Queen of Spades 1 action. Potpourri from the opera by P.I.
Amazingly, before P.I. Tchaikovsky created his tragic operatic masterpiece, Pushkin's " Queen of Spades"inspired Franz Suppe to compose ... an operetta (1864); and even earlier - in 1850 - he wrote the opera of the same name French composer Jacques Francois Fromental Halévy (however, there is little left of Pushkin here: Scribe wrote the libretto, using the translation of The Queen of Spades into French, made in 1843 by Prosper Mérimée; in this opera the hero's name is changed, the old countess is turned into a young Polish princess, and so on). These, of course, are curious circumstances, which can only be learned from music encyclopedias- these works do not represent artistic value.
The plot of The Queen of Spades, proposed to the composer by his brother, Modest Ilyich, did not immediately interest Tchaikovsky (as did the plot of Eugene Onegin in his time), but when he nevertheless mastered his imagination, Tchaikovsky began to work on the opera "with self-forgetfulness and pleasure” (as well as over “Eugene Onegin”), and the opera (in the clavier) was written in an amazingly short time - in 44 days. In a letter to N.F. von Meck P.I. Tchaikovsky tells how he came up with the idea of writing an opera based on this plot: “It happened in this way: my brother Modest three years ago began composing a libretto for the plot of The Queen of Spades at the request of a certain Klenovsky, but this latter gave up composing music in the end, for some reason unable to cope with his task. Meanwhile, the director of the theaters, Vsevolozhsky, was carried away by the idea that I should write an opera on this very plot, and, moreover, by all means for the next season. He expressed this desire to me, and since it coincided with my decision to flee Russia in January and take up writing, I agreed ... I really want to work, and if I manage to get a good job somewhere in a cozy corner abroad, it seems to me that I will master my task and submit the keyboardist to the directorate by May, and in the summer I will instrument it.
Tchaikovsky left for Florence and began work on The Queen of Spades on January 19, 1890. The surviving draft sketches give an idea of how and in what sequence the work proceeded: this time the composer wrote almost “in a row”. The intensity of this work is amazing: from January 19 to 28, the first picture is composed, from January 29 to February 4, the second picture, from February 5 to 11, the fourth picture, from February 11 to 19, the third picture, etc.
Aria Yeletsky "I love you, I love you immensely ..." performed by Yuri Gulyaev
The libretto of the opera is very different from the original. Pushkin's work is prose, the libretto is poetic, and with verses not only by the librettist and the composer himself, but also by Derzhavin, Zhukovsky, Batyushkov. Pushkin's Liza is a poor pupil of a rich old countess; for Tchaikovsky, she is her granddaughter. In addition, there is no clarified question about her parents - who, where they are, what happened to them. Pushkin’s Hermann is from the Germans, because this is precisely the spelling of his last name, Tchaikovsky’s about his German origin nothing is known, and in the opera "Herman" (with one "n") is perceived simply as a name. Prince Yeletsky, who appears in the opera, is absent from Pushkin
Tomsky's couplets to Derzhavin's words "If dear girls .." Please note: in these couplets the letter "r" is not found at all! Singing Sergey Leiferkus
Count Tomsky, whose relationship with the countess is not noted in the opera, and where he is introduced by an outsider (just an acquaintance of Herman, like other players), Pushkin is her grandson; This seems to explain his knowledge family secret. The action of Pushkin's drama takes place in the era of Alexander I, while the opera takes us - this was the idea of the director of the imperial theaters I.A. Vsevolozhsky - into the era of Catherine. The finals of the drama for Pushkin and Tchaikovsky are also different: for Pushkin, Hermann, although he goes crazy (“He sits in Obukhov hospital in the 17th number”), still does not die, and Liza, moreover, gets married relatively safely; in Tchaikovsky, both heroes die. Many more examples of differences, both external and internal, can be cited in the interpretation of events and characters by Pushkin and Tchaikovsky.
Modest Ilyich Tchaikovsky
Modest Tchaikovsky, ten years younger than his brother Peter, is not known as a playwright outside of Russia, except for the libretto of The Queen of Spades after Pushkin, set to music in early 1890. The plot of the opera was proposed by the directorate of the imperial Petersburg theaters, who intended to present a grandiose performance from the era of Catherine II.
Aria of the Countess performed by Elena Obraztsova
When Tchaikovsky set to work, he made changes to the libretto and wrote part of it himself. poetic text, introducing into it also poems of poets - Pushkin's contemporaries. The text of the scene with Liza at the Winter Canal belongs entirely to the composer. The most spectacular scenes were shortened by him, but nevertheless they give effect to the opera and form the background for the development of the action.
Scene at the Canal. Singing Tamara Milashkina
Thus, he put a lot of effort into creating an authentic atmosphere of that time. In Florence, where the sketches of the opera were written and part of the orchestration was made, Tchaikovsky did not part with music XVIII century of the era of the "Queen of Spades" (Gretry, Monsigny, Piccinni, Salieri).
Perhaps, in the obsessed Herman, who demands from the countess to name three cards and dooms himself to death, he saw himself, and in the countess - his patroness Baroness von Meck. Their strange, one-of-a-kind relationship, maintained only in letters, a relationship like two incorporeal shadows, ended in a break just in 1890.
In the appearance of Herman in front of Lisa, the power of fate is felt; the countess introduces a grave cold, and the ominous thought of three cards poisons the mind of the young man.
In the scene of his meeting with the old woman, Herman's stormy, desperate recitative and aria, accompanied by angry, repetitive sounds of wood, signify the collapse of the unfortunate man, who loses his mind in the next scene with a ghost, truly expressionistic, with echoes of "Boris Godunov" (but with a richer orchestra) . Then follows the death of Liza: a very tender sympathetic melody sounds against a terrible funeral background. Herman's death is less majestic, but not without tragic dignity. As for the "Queen of Spades", she was immediately accepted by the public as a great success for the composer.
History of creation
The plot of Pushkin's The Queen of Spades did not immediately interest Tchaikovsky. However, over time, this short story increasingly took possession of his imagination. Tchaikovsky was especially excited by the scene of Herman's fatal meeting with the countess. Its deep drama captivated the composer, causing an ardent desire to write an opera. The composition was begun in Florence on February 19, 1890. The opera was created, according to the composer, "with self-forgetfulness and pleasure" and was completed in an extremely short time - forty-four days. The premiere took place in St. Petersburg at the Mariinsky Theater on December 7 (19), 1890 and was a huge success. 
Shortly after the publication of his short story (1833), Pushkin wrote in his diary: “My Queen of Spades is in great fashion. Players ponting for three, seven, ace. The popularity of the story was explained not only by the amusement of the plot, but also by the realistic reproduction of the types and customs of the St. 19th century. In the libretto of the opera, written by the composer's brother M. I. Tchaikovsky (1850-1916), the content of Pushkin's story is largely rethought. Lisa from a poor pupil turned into a rich granddaughter of the countess. Pushkin's Herman, a cold, prudent egoist, possessed only by a thirst for enrichment, appears in Tchaikovsky's music as a man with a fiery imagination and strong passions. The difference in the social status of the characters introduced the theme of social inequality into the opera. With high tragic pathos, it reflects the fate of people in a society subject to the merciless power of money. Herman is a victim of this society; the desire for wealth imperceptibly becomes his obsession, obscuring his love for Lisa and leading him to death.
Music
The Queen of Spades opera is one of the greatest works of world realistic art. This musical tragedy amazes with the psychological veracity of the reproduction of the thoughts and feelings of the heroes, their hopes, suffering and death, the brightness of the pictures of the era, the intensity of the musical and dramatic development. Character traits Tchaikovsky's style received here its most complete and perfect expression.
The orchestral introduction is based on three contrasting musical images: narrative, connected with Tomsky's ballad, sinister, depicting the image of the old Countess, and passionately lyrical, characterizing Herman's love for Lisa.
The first act opens with a light everyday scene. The choirs of nannies, governesses, the fervent march of the boys convexly set off the drama of subsequent events. In Herman's arioso “I don't know her name”, sometimes elegiacly tender, sometimes impetuously excited, the purity and strength of his feelings are captured.
The second picture is divided into two halves - everyday and love-lyrical. The idyllic duet of Polina and Lisa "It's already evening" is covered with light sadness. Polina's romance "Dear Friends" sounds gloomy and doomed. The second half of the picture opens with Lisa's arioso "Where do these tears come from" - a penetrating monologue full of deep feelings.
Singing Galina Vishnevskaya. "Where do these tears come from..."
Liza's melancholy is replaced by an enthusiastic confession "Oh, listen, night." Gently sad and passionate Herman's arioso "Forgive me, heavenly creature"
Georgy Nelepp - the best German, sings "Forgive me, heavenly creature"
interrupted by the appearance of the Countess: the music takes on a tragic tone; there are sharp, nervous rhythms, ominous orchestral colors. The second picture ends with the affirmation of the light theme of love. Prince Yeletsky's aria "I love you" describes his nobility and restraint. The fourth picture, the central one in the opera, is full of anxiety and drama.
At the beginning of the fifth scene (act three), against the backdrop of funeral singing and the howling of a storm, Herman’s excited monologue arises “All the same thoughts, all the same horrible dream". The music that accompanies the appearance of the ghost of the Countess fascinates with dead stillness.
The orchestral introduction of the sixth picture is painted in gloomy tones of doom. The wide, freely flowing melody of Lisa's aria "Ah, I'm tired, I'm tired" is close to Russian lingering songs; the second part of the aria "So it's true, with a villain" is full of despair and anger. The lyrical duet of Herman and Lisa “Oh yes, the suffering has passed” is the only bright episode of the picture.
The seventh picture begins with everyday episodes: the drinking song of the guests, the frivolous song of Tomsky “If only dear girls” (to the words of G. R. Derzhavin). With the advent of Herman, the music becomes nervously excited. Anxiously alert septet "Something's wrong here" conveys the excitement that gripped the players. Rapture of victory and cruel joy are heard in Herman's aria “What is our life? A game!". In the dying moment, his thoughts are again turned to Liza - a quiveringly tender image of love appears in the orchestra.
Herman's aria "That our life is a game" performed by Vladimir Atlantov
Tchaikovsky was so deeply captured by the whole atmosphere of the action and the images of the characters in The Queen of Spades that he perceived them as real living people. Having finished sketching the opera with feverish speed(The whole work was completed in 44 days - from January 19 to March 3, 1890. The orchestration was completed in June of that year.), he wrote to his brother Modest Ilyich, the author of the libretto: “... when I got to the death of Herman and the final choir, I felt so sorry for Herman that I suddenly began to cry a lot<...>It turns out that Herman was not only a pretext for me to write this or that music, but all the time a living person ... ".
In Pushkin, Herman is a man of one passion, straightforward, prudent and tough, ready to put his own and other people's lives at stake in order to achieve his goal. In Tchaikovsky, he is internally broken, is in the grip of conflicting feelings and drives, the tragic irreconcilability of which leads him to inevitable death. The image of Lisa was subjected to a radical rethinking: the ordinary colorless Pushkin Lizaveta Ivanovna became strong and passionate nature, selflessly devoted to her feelings, continuing the gallery of pure poetically sublime female images in Tchaikovsky's operas from Oprichnik to The Enchantress. At the request of the director of the imperial theaters, I. A. Vsevolozhsky, the action of the opera was transferred from the 30s of the 19th century to the second half of the 18th century, which gave rise to the inclusion of a picture of a magnificent ball in the palace of Catherine's nobleman with an interlude stylized in the spirit of the "gallant age" , but did not affect the overall color of the action and the characters of its main participants. For the richness and complexity of its peace of mind, sharpness and intensity of experience, these are the composer's contemporaries, in many respects related to the heroes psychological novels Tolstoy and Dostoevsky.
And one more performance of Herman's aria "What is our life? A game!" Zurab Anjaparidze sings. Recorded in 1965, Bolshoi Theatre.
In the film-opera "The Queen of Spades" the main parts were performed by Oleg Strizhenov - German, Olga-Krasina - Lisa. The vocal parts were performed by Zurab Anjaparidze and Tamara Milashkina.
Radio station "Mayak" and Firm "Melody" present a joint project"Night at the Opera" - complete recordings of outstanding opera productions.
P.I. Chaikovsky(1840-1893)
"THE LADY OF SPADES"
(Op. 68, 1890)
Opera in 3 acts, 7 scenes
The plot is borrowed from the story of the same name by A.S. Pushkin
Libretto M.I. Tchaikovsky
The action takes place in St. Petersburg at the end of the 18th century.
