Slippers
| Opera dates | |
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| Title: | Slippers |
| Original title: | Черевички (Tscherewitschki) |
Title page of the piano reduction |
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| Shape: | Opera in four acts |
| Original language: | Russian |
| Music: | Pyotr Tchaikovsky |
| Libretto : | Jakow Polonsky |
| Literary source: | Nikolai Gogol : The night before Christmas |
| Premiere: | January 19th jul. / January 31, 1887 greg. |
| Place of premiere: | Moscow, Bolshoi Theater |
| Playing time: | about 3 hours |
| Place and time of the action: | Dikanka in Ukraine and Petersburg, late 18th century |
| people | |
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Slippers (Russian: Черевички , Tscherewitschki; scientific transliteration Čerevički; internationally customary spelling: Cherevichki; alternative title: The golden shoes or Oxana's whims ) is a funny and fantastic opera in four acts and eight pictures by Pyotr Tchaikovsky (music) with a libretto by Jakow Polonski based on Nikolai Gogol's story The Night Before Christmas . It was created in 1885 as a revision of his opera Der Schmied Wakula from 1876. The world premiere took place on January 19th jul. / January 31, 1887 greg. in the Bolshoi Theater in Moscow.
action
The opera is set in a village in the Ukraine on the night before Christmas at the end of the 18th century. The main protagonists are the witch Solocha, her son Wakula, the village beauty Oksana, who is admired by him, her father Tschub and the devil Bes.
first act
First picture: winter night with moonlight. A street in the village of Dikanka
The roofs of the Ukrainian farmhouses are covered with snow, the fences, small gardens and trees are frozen. On the left side Solocha's house with a chimney and a small gate to the street, on the right side Tschub's house with closed shutters and a terrace. In the background the road divides into two paths to the right and left; at the fork is an inn with lighted windows.
Solocha steps out of her gate into the street. She looks around, listening because she doesn't want to be noticed. The devil comes towards her. He compliments her and points out various features in her appearance that mark her as a witch (duet: "Оседлаю помело" - "Ossedlaiu pomelo"). The two arrange a flying competition. Solocha returns to her house. The devil remembers the reason for his appearance in the village: he wants to take revenge on Solocha's son, the blacksmith Wakula, who ridiculed him with a caricature in front of the other devils. His plan is to steal the moon with Solocha's help in order to prevent the Cossack Tschub, the father of Wakula's lover Oksana, from going to the inn. Then Wakula Oksana cannot find herself alone in the house. A heavy snowstorm breaks out. The witch flies out of the chimney on her broom, wearing only her nightgown. The devil enters the house and follows her on the same path. In the storm, the black silhouettes of the two flyers become visible against the sky and cover the disk of the full moon. Behind the stage, ghosts sing about the darkness that has fallen. Tschub and his friend Panas take to the streets. The missing moon did not prevent them from looking for the way to the tavern, but they get lost in a snow storm.
Second picture: The interior of Tschub's Ukrainian hut with windows facing the street
A fireplace and a low partition, behind which Oksana's chest and bed can be seen. The table is decorated for the festival, on it an oil lamp, a wooden bowl and cookies for the Koljadi singers. A towel hangs on the wall, next to the fireplace is a poker and a shovel. Oksana emerges from behind the partition in her best dress. her hair is adorned with ribbons and she is holding a mirror. She listens for the sound of the wind and then leans the mirror against the bowl on the table. She looks out of the window in a bad mood.
