bank; to the left of the door a bar table, under the windows a wide bench (W. Sobakin, I. Lykow and Gr. Grjasnoi are sitting on the bench at the table).

Scene 1. Lykov can hardly wait to marry his beloved Marfa (trio: “Tschto gospoda gnewit, Iwan Sergeitsch”). But first we have to wait for the tsar's bridal show, in which both Marfa and Dunjascha were shortlisted from 12 of the originally 2000 girls. Everyone assumes that the tsar will choose a different one. Gryaznoi persuades Lykov to appoint him as a courtship. He wants to take this opportunity to win Marfa for himself with the help of the magic drug.

Scene 2. Grjasnoi pretends to do without Marfa and to be happy about her love for Lykow (Arietta: “Tschto sdelal by?”).

Scene 3. Dunjascha's mother Domna Saburowa proudly reports on the course of the bridal show, during which Tsar Ivan spoke to her daughter personally (Arioso: “Wot, batjuschka, wpustili nas w choromy”). Although the election is not yet over, Lykow is relieved (aria: "Tutscha nenastnaja mimo promtschalassja"). In his office as bride's groom, Grjasnoi fills drinking bowls with mead for the wedding drink. He secretly pours the magic powder into the bride's.

Scene 4. Sobakin, Marfa, Dunjascha, Saburova, and the Sobakins' maids enter, and Grjasnoi hands Lykov and Marfa the prepared wedding drink. Everyone thanks him and blesses the couple (sextet with choir: "Pobolscheschenichu" - hymn of praise: "Powelitschat by nam s newestoischenicha").

Scene 5. Malyuta-Skuratov brings Sobakin official news that the tsar has chosen Marfa.

Fourth act: "The Bride"

Iwan Bilibin : Stage Four Act, 1930

A passage room in the Tsar's Castle

In the background, opposite the spectator, a door into the tsar's chambers. On the left, in the foreground, a door into the anteroom. Windows with gilded bars. The room is lined with red cloth. Benches with patterned bench covers. In front right the throne-like seat of the Tsarevna covered with gold cloth. A crystal chandelier hangs from the ceiling on a gold chain.

Scene 1. The future Tsarina Marfa was quartered in the castle, but is apparently ill from grief and is sleeping there. Her father looks at her with concern (aria: "Sabylassja ... awos, polegtsche budet"). Domna Saburowa tries to calm him down. A chambermaid informs the two of them that the Tsarina has woken up, and the Tsar's stoker announces a messenger.

Scene 2. The tsar tells them through Grjasnoi that Marfa has been poisoned. The perpetrator has already been caught. Excited and with disheveled hair, Marfa rushes in to hear it all. She insists on being completely healthy. That she was bewitched was a lie. However, Gryaznoi reports that Lykov had already confessed and was sentenced to death. He personally executed him. Marfa cries out and faints. Startled, everyone asserts that there must be a terrible mistake and wonder who could be behind it (quintet with choir: “Sagublena stradaliza zarewna!”). Marfa wakes up again, but has lost her mind. Horrified by this effect of the supposed love potion, Grjasnoi blames the pagan doctor and swears vengeance. He admits wrongly accusing Lykov and poisoning Marfa himself. She does not notice anything of her surroundings, but thinks she is in the garden with her lover (scene and aria: "Iwan Sergeitsch, chotschesch w sad poidjom?").

Scene 3. Grjasnoi asks Malyuta-Skuratov to take him to court after he has settled with Bomeli. Then Lyubascha leaves the group of maids and clears everything up: she switched the magic powder herself before Grjasnoi could give it to Marfa. Gryaznoi immediately stabs her. Before he is taken away, he begs Marfa to forgive him. Believing that he is Lykov, she calls him goodbye: "Come on tomorrow, Vanya!"

layout

The Tsar's Bride is (apart from the one-act Boyarynja Vera Scheloga ) Nikolai Rimsky-Korsakov's seventh opera. They all differ significantly from one another in form and style. The composer explained the new concept as follows:

“It was supposed to be an opera in a predominantly cantable style; I intended to lay out the arias and monologues as broadly as the dramatic situations would allow; I also wanted to write real, well-rounded ensembles in contrast to those pale chains of voices that reel off in quick succession, which today are required as an expression of the 'dramatic truth' with which the simultaneous singing of several voices is supposedly incompatible. "

- Nikolai Rimski-Korsakow : Chronicle of my musical life, 1968, p. 394.