Actors and performers:
Hermann- Z. Anjaparidze, tenor
Count Tomsky- M. Kiselev, baritone
Prince Yeletsky- Y. Mazurok, baritone
Chekalinsky- A. Sokolov, tenor
Surin- V. Yaroslavtsev, bass
Chaplitsky- V. Vlasov, tenor
Narumov- Y. Dementiev, bass
Steward- A. Mishutin, tenor
Countess- V. Levko, mezzo-soprano
Lisa- T. Milashkina, soprano
Pauline- I. Arkhipova, contralto
Governess- M. Mityukova, mezzo-soprano
Masha- M. Miglau, soprano
Characters in the interlude Shepherd's sincerity»:
Prilepa- V. Firsova, soprano
Milovzor- I. Arkhipova, contralto
Zlatogor- V. Nechipaylo, baritone
Nurses, governesses, nurses, walkers, guests, children, players, and so on.
choir, children's choir and the Bolshoi Theater Orchestra
Choirmaster - A. Rybnov
Supervisor children's choir- I. Agafonnikov
Conductor - B. Khaykin
1967 recording
Sound engineer - A. Grossman
Remastering - E. Barykina
The action of the opera takes place in St. Petersburg at the end of the 18th century.
First action
First picture. Sunny Summer Garden, filled with a walking crowd. Officers Surin and Chekalinsky share their impressions about the strange behavior of their friend Herman: he spends nights in a gambling house, but he never takes cards in his hands. Soon Herman himself appears, accompanied by Count Tomsky. He admits that he is passionately in love, but does not know the name of his chosen one. Meanwhile, Prince Yeletsky, who has joined the company of officers, shares his joy in connection with his imminent marriage: “The bright angel agreed to combine his fate with mine!” Herman is horrified to learn that the object of his passion is the prince's bride, when the Countess passes by, accompanied by her granddaughter, Lisa. Both women, who noticed Herman's burning gaze, are seized with heavy forebodings.
Tomsky tells his friends a secular anecdote about a countess who, being a young "Venus of Moscow", lost her entire fortune. "At the price of one rendezvous," she learned from the Count of Saint-Germain the fatal the secret of three always winning cards to get your money back. From that moment, her future fate was firmly connected with this secret: “Since she called those cards to her husband, another time the young handsome man recognized them, but on the same night, only she was left alone, a ghost appeared to her and said menacingly:“ You will receive a deadly the blow will come to force you to learn three cards, three cards, three cards!” After this story, Surin and Chekalinsky make fun of Herman and offer to find out the secret of the cards from the old woman, but Herman's thoughts are focused on Lisa. A thunderstorm starts. The garden is empty. Amidst the raging elements, Herman exclaims: “I am not afraid of a storm! In myself all the passions awoke with such deadly force that this thunder is nothing in comparison! No, prince! As long as I'm alive, I won't give it to you, I don't know how, but I'll take it away! ... She will be mine, mine, or I will die!
Second painting. Twilight. The girls try to cheer up the saddened Lisa, but she hides her thoughts. Only left alone, Lisa believes her dark secret night. She feels love for a mysterious stranger, he is beautiful" as fallen Angel", in his eyes "a fire of scorching passion." Herman suddenly appears on the balcony. He reveals his love to Lisa and begs her to accept this confession, because otherwise he is ready to give up his life. Tears of compassion become her answer. They are interrupted by a knock on the door. The Countess enters the room, and Herman, who hid behind the curtain, at the sight of her, suddenly recalls the terrible secret of the three cards.In the face of the old woman, he sees a terrible ghost of death.But she leaves and Herman's impetuous explanation ends with Lisa's response.
Second act
First picture. Ball. Yeletsky, alarmed by Lisa's coldness, assures her of his love, but at the same time nobly gives her freedom. Surin and Chekalinsky in masks mock Herman: “Are you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?” Herman is frightened by these words. At the end of the interlude "The Sincerity of the Shepherdess", he is confronted by the Countess. Having received the keys to the secret door of the Countess from Lisa, Herman perceives this as a fatal omen. Tonight he will know the secret three cards.
Second painting. Herman sneaks into the Countess's bedroom. With trepidation, he peers at her portrait in his youth and feels a secret fatal force connecting him with her: “I look at you and hate, but I can’t get enough of it.” The Countess herself appears, accompanied by her companions. She grumpily recalls the past and gradually falls asleep in the armchair. Herman suddenly appears in front of her, begging to reveal the secret of the three cards: “You can make happiness whole life and it won't cost you anything!" But the Countess, numb with fright, is motionless. Enraged Herman threatens with a gun and the old woman falls dead. The prophecy came true, but the secret remained unknown to Herman. Lisa comes to the noise and sees Herman in a state of madness. She realizes that Herman needed the secret of the three cards.
Third act
First picture. German in the barracks. He reads Liza's letter, where she appoints him a date on the embankment. He sorts through the past in his memory and pictures of the old woman's funeral rise in his imagination, ghostly funeral singing is heard. There is a knock on the window. The candle goes out. Horrified Herman sees the ghost of the Countess and hears her words: “I came to you against my will. But I am ordered to fulfill your request. Save Lisa, marry her and win three cards in a row. Remember! Troika! Seven! Ace!" "Three ... Seven ... Ace ..." - Herman repeats like a spell.
Second painting. Lisa is waiting for Herman on the embankment near the Winter Canal. She experiences a terrible torment of doubt: "Ah, I am exhausted, I have suffered." When the clock strikes midnight and Lisa finally loses hope, Herman appears, at first repeating the words of love after Lisa, but already obsessed with another idea. Lisa becomes convinced that Herman is the culprit behind the death of the Countess. His madness intensifies, he does not recognize her, his thoughts are only about the gambling house: “There are piles of gold lying to me too, they belong to me alone.” He runs away to the gambling house, and Liza, driven to despair, throws herself into the water.
Third painting. Players have fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an agitated Herman appears. Twice in a row, offering big bets, he wins. “The devil himself plays with you at the same time,” those present proclaim. Game continues. This time against Herman, Prince Yeletsky. And instead of a win-win ace, the queen of spades turns out to be in his hands. Herman sees on the map the features of the deceased old woman: “Damned! What do you need! My life? Take it, take it!" and he is stabbed. In the mind of the dying hero arises beautiful image Lisa: "Beauty! Goddess! Angel!" With these words Herman dies.
LIBRETTO
Queen of Spades
STEP ONE
PICTURE ONE
Playground flooded with spring sunshine summer garden. Nurses walking or sitting on benches, governesses and wet nurses. Children play burners, jump ropes, throw balls.
Burn, burn bright
To not go out
One two Three!
(Laughter, exclamations, running around.)
Chorus of nannies
Have fun, cute kids!
Rarely the sun of you, dear ones,
Fills with joy!
If, darlings, you are at will
Games, pranks are up to,
Then a little to your nannies
You bring peace then.
Warm up, run, dear children,
And have fun in the sun!
Chorus of governesses
God bless,
At least you can rest a little.
Breathe spring air
See something!
Do not shout, spend time without remarks,
About suggestions, punishments, forget about the lesson.
Chorus of nannies
Get warm!
Run, dear children,
And have fun in the sun!
Choir of wet nurses
Bye, bye, bye!
Bye, bye, bye!
Sleep, dear, rest!
Do not open your clear eyes!
(Drumbeats and children's trumpets can be heard offstage.)
Chorus of nannies, nurses and governesses.
Here are our soldiers coming, soldiers.
How slim!
Step aside!
Places! Places!
One, two, one, two
One, two, one, two!
Boys in toy weapons enter, pretending to be soldiers; in front of the boy-commander.
Chorus of boys
One, two, one, two!
Left, right, left, right!
Friendly, brothers!
Don't stumble!
Boy Commander
Right shoulder forward! One, two, stop!
(The boys stop.)
Listen! Musket in front of you!
Take it for granted! Musket to the leg!
(The boys follow the command.)
Chorus of boys
We are all gathered here
To the fear of Russian enemies.
Evil enemy, beware
And with evil intent
Run or submit!
Hurrah, hurrah, hurrah!
Save the Fatherland
We got to share
We will fight
And enemies into captivity
Pick up without an account!
Hurrah, hurrah, hurrah!
Long live the wife
wise queen,
She is the mother of all of us,
Empress of these countries
And pride and beauty!
Hurrah, hurrah, hurrah!
Commander Boy. Well done boys!
Boys.
We are glad to try, your honor!
Boy Commander
Listen! Musket in front of you!
Right! On guard! March!
(The boys leave, drumming and trumpeting.)
Chorus of nannies, nurses and governesses
Well, well done our soldiers!
And indeed let fear into the enemy.
Well, well done! How slim!
Well, well done!
The boys are followed by other children. The nannies and governesses disperse, giving way to other walkers. Chekalinsky and Surin enter.
CHEKALINSKY. How did the game end yesterday?
SURIN. Of course, I blew terribly! I'm out of luck.
CHEKALINSKY. Did you play again until morning?
SURIN. Yes, I'm terribly tired ... Damn it, I wish I could win at least once!
CHEKALINSKY. Was Herman there?
Was. And, as always, from eight to eight in the morning,
Chained to the gambling table, he sat and silently blew wine.
CHEKALINSKY. But only?
SURIN. Yes, I watched the game of others.
CHEKALINSKY. What a strange man he is!
SURIN. As if he had at least three villains in his heart.
CHEKALINSKY. I heard that he is very poor..
SURIN. Yes, not rich.
Herman enters, thoughtful and gloomy; Count Tomsky is with him.
SURIN. Here he is, look. Like a demon of hell, gloomy... pale...
Surin and Chekalinsky pass.
TOMSKY. Tell me, Herman, what's the matter with you?
HERMANN. With me?.. Nothing...
TOMSKY. You are sick?
HERMANN. No, I'm healthy.
You have become some other ... Dissatisfied with something ...
It used to be: restrained, thrifty,
You were cheerful, at least;
Now you are gloomy, silent
And - I can not believe my ears:
You, a new passion of grief,
As they say, until the morning
You spend your nights playing.
Yes! To the goal with a firm foot
I can't go on like before
I don't know what's wrong with me
I'm lost, indignant at weakness,
But I can't control myself anymore...
I love! I love!
TOMSKY. How! Are you in love? in whom?
I don't know her name
And I don't want to know
Earthly name not wanting
Call her...
(With passion.)
Sorting through all the comparisons,
I don't know who to compare...
My love, the bliss of paradise,
I would like to keep a century!
But the thought is jealous that it
Another to possess
When I dare not trace my foot
her to kiss,
It torments me; and earthly passion
In vain I want to appease
And then I want to hug everything,
And I want to hug my saint then ...
I don't know her name
And I don't want to know!
And if so, get to work!
Find out who she is, and there
And make an offer boldly
And it's up to you...
Oh no, alas!
She is noble and cannot belong to me!
That's what torments and gnaws me!
TOMSKY. Let's find another ... Not alone in the world ...
You do not know me!
No, I can't stop loving her!
Ah, Tomsky! You do not understand!
I could only live in peace
While passions dozed in me ...
Then I could control myself
Now that the soul is in power
One dream - goodbye peace,
Goodbye peace!
Poisoned as if intoxicated
I'm sick, sick
I'm in love!
Is that you, Herman? I confess
I wouldn't have believed anyone that you could love like that!
German and Tomsky pass. Walkers fill the stage.
The general choir of all those walking.
Finally God sent us
Sunny day!
What an air! What a sky!
May is right here!
Oh, what a delight, right,
Walk all day!
Can't wait for a day like this
Long time for us again.
For many years we do not see such days,
And we used to see them often.
In the days of Elizabeth wonderful time -
Summer, autumn and spring were better!
old women (Simultaneously with the elderly).
We used to live better, and such days
We've been here every year in the early spring.
Yes, every year!
And now they are rare
Sunshine in the morning
It got worse, right, it got worse,
Right, it's time to die!
What a joy! What happiness!
How gratifying, how gratifying to live!
How pleasant it is to walk in the Summer Garden,
It's lovely how pleasant it is to walk in the Summer Garden!
Look, look
How many young people
Both military and civilian
Wanders a lot along the alleys,
Look, look
How many wandering around here,
Both military and civilian
How graceful, how beautiful, how beautiful!
Look, look!
Young people (simultaneously with the young ladies).
Sun, sky, air, nightingale melody
And a bright blush on the cheeks of the maidens -
That spring gives, with it love
Sweetly excites young blood!