Oksana is annoyed with her father, who, despite the weather, preferred to get drunk in the tavern instead of celebrating Christmas with his daughter. She longs for the love of her deceased mother, looks at herself in the mirror and ponders her beauty (aria: "Ишь ты, какая вьюга!" - "Isch ty, kakaja wjuga!"). Meanwhile, Wakula enters the room. Only after admiring her for a while does Oksana notice him. She struggles to fend off his advances and asks him if the rumors that his mother is a witch are true. Wakula replies that he is not interested in his parents - nor is the tsar or riches. He only longs for her (Arioso: "О, что мне мать, что мне отец!" - "O, tschto mne mat, tschto mne otez!"). Oksana is convinced that her father will soon marry his mother. She withdraws behind the partition. The snow-covered Tschub enters and notices Wakula, but does not recognize him. He thinks he accidentally ended up in the wrong house. Wakula does not recognize Tschub either, takes him for a Koljaka singer and beats him out. Startled by the noise, Oksana returns. She realizes the mistake, but does not accept Wakula's apologies and throws him out. She tells him that she has long been in love with another young man (duet: "То ли дело другой!" - "To li delo drugoi!"). But after Wakula leaves, she confesses her love for him. Outside, Oksana's friends are singing and laughing. Some of them come in to persuade them to sing kolyady with them. Oksana sends her away and bursts into tears.
Second act
Third picture: Solocha's hut, similar to Tschub's
Instead of the partition, there is a large stove with a cot on one side and a bed on the other, eating utensils on the wall and bags of coal. The table is set with food and bottles. There is a tub and a barrel near the window. As the curtain is raised, Solocha slowly buttoned her collar. She has just thrown a coat over her shoulders. Your hair is uncombed. The devil crawls out of the stove.
Solocha is upset because her broom broke and she got caught in the chimney when she landed. The devil is flirting again. She asks him to dance a Hopak with her. The devil summons more devils who come out of the fireplace with small violins and flutes and begin to play. A knock on the door interrupts the dance. It is the village mayor Golowa, one of Solocha's admirers. The musicians hide behind the fireplace and the devil slips into a sack. Solocha offers Golowa a glass of vodka. He begins to sing, but before he can get closer to Solocha, there is another knock. Since Golowa does not want to be seen with her, Solocha empties a sack of coal into the barrel and Golowa hides in it. The second newcomer is the schoolmaster, another admirer of Solocha. He sings a song in her honor ("Баба к бесу привязалась" - "Baba k bessu priwjasalas"), but also does not get a chance because someone is knocking on the door again. He too slips into a sack and the third suitor, Tschub, enters. Solocha hugs and kisses him, but they are interrupted by their returning son Wakula. Tschub slips into the same sack in which the schoolmaster was already hiding. In the following quintet everyone complains about the uncomfortable situation in their sacks, while the devil makes fun of them and Solocha tries to bring them to rest and at the same time stop their son (quintet: "О люте, люте мне, Солоха!" - "O ljute, ljute mne, Solocha!"). Finally she lets in the increasingly impatient tapping Wakula. He says he still has to clean up for Christmas and laments the unexpectedly heavy sacks (Arioso: "Вот уже год прешëл и снова" - "Wot usche god preschl i snowa").
Fourth picture: street in the village of Dikanka as in the first picture
Three groups of happily singing villagers meet on the street, begging for gifts (choir scene: "Выросла у тына красная калина" - "Wyrosla u tyna krasnaja kalina"). Two boys pull Oksana and her friend Odarka over on a sledge. Oksana sees Wakula with the three sacks and makes fun of him in front of her friends. Then she looks admiringly at Odarka's new shoes and complains that she has no one to buy her such beautiful things. But when Wakula also promised her colorful shoes from Kazan, she asked for shoes like the ones the tsarina wore. If he could do that, she would marry him on the spot. She runs with the other boys and girls to the background of the scene, where they laughingly have a snowball fight. Then she comes back and shows Wakula the size of her shoes (slipper song: "Черевички, невелички" - "Tscherewitschki, Nevelitschki"). Wakula sees no way to accomplish this task. He just wants to die and asks his friends to mourn him after his death. He goes away with the smallest of the sacks. The villagers examine the two remaining bags that they suspect contain Koljadi gifts. Golowa, Tschub and the schoolmaster slip out. Golowa is still trying to show dignity, and the schoolmaster quickly runs away. Tschub claims to have made a fool of her. Everyone's laughing.