This is to be understood as a clear rejection of the values ​​of the “Mighty Heap”, which he himself had implemented thirty years earlier in his first opera Pskowitjanka . With the singularity now propagated and the well-worked ensembles, he is more oriented towards the operas of Michail Glinka or Peter Tchaikovsky . The musical language is kept simpler. Apart from a few motifs inspired by Russian folklore, real quotes from folk music are largely missing. Only the melody of the table song: "Slawa na nebe solnzu wyssokomu" (I: 3) is taken from a folk song (known from the coronation scene in Modest Mussorgsky's Boris Godunow ).

Recognizable themes are assigned to individual figures or objects. For example, the German doctor received a “stiff-looking rhythmic figure” and the poison a “melodic motif and sequence of diminished seventh cords”. The tsar can be recognized in his silent appearance in the second act and when he mentions his bride-to-be through the cited tsar's theme from the Pskovitjanka . A leitmotif system like that of Richard Wagner does not result from this.

Lyubasha's “Wot do tschego ja doschila” (I: 5) is a stanza song in the style of the Russian “stretched song” (protjashnaja pesnja). Apart from the ritornelles, it is unaccompanied. The repetition is decorated with melisms. The melody is also the musical basis for the orchestral interlude in the second act.

The two women are each in different ways victims of the patriarchal structures of Russia. Marfa endures this passively, while Lyubascha becomes the perpetrator herself at the end of the second act. She already expresses her despair in the song mentioned. In the second act, the orchestra meticulously traces all changes in their inner situation. Marfa, on the other hand, is consistently characterized as light and joyful. Even in her mad scene, she is happy because she believes she is united with her lover. This basic mood also explains why the rather dark song Lyubasha (I: 5), which was originally intended for Marfa, was ultimately assigned to Lyubascha.

orchestra

The orchestral line-up for the opera includes the following instruments:

Music numbers

The Russian-German piano reduction published by Belaïeff in 1899 lists the following musical numbers:

first act

  • Overture (p. 3)
  • Recitative and aria (Grjasnoi): "С ума нейдёт красавица!" ("S uma neidjot krassawiza!" - "O if I'm out of my mind!") / "Куда ты, удаль прежная удаль прежня яла. Tевuda" preschnjaja, dewalas "-" You arrogance, where have you disappeared "- scene 1, p. 14)
  • Fughetta a 3 voci (oprichniki): "Слаще меду ласквое слово" ("Slashche medu laskwoje slowo" - "Sweet as mead is graceful speech" - scene 2, p. 31)
  • Arioso (Lykow): "Иное всё, и люди, и земля" ("Inoje wsjo, i ljudi, i semlja" - "So different are the people and the country" - scene 2, p. 36)
  • Table song (chorus): "Слава на небе солнцу высокому" ("Slawa na nebe solnzu wyssokomu" - "Prize and honor of the sun in the sky" - scene 3, p. 43)
  • Dance with choir: "Как за реченькой яр-хмель" ("Kak sa retschenkoi jar-chmel" - "Like the hops on the brook" - scene 3, p. 56)
  • Lyubasha's song: "Снаряжай скорей, матушка родимая" ("Snarjaschai skorei, matuschka rodimaja" - "Dearest mother, hurry and decorate yourself" - scene 4, p. 77)
  • Trio (Grjasnoi, Lyubascha, Bomeli): "Ох, не верится" ("Och, ne weritsja" - "Oh, I don't believe it" - scene 5, p. 84)
  • Duet (Grjasnoi, Ljubascha): "Знать, не любишь" ("Snat, ne Lyubian" - "One thing is certain" - scene 6, p. 91)