The sky, the sun, the air is clean,
Sweet nightingale chant
The joy of life and the scarlet blush on the cheeks of the virgins -
Either the gifts of a beautiful spring, or the gifts of spring!
Happy day, beautiful day, how nice
Oh joy, spring brings love and happiness to us!
The general choir of all those walking.
Finally God sent us
Sunny day!
What an air! What a sky!
May is right here!
Oh, what a delight, right,
Walk all day!
Can't wait for a day like this
Long time for us again!
Enter German and Tomsky.
Are you sure she doesn't notice you?
I bet I'm in love and miss you..
When a gratifying doubt
I lost
Would I have endured the torment
My soul?
You see, I live, I suffer,
But in a terrible moment, when I find out
That I was not destined to master it,
Then only one remains...
TOMSKY. What?
HERMANN. Die!..
Prince Yeletsky enters. Chekalinsky and Surin approach him.
CHEKALINSKY (Eletsky). Can I congratulate you?
SURIN. Are you the groom?
Yes, gentlemen, I'm getting married;
Bright angel gave consent
Combine your fate with mine forever!
CHEKALINSKY. Well, goodbye!
SURIN. I am glad with all my heart. Be happy, prince!
TOMSKY. Yeletsky, congratulations!
ELETSKY. Thanks, friends!
ELETSKY (with feeling)
WITH happy day,
I bless you!
How it all came together
To rejoice with me together!
Reflected everywhere
Bliss of unearthly life...
Everything smiles, everything shines,
As in my heart,
Everything trembles cheerfully,
To heavenly bliss beckoning!
What a happy day
I bless you!
HERMANN (to himself, simultaneously with Yeletsky).
unhappy day,
I curse you!
It's like everything came together
To fight with me!
Joy is reflected everywhere
But not in my sick soul.
Everything smiles, everything shines,
When in my heart
Annoyance infernal trembles.
Annoyance hell trembles,
Some torment sulya.
Oh yes, only torment, torment I promise!
TOMSKY. Tell me who will you marry?
HERMANN. Prince, who is your bride?
The Countess and Lisa enter.
ELETSKY (pointing to Lisa). Here she is.
HERMANN. She?! She is his fiancee! Oh my God! Oh my God!
LISA, Countess. He's here again!
TOMSKY (to German). So who is your nameless beauty!
I'm scared!
He's in front of me again
Mysterious and gloomy stranger!
In his eyes a silent reproach
Replaced the fire of insane, burning passion...
Who is he? Why is he following me?
I'm scared, scared, like I'm in power
His eyes of sinister fire!
I'm scared! I'm scared!
I'm scared!
Countess (simultaneously).
I'm scared!
He's in front of me again
Mysterious and scary stranger!
He is a fatal ghost
Embraced all over by some kind of wild passion.
What does he want by following me?
Why is he in front of me again?
I'm scared like I'm in control
His eyes of sinister fire!
I'm scared! I'm scared!
I'm scared!
HERMANN (simultaneously).
I'm scared!
Here again in front of me
Like a fatal ghost
A gloomy old woman appeared ...
In her terrible eyes
I'm reading my dumb sentence!
What does she need?
What does she need, what does she want from me?
Like I'm in control
Her eyes of sinister fire!
Who, who is she!
I'm scared! I'm scared!
I'm scared!
ELETSKY (simultaneously).
I'm scared!
My God, how embarrassed she is!
Where does this strange excitement come from?
There is languor in her soul,
In her eyes there is some kind of dumb fear!
They have a clear day for some reason suddenly
It's time to change the bad weather.
What with her? She doesn't look at me!
Oh, I'm scared, as if close
Some unexpected misfortune threatens,
I'm scared, I'm scared!
TOMSKY (simultaneously).
That's what he was talking about!
How embarrassed he is by the unexpected news!
I see fear in his eyes
Silent fear has replaced the fire of insane passion!
What about her, what about her? How pale! How pale!
Oh, I'm scared for her, I'm scared!
I'm scared for her!
Tomsky approaches the Countess, Yeletsky approaches Lisa. The Countess looks at Herman intently.
TOMSKY. Countess! Let me congratulate you...
Countess. Tell me who is this officer?
TOMSKY. Which? This? Herman, my friend.
Countess. Where did he come from? How terrible he is!
Tomsky sees her off and returns.
ELETSKY (shaking hands with Lisa).
Heaven's enchanting beauty,
Spring, light rustle of marshmallows,
The fun of the crowd, hello friends
Promise in the future for many years
We are happy!
Lisa and Yeletsky leave.
Rejoice, friend! You forgot
What happens after a quiet day is a thunderstorm,
That the creator gave tears to happiness, a bucket of thunder!
A distant thunderclap is heard. Herman, in gloomy thought, sinks onto the bench.
SURIN. What a witch is this Countess!
CHEKALINSKY. Scarecrow!
No wonder she was nicknamed the "Queen of Spades"!
I can't figure out why she doesn't ponte.
SURIN. How! Is it an old woman? What are you?!
CHEKALINSKY. An octogenarian hag! Ha ha ha!
TOMSKY. So you don't know anything about her?
SURIN. No, really, nothing!
CHEKALINSKY. Nothing!
Oh, so listen!
The Countess many years ago in Paris was known as a beauty.
All the youth went crazy for her,
Calling "Venus of Moscow."
Count Saint Germain among others,
Then still handsome, captivated by her,
But unsuccessfully he sighed for the countess:
Beauty played all night long
And - alas! - preferred "Pharaoh" * love.
Once upon a time at Versailles "Ai jeu de la Reine"**
"Venus moskovite" *** was played to the ground.
Among those invited was the Comte Saint-Germain;
Watching the game, he heard how she
Whispered in the midst of excitement:
"Oh my God! Oh my God!
Oh my God, I could play everything
When would it be enough to put again
Count, choosing a good minute when
Stealthily leaving the full hall of the guests,
The beauty sat alone in silence,
Lovingly whispered over her ear
Words sweeter than the sounds of Mozart:
"Countess, Countess!
Countess, at the price of one "rundez-vous" ****
Would you like me to call you
Three cards, three cards, three cards?
The Countess flared up, “How dare you?!”
But the count was not a coward. And when in a day
The beauty has come again, alas,
Penniless, "Ai jeu de la Reine"
She already knew three cards...
Boldly placing them one after the other,
She returned her ... but at what cost!
Oh cards, oh cards, oh cards!
Since she called those cards to her husband,
Another time, their handsome young man recognized them.
But on the same night, only one remained,
A ghost appeared to her and said menacingly:
"You will receive a fatal blow,
From the third, who, ardently, passionately loving,
Three cards, three cards, three cards
Three cards!
CHEKALINSKY. Se non e ver`e ben trovato.*****
Lightning flashes, thunder is approaching. A thunderstorm starts.
* "Pharaoh" - a card game that was in vogue at the court of the French queen.
** In the royal game (fr.)
*** Venus of Moscow (fr.)
**** Date (fr.)
***** "If not true, well said." Latin proverb.
It's funny! .. But the Countess can sleep peacefully:
It is difficult for her to find an ardent lover!
CHEKALINSKY.
Listen, Herman!
Here's a great opportunity for you to play without money.
(Everyone laughs.) Think, think!
CHEKALINSKY, SURIN.
"From the third, who, ardently, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
Chekalichsky, Surin and Tomsky leave. There is a strong thunderclap. The storm is playing out. Walkers rush in different directions.
Chorus of walkers.
How fast the storm came
Who would have expected, what passions!
Blow after blow louder, more terrible!
Run quickly!
Hurry up to the gate!
Hurry home!
Everyone is running away. The storm is getting stronger. The voices of the walkers are heard from afar.
Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry!
Strong thunderbolt.
HERMANN (thoughtfully).
"You will receive a fatal blow
From the third, who, ardently, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
Ah, what do I have in them
Even if I had them!
Everything is dead now...
I was the only one left.
I'm not afraid of the storm!
All the passions have woken up in me
With such deadly power
That this thunder is nothing in comparison!
No, prince!
As long as I'm alive, I won't give it to you,
I don't know how, but I'll take it!
Thunder, lightning, wind!
Before you, I solemnly swear:
She will be mine
She will be mine, mine
My il die!
(Runs away.)
PICTURE TWO
Lisa's room. Liza is sitting at the harpsichord. Around her friends, among them Polina.
LISA, Polina.
It's already evening ... The edges of the clouds have faded, *
The last ray of dawn on the towers is dying;
The last jet in the river
With the extinct sky is fading away.
Everything is quiet ... The groves are sleeping, peace reigns around,
Stretched out on the grass under the bowed willow,
I listen how it murmurs, merging with the river,
A stream overshadowed by bushes.
How the aroma is merged with the coolness of plants,
How sweet is the splashing in the silence at the shore of the jets,
How quiet is the breeze of ether over the waters
And flexible willow flutter.
Chorus of friends.
Charming! Charming!
Wonderful! Pretty!
Ah, wonderfully good!
Also, mesdames. Also, mesdames. More more!
LISA. Sing, Fields, we have one!
Pauline. One? but what to sing?
Chorus of friends.
Please what do you know
Ma shere **, darling, sing us something:
I'll sing Lisa's favorite romance for you.
(Sits down at the harpsichord.) Wait... How is it?
(Preludes.) Yes! remembered.
(Sings with deep feeling.)
Dear friends, dear friends, ***
In carelessness playful,
To the tune of a dance, you frolic in the meadows.
And I, like you, lived in happy Arcadia,
And I am in the morning of days in these groves and fields
Tasted moments of joy
Tasted moments of joy.
Love in golden dreams
She promised me happiness;
__________________
* Zhukovsky's poems
** My dear (fr.).
*** Batyushkov's poems.
But what did I get in these joyful places,
In these happy places?
Grave, grave, grave!
(Everyone is touched and excited.)
So I decided to sing a song
Such a weepy one! Well, why?
And without that you are sad something, Lisa,
On a day like this, think!
After all, you are engaged, ah-ah-ah!
(To girlfriends.)
Well, why are you hanging your noses?
Let's have fun, yes Russian,
In honor of the bride and groom!
Well, I'll start, And you sing along to me!
Chorus of friends. And really, let's have a fun, Russian!
Girlfriends clap their hands. Lisa, not taking part in the fun, stands thoughtfully by the balcony.
Come on, little Mashenka,
You sweat, dance!
Polina and the choir of friends.
Ay, lyuli, lyuli, lyuli,
You sweat, dance!
Your white little hands
Pick up the sides!
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli,
Pick up the sides!
Your quick little legs
Don't be sorry, please!
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli, Do not be sorry, please!
(Polina and friends start dancing.)
If mommy asks - "Merry!" - speak.
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli - "Vesela!" - speak.
And to the answer, auntie -
Like, “I drank until dawn!”
Polina and the choir of friends.
Ay, lyuli, lyuli, people -
Like, “I drank until dawn!”
Pauline. "Go away, go away!"
Polina and the choir of friends.
Ay, lyuli, lyuli, lyuli,
"Go away, go away!"
The Governess enters.
Governess.
Mesdemoiselles, what's all the fuss about here?
The Countess is angry...
Ah ah ah! Aren't you ashamed to dance in Russian?
Fi, quel genre, mesdames *
To the young ladies of your circle
You need to know decency!
You should have each other
Inspire the rules of the world.
In girlish only to rage
You can, not here, mes mignones, **
Can't you have fun
Don't forget the bonton?
To the young ladies of your circle
You need to know decency
You should have each other
Inspire the rules of the world!
It's time to disperse.
They sent me to call you to say goodbye.
The ladies disperse.
Pauline (approaching Lisa). Lisa, why are you so boring?
I am boring? Not at all!
Look what a night
Like after a terrible storm
Everything suddenly changed.
Look, I will complain to the prince about you,
I'll tell him that on the day of the engagement you were sad.
LISA. No, for God's sake, don't speak!
Then please smile now.
Like this! Now goodbye!
(They kiss.)
LISA. I will accompany you...
Polina and Lisa leave. Masha enters and puts out the candles, leaving only one.
As she approaches the balcony to close it, Liza returns.
* Fi, what genre6, ladies. (fr)
** My darlings (fr.).
LISA. No need to close, leave.
Masha. Wouldn't catch a cold, young lady!
LISA. No, Masha, the night is so warm, so good!
Masha. Can you help me get undressed?
LISA. No I myself. Go to sleep!
Masha. It's late, lady...
LISA. Leave me, go!