Third act
Fifth picture: river bank. Winter landscape. A mill
A group of ice-covered undines emerges from the frozen river. Their shadows appear on the scene. Everything is illuminated by the moonlight.
The Rusalken moan about the darkness under the ice cover of the river. In doing so, they disturb a forest devil (chorus of the Rusalken: "Темно нам, темно темнешëнко" - "Temno nam, temno temneschnko"). Wakula comes to the bank with the sack on his shoulders to rush into it. He complains about his love affair (Wakula's song on words of Nikolai Alexandrowitsch Tschajew: "Слышит ли, девица, сердце твоë" - "Slyschit li, dewiza, serdze two"). When he puts the sack on the floor, the devil jumps out and onto Wakula's back. He triumphs because Wakula is now his and will end up in the river with the Undines. Alternatively, he could sell him his soul to win Oksana. Wakula appears to agree. When he is about to sign the contract in blood, he pretends to get a nail out of his sack, but then suddenly seizes the devil and pushes him to the ground. Now wakula has the upper hand. In order to regain his freedom, the devil must serve him. First, Wakula demands to be taken to the Tsarina. The devil flies him to Petersburg.
Sixth image: reception hall in the Tsar's palace
Wakula enters the hall riding the devil and jumps off. A group of Zaporozhian Cossacks come in on their way to the banquet with the Tsarina. The devil hides behind the fireplace while Wakula asks an old Cossack to take him away. Initially he refuses, but is then manipulated and changed by the devil. A guard appears to escort the Cossacks through the hall.
Seventh picture: reception. Hypostyle hall in the palace with lamps and chandeliers
Guests and courtiers in period costumes dance a polonaise . The Zaporozhian Cossacks and Wakula await the master of ceremonies next to the pillars. This reminds you to greet Your Highness exactly as you have practiced. The doors on the left open and the prince enters, accompanied by courtiers and noblemen. A guard is at the door. The guests and nobles hold their hats to their chests and bow deeply while the ladies curtsy. Your Highness proclaims that the enemy has surrendered and its castles have been taken. The courtiers cheer the glorious tsarina. Waiters bring cups with fruit and sweet almonds, and Your Highness presents a few couplets about the victorious Russian army (“Пока не началися танцы” - “Poka ne natschalisja tanzy”). You dance a minuet . Then the master of ceremonies signals the Cossacks to step forward. Wakula is allowed to present his request to Your Highness. He explains that his fiancée would like the same shoes as the tsarina's and asks whether they are silver or gold. Everyone's laughing. But the prince smiles touched and has a pair of gold shoes brought in, which he gives to Wakula. A Russian dance and a Cossack dance follow. The master of ceremonies invites everyone to attend a theater performance in the tsarina's family theater. After the courtiers and Cossacks leave, the devil reappears to bring Wakula back.
Fourth act
Eighth picture: Bright sunny winter day. A place. The bell tower of a church
In the middle of the stage two columns with an architrave from which two bells hang. In the background you can see the roofs of the village of Dikanka and a road nearby. Lots of people on the grounds outside the church, lute players and blind beggars on the church steps. In the foreground Wakula's workshop.
Solocha and Oksana sit on the doorstep and complain about Wakula, who they consider dead (duet: "Кто говориту-то пился!" - "Kto goworitu-to pilsja!"). The festival bells ring, and the villagers head home after mass. A group of women invites Oksana to dinner (finale: "К нам милости просим" - "K nam milosti prossim"). Everyone tries in vain to comfort them. Oksana goes away crying. The villagers want to go to the rich Jewish woman's inn to celebrate. Tschub, Golowa and Panas join them. Tschub invites everyone to his home for vodka and pierogi , but only Golowa and Panas accept the offer. Suddenly Wakula appears. He gives his relieved friends various presents he has brought with him and then asks Tschub to give him Oksana as his wife. She returns and Wakula shows her the tsarina's shoes. Oksana assures that she no longer needs the shoes because she only wants him. Tschub blesses the happy couple and calls musicians over. Everyone celebrates.
