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Through my days... Exhibition Tragedies of Love and Power: “The Woman of Pskov”, “The Tsar’s Bride”, “Servilia Author of Dramas The Tsar’s Bride and the Pskovite”

“The style in the theater can be anything strange, but it would be nice if it were artistic…”

Nora Potapova. "And as one we die fighting for it."

This year, the outstanding Russian composer N.A. Rimsky-Korsakov (1844-1908) was 170 years old. One of the founders of the Russian school, he found time for extensive composing activity in the field of opera, symphony, chamber, and later church music. He is the author of famous operas: "Pskovite", " May night”, “Snow Maiden”, “The Night Before Christmas”, “Sadko”, “Mozart and Salieri”, “ royal bride”, “The Tale of Tsar Saltan”, “The Tale of the City of Kitezh”, “The Tale of the Golden Cockerel” - so we have known his historical and fabulous theatrical repertoire since childhood.

It is gratifying that the team of our native SABT named after A. Navoi twice turned to the production opera performances ON THE. Rimsky-Korsakov is "Mozart and Salieri" (1898) in the eighties and "The Tsar's Bride" (1899), successfully going on the stage of the Bolshoi Theater named after A. Navoi and causing constant interest among the audience.

At the concerts of the Russian romance in the Tashkent and Central Asian Diocese, we repeatedly heard the works of the Russian composer performed by the leading soloists of the Bolshoi Theater named after A. Navoi. Most recently, at the Easter concert on April 27, 14, Levko's song from the opera "May Night" performed by our beloved lyric tenor Normumin Sultanov was sincerely sounded.

What is so attractive opera Rimsky-Korsakov today? - says the director of the Bolshoi Theater, Honored Worker of Culture of Uz A.E. Slonim:

- Rimsky-Korsakov , A the second of fifteen operas, has brought to the treasury of world music a number of unsurpassed masterpieces. Sensitively and subtly developing operatic dramaturgy, he introduced fundamentally new methods of revealing dramaturgy, eventfulness, and the psychology of characters into the very foundations of composer creativity. And at the same time - the undoubted shades of a new trend for its time, called "impressionism", which sought to convey the uniqueness of the IMPRESSION from moods, perceptions, sensations. Trying to penetrate into the very depths of the movement of the soul, Rimsky-Korsakov not only accurately reveals the special truth of passions and feelings, but subtly explores the smallest nuances of the movements of the spirit.

The director of the Bolshoi Theater named after A. Navoi strictly preserved this innovative concept in the new production of The Tsar's Bride, whose background is calculated in more than a century of stage evolution. The world premiere took place on October 22 / November 3, 1899 on the stage of the Moscow Private Russian Opera. This was followed by the premiere of the opera at the Mariinsky Theater in St. Petersburg on October 30, 1901. In our time, the Martiniplaza Theatre, Groningen (Netherlands) turned to the production of the opera on December 10, 2004. At the end of the same year - 29 12 2004 again Mariinskii Opera House in St. Petersburg and quite recently in February of this year, the premiere of The Tsar's Bride took place at the Mikhailovsky Theater in the same place in the northern capital.

What is the fundamental difference between the production of the director of the Bolshoi Theater named after A. Navoi A.E. Slonim from other modern Russian interpretations of historical opera? This question was answered by the young soloist of the Opera folk theater from St. Petersburg Mikhail Kramer. He comes from Tashkent, came to visit his relatives, and together with me visited the play "The Tsar's Bride" in two acts based on the drama of the same name by L. May (Libretto by I. Tyumenev and N. Rimsky-Korsakov):

- Director's work I liked it very much - the careful attitude to the text of the opera, the beautifully conveyed era, for the most part, the scenography blends perfectly with the music of the opera. In general, it is very valuable that modern trends, the so-called "director's opera", have not reached the Uzbek capital's theater. I can say that in St. Petersburg now there is no such careful production of Tsarskaya - at the Mariinsky Theater the action of the opera was transferred to Stalin's times (http://www.mariinsky.ru/playbill/repertoire/opera/tsars_bride/), at the Mikhailovsky Theater (former Small Opera House) this year they made a simply disgusting production, the scenography of which can only be understood by being pumped up with drugs (http://www.operanews.ru/14020208.html).

The production of the SABT named after A. Navoi is distinguished by its absolute adequacy, and, I emphasize once again, very careful attitude to the text of the opera. The only thing I did not understand in this production was why Ivan the Terrible was introduced at the end. And, as far as I remember, it is not written in the clavier of the opera that Martha dies at the end.

In that important point connected with the novelty of the production of the opera, one can object to our guest. Tsar Ivan Vasilyevich the Terrible is performed by the director of the opera A.E. Slonim. This image, intertwined with others in the play, is very important. In the concept of the performance, the image is presented through, up to the finale and its final expressive mise-en-scène, in which the Tsar himself is represented in the abundance of victims of the era of totalitarianism (in modern language) and lawlessness. He punishes his oprichnik Grigory Gryazny and in a moment, a little later, sags helplessly on his royal staff. Thus, he merges in his impulse with the whole people, pronouncing the final phrase "Oh, Lord!" - in a frantic prayer for forgiveness for everything, for everything ... This is catharsis (purification), without which not a single classical tragedy can do from the time of Shakespeare to the present day.