Masha leaves. Liza stands in deep thought then softly cries.
Where are these tears from?
Why are they?
My girlish dreams
you changed me
My girlish dreams
You changed me!
This is how you justified yourself in reality!
I have now handed my life over to the prince,
Chosen by heart, being,
Mind, beauty, nobility, wealth
Worthy of a friend not like me.
Who is noble, who is handsome, who is stately, like him?
Nobody! And what?
I am full of longing and fear,
I tremble and cry!
Where are these tears from?
Why are they?
My girlish dreams
you changed me
My girlish dreams
You changed me!
You changed me!
(Crying.)
And hard and scary!
But why deceive yourself?
I'm alone here, everything is sleeping quietly around ...
(Passionately, enthusiastically.)
Oh listen, night!
You alone can believe the secret
my soul.
She is gloomy, like you, she is sad
Like a gaze of eyes
Who took away peace and happiness from me...
Queen of the night!
How are you, beauty, like a fallen angel,
He is beautiful
In his eyes the fire of scorching passion,
What a wonderful dream
It beckons me, and my whole soul is in its power!
O night! oh night!
Herman appears at the door of the balcony. Liza retreats in mute horror. They silently look at each other. Lisa makes a move to leave.
HERMANN. Stop, I beg you!
LISA. Why are you here, crazy man? What do you need?
HERMANN. Say goodbye!
(Liza wants to leave.)
Don't leave! Stay!
I myself will leave now
And I won't come back here again...
One minute! .. What are you worth?
The dying man is calling to you.
LISA. Why, why are you here? Get away!.
HERMANN. No!
LISA. I will scream!
HERMANN. Shout! Call everyone!
(Pulls out a pistol.)
I'm going to die anyway, alone or with others.
(Liza lowers her head and is silent.)
But if there is, beauty, in you
Though a spark of compassion
Wait, don't go!
LISA. Oh god, god!
After all, this is my last, death hour!
I learned my verdict today:
You, cruel, give your heart to another!
(Passionately.)
Let me die blessing you
And not cursing
Can I live a day when a stranger
You are for me!
I lived by you; just one feeling
And a stubborn thought alone possessed me!
I will die.
But before saying goodbye to life,
Give me just one moment to be with you,
Together in the midst of the wonderful silence of the night,
Let me drink in your beauty!
Then let death and peace with it!
(Liza stands, looking sadly at Herman.)
Stop like that! Oh how good you are!
Gorgeous! Goddess! Angel!
Sorry beautiful creature
That I disturbed your peace
I'm sorry but passionate
Don't deny confession
Do not reject with longing!
Oh sorry! I am dying
I bring you my prayer;
Look from the heights of heavenly paradise
To the death fight
Soul tormented by torment
Love for you, oh have pity
And my spirit with affection, regret,
Warm your tears!
(Lisa is crying.)
You are crying! You!
What do these tears mean?
Do not drive and regret?
He takes her by the hand, which she does not take away.
Thank you! Gorgeous! Goddess! Angel!
He leans on Lisa's hand and kisses her. At this time, the sound of footsteps and a knock on the door are heard.
Countess (Behind the door). Lisa, open up!
LISA (in confusion). Countess! Good God! I'm dead, run! .. Too late! Here!
There is a stronger knock on the door. Lisa points Herman to the curtain, goes to the door and opens it. Enter the Countess in a dressing gown, surrounded by maids with candles.
Countess. What are you not sleeping? Why are you dressed? What is this noise?
LISA (confused) I, grandmother, walked around the room ... I can’t sleep ...
Countess (gestures to close the balcony)
Look you! Don't be stupid! Now go to bed!
(Knocks with a stick.) Do you hear?..
LISA. Me, grandma, now!
Can't sleep!.. Have you heard this!
Well times! Can't sleep!.. Lie down now!
LISA. I obey! .. Forgive me!
Countess (leaving).
And I hear noise;
You're disturbing your grandmother!
(Maid.) Come on!
(Lize.) And don't you dare do anything stupid here!
(Exit with maids.)
HERMANN (About myself).
"Who, passionately loving,
Will come to probably learn from you
Three cards, three cards, three cards!”
Grave cold blew around!
Oh scary ghost
Death, I don't want you!
Lisa, having closed the door behind the Countess, goes to the balcony, opens it, and gestures for Herman to leave.
Oh spare me!
Death a few minutes ago
It seemed to me salvation, almost happiness!
Now it's not the same: she's scary to me, she's scary to me!
You opened the dawn of happiness to me,
I want to live and die with you!
LISA. Crazy man, What do you want from me, What can I do?..
HERMANN. Decide my fate!
LISA. Take pity, you are ruining me! Leave, I beg you, I command you!
HERMANN. So, it means that you pronounce the sentence of death!
LISA. Oh God, I'm getting weak .. Go away, please!
HERMANN. Say then: die!
LISA. Good God!
HERMANN. Goodbye!
LISA. Heavenly Creator! (Herman makes a move to leave.) No! Live!
Herman hugs Lisa; she rests her head on his shoulder.
HERMANN. Love you!
LISA. I'm yours!
HERMANN. Gorgeous! Goddess! Angel!
ACT TWO
PICTURE THREE
Masquerade ball at the rich dignitary. Great Hall. On the sides, between the columns, lodges are arranged. Boys and girls in fancy dress dancing country dance. Singers sing in the choirs.
Choir of singers.
Joyfully, cheerfully on this day *
Gather together, folks!
Throw away your troubles
Jump, dance boldly!
Jump, dance boldly,
Throw you, throw you your idleness,
Jump, dance, dance merrily!
Beat with your hands,
Click your fingers loudly!
Move your black eyes
Stanom you all say!
Fertik hands you to the sides,
Do easy jumps
Chobot on Chobot knock,
With a bold step whistle!
The Steward enters.
Steward.
The owner asks dear guests to come
Look at the glitter of fun lights!
All guests are directed to the garden terrace.
CHEKALINSKY.
Our Herman hung his nose again,
I guarantee you that he is in love
It was gloomy, then it became cheerful.
No, gentlemen, he is passionate,
What do you think?
How? Hope to learn three cards.
CHEKALINSKY. Here's the weirdo!
I don't believe you have to be ignorant
For this. He's not stupid!
SURIN. He told me himself...
TOMSKY. Laughing!
CHEKALINSKY. (Surina).
Come on, let's go tease him! (Pass.)
And yet, he is one of those who, once thinking,
Gotta get it all done! Poor fellow! Poor fellow!
(Tomsky passes. Servants prepare the middle of the hall for an interlude. Prince Yeletsky and Liza enter.)
You are so sad dear
As if you have grief ...
Trust me!
LISA. No, later, prince, another time ... I beg you!
(Wants to leave.)
Hold on, for a moment!
I must, I must tell you!
I love you, I love you beyond measure,
I can't imagine living a day without you.
And a feat of unparalleled strength
Ready to do for you now
But know: your heart is free
I don't want to embarrass anything
Ready to hide for you
And appease the ardor of jealous feelings,
Ready for everything, for everything!
Not only a loving spouse,
Servant helpful sometimes,
Wish I could be your friend
And a comforter always.
But now I see clearly, I feel now,
Where did you lure yourself in dreams,
How little trust you have in me,
How alien I am to you and how far away!
Ah, I am tormented by this distance,
I sympathize with you with all my heart,
I mourn your sadness
And I cry with your tears ...
Ah, I am tormented by this distance,
I sympathize with you with all my heart!
I love you, I love you beyond measure,
I can't think of living a day without you
I am a feat of unparalleled strength
Ready to do it for you now!
Oh honey, trust me!
Prince Yeletsky and Liza are passing by. Herman enters without a mask, in a suit, holding a note in his hand.
HERMANN (is reading).
"After the performance, wait for me in the hall. I must see you..."
It would be better to see her and throw this thought ...
(Sits down.) Three cards!.. Three cards to know - and I'm rich!..
And together with her I can run away from people...
Damn!..
This thought is driving me crazy!
Several guests return to the hall; among them Chekalinsky and Surin. They point to Herman, creep up and lean over him, whispering.
SURIN, CHEKALINSKY.
Are you the third
Who, passionately loving,
Will come to learn from her
Three cards, three cards, three cards?
Hiding. Herman gets up frightened, as if not realizing what is happening. When he looks back, Chekalinsky and Surin have already disappeared into the crowd of young people.
CHEKALINSKY, SURIN and several guests.
Three cards, three cards, three cards!
They laugh and mingle with the crowd of guests, which little by little enters the hall.
What is this? Brad or mockery? No! What if?! (He covers his face with his hands.)
I'm crazy, I'm crazy! (thinks.)
Steward.
The owner asks dear guests to listen to the pastoral under the title: "The sincerity of the shepherdess"! *
The guests are seated in the prepared seats. Boys and girls, dressed in the costumes of shepherds and shepherdesses, go out into the meadow. They lead round dances, dance and sing. Prilepa alone does not take part in the dances and weaves a wreath in sad thoughtfulness.
Chorus of shepherds and shepherdesses.
Under the thick shadow
Near a quiet stream
We came today in a crowd
Please yourself
______________
* The plot and most of the verses of this pastoral are borrowed from poem of the same name P. Karabanova.
sing, have fun
And round dances
enjoy nature,
Weave flower wreaths.
The shepherds and shepherds retire to the back of the stage.
My pretty little friend
Dear shepherd,
Who do I sigh
And I want to open the passion
Ah, did not come to dance,
Milovzor (entering).
I'm here, but boring, languid,
Look how thin you are!
I won't be humble anymore
I hid my passion for a long time
I won't be humble anymore
I hid my passion for a long time.
I won't be modest
I hid my passion for a long time!
My pretty little friend
Dear shepherd,
How I miss you
How I suffer for you
Ah, I can't tell!
Ah, I can't tell!
I don't know, I don't know why!
Milovzor.
Loving you for a long time
Missed without you
And you don't know that
And here you hide yourself
From my gaze, from my gaze.
I don't know, I don't know why
I don't know, I don't know why!
The retinue of Zlatogor brings precious gifts by dancing. Zlatogor enters.
Zlatogor.
How cute, how beautiful you are!
Tell me which one of us
Me or him
Forever love agree?
Milovzor.
I wholeheartedly agreed
I bowed to love
Whom does it command
To whom does it burn?
Zlatogor.
I am mountains of gold
And precious stones
I have myself.
I promise to decorate
I am all of you
I own darkness
And gold and silver
And all the best!
Milovzor.
My one estate -
Love unflattering heat.
And in eternal possession
Accept it as a gift
And birds, and branches,
Ribbons and wreaths
In place of the speckled
Precious clothes
I will bring
And give them to you!
I don't need any estates
No rare stones
I'm with a sweetheart in the fields
And I'm glad to live in a hut,
And I'm glad to live in a hut!
(Zlatogor.)
Well, sir, good luck ...
(to Milovzor.)
And you be calm!
Here in solitude
Rush to the reward
Such nice words
Bring me a bunch of flowers!
Prilepa and Milovzor.
The end of suffering has come
love admiration
The time will come soon
Love, hide us!
Choir of shepherds and shepherdesses
The end of suffering has come
Bride and groom
Worthy of admiration
Love, hide them!
Cupid and Hymen with retinue enter to marry young lovers. Prilepa and Milovzor are dancing hand in hand. Shepherds and shepherds imitate them, make round dances, and then they all leave in pairs.
Chorus of shepherds and shepherdesses.
The sun is shining red
The marshmallows swept
You are with a beautiful young man,
Sticky, have fun!
The end of suffering has come
Bride and groom
Worthy of admiration
Love, hide them!
They all leave in pairs. At the end of the interlude, some of the guests get up, others are talking animatedly, remaining in their places. Herman comes to the forefront.
HERMANN (thoughtfully).
"Who passionately and passionately loving!"
Well? don't I love? Of course yes!
He turns around and sees the Countess in front of him. Both shudder, staring at each other intently.
SURIN (in mask).
Look, your mistress!
(Laughs and hides.)
Who is it?.. Demon or people?
Why are they following me?
Damn! Oh, how pathetic and ridiculous I am!
Lisa enters wearing a mask.
LISA. Listen, Herman!
You, finally!
How happy I am that you came!
I love you!.. I love you!..
No place here...
That's not why I called you!
Listen... Here's the key to the secret door in the garden...
There is a staircase... You will go up it to your grandmother's bedroom...
HERMANN. How? to her bedroom?
She won't be there...
In the bedroom near the portrait there is a door to me.