layout
In opera, reality and imagination intermingle. The focus is more on individual characteristic scenes than on a consistently progressive plot. As in Gogol's submission, it is about the sometimes ironically portrayed contradictions between paganism and Christianity, sensual pleasure and dogmatics, as well as the authorities and the people. The love affair between Wakula and Oksana is rather subordinate to these issues. Some scenes, especially those of Solocha and the Devil, have a dance-like character. Some pieces parody other genres of music. These include No. 8 (Solocha with the Devil), the Schulmeister-Lied in No. 10 or the quintet in No. 11. The Koljadi chants are typical Russian songs. Stylistically, the Couplets of Serene Highness and the Minuet correspond to the palace scene of the third act, which was set back in the 18th century, but which is alienated by satirical purposes.
Tchaikovsky did not use leitmotifs. Nevertheless, certain sequences of intervals occur again and again and give the different characters of the opera, which are otherwise very differently designed, a “common tone”.
The scene in the first picture, in which the devil explains his plan, is a buffo parlante, modeled on Farlaf in Glinkas Ruslan and Lyudmila .
The mirror scene of the Oksana in the second picture, in which her changing moods are expressed through ever faster tempos, is based on the type of the Italian aria.
The role of the Highness is based on the historical Potemkin . It was introduced as a replacement for Tsarina Catherine II , who at that time was not allowed to be shown on the stage.
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : two piccolo flutes , two flutes , two oboes , two clarinets , two bassoons
- Brass : four horns , two trumpets , three trombones , tuba
- Timpani , drums : bass drum , cymbals , tambourine , triangle
- harp
- Strings
- Stage music ( banda ): flute piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two tenor horns , baritone horn , two cornets (trumpets), bass tuba, timpani
- Behind the scene: cannon
Music numbers
The opera contains the following musical numbers:
- Overture (Andante con moto - Allegro giusto)
First act / scene 1
- No. 1. Scene: Allegro moderato: "Ой, как светит месяц ясный" - "Oj, kak swetit mesjaz jasny"
- Duet: Solocha with the devil (Allegro vivo): "Оседлаю помело" - "Ossedlaiu pomelo"
- No. 2. Snowstorm (Allegro vivo - Moderato): "Эх, раззадорила, растор мошила" - "Ech, rassadorila, rastor moschila"
First act / scene 2
- No. 3. Oksana's aria (Moderato assai - Andante): "Ишь ты, какая вьюга!" - "Isch ty, kakaja wjuga!"
- No. 4 scene (Moderato): "Не может наглядется на себя" - "Ne moschet nagljadetsja na sebja"
- Arioso Wakulas (Moderato assai): "О, что мне мать, что мне отец!" - "O, tschto mne mat, tschto mne otez!"
- No. 5th scene (Allegro): "Вишь какой!" - "Wisch kakoi!"
- No. 6th scene (Allegro molto): "Что тут за гвалт?" - "Tschto tut sa gwalt?"
- Duet: Oksana and Wakula (Allegro ma non troppo e un poco rubato): "То ли дело другой!" - "To li delo drugoi!"
- No. 7. Final scene (Allegro moderato): "Эх, кабы люди да умнее были" - "Ech, kaby ljudi da umneie byli"
Second act / scene 3
- Entracte - music between acts (Allegro moderato)
- No. 8 scene: Solocha with the devil (L'istesso tempo): "Вихрем веник унесло" - "Wichrem wenik uneslo"
- No. 9. Scene: Solocha with the village mayor (Moderato assai): "Вот это снег!" - "Wot eto sneg!"
- No. 10th scene: Solocha with the schoolmaster (Moderato): "Нет, никого ?!" - "Net, nikogo ?!"
- Song of the schoolmaster (Allegro moderato - Andantino con moto): "Баба к бесу привязалась" - "Baba k bessu priwjasalas"
- No. 11 scene: Solocha with Tschub (Moderato): “Здорово! Ах, мой миленький ”-“ Sdorowo! Oh, moi milenki "
- Quintet (Andante non troppo): "О люте, люте мне, Солоха!" - "O ljute, ljute mne, Solocha!"