Second act

  • Choir: "Вот бог привёл вечеренку отслушать" ("Wot bog priwjol wetscherenku otsluschat" - "We piously listened to the mass" - scene 1, p. 102)
  • Aria (Marfa): "В Новгороде мы рядом с Ваней жили" ("W Novgorode my rjadom s Wanei schili" - "In Novgorod we lived next to Vanya." - Scene 2, p. 120)
  • Quartet (Sobakin, Lykow, Dunjascha, Marfa): "Погоди, моя милая" ("Pogodi, moja milaja" - "Just you wait my little daughter" - Scene 3, p. 132)
  • Intermezzo (p. 139)
  • Aria (Lyubascha): "Вот до чего я дожила" ("Wot do tschego ja doschila" - "Oh, it must come there with me" - scene 5, p. 155)
  • Choir (Opritschniki): "То не соколы в поднебесье слетались" ("To ne sokoly w podnebessje sletalis" - "Not a flock of falcons fell from the air" - Scene 6, p. 161)

Third act

  • Prelude (p. 164)
  • Trio (Lykow, Grjasnoi, Sobakin): "Что господа гневить, Иван Сергеич" ("Tschto gospoda gnewit, Ivan Sergeitsch" - "I have to be satisfied, Ivan Sergeitsch" - scene 1, p. 167)
  • Arietta (Grjasnoi): "Что сделал бы?" ("Tschto sdelal by?" - "What I would do?" - Scene 2, p. 177)
  • Arioso (Domna Saburowa, Sobakin): "Вот, батюшка, впустили нас в хоромы" ("Wot, batjuschka, wpustili nas w choromy" - "First we were let into the building" - scene 3, p. 182)
  • Aria (Lykow): "Туча ненастная мимо промчалася" ("Tutscha nenastnaja mimo promtschalassja" - "Black came a weather storm" - scene 3, p. 190)
  • Sextet with choir: "Побольше жениху" ("Pobolscheschenichu" - "The bridegroom to glory" - scene 4, p. 198)
  • Hymn of praise: "Повеличать бы нам с невестой жениха" ("Powelitschat by nam s newestoi scheicha" - "Let us praise the groom with his bride" - scene 4, p. 209)

Fourth act

  • Prelude (p. 216)
  • Aria (Sobakin): "Забылася… авось, полегче будет" ("Sabylassja ... awos, polegtsche budet" - "She lies and sleeps" - scene 1, p. 217)
  • Quintet (Grjasnoi, Domna Saburowa, Dunjascha, Sobakin, Maljuta-Skuratow) with choir: "Загублена страдалица царевна!" ("Sagublena stradaliza zarewna!" - "The martyr Tsarevna is killed!"
  • Scene and aria (Marfa): "Иван Сергеич, хочешь в сад пойдём?" ("Ivan Sergeitsch, chotschesch w sad poidjom?" - "Ivan Sergeitsch, let's go into the garden" - scene 2, p. 246)

Musical motifs (selection)

A detailed explanation of the motifs used in the opera can be found in Nikolai van Gilse van der Pals ' book NA Rimsky-Korssakow. Opera and sketch about life and work, from which the following examples are also taken.