I'll be waiting!
You, I want to belong to you alone!
We need to decide everything!
See you tomorrow, my dear, desired!
Hermann. No, not tomorrow, No, I'll be there today!..
LISA (scared). But honey...
HERMANN. I want!
LISA. Let it be! After all, I am your slave! Sorry...
(Hides.)
Now it's not me, fate itself wants it that way,
And I will know three cards!
(Runs away.)
Steward (excited and in a hurry).
Her Majesty is now pleased to welcome ...
There is great excitement among the guests. The steward separates those present so that a passage for the queen is formed in the middle.
Chorus of guests.
Queen! Her Majesty! Queen! She will arrive...
What an honor to the owner, what happiness! ..
Everyone is happy to look at our mother.
And what a joy for us!
The French ambassador will be with her!
The Most Serene One also honors!
Well, it's a real holiday!
What delight, what joy!
Well, the holiday came out, that's for the glory.
Steward (singers). You "Glory to this" now boom-
Chorus of guests.
This is how the holiday turned out to be famous!
Shout "Glory to this"!
Here, here, it’s coming, it’s coming, now our mother is coming!
Everyone turns towards the middle doors. The steward makes a sign. sing to get started.
Choir of guests and singers
Hail to this, Ekaterina,
Hail, tender mother to us!
Vivat, Vivat!
Men become in a pose of a low courtly inclination. The ladies take a deep squat. Pages enter in pairs, behind them Catherine appears surrounded by a retinue. *
PICTURE FOUR
The bedroom of the Countess, illuminated by lamps. Herman quietly enters through a secret door. He looks around the room.
* In pre-revolutionary productions of the opera, this action ended with the exit of the pages preceding the appearance of Catherine II. This was due to the prohibition to depict persons of the royal family on the stage.
It's just like she told me...
What? I'm afraid, right?
No! So it's decided, I'll find out the secret from the old woman!
(thinks.)
What if there is no secret?
And all this is just empty nonsense of my sick soul!
Goes to Liza's door. Passing, he stops at the portrait of the Countess. Midnight strikes.
And, here she is - "Venus of Moscow!"
Some secret power
I'm connected with her rock!
Am I from you, are you from me,
But I feel that one of us
Die from another!
I look at you and hate
And I can't get enough of it!
I would like to run away, but there is no strength ...
An inquisitive gaze cannot be torn off
From a terrible and wonderful face!
No, we can't part without a fatal meeting!
Steps! They're coming here!.. Yes!..
Ah, come what may!
Herman hides behind a boudoir curtain. The maid runs in and hastily lights the candles. Other maids and hangers-on run after her. The Countess enters, surrounded by bustling maids and hangers-on.
Choir of hangers-on and maids.
Our benefactor,
How did you like to walk?
Light is our lady
Wants, right, to rest!
(They escort the Countess into the boudoir.)
Tired, tea?
So what,
Who was better there?
Were maybe younger
But none more beautiful!
(Behind the scenes.)
Our benefactor...
Light is our lady...
Tired, tea,
Wants, right, to rest!
Liza enters, followed by Masha.
LISA. No, Masha, follow me!
Masha. What is the matter with you, young lady - you are pale!
LISA. There is nothing...
Masha (having guessed). Oh my god! Really?..
Yes, He will come...
Be quiet! He, perhaps, is already there ... And he is waiting ...
Watch over us, Masha, be my friend!
Masha. Oh, how could we not get it!
He said so. I chose him as my husband...
And an obedient, faithful slave of that flock,
Who was sent to me by fate!
Lisa. and Masha leave. Hangers and maids introduce the Countess. She is in a dressing gown and a night cap. They put her to bed.
Chorus of hangers-on and maids
Benefactress,
Light is our lady,
Tired, tea,
Wants, right, to rest!
Benefactress,
Beauty!
Lie down in bed, tomorrow you will be more beautiful again
Morning dawn!
Go to bed, you'll get up better tomorrow
Morning dawn!
Benefactress!
Lie down in bed
Take a rest, take a rest
Full of lying to you!.. Tired!.. I'm tired... no urine...
I don't want to sleep in bed!
(She is seated in a chair and covered with pillows)
Ah, this world has disgusted me! Well times!
They don't know how to have fun.
What manners! What a tone! And I wouldn't look...
They don't know how to dance or sing!
Who are the dancers? Who sings? Girls!
And it happened: who danced? who sang?
Le duc d`Orlean, la duc d`Ayen, de Coigni,.. la comtesse d`Estrades,
La duchnesse de Brancas... *
What names!
And even, sometimes, herself, the Marquise Pompadour herself! ..
I sang with them...
Le duc de la Valliere ** praised me!
Once, I remember, in Chantili ***, at Prinse de Conde ****,
The king heard me!
I see everything now...
___________________
* Duke of Orleans, Duke d'Ayen, Duke de Coigny, Countess d'Estrade, Duchess de Branca. (fr.).
** Duke de la Vallière (fr.)
*** Chantilly, - the royal castle near Paris (fr.)
**** Prince de Condé (fr.)
(Sings.)
Il me dit: "je vois fime"
Et je sens malgre moi
Mon coeur qui bat...
Je ne sais pas porqoui... *
(Looks around as if waking up.)
Why are you standing here? Get on up!
The maids and hangers-on, carefully stepping, disperse. The Countess is dozing and humming as if through a dream.
Je crains de lui parler la nuit
J'ecoute trop tout ce qu'il dit,
Il me dit: "je vois fime"
Et je sens malgre moi
Mon coeur qui bat...
Je ne sais pas porqoui...
Herman comes out and stands against the Countess. She wakes up and silently moves her lips in mute horror.
Don't be scared!
For God's sake, don't be afraid!
I won't harm you!
I have come to beg you for mercy alone!
The countess silently looks at him as before.
You can make up the happiness of life's goals! And it won't cost you anything! You know three cards.. .
(Countess rises.)
For whom do you keep your secret?
Herman gets on his knees.
If you ever knew the feeling of love
If you remember the ardor and delight of young blood,
If at least once you smiled at the caress of a child,
If your heart ever beat in your chest,
Then I implore you with the feeling of a wife, mistress, mother,
All that is sacred to you in life,
Tell me, tell me, tell me your secret!
What do you need it for?!
__________________
* I'm afraid to talk to him at night,
I listen too much to everything he says.
He says to me: I love you,
And I feel, against my will,
I feel my heart
Which is beating, which is beating
I do not know why! (from French)
May be,
It is associated with a terrible sin,
With the destruction of bliss
With a devilish condition?
Think you're old, you won't live long
And I'm ready to take your sin upon myself! ..
Open up to me! Tell!..
The Countess, straightening up, looks menacingly at Herman.
Old witch!
So I'll make you answer!
Herman takes out a gun. The countess nods her head, raises her arms to shield herself from the shot, and falls dead.
Full of childishness!
Would you like to assign me three cards?
Yes or no?
Approaches the Countess, takes her hand. He sees with horror that the Countess has died.
She is dead! It came true!..
I didn't know the secret!
(Stands like a stone.)
Dead!.. But I didn't know the secret...
Dead! Dead!
Liza enters with a candle.
LISA. What's the noise here? (Seeing Herman.) Are you, are you here?
HERMANN (rushing towards her, fearfully).
Be quiet! Be quiet!
She is dead, but I did not know the secret! ..
LISA. Who is dead? What are you talking about?
HERMANN (pointing to the body).
It came true! She is dead, And I did not know the secret! ..
LISA (rushes to the corpse of the Countess)
Yes! died! Oh my God! And did you do it?
(Sobs.)
HERMANN. I didn't want her to die, I just wanted to know three cards!
So that's why you're here!
Not for me!
You wanted to know three cards!
You didn't need me, but the cards!
Oh my god, my god!
And I loved him
She died because of him!
Monster! Murderer! Monster!
Herman wants to speak, but she points to a secret door with an imperious gesture.
Away! Away! The villain! Away!
HERMANN. She is dead!
LISA. Away!
Herman runs away. Liza sobs down on the corpse of the Countess.
ACT THREE
PICTURE FIVE
Barracks. Herman's room. Winter. Late evening. Moonlight then it illuminates the room through the window, then it disappears. The howling of the wind is heard. The room is dimly lit by a candle on the table. Offstage, a military signal is heard. Herman is sitting at the table.
HERMANN (reads the letter).
"... I don't believe that you wanted the death of the countess... I am exhausted by the consciousness of my guilt before you! Calm me down! Today I'm waiting for you on the embankment, when no one can see us there. If you don't come before midnight, I will have to admit a terrible thought that I drive away from myself. Forgive me, forgive me, but I suffer so much! .. "
Poor thing! Into what abyss did I drag her with me!
Ah, if only I could forget and fall asleep!
He sinks into a chair in deep thought and, as it were. dozing. It seems to him that he again hears the church choir, the burial service of the deceased countess.
Choir of singers (behind the scene).
I pray to the Lord
To heed my sorrow,
For my soul is filled with evil
And I fear the captivity of hell,
Oh, look, God, on suffering
You are your slave!
HERMANN (getting up fearfully).
All the same thoughts
All the same nightmare and gloomy pictures of the funeral
They rise as if alive before me ...
(Listens.)
Singing or howling wind?
I won't understand...
(Distant funeral singing is heard.)
Just like there ... yes, yes, they sing!
And here is the church, and the crowd, and the candles,
And censers, and sobs ...
(Singing more clearly.)
Here is the hearse, here is the coffin...
And in that coffin the old woman without movement, without breathing
Drawn by some force, I enter the black steps!
It's scary, but I don't have the strength to go back! ..
Looking at a dead face...
And suddenly, mockingly squinting,
It blinked at me!
Away, terrible vision! Away!
(He sinks into an armchair, covering his face with his hands.)
Choir of singers. Give her endless life!
For a moment, the howling storms subside and in the silence there is a short knock on the window. Herman raises his head and listens. A gust of wind comes up again. There is a shadow in the window. The knock on the window is repeated. New impulse the wind opens the window and extinguishes the candle, and again a shadow appears in the window. Herman stands like a stone.
I'm scared! Scary!
There ... there ... steps ... Here they open the door ...
No, no, I can't stand it!
He runs to the door, but at that moment the ghost of the Countess in a white shroud appears in the doorway .. Herman retreats, the ghost approaches him.
Ghost of the Countess.
I came to you against my will
But I am ordered to fulfill your request.
Save Lisa, marry her
And three cards, three cards
Three cards will win in a row.
Troika! Seven! Ace! Three, seven, ace!
(Disappears.)
HERMANN (with an air of madness).
Three, seven, ace! Three... Seven... Ace...
PICTURE SIX
Night. Winter Ditch. At the back of the stage, the embankment and Peter-Pavel's Fortress, illuminated by the moon. Under the arch, in a dark corner, all in black, stands Lisa.
It's nearing midnight
But Herman is still gone, still gone.
I know he will come, dispel suspicion.
He's a victim of chance
And he cannot, cannot commit a crime!
Oh, I'm tired, I'm tired!
Oh, I'm weary of grief...
Whether at night, during the day, only about him
I tortured myself thinking...
Where are you, old joy?
Oh, I'm tired, I'm tired!
Life gave me only joy
I found a cloud, brought thunder,
Everything I love in the world
Happiness, hopes shattered!
Oh, I'm tired, I'm tired!
Whether at night, during the day, only about him,
Oh, I've been torturing myself with the thought...
Where are you, old joy?
A cloud came and brought a thunderstorm
Happiness, hopes shattered!
I'm tired! I suffered!
Longing gnaws at me and gnaws...
And if the clock strikes me in response,
That he is a murderer, a seducer?
Oh, I'm scared, I'm scared!
The clock is striking on the fortress tower.
Wait, he'll be here now...
(With desperation.)
Oh, dear, come, have pity,
Have pity on me
My husband, my lord!
So it's true! With a villain
I tied my fate!
Killer, fiend forever
My soul belongs!
With his criminal hand
And my life and my honor is taken,
I am the fateful will of the sky
Cursed with the killer!
Liza wants to run away, but at this time Herman appears.
You are here, you are here! You are not a villain! Are you here!
The end of suffering has come
And I became yours again!
Away with tears, torment and doubt!
You are mine again and I am yours!
Falls into his arms.
HERMANN. Yes, here I am, my dear! (Kisses her.)
LISA. Oh yes, suffering has passed, I am with you again, my friend!
HERMANN. I'm with you again my friend!
LISA. The bliss of goodbye has come!
HERMANN. The bliss of goodbye has come!