- No. 12. Arioso Wakulas (Andante): "Вот уже год прешëл и снова" - "Wot usche god preschl i snowa"
Second act / scene 4
- No. 13. Choir scene (Andante non troppo): "Выросла у тына красная калина" - "Wyrosla u tyna krasnaja kalina"
- No. 14 scene (moderato): "Что, Оксана, ты замешкалась?" - "Tschto, Oksana, ty sameschkalas?"
- Oksana's slipper song (Allegro giusto): "Черевички, невелички" - "Tscherewitschki, nevelitschki"
- No. 15. Finale (Allegro moderato): “А! Вакула! ”-“ A! Wakula! "
Third act / scene 5
- Entracte - music between acts (Andante non tanto)
- No. 16. Choir of the Rusalken (Allegro moderato): "Темно нам, темно темнешëнко" - "Temno nam, temno temneschnko"
- No. 17. Scene (Moderato): "Куда это забрëл я ?!" - "Kuda eto sabrl ja ?!"
- Song Wakulas (Andante): "Слышит ли, девица, сердце твоë" - "Slyschit li, dewiza, serdze two"
Third act / scene 6
- No. 18 scene (Allegro moderato): "Приехали!" - "Prijechali!"
Third act / scene 7
- No. 19. Polonaise (Tempo di Polacca. Molto maestoso): "Не в рай ли я перенесен!" - "Ne w rai li ja perenessen!"
- No. 20. Couplets by Highness (Andante - Allegro moderato): "Пока не началися танцы" - "Poka ne natschalisja tanzy"
- No. 21. Minuet and scene (Tempo di Menuetto): "Благополучно ли вы совершили путь?" - "Blagopolutschno li wy sowerschili put?"
- No. 22a Russian dance (Allegro comodo)
- No. 22b Cossack Dance (Andante - Allegro molto)
- No. 23. Scene (Andante non troppo): “Сейчас начнëтся домашнем” - “Seitschas natschntsja domaschnem”
Fourth act / scene 8
- No. 24. Duet: Oksana and Solocha (Moderato): "Кто говориту-то пился!" - "Kto goworitu-to pilsja!"
- No. 25. Finale (Allegro moderato - Allegro non troppo e molto maestoso): "К нам милости просим" - "K nam milosti prossim"
Work history
The opera is based on the story The Night Before Christmas (Ночь перед рождеством - Notsch pered roschdestwom ) from the second part of the collection Evenings on a Farm Near Dikanka (Вечера на хуторе близ Диканьки - Wetschera na chutore blis Dikanki ) by Nikolai Gogol from the years 1831/32. Jakow Polonski's libretto was originally commissioned by Grand Duchess Jelena Pavlovna for the composer Alexander Serow . However, he died in 1871 before he could begin composing (there are only sketches after which his widow published a piano suite in 1879). The Grand Duchess then announced a competition for the best setting of the text, in which Tchaikovsky participated after making sure that no composer like Anton Rubinstein or Nikolai Andreevich Rimsky-Korsakov would take part. He began work in June 1874 and completed it after a few months, as he mistakenly assumed that the deadline was too early. For this opera Der Schmied Wakula (Кузнец Вакула - Kuznets Wakula ) he received both first and second prizes. Besides himself and Nikolai Solovyov , only amateurs took part.
The first version of the opera was premiered on December 6, 1876 under the direction of Eduard Nápravník at the Mariinsky Theater in Saint Petersburg. The singers were Fyodor Komissarschewski (Wakula), Anna Bitschurina (Solocha), Iwan Mattschinski (Tschub), Wilhelmina Raab (Oxana), Iwan Melnikow (Devil), Ossip Petrow (Golowa) and Fyodor Stravinsky (Serene Highness). The stage sets came partly from older works, partly they were newly created by Mikhail Botscharow. The opera was conceived as a three-act play. During the performance, however, the final image of the third act was performed as a separate fourth act. Contrary to the expectations of both his friends and opponents, the opera was not a success. After eighteen other performances it disappeared from the program by October 1879.