  • Grjasnoi's "heavy, gloomy" main motif appears for the first time in the orchestral interludes of his recitative (I: 1):
    {\ clef bass \ key d \ major \ time 4/4 \ tempo 4 = 60 \ set Score.tempoHideNote = ## t r4 \ f ^ \ markup {\ italic {Moderato}} r8 <g, g> <f sharp, fis> <e, e> <b, b> <cis cis'> <ais, ais> 8 <e, e> <g, g> 4 -> (<g, g> 8) <cis, cis> < d, d> <e, e> <b ,, b,> 8 <ais ,, ais,> <cis, cis> <e ,, e,> <g ,, g,> 2-> << {\ voiceOne r4 r16 dga <dg b> 2 (<dg b> 8)} \ new Voice {\ voiceTwo <g ,, g,> 1 (<g ,, g,> 8)} >> \ oneVoice}
  • The song of praise for the tsar "Slawa na nebe solnzu wyssokomu" (I: 3):
    {\ clef bass \ key d \ major \ time 3/4 \ tempo 4 = 100 \ set Score.tempoHideNote = ## t a2 \ p ^ \ markup {\ italic {Allegro maestoso}} e4 a8 (b) cis'4 cis' cis'4 d 'cis' b4 from cis'2 a4 b2 (cis'8 b) a8}
  • Lyubasha's song "Snarjaschai skorei, matuschka rodimaja" (I: 4):
    {\ clef violin \ key bes \ major \ time 2/4 \ tempo 4 = 40 \ set Score.tempoHideNote = ## t \ repeat volta 2 {d'8 ^ \ markup {\ italic {Largo assai}} g 'a 'g' d''4 c''8 bes'} \ alternative {{a'8 bes' f 'g' d'2} {a'8 bes' f 'd' g'2}} \ repeat volta 2 {es'8 d 'c' g '} \ alternative {{d'4 f'8 d'} {d'2}} es'8 d 'c' c 'g'4 f'8 es' d'8 bes f 'g' d'2 g'8 bes 'a' g 'd''4 (f' ') es''8 d''16 (c' ') bes'8 a'16 (g') d '' 8 (c '' bes'16 d '') c''8 g'2 g'8 bes' a 'g' d''4 (g '') f''16 (es' 'd' ' c '') bes'8 a'16 (g ') d''8 c' 'bes' c '' g'2 \ bar "|." }
  • Malyuta-Skuratov:
    {\ set Score.tempoHideNote = ## t \ new PianoStaff << \ new Staff {\ clef violin \ key bes \ major \ time 4/4 \ tempo 4 = 150 \ partial 2 r16 (^ \ markup {\ italic {Allegro non troppo}} ga bes c 'd' e 'f' << {\ voiceOne g'1} \ new Voice {\ voiceTwo des'8 bes g des' bes g des' bes} >> \ oneVoice <bes c ' g '> 8 r8 r4 r2} \ new Staff {\ clef bass \ key bes \ major \ time 4/4 \ partial 2 r2 <f, \ staccato f> 4 <des, \ staccato des> <bes ,, \ staccato bes,> <f, \ staccato f> <e, e> <c, c> <g, g> 4 (<g, g> 8) r} >>}
  • Lykov:
    {\ key bes \ major \ time 4/4 \ tempo 4 = 120 \ set Score.tempoHideNote = ## t \ partial 4 c''4 (\ p ^ \ markup {\ italic {Allegro non troppo}} bes '' 2 ~ bes''8 a '' g '' a '' f''4) c''2 f''4 (es''2 ~ es''8 d '' g '' es '' c '' 4)}
  • Bomeli (at the beginning the poison motif):
    {\ set Score.tempoHideNote = ## t \ new PianoStaff << \ new Staff {\ clef violin \ key bes \ major \ time 4/4 \ tempo 4 = 70 r4 r8 <es 'c' '> <es' b '> <es' c ''> <es 'bes'> <es 'a'> <e 'c' '> 4 (<f' a '> 8) r <e' 'c' ''> 4 ( <f '' a ''> 8) r <f 'c' '> 4. <f 'c' '> 8 << {\ voiceOne d''8 c' 'e' 'f' 'g''8 r} \ new Voice {\ voiceTwo f'4 bes'8 a' bes'8 r } >> \ oneVoice} \ new Staff {\ clef bass \ key bes \ major \ time 4/4 r4 r8 <a c'> 8 <g sharp c '> <a c'> <g c'> <f c ' > <a ~ c '~> 4 <f c'> 8 r \ clef violin <a '~ c' '~> 4 <f' c ''> 8 r \ clef bass <a c'> 4. <a c'> 8 << {\ voiceOne c'4 c'8 c 'c'8 r} \ new Voice {\ voiceTwo bes8 agf e8 r} >> \ oneVoice} >>}

Work history

The subject of his opera The Tsar's Bride has occupied Nikolai Rimsky-Korsakov since composing his opera Pskowitjanka , which premiered in 1873 and which is also about Ivan IV . The plan became concrete when he again dealt with Pskowitjanka in the spring of 1898 . He commissioned Ilya Tyumenev to work on the eponymous historical tragedy by Lev Mei (1849) . The two largely stuck to the template and only deleted a few marginal figures. Unlike there, Tsar Ivan appears here at least once as a silent rider.