LISA. The end of our painful torments!
HERMANN. The end of our painful torments!
LISA. Oh yes, suffering has passed, I'm with you again!
HERMANN. Those were heavy dreams, the deception of an empty dream.
LISA. The illusion of a dream is empty.
Forgotten moans and tears!
I'm with you again
Yes, I'm with you again!
Our pains and sufferings have passed,
The blessed hour of goodbye has come,
Oh my angel, I'm with you again!
LISA (simultaneously with German)
Forgotten moans and tears!
Oh, my dear, desired,
I'm with you again, again
Our suffering has passed forever,
The torment is over
My dear, desired,
I am with you again!
But, my dear, we must not delay, The clock is running...
Are you ready? Let's run!
LISA. Where to run? With you to the end of the world!
Where to run?.. Where?..
To the gambling house!
LISA. Oh my God! What's wrong with you, Herman?
There are piles of gold
And to me, to me alone they belong!
Herman, what are you talking about? Come to your senses!
Oh, I forgot, you don't know yet!
Three cards, remember
What else did I want to find out from the old witch!
LISA. Oh my God! He is insane!
Stubborn! I didn't want to tell!
Because today I had her
And she called me three cards.
LISA. So, did you kill her?
Oh no! For what?
I just raised my gun
And the old witch suddenly fell!
(Laughs.)
LISA. So it's true! Is it true!
Yes! Yes! It's true, I know three cards!
Three cards for your killer
She named three cards!
So it was destined by fate
Three cards for this price
I could only buy!
I had to commit villainy
So that at this terrible price
My three cards I could recognize.
LISA (simultaneously with German).
So it's true! With a villain
I tied my fate!
Killer, fiend forever
My soul belongs!
With his criminal hand
And my life and my honor is taken,
I am the fateful will of the sky
Cursed with the killer
With the murderer, I am also cursed!
But no, it can't be! Watch out, Herman!
HERMANN (in ecstasy).
Yes! I am the third one who, passionately loving,
I came to force you to know
About three, seven, ace!
Whoever you are, I'm still yours!
Run, come with me, I'll save you!
Yes! I learned, I learned from you
About three, seven, ace!
(Laughs and pushes Lisa away.)
Leave me alone!
Who are you? I don't know you! Away! Away!
(Runs away.)
LISA. He died, he died! And me with him!
Runs to the embankment and rushes into the river.
PICTURE SEVEN
Gambling house.
Dinner. Some people play cards.
Chorus of guests and players.
Let's drink and have fun!
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
Let our youth drown
In bliss, cards and wine!
They have one joy in the world,
Life will run like a dream!
Let's drink and have fun!
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
SURIN (behind the cards). Dana!
Chaplitsky. Gnu passwords!
Narumov. Killed!
Chaplitsky. No passwords!
CHEKALINSKY (mosque). Is it okay to put?
Narumov. Atanda!
CHEKALINSKY. Ace!
Prince Yeletsky enters.
SURIN. I am Mirandole...
TOMSKY (Eletsky).
How did you get here? I haven't seen you at the players before.
Yes! Here I am for the first time.
You know they say:
Unhappy in love - happy in the game.
TOMSKY. What do you want to say?
I am no longer a fiancé.
Do not ask me-
I'm in too much pain, friend
I'm here to take revenge
After all, happiness is in love
Brings misfortune in the game.
Explain what it means.
Chorus of guests and players.
Let's drink and have fun!
ELETSKY. You'll see!
Chorus of guests and players.
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
The players join the diners.
CHEKALINSKY. Hey gentlemen! Let Tomsky sing something to us!
Chorus of guests and players.
Sing, Tomsky, sing, yes, something merry, funny!
TOMSKY. I can't sing something...
CHEKALINSKY.
Oh, come on, what nonsense! Drink and sleep!
Tomsky's health, friends! Hooray!
Chorus of guests and players.
Tomsky's health, friends! Hooray! Hooray! Hooray! Hooray!
TOMSKY (sings).
If lovely girls *
So they could fly like birds
And sat on the branches
I would like to be a bitch
To thousands of girls
To sit on my branches
On my branches to sit!
Choir of guests and players
Bravo! Bravo! Ah, sing another verse!
Let them sit and sing
They made nests and whistled,
* Poems by Derzhavin.
Bring out the chicks!
I would never bend
I would love them forever
Was the happiest of all bitches
Was the happiest of all bitches!
Chorus of guests and players.
Bravo! Bravo! That's the song! It's nice! Bravo! Well done!
"I would never bend
I would love them forever
I was happier than all the bitches!
CHEKALINSKY. Now, as usual, friends, "Igretskaya"!
CHEKALINSKY. Chaplitsky, Narumov and SuriN.
Ah, where are those islands, *
Where tryn-grass grows, -
So on rainy days
They were going
Chorus of guests and players.
So on rainy days
They met often.
Bent, God forgive them,
From fifty
Chorus of guests and players.
Bent, God forgive them,
From fifty
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
And they won
And unsubscribed
Chorus of guests and players.
And they won
And unsubscribed
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
So on rainy days
They were engaged
Chorus of guests and players.
So on rainy days
They were engaged
* Ryleev's poems
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
Bent, God forgive them,
From fifty
Chorus of guests and players.
Bent, God forgive them,
From fifty
CHEKALINSKY., Chaplitsky, Narumov, SURIN and the choir of guests.
And they won
And unsubscribed
So on rainy days
They were engaged
Bent, God forgive them,
From fifty
(Whistling, shouting and dancing.)
One hundred, one hundred, one hundred, one hundred!
CHEKALINSKY. For the cause, gentlemen, for the cards! Wine, wine! (Sit down to play.)
Chorus of guests and players. Wine, wine!
Chaplitsky. Nine!
Narumov Passwords...
Chaplitsky. Down the drain!
SURIN. I put on root...
Chaplitsky. Dana!
Narumov. From transport to ten!
Herman enters.
ELETSKY (seeing him).
My premonition did not deceive me.
(Tomsky.)
I may need a second.
Will you refuse?
Rely on me!
Choir of guests and players
A! Hermann! Friend! Buddy!
So late? Where?
CHEKALINSKY.
Sit down with me, you bring happiness.
Where are you from? Where was? Isn't it in hell?
Look what it looks like!
CHEKALINSKY. It can't be scarier! Are you healthy?
HERMANN. Let me put up a card.
(Chekalinsky silently bows in agreement.)
SURIN. Miracles, he began to play!
Chorus of guests and players.
Here are miracles, he began to ponte, our Herman!
Herman puts down the card and covers it with a bank note.
Narumov. Buddy, congratulations on allowing such a long post!
Hermann (putting down a card). Is it coming?
CHEKALINSKY. And how much?
HERMANN. Forty thousand!
Chorus of guests and players.
Forty thousand!
Yes, you're crazy! That's so kush!
SURIN. Have you learned three cards from the Countess?
HERMANN (irritated). Well, do you hit or not?
CHEKALINSKY. Goes! Which card?
HERMANN. Troika.
(Chekalinsky Mosque.)
Won!
Chorus of guests and players.
He won! Here's the lucky one!
CHEKALINSKY.
There's something wrong here!
It's like he's unconscious!
No, there's something wrong here!
His eyes wander
Promises evil!
SURIN
There's something wrong here!
His eyes wandering promises evil,
He seems to be delusional, without consciousness!
No, there's something wrong here!
No,
ELETSKY (simultaneously with Chekalinsky).
There's something wrong here!
But near, near punishment!
I will take revenge on you
I will take revenge on you, villain, my suffering,
I will take revenge on you!
Narumov (simultaneously with Chekalinsky).
There's something wrong here!
His eyes wandering promises evil,
Promises evil!
No, there's something wrong here!
His wandering eyes promise evil!
Chaplitsky (simultaneously with Chekalinsky).
There's something wrong here!
His wandering eyes promise evil!
It's like he's unconscious!
No, there's something wrong here
His wandering eyes promise evil!
TOMSKY (simultaneously with Chekalinsky).
There's something wrong here, something wrong!
His eyes are wandering
His wandering eyes promise evil!
No, there's something wrong here, wrong!
HERMANN (simultaneously with Chekalinsky).
My cherished wish is coming true.
No no! The old woman's prediction is not deceptive!
Choir of guests and players (simultaneously with Chekalinsky).
There's something wrong here!
His wandering eyes promise evil.
Chorus of guests and players. It's like he's unconscious!
CHEKALINSKY. Do you want to receive?
HERMANN. No! I'm going to the corner!
Chorus of guests and players.
He's crazy! Is it possible to?
No, Chekalinsky, don't play with him
Look, he's not himself!
HERMANN. Is it coming?
CHEKALINSKY. Goes. What about the map?
HERMANN. Here, seven!
(Chekalinsky Mosque.) My!
Chorus of guests and players.
Again it!
There is something wrong with him going on.
What did you hang up your noses?
Are you scared? Are you scared?
(Laughs hysterically.) Wine, wine!
Chorus of guests and players.
Herman, what's wrong with you?
HERMANN (with a glass in his hand).
What is our life?
Good and evil - one dream!
Labor, honesty - fairy tales for a woman.
Who is right, who is happy here, friends!
Today you, tomorrow me!
So stop fighting
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Cursing, cursing your fate!
What's right?
Death is one!
Like the shore of the sea of vanity,
She is a refuge for all of us.
Who is dearer to her from us, friends?
Today you, tomorrow me!
So stop fighting
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Curse your fate!
Is it still going?
CHEKALINSKY.
No, get it! The devil himself is playing with you!
(Puts the loss on the table.)
And if so, what a disaster!
Anyone?
Is this all on the map? A?
ELETSKY (stepping forward). To me.
Chorus of guests and players.
Prince, what's wrong with you? Stop doing that!
It's not a game, it's crazy!
I know what I'm doing!
We have an account with him!
HERMANN (embarrassed). To you? Would you like?
To me. Dream, Chekalinsky!
(Chekalinsky Mosque.)
HERMANN (opening map). My ace!
ELETSKY. No! Your lady is beaten!
HERMANN. What lady?
The one in your hands -
Queen of Spades!
A ghost appears. Countess. Everyone retreats from Herman.
HERMANN (horrified).
Old woman!..
You! Are you here!
What are you laughing at?
You drove me crazy!
Damned!
What... what do you need?
Life, my life?
Take her, take her!
Gets stabbed. The ghost disappears. Several people rush to the fallen Herman.
Chorus of guests and players.
Unhappy!
How horribly he committed suicide!
He is still alive!
Herman comes to his senses. Seeing Yeletsky, he tries to get up.
Prince! Prince, forgive me!
It hurts, it hurts, I'm dying!
What is this? Lisa?
Are you here! My God!
Why why?
You forgive! Yes?
Don't you curse? Yes?
Gorgeous! Goddess! Angel!
(Dies.)
Chorus of guests and players.
Lord! Forgive him!
And rest his rebellious
And a tormented soul.
STEP ONE
Picture one
Petersburg. There are many walkers in the Summer Garden, children play under the supervision of nannies and governesses. Surin and Chekalinsky are talking about their friend German: all night long, gloomy and silent, he spends in a gambling house, but does not touch the cards. Count Tomsky is also surprised by Herman's strange behavior. Herman reveals a secret to him: he is passionately in love with a beautiful stranger, but she is rich, noble, and cannot belong to him. Prince Yeletsky joins friends. He reports his forthcoming marriage. Accompanied by the old Countess, Liza approaches, in whom Herman recognizes his chosen one; in desperation, he is convinced that Liza is Yeletsky's fiancee.
At the sight of the gloomy figure of Herman, his gaze burning with passion, ominous forebodings seize the Countess and Lisa. A painful stupor dispels Tomsky. He tells a secular anecdote about the Countess. In her youth, she once lost her entire fortune in Paris. At the cost of a love date, the young beauty learned the secret of three cards and, betting on them, returned the loss. Surin and Chekalinsky decide to play a trick on Herman - they offer him to learn the secret of three cards from the old woman. But Herman's thoughts are absorbed by Lisa. A thunderstorm starts. In a violent outburst of passion, Herman vows to win Lisa's love or die.
Picture two
Lisa's room. It's evening. The girls entertain their saddened friend with Russian dance. Left alone, Liza believes the night that she loves Herman. Suddenly Herman appears on the balcony. He passionately confesses his love to Lisa. A knock on the door interrupts the meeting. Enter the old Countess. Hiding on the balcony, Herman remembers the secret of the three cards. After the departure of the Countess, the thirst for life and love awakens with renewed vigor in him. Lisa is overwhelmed with a reciprocal feeling.