In principle, any director has the right, in accordance with the score, to expand the scope of copyright instructions. According to the author, the role of Bomelius ends in the second picture. Directed by A.E. Slonim, this image develops in the final scene. Grigory Gryaznoy brings an overseas doctor with him to heal Marfa, as he short-sightedly believes, from "love yearning" for Grigory. When the intrigue is revealed - Bomelius also receives in full for his deeds. Let us recall the fact that the historical Bomelius was indeed captured and executed.

A.E. Slonim in a new way, completely psychologically justified, also motivates the image of Martha, according to his own creative concept:

And the young Martha from The Tsar's Bride, who becomes an unwitting victim of human passions, innocently poisoned by an evil potion, in her aspiration to the light, intones her phrases also in this "mode of doom". And it’s obvious to the point of confusion that when the same darkness of predestination thickens over the guardsman Grigory Gryazny, one of the main culprits of the tragedy, the same tone suddenly appears in his intonations, prophesying a quick death. Having listened and looked closely at the Snow Maiden, who has already known the beginnings of earthly love, we will hear in her phrases not only illumination, but also an overhanging sign of an imminent departure. It seems that in the very methods of revealing the vision of the world, Rimsky-Korsakov, for obvious reasons, turns out to be very close to the work of the great painters of his era - Vrubel, Borisov-Musatov, Levitan.

As in any opera production by N.A. Rimsky-Korsakov, music plays a significant role in The Tsar's Bride - from the first bars of the restrained overture to the extremely expressive possibilities of the dramatic development of the plot in the second act, in which the spiritual life of the characters is rapidly revealed. The composer's in-depth attention to their feelings, psychological contradictions and conflicts, expanding and deepening, is expressed in complex and varied music: at times it is pathetically solemn, and at other times it is unarmedly lyrical and even intimate.

Orchestra led by People's Artist Karakalpakstan Aida Abdullaeva accurately conveys the soulless hangover "lawlessness" of the oprichnina of the era of Ivan the Terrible. The music not only condemns, but at times justifies the unbridled passion of the royal guardsman Grigory Gryazny (Ruslan Gafarov) and his former lover Lyubasha (Ya. Bagryanskaya), who were punished for their villainy at the end of the performance. The music picturesquely depicts the character of the kind, hospitable and unfortunate merchant Sobakin (G. Dmitriev), plunged into despair by an unexpected misfortune - a fatal illness of his daughter, Princess Martha, who was poisoned by a poisonous potion. The music luminously conveys the sublime purity of the “royal bride” (L. Abiyeva), devoted to her feelings for the young groom Ivan Lykov (U. Maksumov) until her death. She expressively emphasizes the ambiguous characters of Malyuta (D. Idrisov), the German doctor Bomelius, the rustic Dunyasha and the naive Domna (N. Bandelette). There are no dead types in the performance, all of them are endowed with living feelings and animated by the multi-colored timbres of the “actors” of Rimsky-Korsakov’s epic world, where the miracle of Love and sublime Purity, even in death, conquers all historical and everyday circumstances.

Regarding the performance, our guest from St. Petersburg noted:

The absolute star of the evening was undoubtedly Latife Abiyeva, who performed the part of Martha. Her amazingly beautiful lyric-coloratura soprano is ideal for playing the part of Marfa, the brightest image in this opera. Surprisingly beautiful, transparent and easy, Martha's first aria sounded: "In Novgorod, we lived next to Vanya ...". The singer's voice is amazingly beautiful and when she sings in full voice, and when she sings quietly, which indicates an outstanding vocal skill. At the same time, the singer is very suitable for this part and outwardly, which, as you know, does not happen often in the opera genre. Both the singing and the stage image - everything corresponded to the light inherent in this party, which is opposed by the passionate and vengeful Lyubasha. In the scene of Martha's madness at the end of the opera, the singer showed the talent of a real tragic actress. The second aria: “Ivan Sergeyich, do you want to go to the garden? ..” also sounded flawless.

Ulugbek Maksumov, the performer of the part of Lykov, was very good. The singer has a beautiful lyrical tenor, while he is very musical. The singer managed to embellish and make interesting even the rather faded, in my opinion, arioso from the first act, “Everything is different, both people and the earth”, which goes unnoticed for me by so many performers. The most difficult aria "A rainy cloud rushed past" was performed at a very high level.

Also noteworthy is the performance of Sobakin's part by bass Georgy Dmitriev. The singer has a rather beautiful voice, however, in my opinion, the performer of this part should have more low voice- "fa" of a large octave at the end of the aria of the singer still did not color with timbre. But this small flaw was more than compensated for by amazing acting. The image of a simple-hearted, kind father, in whose life a huge grief suddenly came, was conveyed superbly.