Rimsky-Korsakov began composing in the summer of 1898 and completed the instrumentation in the autumn of the same year. The following year rehearsals began with the ensemble of the Russian private opera of Savva Mamontov . The main role of Marfa was the singer Nadeschda Sabela-Wrubel (wife of the set designer Michail Wrubel ) "written on the body".

The first performance on October 22 jul. / November 3, 1899 greg. Michail Ippolitow-Ivanov conducted at the Solodownikow Theater in Moscow . The stage design came from Michail Wrubel. The singers were Nikolaj V. Mutin (Wassili Sobakin), Nadeschda Sabela-Wrubel (Marfa), NA Cieveliev (Grigori Grjasnoi), NI Tarasov (Grigori Maljuta-Skuratow), Anton Sekar-Roschanski (Ivan Lykow), Alexandra Rostowzewa (Lyubascha) , Wassili Petrovich Schkafer (Jelissei Bomeli), SN Gladkaja (Domna Saburowa), Varvara Strachowa (Dunjascha), VS Kharitonova (Petrovna) and Aleksandr Petrovich Antonovski (stoker).

Originally the opera was divided into three acts and four pictures. Rimsky-Korsakov changed this when, at the request of Sekar-Roschanski, he added another aria (“Tutscha nenastnaja mimo promtschalassja”) for his part of Lykow after the original third act. This version was played for the first time on January 3, 1900 and then prevailed.

The premiere was already successful with the audience and the press. The opera was included in the repertoire of Russian opera houses and after a few years was also played abroad. In the non-Russian productions, it was mostly staged as a “historical-romantic stirring piece”. In this context, Sigrid Neef pointed out that it is actually not a historical, but a "lyrical drama" in which "spiritual movements" should be in the foreground as opposed to "emotional eruptions". For Nikolai van Gilse van der Pals (1929), on the other hand, The Tsar's Bride was, in terms of content, “more of a national dramatic drama than a psychological drama, despite the appropriate characteristics of the characters”.

  • Historical singers

  • Nadeschda Sabela-Wrubel as Marfa, 1899

  • Nadezhda Mikhailovna Lanskaya as Domna Saburowa, 1908

  • Lev Sibiryakov as Sobakin, before 1917

  • Michail Shuiski as Grjasnoi, 1925

For example, the following productions can be verified (unless otherwise stated, according to Piper's Encyclopedia of Music Theater ):