ACT TWO
Picture three
A ball in the house of a wealthy metropolitan dignitary. Arrives at the ball royalty. Everyone welcomes the Empress with enthusiasm. Prince Yeletsky, alarmed by the bride's coldness, assures her of his love and devotion.
Herman is among the guests. Disguised Chekalinsky and Surin continue to play a trick on a friend; their mysterious whispers about magic cards have a depressing effect on his frustrated imagination. The performance begins - the pastoral "The Sincerity of the Shepherdess". At the end of the performance, Herman runs into the old Countess; again the thought of the wealth that the three cards promise, seizes Herman. Having received the keys to the secret door from Lisa, he decides to find out the secret from the old woman.
Picture Four
Night. The empty bedroom of the Countess. Herman enters; he peers with excitement at the portrait of the Countess in his youth, but, hearing approaching steps, hides. The Countess returns, accompanied by the hangers-on. Dissatisfied with the ball, she reminisces about the past and falls asleep. Herman suddenly appears before her. He begs to reveal the secret of the three cards. The Countess is horrified and silent. Enraged Herman threatens with a gun; the frightened old woman falls dead. Herman is desperate. Close to madness, he does not hear the reproaches of Liza, who has come running to the noise. Only one thought possesses him: the Countess is dead, and he did not know the secret.
ACT THREE
Picture Five
Herman's room in the barracks. Late evening. Herman rereads Lisa's letter: she asks him to come at midnight for a date. German again experiences what happened, in his imagination there are pictures of the death and burial of the old woman. In the howl of the wind, he hears the funeral singing. Herman is horrified. He wants to run, but he sees the ghost of the Countess. She calls him the cherished cards: "Three, seven and ace." Herman repeats them as if in a delirium.
Picture six
Winter groove. Here Lisa is to meet Herman. She wants to believe that her lover is not responsible for the death of the Countess. The clock tower strikes midnight. Lisa loses last hope. Herman arrives very late: neither Lisa nor her love for him no longer exist. There is only one picture in his distraught brain: a gambling house where he will get rich.
In a fit of madness, he pushes Liza away from him and shouting: “To the gambling house!” - runs away.
Liza throws herself into the river in despair.
Picture seven
Gambling hall. Herman puts two cards, called the Countess, one after the other, and wins. Everyone is stunned. Intoxicated with victory, Herman stakes all his winnings. Herman's challenge is accepted by Prince Yeletsky. Herman announces an ace, but ... instead of an ace, he has the queen of spades in his hands. In a frenzy he looks at the map, in it he sees the devilish smile of the old Countess. In a fit of madness, he commits suicide. At the last minute, a bright image of Liza appears in Herman's mind. With her name on his lips, he dies.
P.I. Tchaikovsky opera "The Queen of Spades"
The basis for the "Queen of Spades" P.I. Tchaikovsky was served by the story of the same name by A.S. Pushkin. This gripping and tragic love story of an innocent girl and a passionate officer who became a victim of card gambling was written by the composer in just 44 days. The work is considered the pinnacle of the composer's operatic drama, because in terms of the depth and strength of the experiences of the main characters, the intensity of passions and the irresistible power of dramatic impact, he has no equal in his work.
Summary of Tchaikovsky's opera The Queen of Spades and many interesting facts read about this work on our page.
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Characters |
Description |
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| Hermann | tenor | officer, protagonist |
| Lisa | soprano | granddaughter of the Countess |
| Tomsk | baritone | count, friend of Herman, grandson of the Countess |
| Yeletsky | baritone | prince, fiancé of Lisa |
| Countess | mezzo-soprano | octogenarian old woman |
| Pauline | contralto | Lisa's friend |
| Chekalinsky | tenor | Officer |
| Surin | bass | Officer |
| Masha | soprano | housemaid |
Summary
Petersburg at the end of the 18th century. Poor young officer Herman is madly in love with a beautiful stranger and longs to know who she is. Soon he is told that his heart was won by the granddaughter of the rich old Countess - Lisa, who will very soon become the lawful wife of Prince Yeletsky. Herman's friend, Count Tomsky, informs him that the old woman has unique information - she knows the secret of "three cards", thanks to which she was once able to win back and return the card loss.
Lisa was inflamed with mutual feelings for the officer. Herman vows that they will be together, or he will be forced to die. He dreams of getting rich as soon as possible in order to marry his beloved, and only the secret of the Countess's card winnings can help him. At night, he sneaks into her bedroom and begs her to reveal the secret of the "three cards", but the "old witch", frightened by an intruder with a gun, dies and takes the secret with her.
Lisa makes an appointment with Herman on the embankment, but he is delayed. And all because at this time the ghost of the Countess appears in his room. The old woman voices the secret of "three cards" - this is a three, seven and ace, and asks the officer to take Liza as his wife. The ghost disappears into the air, and Herman, like a madman, tirelessly repeats this combination. He runs to meet Lisa, but pushes her away - he is already obsessed not with love, but with excitement. In desperation, the girl throws herself into the river.
Meanwhile, Herman hurriedly heads to the gambling house and bets on the cards named by the ghost. Twice luck was on his side, but when he bets on the "ace", instead of him, the queen of spades appears in his hand. He showers curses on the Countess and plunges the dagger into his heart.
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Interesting Facts
- P.I. Chaikovsky wrote an opera in Florence in just 44 days.
- In order to flawlessly perform the part of Herman in all seven scenes, the author needed a truly skillful and hardy performer. The choice of P.I. Tchaikovsky fell on the famous tenor Nikolai Figner, whose ability the author was guided by while writing music. The success of the "Queen of Spades" was truly stunning. After a successful premiere at the Mariinsky Theatre, an enthusiastic Tchaikovsky wrote: “Figner and the St. Petersburg Orchestra have performed real miracles!” Twelve days later, the "Queen of Spades" was greeted with no less enthusiasm in Kyiv.
- The first foreign premiere of The Queen of Spades was a performance in Prague in 1892. The conductor was Adolf Cech. This was followed by the following premieres: conducted by Gustav Mahler in Vienna in 1902 and New York (in German) in the same year. The first performance of the opera in Great Britain took place in 1915 in London.
- The events of Pushkin's "Queen of Spades", as you know, are based on real events- the story of Natalya Petrovna Golitsina, one of the most influential and richest princesses of the 19th century. Her grandson lost a lot of cards, and turned to her for help - to borrow money. But the grandmother instead revealed to her grandson a secret that allowed him to recoup.
- This mystical story about three cards - three of a seven and an ace - somehow miraculously affected everyone who in any way touched it. Witnesses last days The princesses claimed that shortly before her death they saw the ghost of a lone officer near the mansion. It was 1837.
- In this combination of numbers - 1837, which make up the year of the death of the princess and Pushkin himself, all the same mysterious numbers - 3, 7, 1 - were combined in the most incomprehensible way. And in the last hour of Tchaikovsky's life, as his doctor claimed, the composer saw the same ghost " lone officer. Mystic, and only.
- Take a closer look at the structure of the opera and its title: 3 acts, 7 scenes, The Queen of Spades. Doesn't it remind you of anything?
- This opera is considered one of the most mystical in the world musical theater. Many are convinced that it is she who is to blame for the many failures of her creators, as well as those who performed her.
- In this essay, great importance is attached to the number "three", it seems to be endowed with magical meaning and is found literally everywhere. First of all, these are the same three cards. On Herman's heart, according to Chekalinsky, there are three sins. Herman himself is guilty of just three deaths - the Countess, Lisa and his own. Three themes prevail in the musical fabric of the whole work - rock, love and three cards.
- Some biographers tend to believe that Tchaikovsky's refusal to work on this order was due to the fact that he was simply frightened of the plot. According to some reports, he agreed to compose the opera on only one condition - if the libretto differed significantly from the original. That is why he made such active changes to all the dramatic components of the work.
- Directors who wanted to bring the libretto closer to Pushkin's text got into serious trouble. The most striking example is Vsevolod Meyerhold. As mentioned earlier, he commissioned a new libretto and even staged this opera at the Kirov Theatre. However, after that he did not live long - the director was arrested and sent to be shot.
- Several more compositions for the musical theater were written based on Pushkin's work, but they are not at all popular - these are the operetta by Franz Suppe (1864) and the opera by J. Halevi (1850).
- Choreographers, for example, Roland Petit, also turned to this plot. He created a ballet for N. Tsiskaridze at the request of the management Bolshoi Theater, however, he was afraid to take music from the opera and preferred it 6th symphony. But the unexpected happened - all the ballerinas refused to dance the Old Countess, only Ielze Liepa agreed. The premiere of the ballet took place in 2001.
- The original score of the opera is stored at the Mariinsky Theater in encapsulated form.
Popular arias from the opera
Herman's aria “What is our life? A game!" - listen
Tomsky's song "If only lovely girls" - listen
Arioso Lisa "Where do these tears come from" - listen
Arioso Herman "I don't know her name" - listen
History of creation
The idea of staging an opera based on the plot of Pushkin's mysterious story first arose with the director of the imperial theaters, I. A. Vsevolozhsky. For several years he was inspired by this idea and even independently outlined the script and thought over the stage effects. In 1885, he began to actively look for a composer who could bring this idea to life. Among the candidates were A. A. Villamov and N. S. Klenovsky. Two years later, Vsevolozhsky turned to P.I. Tchaikovsky, but was refused - the composer was not at all attracted to this plot. In 1888, his younger brother, Modest Ilyich Tchaikovsky, began working on the libretto, moreover, he created it for Klenovsky. However, the maestro eventually refused to work, and Vsevolozhsky again turned to Pyotr Ilyich. This time he was more insistent, and asked not only to write an opera, but to finish it by the new season. At this time, Tchaikovsky just decided to leave Russia and plunge headlong into work. That is why he agreed, and went to Florence to work.
The first fragments of The Queen of Spades appeared on January 19, 1890. The work was written very quickly - the clavier of the opera was released on April 6, and the score - already on June 8. Creating his masterpiece, the composer actively changed the storylines of the libretto and composed words for some scenes. As a result, the plot of the opera acquired a number of differences from its original source. Pushkin's story was transformed into a poetic canvas, which very organically absorbed the poems of other poets - G.R. Derzhavin, P.M. Karabanova, K.N. Batyushkov and V.A. Zhukovsky. The main characters have also changed. So, Lisa from a poor pupil of a wealthy Countess turned into her granddaughter. Pushkin's Hermann was a native of Germans, but Tchaikovsky does not mention a word about this. In addition, his surname becomes a given name and loses one letter "n" - his name is Herman. future husband Liza, Prince Yeletsky, is absent from Alexander Sergeevich. Count Tomsky in the story of the Russian literary genius is the grandson of the Countess, but in the opera he is a completely stranger to her. The life of the main characters develops differently - according to the plot of the book, Herman loses his mind and goes to the hospital, Lisa forgets about him and marries another. In opera, lovers die. And finally, the duration of this tragic history also changed - in the original source, the events unfold during the time of Alexander I, but in its musical version - during the reign of Empress Catherine II.
The first performance of the opera took place at the Mariinsky Theater on December 19, 1890, E. Napravnik was conducting that evening. Tchaikovsky actively participated in the preparation of the premiere. Pyotr Ilyich assumed that the success would be incredible, and he was not mistaken. The audience demanded repetition of individual encores, and the composer was called to the stage countless times. And even the fact that Pushkin's work was so much rethought did not at all embarrass even the zealous "Pushkinists" - they gave the Russian genius a standing ovation.
Opera in three acts and seven scenes; libretto by M. I. Tchaikovsky based on the story of the same name by A. S. Pushkin. First production: Petersburg, Mariinskii Opera House, December 19, 1890.
Characters:
Herman (tenor), Count Tomsky (baritone), Prince Yeletsky (baritone), Chekalinsky (tenor), Surin (bass), Chaplitsky (tenor), Narukov (bass), Countess (mezzo-soprano), Lisa (soprano), Polina (contralto), governess ( mezzo-soprano), Masha (soprano), boy commander (without singing). Actors in the interlude: Prilepa (soprano), Milovzor (Polina), Zlatogor (Count Tomsky). Nurses, governesses, nurses, walkers, guests, children, players.
The action takes place in St. Petersburg at the end of the 18th century.