Soon, however, Tchaikovsky disliked details of his composition. In 1878 he wrote: “If only I had kept my inspiration in check! The whole opera suffers from an overabundance of detail and tiresome use of chromatic harmonies. ”Nonetheless, he valued the work and planned to revise it for a long time. However, he did not come to this until 1885. On this occasion he renamed the opera because other composers, such as B. Nikolai Solowjow , had written operas of the same name. The new title Tscherewitschki was a suggestion by his brother Modest Tschaikowski . It is usually translated as slippers , even though they are actually pointy women's shoes with heels.
Compared to the original version, Tchaikovsky simplified the orchestration and the recitatives. He revised the weighting of the different characters and scenes so that the love story stood out more in favor of the fantastic elements. He re-composed some parts, such as the music of the snowstorm. He also added the duet Oksana / Wakula (first act, in No. 6), the final scene of the first act (No. 7), the Schulmeisterlied (second act, in No. 10), the quintet (second act, in No. 11), the song Wakulas (third act, no. 17, text by Tschajew) and the couplets of the Serene Highness (third act, no. 20). Due to problems with censorship, Tchaikovsky had to replace the figure of the deacon or official with a schoolmaster.
At the premiere of the new version on January 19, Jul. / January 31, 1887 greg. In the Bolshoi Theater in Moscow, Dmitrij Andrejevich Usatov (Wakula), Aleksandra Svjatlovskaja (Solocha), Bogomir Bogomirovich Korsov (devil and the voice of the forest devil), Ivan Matcinskij (Chub), Marija Nikolajeva Klimentova-Muroncevá (Panayeva), Vladimir Streletskij (Oksana), sang Golowa and Master of Ceremonies), Pjotr Grigorjev (Panas), Mikhail Dmitrjevich Vasiljev II (schoolmaster), Pavel Akinfjevich Khokhlov (Highness), Aleksandr Mikhajlovich Dodonov (on duty), Vladimir Ivanovich Vasiljev I (old Zaporozhian). Tchaikovsky himself was in charge of the musical direction. It was his debut as a conductor and he directed the opera three times. Then the conductor Ippolit Altani took over. There were seven performances in total.
It was not until 1902 that the work was performed again at the private opera by Sawwa Mamontow under the direction of Mikhail Ippolitow-Ivanov . There were other Russian productions. a. 1906, 1916 and 1930 in Saint Petersburg, 1910 in Perm, 1913 in Yekaterinburg and 1941 in the Bolshoi Theater in Moscow.
Outside of Russia, the opera was first given on May 16, 1922 in New York. In 1932 there were performances in Mannheim in a German translation by Heinrich Burkard under the title The Golden Shoes and in Cologne in a translation by M. Hofmüller under the title Der Pantoffelheld. In 1950 she was played in Prague, in 1955 at the New York City Opera as The Golden Slippers, in 1993 at the Wexford Festival and at Queen Elizabeth Hall in London. In 2009 it was played at the Royal Opera House Covent Garden and recorded on DVD.
Recordings
- 1948 (studio recording): Alexander Melik-Paschajew (conductor), orchestra and choir of the Bolshoi Theater Moscow. Georgi Nelepp (Wakula), Elizaveta Antonova (Solocha), Andrei Iwanow (Devil and Highness), Maxim Michailow (Tschub), Eva Kruglikova (Oksana), Sergei Krasowski (Pan Golowa), Feodor Godovkin (Panas), Alexander Peregudow (schoolmaster) , Ivan Ionow (master of ceremonies), Benjamin Schetsow (on duty), Ivan Sipajev (old Zaporozhian), Mikhail Skazin (voice of the forest devil), Olga Insarova (Catherine II). Preiser 90350 2 CD, Ultraphone (3 LP), Cantus Classics 500686 (2 CD).