Yanika Bagryanskaya as Lyubasha was not bad, but, unfortunately, nothing more. The singer has obvious problems with the high notes, besides, a strange manner of reassembling the sound, which makes some words very difficult to understand (for example, the sound instead of the sound “a” on many notes, the singer sings a frank “u”). Intonation (hitting the notes) was not always accurate, especially at the top. And the upper “la” in the first aria (“After all, I love you alone”) did not work at all. In addition, the singer quite noticeably parted ways with the orchestra several times.

Ruslan Gafarov is the ideal performer for the part of Grigory Gryazny. This part is very difficult in that it is written very high for a baritone. That is why quite often she is assigned to sing soft, lyrical, so-called "Onegin" baritones, which, of course, loses her sinister character. Gafarov, on the other hand, has a dramatic baritone, which allows him to convey all the colors of this rather emotionally complex part. At the same time, the range of his voice allows him to overcome all tessitura difficulties. Acting, the image is also very suitable for him, and he quite vividly conveys this controversial guardsman. All the more regret is the fact that the singer quite often disagreed with the orchestra (for example, in a dialogue with Bomelius before the trio or in the finale of the opera). Nevertheless, it should be noted that the most difficult aria at the beginning of the opera (“The beauty does not go crazy”) was performed perfectly.

Nurmahmad Mukhamedov, who performed the role of Bomelia, played this role quite well. The singer's voice fits the part well. But he most often disagreed with the orchestra and partners. This was especially noticeable in the trio from the first act, which the singer simply spoiled with his lack of time.

In general, I even think that it is possible that not so much the singers as the audience are to blame for these unfortunate blunders. I have such an assumption that in this hall they can hardly hear the orchestra on stage. Or there is no opportunity to fully rehearse. On this visit to Tashkent, since the end of January, I have been at many performances of the theater, and I observed similar discrepancies in other performances - Carmen and Il trovatore.

I really liked the performers of the supporting roles: Rada Smirnykh (Dunyasha) and Nadezhda Bandelet (Domna Saburova). To be honest, more than once during the evening the thought came to me that the very sonorous, rich voice of the Rada would be much better suited for the performance of the part of Lyubasha than the rather modest, in my opinion, the voice of Bagryanskaya. Nadezhda Bandelet demonstrated excellent command of her voice in a rather demonstrative aria from the third act (staged by the Bolshoi Theater - the first scene of the second act), as well as Rada Smirnykh and Nadezhda Bandelet perfectly conveyed the characters of their characters.

I was pleased today with the sound of the choir, which, unfortunately, is usually not strong point performances. The orchestra conducted by Aida Abdullayeva sounded very harmonious, balanced, expressive

The diversity of views and opinions about the opera production of The Tsar's Bride confirmsfairness of opiniondirector-producer of the Bolshoi theaterA.E. Slonim that “the time will come, and interest in the works of this outstanding composer will deepen and intensify.After all, the mighty appearance of N.A. Rimsky-Korsakov, who comprehended the mysteries of the Miracle in many of its manifestations, today not only does not lose the features of its brightness, intelligibility and novelty, butmakes it clear in reality that this great composer by no means a musical figure of the past, but a creator who was centuries ahead in his perceptions of the world of both his time and his era - and invariably close in his aspirations to us, today ... "

Guarik Bagdasarova

Photo by Mikhail Levkovich

Authors)
libretto Nikolai Rimsky-Korsakov Plot Source Lev Mei - drama "Pskovite" Genre Drama Number of actions three Year of creation - , edition First production January 1 (13) Place of first performance Petersburg, Mariinsky Theater

« Pskovite is the first opera by Nikolai Rimsky-Korsakov. The opera has three acts, six scenes. The libretto was written by the composer himself on the plot of the drama of the same name by Lev Mei. First staged at the Mariinsky Theater in St. Petersburg under the baton of Eduard Napravnik in 1999, revised by the composer in 1999.

Characters

Prince Tokmakov, posadnik in Pskov - bass;
Olga, his adopted daughter - soprano;
Boyar Matuta - tenor;
Boyarina Stepanida Matuta (Stesha) - soprano;
Mikhail Tucha, mayor's son - tenor;
Prince Vyazemsky - bass;
Bomelius, royal doctor - bass;
Yushko Velebin, messenger from Novgorod - bass
Vlasyevna, mother (mezzo-soprano);
Perfilievna, mother (mezzo-soprano).

Boyars, guardsmen, people.

The action takes place in Pskov and its environs in a year.

Act one

Picture one. A garden near the house of Prince Tokmakov, the royal governor and sedate mayor in Pskov. Mothers Vlasyevna and Perfilyevna are talking about the formidable Tsar of Moscow Ivan Vasilyevich, who defeated the Novgorod freemen, is going to free Pskov. Girls play burners, in which Tokmakov's adopted daughter, Olga, is not involved, whispering with her friend Stesha about a love date with the posadnik's son, Mikhail Tucha. Vlasyevna tells the girls a fairy tale, but clouds are heard whistling. Everyone goes to the tower. Olga secretly goes on a date to Cloud. A tender scene takes place between them. Hearing the sound of approaching steps, Cloud climbs over the fence, and Olga hides in the bushes. Prince Tokmakov enters with the old boyar Matuta, who is wooing Olga. Tokmakov warns Matuta that Olga is his adoptive, not own daughter and hints that her mother is the noblewoman Vera Sheloga, and her father is Tsar Ivan himself, now marching with an army to Pskov. A ringing is heard, convening at a veche. Olga is shocked by the news she overheard.