Recordings

  • 1901–1914 - Individual arias and duets with Nikolai Scheweljow, Oskar Kamjonsky, Nina Legéne, Pawel Andrejew, Lydia Lipkowskaja, Vera Petrovna-Swantsewa, Gavriil Morskoi, Lev Sibirjakow and Antonina Neschdanowa .
    Russian Singers of the Past - Nikolai Rimsky-Korsakow performed by his contemporaries. Vol. 2.
    Russian Disc 1996 RD CD 15 032.
  • 1943 - Lew Steinberg (conductor), orchestra and choir of the Bolshoi Theater Moscow.
    Maxim Michailov (Wassili Sobakin), Natalya Schpiller (Marfa), Piotr Metvedjev (Grigori Grjasnoi), Anatoly Lioubimov (Grigori Maljuta-Skuratow), Anatoly Orfenov (Iwan Lykow), Marija Maksakowa (Lyubascha), Sofia Bomeli Yakeli, Vassilij Yakus Panova (Domna Saburowa), Valentina Gagarina (Dunjascha), Marina Levina (Petrovna).
    Studio shot.
    Dante LYS 055-6 (2 CDs), Great Hall MVI CD 053-054 (2 CDs).
  • 1954 - Vladimir Piradov (conductor), orchestra and choir of the Taras Shevchenko Theater Kiev.
    Borys Hmyrja (Wassili Sobakin), Jelysaveta Tschawdar (Marfa), Michail Grischko (Grigori Grjasnoi), Vladimir Medvejew (Grigori Maljuta-Skuratow), Pyotr Belinnik (Ivan Lykow), Larissa Rudenko (Lyubascha), Javeli Vera Ivanov (Lyubascha), Pawelisse Lyubimova (Domna Saburowa), Antonina Sopowa (Dunjascha), Sinaida Kuschnarewa (Petrovna), Vasili Babenko (stoker), Irina Trofimova (maid), Iwan Kliakun (boy).
    Studio shot.
    Melodija D 06589-94 (3 LPs); Melodija MK02307-14 (4 LPs).
  • 1960–1970 - Boris Chaikin (conductor), orchestra and choir of the Bolshoi Theater Moscow.
    Arnold Lokshin (Wassili Sobakin), Klara Kadinskaya (Marfa), Mikhail Kiselev (Grigori Grjasnoi), Andrei Sokolov (Iwan Lykow), Valentina Levko (Lyubascha), Gennady Efimov (Jelissei Bomeli), G. Korolyova (Dunjascha).
    Studio shot; Cutouts.
    Melodiya C 01247-8 (1 LP).
  • 1965 - Yevgeny Svetlanov (conductor), Vladimir Gorikken (production), orchestra and choir of the Bolshoi Theater Moscow.
    Galina Oleinischenko (Marfa, singer), Raissa Nedaskovskaya (Marfa, film actress), Evgeny Kibkalo (Grigori Grjasnoi, singer), Otar Kobendze (Grigori Grjasnoi, film actor), Larisa Ardeyeva (Lyubascha, singer), Natalya Rudnaya, film Victor Vikhrov (stoker), Ivan Heter (Ivan the Terrible, film actor).
    Filming.
    Culture 1287 (1 VC).
  • 1972 - Fuat Mansurov (conductor), Orchestra and Choir of the Bolshoi Theater Moscow.
    Evgeni Nesterenko (Wassili Sobakin), Galina Vishnevskaya (Marfa), Vladimir Walaitis (Grigori Grjasnoi), Boris Morozov (Grigori Maljuta-Skuratow), Vladimir Atlantov (Ivan Lykow), Irina Archipowa (Lyubascha), Andrei Sokolov (Jelisse Bomeli), Andrei Sokolov (Jelisse Bomeli) Andrejewna (Domna Saburowa), Galina Borissowa (Dunjascha), Veronica Borisenko (Petrovna), Vladimir Maltschenko (stoker), Nina Lebendeva (maid), Constantin Baskov (boy).
    Studio shot.
    Le Chant du Monde 2781037 and LDC 2781036 (2 CDs).
  • 1992 - Andrej Tschistjakow (conductor), Orchestra of the Bolshoi Theater Moscow, Russian Alexander Svezhnikov Choir.
    Pyotr Gluboky (Vasily Sobakin), Yekaterina Kudryavchenko (Marfa), Wladislaw Werestnikow (Grigori Grjasnoi), Nikolai Mischenkow (Grigori Maljuta-Skuratow), Arkadij Mischenkin (Ivan Lykow), Bomeli Kerry, Vladimir Yubeludashina), (Ljubeludaschisse) Udalova (Domna Saburowa), Jelena Okolyschewa (Dunjascha), Tatiana Pechuria (Petrovna), Vladislav Paschinsky (stoker), Nina Larionova (maid).
    Studio shot.
    First publication: Melodija CM 3899 (3 LPs); EURODISC XI 87 443 (3 LPs); Le Chant du Monde LDX 78641-3 (3 LPs); Le Chant du Monde 2781037-8 (2 CDs); Le Chant du Monde LDC288 056-7 (2 CDs).
  • October 1998 - Valery Gergiev (conductor), orchestra and choir of the Mariinsky Theater in St. Petersburg.
    Gennady Bessubenkow (Wassili Sobakin), Marina Schaguch (Marfa), Dmitri Hvorostovsky (Grigori Grjasnoi), Sergej Alexaschkin (Grigori Maljuta-Skuratow), Evgeni Akimow (Ivan Lykow), Olga Borodina (Lyubascha), Nikolai Gassiew () Jelisse Irascha Loskutowa (Domna Saburowa), Olga Markowa-Michailenk (Dunjascha), Lyubov Sokilova (Petrovna), Jurij Schkliar (stoker), Liudmilla Kasianenko (maid), Viktor Vikherov (boy).
    Studio shot.
    Philips / DECCA 135 56 24, 462 619-2 and 462626-2 (2 CDs).
  • September 16, 2000 - Neeme Järvi (conductor), orchestra and choir of the San Francisco Opera .
    Kevin Langan (Wassili Sobakin), Anna Netrebko (Marfa), Dmitri Hvorostovsky (Grigori Grjasnoi), Vladimir Ognovenko (Grigori Maljuta-Skuratow), Jay Hunter Morris (Iwan Lykow), Olga Borodina (Lyubascha), Nicolai Gassiev (Jelissei Bomeli), Irina Bogatschewa (Domna Saburowa), Elena Bocharova (Dunjascha), Katia Escalera (Petrovna).
    Live from San Francisco.
  • 2013 - Daniel Barenboim (conductor), Dmitri Tcherniakov (production and stage), Elena Zaytseva (costumes), Staatskapelle Berlin , Staatsoper choir .
    Anatoli Kotscherga (Wassili Sobakin), Olga Peretyatko (Marfa), Johannes Martin Kränzle (Grigori Grjasnoi), Tobias Schabel (Grigori Maljuta-Skuratow), Pavel Černoch (Iwan Lykow), Anita Ratschwelischwili (Lyubascha ), Stephan Rügamer (Jelisse) Anna Tomowa-Sintow (Domna Saburowa), Anna Lapkovskaja (Dunjascha), Carola Höhn (Petrovna).
    Video; live from the State Opera in the Schillertheater Berlin.
    BelAir BAC 105 (DVD).