- September 1973 (studio recording, version from 1885, abridged): Vladimir Fedosejew (conductor), USSR State Radio Symphony Orchestra, USSR State Radio Chorus. Constantin Lissovski (Wakula), Ludmila Simonova (Solocha), Oleg Klenov (Devil), Alexei Krivtchenya (Tschub), Nina Fomina (Oksana), Gennady Troitzkij (Pan Golowa), Ivan Kartavenko (Panas), Vladimir Makhov (schoolmaster), Alexander Poljakov (Your Highness), Viktor Selivanov (Master of Ceremonies), Valerij Rybin (Duty), Vjatcheslav Godunov (Old Zaporozhye), Ivan Budrin (Voice of the Forest Devil). Melodia eurodis LP: 300 373-40 (3 LP), Relief (Helikon) CR 991054 2 CD.
- January 2000 (live from Cagliari): Gennadi Roschdestwenski (conductor), orchestra and choir of the Teatro Lirico di Cagliari . Valerij Popov (Wakula), Ludmilla Schemtschuk (Solocha), Albert Schagidullin (Devil and Master of Ceremonies), Vladimir Ognovenko (Tschub), Ekaterina Morosova (Oksana), Barseg Tumanyan (Pan Golowa), Valentin Okenko (Panas), Grigory Osipov (Serene Highness) , Pavel Černoch (on duty), Frantisek Zahradnicek (old Saporoger), Fabio Bonavita (voice of the forest devil). Dynamic CDS 287 / 1-3 (3 CD).
- 2004 (live from Garsington): Elgar Howarth (conductor), choir and orchestra of Garsington Opera . Adrian Dwyer (Wakula), Frances McCafferty (Solocha), Roderick Earle (Devil), Leonid Zimnenko (Tschub), Anne-Sophie Duprels (Oksana), Gerard O'Connor (Pan Golowa), Stuart Kale (schoolmaster). Garsington Opera GA 002 (3 CD).
- 2009 (video, live from London): Alexander Polianichko (conductor), orchestra and choir of the Royal Opera House . Vsevolod Grivnov (Wakula), Larissa Djadkowa (Solocha), Maxim Michailow (Devil), Wladimir Matorin (Tschub), Olga Guryakova (Oksana), Alexander Vassiliev (Pan Golowa), John Upperton (Panas), Vyacheslav Voynarovsky (Schoolmaster), Sergei Leiferkus ( Your Highness), Jeremy White (Master of Ceremonies), Changhan Lim (Voice of the Forest Devil). Opus Arte.
Web links
- Cherevichki : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto as full text (Russian)
- Libretto (English) by Brilliant Classics (PDF)
- Nikolai Gogol : The night before Christmas in the Gutenberg-DE project , translator: Alexander Eliasberg
- Discography of The Slippers Cherevichki at Operadis
- Work information from Tchaikovsky Research
Remarks
- ↑ Gogol: “Koljadi is what we call the songs that are sung in front of the windows on the evening before Christmas.” Cf. Neef.
Individual evidence
- ↑ a b c d e f g h i j Richard Taruskin : Cherevichki. In: Grove Music Online (English; subscription required).
- ↑ a b c d e f g h i j k l m Marina Borissowa: Tscherewitschki. In: Piper's Encyclopedia of Musical Theater. Vol. 6 works. Spontini - Zumsteeg. Piper, Munich and Zurich 1997, ISBN 3-492-02421-1 , pp. 330–333.
- ↑ a b c d e f Sigrid Neef : Handbook of Russian and Soviet opera. Henschelverlag Art and Society, Bärenreiter 1989. ISBN 3-7618-0925-5 , pp. 685–688.
- ^ Work information from Tchaikovsky Research , accessed on July 15, 2016.
- ↑ January 31, 1887: "Cierevichki". In: L'Almanacco di Gherardo Casaglia ..
- ↑ a b Tchaikovsky: Cherevichki DVD (The Royal Opera) on the Royal Opera House website , accessed on July 20, 2016.
- ↑ a b c d Pyotr (Peter) Ilyich Tchaikovsky. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.