Picture two. Square in Pskov. People run away. On the square, the Novgorod messenger Yushka Velebin, he tells that Novgorod has been taken, and that Tsar Ivan the Terrible is approaching Pskov. The people want to defend the city and go into open battle. Tokmakov and Matuta call on the people of Pskov to submit. The cloud protests against this decision, calls for resistance and leaves with the Pskov youth (freemen) at the sounds of an old veche song. The crowd notices the weakness of the "freemen", foresees her death and mourns that "the formidable king has a heavy hand."

Action two

Picture one. Big square in Pskov. At the houses - tables with bread and salt, as a sign of a humble meeting. The crowd is in fear and waiting for the arrival of the king. Olga informs Vlasevna family secret which she overheard. Vlasyevna foresees misfortune for Olga. The solemn entrance of the king opens with the cries of the people "Have mercy!".

Picture two. A room in Tokmakov's house. Tokmakov and Matuta humbly greet Ivan the Terrible. Olga treats the king, who treats her mercifully, noticing in her a resemblance to her mother. Girls praise the king. After they leave, the tsar, after questioning Tokmakov, is finally convinced that Olga is his daughter, and, shocked by the memories of his youth, declares: “The Lord saves Pskov!”

Act Three

Picture one. The road to the Caves Monastery, deep forest. In the forest royal hunt. A thunderstorm starts. Girls with their mothers pass along the road. Olga lagged behind them, who started a journey to the monastery only to meet Cloud on the way. There is a meeting of lovers. Suddenly, Cloud is attacked by Matuta's servants. The cloud falls wounded; Olga loses her senses - she is carried away in her arms by Matuta's guard, who threatens to tell Tsar Ivan about Cloud's betrayal.

Picture two. Royal headquarters near Pskov. Tsar Ivan Vasilyevich reminisces alone. Thoughts are interrupted by the news that the royal guards have captured Matuta, who was trying to kidnap Olga. The king is furious and does not listen to Matuta, who is trying to slander Cloud. They bring in Olga. Grozny is distrustful at first and speaks to her in an annoyed manner. But then frank confession the girls in their love for the Cloud and her affectionate, heartfelt conversation conquered the king. Suddenly, Cloud, having recovered from his wound, attacked the guards with his detachment, he wants to free Olga. The king orders the freemen to be shot, and Cloud to be brought to him. However, he manages to escape capture. From afar, Olga hears the farewell words of her beloved's song. She runs out of the tent and falls, struck by someone's bullet. Olga is dying. In desperation, Grozny leans over the body of his daughter. The people are crying about the fall of the great Pskov.

Notes

Links

Wikimedia Foundation. 2010 .

See what "Pskovityanka (opera)" is in other dictionaries:

Opera by Nikolai Rimsky-Korsakov "The Woman of Pskov"- "Pskovityanka" - an opera in three acts. The music and libretto were written by composer Nikolai Andreevich Rimsky Korsakov, the plot is based on the drama of the same name by Lev Mey. This is the first of fifteen operas created by N. A. Rimsky Korsakov, ... ... Encyclopedia of newsmakers

Opera Woman of Pskovityanka A sketch of the veche scene from the first production of the opera ... Wikipedia

"Pskovityanka" in the "historical" homeland

Ministry of Culture of the Russian Federation
Administration of the Pskov region
State Academic Grand Theatre Russia
Russian State Theater Agency

PSKOVITYAN WOMAN
Stage composition based on the opera -Korsakov
to the 500th anniversary of the entry of Pskov into the Moscow State

Pskov Kremlin
July 22, 2010 Beginning at 22.30.

The Bolshoi Theater performs the opera The Woman of Pskov in the very heart of her "native" city - in the Pskov Kremlin. The performance will take place during the celebration of the City Day and the 66th anniversary of its liberation from the fascist invaders.