Action one. Picture one
Summer garden in spring. Two officers, Chekalinsky and Surin, are concerned about the fate of their friend German, who visits gambling houses every evening, although he himself does not play, as he is very poor. Herman appears, accompanied by Count Tomsky, to whom he tells about the reason for his strange behavior: he is in love with a girl, a stranger, and wants to win a large sum money to marry her ("I don't know her name"). Chekalinsky and Surin congratulate Prince Yeletsky on their upcoming wedding. An old countess walks through the garden, accompanied by the same girl whom Herman loves. Upon learning that this is the prince's bride, Herman is deeply shocked. Women are frightened by his appearance (quintet "I'm scared"). Tomsky tells the story of an old countess who once lost her entire fortune in Paris. Then the Count of Saint-Germain opened her three win-win cards. The officers, laughing, advise Herman to try his luck. A thunderstorm starts. Herman vows to fight for his love.
Picture two
Lisa's room. She sings with her friend Polina ("It's Evening"). Left alone, Liza reveals her feelings: the prince loves her, but she cannot forget the fiery gaze of a stranger in the garden (“Where do these tears come from?”; “Oh, listen, night”). As if having heard her call, Herman appears on the balcony. He threatens to kill himself, because Lisa is promised to another, but only he loves her so dearly (“Forgive the heavenly creature”). The Countess enters, and the girl hides her lover. Herman, like an obsessive vision, begins to be haunted by three cards. But left alone with Lisa, he feels that he is happy only with her.
Action two. Picture one
A masquerade ball in the house of a wealthy dignitary. Yeletsky assures Lisa of his love ("I love you"). Herman is haunted by the thought of three cards. The musical interlude-pastoral begins (“My dear little friend”). At the end of it, Liza gives Herman the key to the secret door through which he can enter her room.
Picture two
Countess's bedroom. Night. Near the bed is a portrait of her as a young woman dressed as the Queen of Spades. Herman cautiously enters. He vows to wrest the secret from the old woman, even if hell threatens him. Footsteps are heard, and Herman hides. Servants enter, then the Countess, who is being prepared for bed. Having dispatched the servants, the Countess falls asleep in her armchair. Herman suddenly appears in front of her ("Don't be scared! For God's sake, don't be scared!"). He begs her on his knees to name three cards. The Countess, getting up from her chair, is silent. Then Herman points a gun at her. The old woman falls. Herman becomes convinced that she is dead.
Action three. Picture one
Herman's room in the barracks. Lisa wrote to him that she was ready to forgive him. But Herman's mind is busy with other things. He recalls the funeral of the Countess ("All the same thoughts, all the same terrible dream"). Her ghost appears before him: out of love for Lisa, she calls him three magic cards: three, seven, ace.
Picture two
On the bank of the Winter Canal, Lisa is waiting for Herman ("Ah, I'm tired, I'm tired"). From his words, she understands that he is guilty of the death of the countess, that he is insane. Lisa wants to take him away with her, but he pushes her away and runs away (duet "Oh yes, the suffering is over"). Lisa jumps into the river.
Picture three
Gambling house. Herman triumphs in victory (“What is our life? A game!”). The old woman was right: the cards are really magical. But happiness betrays Herman: Prince Yeletsky enters the game with him. Herman opens the card: the Queen of Spades. The game is over, the ghost of the countess is sitting at the table. Horrified, Herman stabs himself to death and dies, asking Lisa for forgiveness.
G. Marchesi (translated by E. Greceanii)
THE QUEEN OF SPADES - opera by P. Tchaikovsky in 3 acts (7 k.), libretto by M. Tchaikovsky based on the story of the same name by A. Pushkin. Premieres of the first productions: St. Petersburg, Mariinsky Theatre, December 7, 1890, conducted by E. Napravnik; Kyiv, December 19, 1890, conducted by I. Pribik; Moscow, Bolshoi Theatre, November 4, 1891, conducted by I. Altani.
The idea for The Queen of Spades came to Tchaikovsky in 1889 after becoming acquainted with the first scenes of the libretto written by his brother Modest for the composer N. Klenovsky, who began composing music, but for some reason did not finish the job. During a meeting with the director of the imperial theaters, I. Vsevolozhsky (December 1889), it was decided that instead of the Alexander era, the action would be transferred to Catherine's. At the same time, changes were made to the ball scene and a scene was planned at the Winter Canal. Work on the opera unfolded with such intensity that the librettist could not keep up with the composer, and in a number of cases Pyotr Ilyich created the text himself (dance song in the 2nd k., chorus in the 3rd, Yeletsky's aria "I love you", Lisa's aria in the 6th room and others). Tchaikovsky composed in Florence from January 19 to March 1890. The music was written in rough form in 44 days; by the beginning of June the score was also finished. The whole opera came into being in less than five months!
"Queen of Spades" - peak operatic creativity Tchaikovsky, a work that, as it were, summarized his highest achievements. It differs significantly from Pushkin's story, not only in plot, but also in the interpretation of the characters, the social status of the characters. In the story, both Lisa, the poor pupil of the Countess, and the engineering officer Hermann (Pushkin has this surname, and it is spelled that way) are on the same rung of the social ladder; in the opera, Lisa is the granddaughter and heiress of the Countess. Pushkin's Hermann is an ambitious man obsessed with wealth mania; for him, Lisa is only a means to wealth, an opportunity to master the secret of three cards. In the opera, mystery and wealth are not the goal, but the means by which the poor officer dreams of overcoming the social abyss that separates him from Lisa. During the struggle of the opera Herman for the secret of three cards, his consciousness is seized by a thirst for profit, a means replaces the goal, passion perverts his moral nature, and only when he dies, he is freed from madness. The connection has also been changed. In Pushkin, the hero, having failed, loses his mind - in the opera he commits suicide. Liza in the story gets married and acquires a pupil herself - in the opera she commits suicide. The librettist and composer introduced new characters (the governess, Prince Yeletsky), the character of some scenes and the atmosphere of the action were changed. Fantasy in the story is given somewhat ironically (the ghost of the Countess shuffles her shoes) - in the opera, fantasy is full of horror. There is no doubt that Pushkin's images have been transformed and acquired the features of an in-depth psychologism.
Repeated attempts were made to bring the music of The Queen of Spades closer to the spiritual atmosphere of Dostoevsky's novels. Approximation is not entirely accurate. The Queen of Spades is a psychological and social drama in which true love came into conflict with social inequality. The happiness of Liza and Herman is unrealizable in the world in which they live - only in the pastoral the poor shepherd boy and shepherd boy unite against the will of Zlatogor. The Queen of Spades continues and enriches the principles of the lyrical drama created by Eugene Onegin, translating it into a tragic plane. One can notice the similarity of the images of Tatyana and Lisa, and to some extent Herman (1st k.) with Lensky, the proximity of the genre scenes of the 4th k. Onegin with some episodes of the 1st k. The Queen of Spades.
However, there are more differences between the two operas than similarities. "The Queen of Spades" is associated with the moods of the last three symphonies by Tchaikovsky (precedes the Sixth). It appears, although in a different guise, the theme of fate, an evil force that destroys a person who plays essential role in the musical dramaturgy of the Fourth and Fifth Symphonies. In the last years of Tchaikovsky's life, like Turgenev before, he was disturbed and frightened by the black abyss, non-existence, which meant the end of everything, including creativity. The thought of death and the fear of death haunt Herman, and there is no doubt that the composer here conveyed to the hero own feelings. The theme of death is carried by the image of the Countess - it is not for nothing that Herman is engulfed in such horror when meeting with her. But he himself, connected with her by "secret power", is terrible for the Countess, for he brings her death. And although Herman commits suicide, he seems to obey someone else's will.
In the embodiment of dark and ominous images (their culmination in the 4th and 5th c.), Tchaikovsky reached heights that world music does not know. With the same power, the bright beginning of love is embodied in music. In terms of purity and penetration, spirituality of the lyrics, The Queen of Spades is unsurpassed. Despite the fact that Lisa's life has been ruined, just as the life of her unwitting killer has been ruined, death is powerless to destroy the love that triumphs at the last moment of Herman's life.
The brilliant opera, in which all elements are merged into an inseparable vocal and symphonic whole, was not fully revealed in the first lifetime productions, although the Mariinsky Theater gave it to The Queen of Spades best forces. The performers led by N. Figner had great success, who, in his characteristic brightly theatrical, emphatically expressive, dramatized manner, convincingly and impressively led the part of Herman, laying the foundations of its stage tradition. Equally expressive was the performance of this role by M. Medvedev (Kiev, Moscow), although somewhat melodramatic (from Medvedev, in particular, Herman's hysterical laughter comes in the finale of the 4th quarter). In the first productions, in St. Petersburg and Moscow, A. Krutikova and M. Slavina achieved outstanding success as the Countess. However, the overall structure of the performances - elegant, lush - was far from the composer's intention. And success also seemed external. The grandeur, grandiosity of the tragic concept of the opera, its psychological depth were revealed later. The assessment of criticism (with some exceptions) testified to a misunderstanding of the music. But this could not affect stage destiny great work. It entered the repertoire of theaters more and more powerfully, becoming equal in this respect with Eugene Onegin. The glory of the "Queen of Spades" has crossed the line. In 1892, the opera was staged in Prague, in 1898 - in Zagreb, in 1900 - in Darmstadt, in 1902 - in Vienna under the direction of G. Mahler, in 1906 - in Milan, in 1907 - m - in Berlin, in 1909 - in Stockholm, in 1910 - in New York, in 1911 - in Paris (by Russian artists), in 1923 - in Helsinki, in 1926 - in Sofia , Tokyo, in 1927 - in Copenhagen, in 1928 - in Bucharest, in 1931 - in Brussels, in 1940 - in Zurich, Milan, etc. In the pre-revolutionary period and later in our country, there were no there was and is no opera house whose repertoire would not include The Queen of Spades. The last production abroad was performed in New York in 2004 (conductor V. Yurovsky; P. Domingo - German, N. Putilin - Tomsky, V. Chernov - Yeletsky).
In the first fifteen years of the XX century. first-class performers of the main parts of this opera came to the fore in Russia, and among them A. Davydov, A. Bonachich, I. Alchevsky (German), who abandoned the melodramatic exaggerations of their predecessors. S. Rachmaninov achieved outstanding results in his work on the score when he was a conductor at the Bolshoi Theatre. His successors in the interpretation of The Queen of Spades were V. Suk (who directed the performance of the opera until the 1920s), E. Cooper, A. Coates, V. Dranishnikov, and others. Of the foreign conductors, the best interpreters were G. Mahler and B. Walter. The staging was carried out by K. Stanislavsky, V. Meyerhold, N. Smolich and others.
Along with successes, there were controversial works. Among them is the performance of 1935 in the Leningrad Maly opera house(director V. Meyerhold). The new libretto created for him was aimed at “approaching Pushkin” (an impossible task, since Tchaikovsky had a different concept), for which the score was reworked. In the previous production of the Bolshoi Theater (1927, directed by I. Lapitsky), all events turned out to be visions of Herman's crazy imagination.
The best productions of The Queen of Spades are imbued with respect for the brilliant opera and give a deep interpretation of it. Among them are the performances performed by the Moscow Bolshoi Theater in 1944 (directed by L. Baratov) and 1964 (staged by L. Baratov in a new edition by B. Pokrovsky; in the same year it was shown on tour at La Scala), by the Leningrad Theater. Kirov in 1967 (under the direction of K. Simeonov; V. Atlantov - German, K. Slovtsova - Liza). Among the performers of the opera for its long life are the largest artists: F. Chaliapin, P. Andreev (Tomsky); K. Derzhinskaya, G. Vishnevskaya, T. Milashkina (Liza); P. Obukhova, I. Arkhipova (Polina); N. Ozerov, N. Khanaev, N. Pechkovsky, Yu. Kiporenko-Damansky, G. Nelepp, 3. Andzhaparidze, V. Atlantov, Yu. Marusin, V. Galuzin (German); S. Preobrazhenskaya, E. Obraztsova (Countess); P. Lisitsian, D. Hvorostovsky (Eletsky) and others.
Most interesting performances recent years- at the Glyndebourne Festival (1992, director G. Wieck; Y. Marusin - Herman), in the Moscow theater " New Opera"(1997, conductor E. Kolobov, director Yu. Lyubimov), at the St. Petersburg Mariinsky Theater (1998, conductor V. Gergiev, director A. Galibin; premiere - August 22 in Baden-Baden).
The opera was filmed in 1960 (directed by R. Tikhomirov).
On the plot of Pushkin's story, though very freely interpreted, an opera by F. Halevi was written.