Web links

Commons : The Tsar's Bride (opera)  - collection of images, videos and audio files

Remarks

  1. ↑ In Gilse von der Pals' work, the price song is erroneously notated in A minor without an accidentals. In the piano reduction it has two accidental signs.

Individual evidence

  1. ↑ a b c d Richard Taruskin :  Tsar's Bride, The [Tsarskaya nevesta]. In: Grove Music Online (English; subscription required).
  2. ↑ a b c d e f g h i j Dorothea Redepenning : Zarskaja newesta. In: Piper's Encyclopedia of Musical Theater . Volume 5: Works. Piccinni - Spontini. Piper, Munich / Zurich 1994, ISBN 3-492-02415-7 , pp. 271-273.
  3. ↑ 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. 201-226.
  4. ^ A b c Josif Filippowitsch Kunin: Nikolai Andrejewitsch Rimski-Korsakow. Translated by Dieter Lehmann. Verlag Neue Musik, Berlin 1981 (Original: Verlag “musyka”, Moscow 1979), pp. 104–112.
  5. ↑ a b c d e f g 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 .
  6. ↑ November 3, 1899: "Tsarskaja nevjesta". In: L'Almanacco di Gherardo Casaglia .
  7. ^ Hanspeter Renggli: Zurich, Rimsky-Korsakow: The Tsar's Bride. In: Opernwelt , July 2005, p. 49.
  8. ↑ Uwe Schweikert : Idyll and violence - Frankfurt, Rimsky-Korsakow: The Tsar's Bride. In: Opernwelt , December 2006, p. 49.
  9. ↑ Uwe Schweikert : Before the eyes of a wolf - Rimsky-Korsakow: The Tsar's bride in Osnabrück. In: Opernwelt , August 2009, p. 48.
  10. ↑ Albrecht Thiemann: Pounding hearts, howling dogs, Russian mafiosi. Review of the performance in London 2011. In: Opernwelt , June 2011, p. 64.
  11. ↑ Kai Luehrs-Kaiser : Digital (Alp-) Dream - Dmitri Tcherniakov stages Rimsky-Korsakov's "Tsar's Bride" in Berlin - with a fabulous cast. In: Opernwelt , November 2013, p. 18.
  12. ↑ a b c d e f g h Nikolaj Rimskij-Korsakov. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  13. ^ Uwe Schweikert : Media Mafia: Dmitri Tcherniakov's Berlin "Zarenbraut". Review of the DVD from 2013. In: Opernwelt , January 2016, p. 32.