Musical director and conductor - Alexander Polyanichko
Stage director - Yuri Laptev
Set Designer - Vyacheslav Efimov
Costume designer - Elena Zaitseva
Chief choirmaster - Valery Borisov
Lighting designer - Damir Ismagilov

Ivan the Terrible - Alexey Tanovitsky
Prince Tokmakov - Vyacheslav Pochapsky
Olga - Ekaterina Shcherbachenko
Mikhail Tucha - Roman Muravitsky
Boyar Matuta - Maxim Paster
- Alexandra Kadurina
Bomelius - Nikolai Kazansky
Prince Vyazemsky - Valery Gilmanov
Yushka Velebin - Pavel Chernykh
Vlasevna - Tatyana Erastova
Perfilievna - Elena Novak

Summary of the opera

Rich and famous is Prince Tokmakov, the royal governor in Pskov. But the people of Pskov are filled with anxiety - the formidable Tsar Ivan Vasilyevich is about to arrive here. Will he meet Pskov with anger or mercy? Tokmakov has another concern - he wants to marry his daughter Olga to the sedate boyar Matuta. She also loves Mikhailo Tucha, a brave warrior of the Pskov freemen. In the meantime, Olga's friend is having fun in the garden. The mothers Vlasyevna and Perfilyevna are talking. Vlasyevna knows a lot about the Tokmakov family. Perfilyevna wants to ask her: there is a rumor that "Olga is not a prince's daughter, but raise her higher." Olga keeps aloof from everyone - she is waiting for her betrothed. A familiar whistle is heard - Cloud has come on a date. The son of a poor posadnik, he knows that rich Matuta sends matchmakers to Olga. There is no more Cloud of life in Pskov, he wants to leave his native place. Olga asks him to stay, perhaps she will be able to beg her father to celebrate their wedding. And here is Tokmakov - he is talking with Matuta, confides his family secret to him. Hiding in the bushes, Olga learns from this conversation that she is the daughter of Tokmakov's sister-in-law, who was married to the boyar Sheloga. The girl is confused. In the distance there is a glow of bonfires, bells are heard: the people of Pskov are summoned to a veche. Olga anticipates grief: "Oh, they call not for good, then they bury my happiness!"

Crowds of Pskov residents flock to the trading square. People's passions seethe - terrible news was brought by a messenger from Novgorod: the great city fell, with cruel oprichnina, Tsar Ivan Vasilyevich goes to Pskov. Tokmakov is trying to calm the people, urging them to reconcile, to meet the formidable king with bread and salt. Freedom-loving Mikhail Tucha does not like this advice: we must fight for independence hometown, for the time being, hide in the forests, then, if necessary, take up arms against the guardsmen. The brave freeman goes with him. The people disperse in confusion. It was decided to solemnly meet Grozny on the square in front of Tokmakov's house. Tables are being set up, food is being served. But these are gloomy preparations for the meeting. Even more melancholy in Olga's soul. She will never come to her senses from the overheard words of Tokmakov; how often she went to the grave of her named mother, not suspecting that her mother was lying nearby own mother. Why is Olga's heart beating so in anticipation of Grozny? The solemn procession is approaching more and more, Tsar Ivan Vasilyevich gallops ahead of him on a lathered horse. Tokmakov receives the king in his house. Olga brings honey to the king.

She looks boldly and directly into the eyes of the king. He is shocked by her resemblance to Vera Sheloga, asks Tokmakov who the girl's mother is. Grozny learned the cruel truth: the boyar Sheloga abandoned Vera and died in a battle with the Germans, and she herself became mentally ill and died. The shocked king changed his anger to mercy: “Let all the killings stop! A lot of blood. Let's blunt the swords on the stones. God bless Pskov!”
In the evening, Olga and the girls went to the Pechersky Monastery through a dense forest. A little behind them, at the agreed place, she meets Cloud. First, the girl begs him to return with her to Pskov. But there is nothing for him to do there, Mikhail does not want to submit to Grozny. Olga and Mikhail want to start a new, free life. Suddenly, Cloud is attacked by Matuta's servants. The youth falls wounded; Olga loses her senses - she is carried away in her arms by Matuta's guard, who threatens to tell Tsar Ivan about Cloud's betrayal.

Not far away, near the river Mededni, the royal headquarters was encamped. At night, Grozny, alone, indulges in heavy thoughts. Tokmakov's story stirred up memories of a past hobby. How much has been experienced, and how much still needs to be done, "in order to bind Rus' with a wise law, that with armor." Thoughts are interrupted by the news that the royal guards have captured Matuta, who was trying to kidnap Olga. The tsar, in a rage, does not listen to the boyar's slanders against the free Pskov, drives Matuta away. They bring in Olga. Grozny is distrustful at first and speaks to her irritably. But then the girl's frank confession of her love for the Cloud and her affectionate, heartfelt conversation conquered the king. But what kind of noise is heard in the headquarters? Cloud, having recovered from his wound, attacked the guards with his detachment, he wants to free Olga. In anger, the king orders to shoot the freemen, and bring the impudent young man to him. However, Cloud manages to escape capture. From afar, Olga hears the farewell words of her beloved's song. She runs out of the tent and falls, hit by someone's bullet. Olga is dead. In desperation, Grozny leans over the body of his daughter.

NOTE:

From the history of the creation of the opera PSKOVITYAN WOMAN

On the website of the Central library system city of Pskov http://www. / opened an information section dedicated to the pages of the history of the creation of the opera - Korsakov's "Pskovite Woman", which will be presented in the Pskov Kremlin on the eve of the City Day on July 22, 2010. The proposed information section of Rimsky-Korsakov's "Pskovityanka" tells about the history of the creation of the opera, its authors, performers, and the plot of the work.

The opera "Pskovityanka", which will be presented in the Pskov Kremlin on July 22, 2010, occupied a special place in the work of Nikolai Andreevich Rimsky-Korsakov. The composer worked on The Maid of Pskov, starting from his first steps in art and almost to the end of his days. Almost the largest number of pages of Rimsky-Korsakov's autobiographical book The Chronicle of My Musical Life is devoted to this opera.

The material on the site is grouped into seven sections. The first one tells about the Vechasha estate in the Plyussky district of the Pskov region, where the composer worked on the opera. Two sections are devoted to the historical background against which the events of the work unfold and literary basis operas - the drama of Lev Alexandrovich Mey "The Maid of Pskov". Two more sections tell about the work of Fyodor Ivanovich Chaliapin on the image of Ivan the Terrible and about the scenery for the opera, which were created by best artists XIX-XX centuries Also on the site you can watch a ten-minute video clip "The Maid of Pskov at the Mariinsky Theatre", which includes scenes from the opera, interviews with Valery Gergiev and the performers of the leading roles: The Maid of Pskov at the Mariinsky Theatre. Video.

Based on the drama of the same name by L. A. May

Characters:

Tsar Ivan Vasilyevich the Terrible		bass
Prince Yury Ivanovich Tokmakov, tsar's governor and sedate posadnik in Pskov		bass
Boyar Nikita Matuta		tenor
Prince Athanasius Vyazemsky		bass
Bomelius, royal physician		bass
Mikhail Andreevich Tucha, mayor's son		tenor
Yushko Velebin, messenger from Novgorod		bass
Princess Olga Yurievna Tokmakova		soprano
Boyaryshnya Stepanida Matuta, Olga's friend		mezzo-soprano
Vlasevna	mothers	mezzo-soprano
Perfilievna		mezzo-soprano
Watchdog's voice		tenor
Tysyatsky, judge, Pskov boyars, mayor's sons, guardsmen, Moscow archers, hay girls, people.
The scene of action - in the first two acts in Pskov, and in the last - first at the Caves Monastery, then at the river Mededni. Time - 1570 year.

HISTORY OF CREATION

PLOT

Rich and famous is Prince Tokmakov, the royal governor in Pskov. But the people of Pskov are filled with anxiety - the formidable Tsar Ivan Vasilyevich is about to arrive here. Will he meet Pskov with anger or mercy? Tokmakov has another concern - he wants to marry his daughter Olga to the sedate boyar Matuta. She also loves Mikhailo Tucha, a brave warrior of the Pskov freemen. In the meantime, Olga's friend is having fun in the garden. The mothers Vlasyevna and Perfilyevna are talking. Vlasyevna knows a lot about the Tokmakov family. Perfilyevna wants to ask her: there is a rumor that "Olga is not a prince's daughter, but raise it higher." But the old mother does not give out her favorite. Olga keeps aloof from everyone - she is waiting for her betrothed. A familiar whistle is heard - Cloud has come on a date. The son of a poor posadnik, he knows that rich Matuta sends matchmakers to Olga. There is no more Cloud of life in Pskov, he wants to leave his native place. Olga asks him to stay, perhaps she will be able to beg her father to celebrate their wedding. And here is Tokmakov - he is talking with Matuta, confides his family secret to him. Hiding in the bushes, Olga learns from this conversation that she is the daughter of Tokmakov's sister-in-law, who was married to the boyar Sheloga. The girl is confused. In the distance there is a glow of bonfires, bells are heard: the people of Pskov are summoned to a veche. Olga anticipates grief: “Ah, they don’t call for good, then they bury my happiness!”

Crowds of Pskov residents flock to the trading square. People's passions seethe - terrible news was brought by a messenger from Novgorod: the great city fell, with cruel oprichnina, Tsar Ivan Vasilyevich goes to Pskov. Tokmakov is trying to calm the people, urging them to reconcile, to meet the formidable king with bread and salt. The freedom-loving Mikhail Tucha does not like this advice: we must fight for the independence of our native city, for the time being, hide in the forests, then, if necessary, take up arms against the guardsmen. The brave freeman goes with him. The people disperse in confusion. It was decided to solemnly meet Grozny on the square in front of Tokmakov's house. Tables are being set up, food is being served. But these are gloomy preparations for the meeting. Even more melancholy in Olga's soul. She will never come to her senses from the overheard words of Tokmakov; how often she went to the grave of her named mother, not suspecting that her own mother was lying nearby. Vlasyevna consoles Olga: perhaps Tokmakov said so, wanting to drive Matuta away from her. But the girl does not listen to her old mother: why does her heart beat so much in anticipation of Grozny? The solemn procession is approaching more and more, Tsar Ivan Vasilyevich gallops ahead of him on a lathered horse. Tokmakov receives the king in his house. But he is distrustful and vicious - betrayal seems to him everywhere. Grozny suspects poison in the goblet. He makes the owner of the house drain this goblet first. Olga brings honey to the king.

In the evening, Olga and the girls went to the Pechersky Monastery through a dense forest. A little behind them, at the agreed place, she meets Cloud. First, the girl begs him to return with her to Pskov. But there is nothing for him to do there, he does not want to submit to Grozny. And why should Olga return to Tokmakov when she is not his daughter? They want to start a new, free life. Suddenly, Cloud is attacked by Matuta's servants. The youth falls wounded; Olga loses her senses - she is carried away in her arms by Matuta's guard, who threatens to tell Tsar Ivan about Cloud's betrayal.

MUSIC

"Pskovityanka" - folk musical drama. In its dramaturgy and style, it is close, which was created around the same years. In both works, events of the distant past came to life. But the differences inherent in the individual creative image of these classics of opera literature also affected: he mainly expressed the tragic perception of Russian history, and - with all the drama of the conflicts - a brighter, more peaceful one. At the same time, in The Maid of Pskov, he managed to vividly convey the variety of life phenomena. In all its inconsistency, the majestic figure of Ivan the Terrible is truthfully depicted. Charmingly chaste appearance of Olga. The freedom-loving spirit is imbued with music that depicts the Pskov freemen, headed by the Cloud. The folk scenes are full of drama. In the opera as a whole, the nature of Russian songwriting is clearly revealed.

The orchestral overture outlines the main conflict of the opera. Gloomy, wary sounds the main theme of Grozny. It is opposed by the impetuous strong-willed melody of the song Clouds as an image of the Pskov freemen. Then Olga's theme, as wide as a folk song, appears. As if in a fight, the themes of the Terrible and the freemen clash in a dramatic development, giving way to the majestic main topic ruler of Rus'.

The opera opens with a merry game of burners by Olga's friends. Following the conversation of the old mothers, Vlasyevna sings “The Tale of Princess Lada”, sustained in the spirit of folk storytellers. Olga's meeting with Cloud ends with a heartfelt tender duet "Yes, stay, my dear, do not go to the far side", in which the composer used the melody folk song"You are the field." At the end of the picture, after Tokmakov's conversation with Matuta, alarm bells sound, calling the Pskovites to the veche. From these chimes, which are joined by the musical themes of the king, the subsequent symphonic intermission grows.

The second picture depicting the Pskov Veche is one of the best in the opera. How the waves of the surf sound exclamations folk choir, which form the musical and semantic core of the picture. The messenger's story "The bow and the word of Nova-Gorod, your elder brother showed off, ordered to live long" big wave popular anger. The appeal of Tokmakov, who is trying to pacify the passions that have erupted, “Fathers and brothers, men of Pskov, the word to you,” brings peace. But Cloud speaks: “Allow me, men of Pskov, to tell you the truth!” His call again causes popular excitement. The theme of the spontaneous impulse of the people sounds again, which is crowned with the battle song of Clouds “Condemn the Pskovites, gather at the court”; it is based on the melody of the folk song “Like under a forest, under a forest” (this melody has already been heard in the overture). The freemen, picking her up, are removed.

The first picture of the second act begins with a sad choral song in the spirit of folk lamentations "The terrible tsar goes to the great Pskov." For the first time, Olga's pure, chaste appearance is so fully revealed in her mournful arioso "Ah, mother, mother, I have no redder fun," which precedes the conversation with Vlasyevna. Festive bell ringing accompanies Grozny's entry into Pskov. The orchestral intermission between the paintings (intermezzo) gives, in contrast, a sketch of Olga's poetic image.

The opening scene of the second picture, which takes place at Tokmakov's, is all permeated with the harsh musical theme of Grozny. His speech is full of bile and mockery. The turning point comes with the release of Olga. Gently and softly, her appeal sounds “Tsar-sovereign, it is unworthy to kiss your victorious slave with you.” After that, the choir sings a laudatory song "From under the mound, under the green, a fast river swept." At the end of the picture, after Tokmakov's confession of who Olga's mother was, the theme of Grozny sounds powerful and solemn.

An extended symphonic intermission, called by the composer "Forest, Royal Hunt, Thunderstorm", opens the third act. Here colorful images of Russian nature are given, echoes of the royal hunt are depicted.

The girls' choir "Ah, mother green oak forest" is sustained in the spirit of drawling folk songs. The duet of Olga and Clouds “Ah, my dear, oh, my dear”, which captures the nature of an excited speech, is expressive. The first picture ends with a dramatic scene of the wounding of Clouds and the abduction of Olga by Matuta.

Majestic music begins the second picture - Grozny alone with his thoughts. Firm determination is heard in his words: “The only kingdom is strong, strong and great, where the people know that they have one lord.” The central place is occupied by the conversation between the tsar and Olga, rich in various shades of mood. Olga's smoothly calm speech "Even as a foolish child, I prayed for you" is opposed as if distorted heartache the words of the king “Tell me better without concealment, who more often - with a beech, or did they scare you with Tsar Ivan in childhood?” The composer appears in this scene as a wonderful master psychological portrait. All subsequent events are succinctly outlined in the opera. From afar comes the melody of the battle song Clouds (to other words than before) “Ali is nowhere, nowhere to sharpen swords or axes now,” which is picked up by the choir of freemen. The scene of the battle with Clouds' exclamation "For Pskov, for antiquity!" Grozny's tragic farewell to his daughter takes place against the background of his main musical theme. The opera ends with the choral epilogue "It happened by the will of God: Great Pskov fell with a proud will." The choir sounds epic, majestic, some melodic turns are woven into it, reminiscent of musical characteristic Olga.

- a composer who became famous as an "opera storyteller" - his creative way in the opera genre, he did not begin with a legendary or epic plot. Suitable subject he was prompted by his friends - M. A. Balakirev and with whom N. A. Rimsky-Korsakov was very friendly at that time. It was about the drama of L. May, but the time for an opera on this plot will come many years later, and in 1868 the attention of the 24-year-old composer was attracted by another play by this playwright, the action of which also takes place in the era of Ivan the Terrible. It was the drama "The Maid of Pskov".

The immediate impetus for the beginning of work on the opera was a letter from my brother about the upcoming trip to the Kashinsky district of the Tver province: folk life, to its history in general and to the “Pskovityanka” in particular, ”N. A. Rimsky-Korsakov later recalled. Under the influence of these emotions, he immediately improvised a fragment for the future opera on the piano.

The drama of L. May ideally corresponded to the aspirations of the Kuchkists: a plot from Russian history, the struggle against tyranny - and human drama, unfolding against this background. The heroine of the opera Olga finds herself in a difficult situation: she is a resident of Pskov and the beloved of the leader of the Pskov freemen - and the daughter of a formidable tsar who goes to Pskov with guardsmen. Despite everything, she still loves her father, who also has to go through the tragedy - the death of her newfound daughter. N. A. Rimsky-Korsakov makes this point even more acute than in literary source: in the drama, Olga dies from a random bullet - in the opera, she commits suicide.

While N. A. Rimsky-Korsakov was writing the opera The Maid of Pskov, M. P. Mussorgsky was creating. Close communication between the composers, who then even lived together (and at the same time they managed not to interfere with each other), led to mutual influence - one can see a lot of similarities in the operas (beginning with the fact that both dramas - and A. S. Pushkin, and L. Mey - were banned from staging). In both works, Russian monarchs are bred, who are experiencing a personal drama, at the same time becoming a real curse for the country. The meeting of Ivan the Terrible by the people of Pskov echoes the prologue of Boris Godunov and the scene at St. Basil's Cathedral, and the veche echoes the scene near Kromy.

B. Asafiev called this work "an opera-chronicle". Such a definition is connected not only with the historical plot, but also with the peculiarities of dramaturgy: the characters presented in the opera The Maid of Pskov are versatile (especially Ivan the Terrible and Olga), but stable, constant - they are immediately defined and in the future they do not develop so much as open up gradually. IN musical language, which these characters are characterized, the declamatory beginning is combined with the element of Russian songwriting - both the typical songs for it, which become the basis of melodies, and genuine folk themes- for example, in the scene of the Pskov veche, the song “Like under the forest” from the collection of M. A. Balakirev was used. N. A. Rimsky-Korsakov turns this round dance song into a heroic one, in a marching rhythm. Its folklore nature is emphasized by its a cappella performance.

Leitmotifs and leitharmonies play a significant role in the dramaturgy of the opera The Maid of Pskov. The tsar is characterized by the theme of an archaic warehouse (N. A. Rimsky-Korsakov here uses a melody that he heard in childhood from the Tikhvin monks). The development of Olga's theme reflects her fate - she approaches the theme of Ivan the Terrible, then musical material characterizing the Pskov freemen. The main themes of the opera - Ivan the Terrible, Clouds, Olga - clash already in the overture, outlining the central conflict of the drama.

In the opera The Maid of Pskov, with its features of a folk musical drama, a very significant role is given to the choir. He creates a folk background for the action (as, for example, the choir of girls in the first act), and participates in the dramatic action. The scene of the Pskov Vech, built on a contrasting comparison of solo episodes and choral ones, is particularly dynamic. The final chorus of the opera sums up the development of the main themes.

The path to staging the opera The Pskovityanka was not easy - the censors did not like the plot, the words "veche, freemen, posadnik" were replaced by others - "gathering, squad, governor." The appearance of the king on opera stage- a document prohibiting this was signed back in the 40s of the XIX century. The lifting of the ban was achieved by the Minister of Marine N. Krabbe, who came to the aid of the naval officer N. A. Rimsky-Korsakov. Finally, in January 1873, The Maid of Pskov premiered at the Mariinsky Theatre. It was a great success, but young people especially liked the opera - the students sang the song of the Pskov freemen, but the composer was not satisfied with his work. Five years later he created the second edition, and in 1892 the third. N. A. Rimsky-Korsakov returned to the plot of The Maid of Pskov again in 1898, writing its prehistory - the one-act opera The Boyar Vera Sheloga.

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