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Babysitters and hay girls. Literature project "Ruslan and Lyudmila" in music and painting"" Glinka Ruslan and Lyudmila year of creation

Characters:

Svetozar, Grand Duke of Kyiv	bass
Lyudmila, his daughter	soprano
Ruslan, Kyiv knight, Lyudmila's fiancé	baritone
Ratmir, prince of the Khazars	contralto
Farlaf, Varangian knight	bass
Gorislava, a prisoner of Ratmir	soprano
Finn the good wizard	tenor
Naina, the evil sorceress	mezzo-soprano
Bayan, singer	tenor
Chernomor, the evil wizard, Carla	without singing
Sons of Svetozar, knights, boyars and boyars, hay girls and mothers, youths, grids, chashniki, stolniks, squads and people; the maidens of the magic castle, the araps, the dwarfs; slaves of Chernomor, nymphs, undines.
The action takes place during Kievan Rus.

HISTORY OF CREATION

“The first thought about Ruslan and Lyudmila was given to me by our famous comedian Shakhovsky ... At one of the evenings of Zhukovsky, Pushkin, speaking of his poem “Ruslan and Lyudmila”, said that he would redo a lot; I wanted to know from him what kind of alterations he intended to make, but his premature death did not allow me to fulfill this intention. This is how he describes the origin of the concept of the opera Ruslan and Lyudmila. The composer began working on the opera in 1837, without a libretto ready yet. Due to the death of Pushkin, he was forced to turn to minor poets and amateurs from among friends and acquaintances. Among them were N. V. Kukolnik (1809-1868), V. F. Shirkov (1805-1856), N. A. Markevich (1804-1860) and others.

The text of the opera included some fragments of the poem, but in general it was written anew. and its librettists made a number of changes to the cast. Some characters disappeared (Rogdai), others appeared (Gorislava); have undergone some changes and storylines poems.

The idea of the opera is largely different from the literary source. Pushkin's brilliant youthful poem (1820), based on the themes of a Russian fairy tale epic, has features of light irony and a playful attitude towards the characters. He vehemently refused such an interpretation of the plot. He created a work of epic scope, full of great thoughts, broad life generalizations.

Heroism, nobility of feelings, fidelity in love are sung in the opera, cowardice is ridiculed, deceit, malice and cruelty are condemned. Through the entire work, the composer conveys the thought of the victory of light over darkness, of the triumph of life. The traditional fairy tale plot with exploits, fantasy, magical transformations was used to show a variety of characters, complex relationships between people, creating a whole gallery human types. Among them are chivalrous and courageous Ruslan, gentle Lyudmila, inspired Bayan, ardent Ratmir, faithful Gorislava, cowardly Farlaf, kind Finn, treacherous Naina, cruel Chernomor.

The opera was written over five years with long breaks: it was completed in 1842. The premiere took place on November 27 (December 9) of the same year on stage Bolshoi Theater In Petersburg.

PLOT

The high mansions of the Grand Duke of Kyiv Svetozar are full of guests. The prince is celebrating the wedding of his daughter Lyudmila with the knight Ruslan. The prophetic Bayan sings a song about the glory of the Russian land, about bold campaigns. He predicts the fate of Ruslan and Lyudmila: deadly danger they are destined for separation, severe trials. Ruslan and Lyudmila swear to each other eternal love. Ratmir and Farlaf, jealous of Ruslan, secretly rejoice at the prediction. However, Bayan reassures everyone: invisible forces will protect the lovers and unite them. Guests praise the young. The melodies of Bayan sound again. This time he predicts the birth of a great singer who will keep the story of Ruslan and Lyudmila from oblivion. In the midst of the wedding fun, a clap of thunder is heard, everything is plunged into darkness. The darkness dissipates, but Lyudmila is not there: she has been kidnapped. Svetozar promises the daughter's hand and half the kingdom to the one who saves the princess. Ruslan, Ratmir and Farlaf go in search.

In the far northern region, where Ruslan's travels have brought him, the kind wizard Finn lives. He predicts the victory of the knight over Chernomor, who kidnapped Lyudmila. At Ruslan's request, Finn tells his story. The poor shepherd, he fell in love with the beautiful Naina, but she rejected his love. Neither by exploits, nor by wealth obtained in bold raids, could he win the heart of a proud beauty. And only with the help of magic spells did Finn inspire Naina with love for himself, but Naina, meanwhile, became a decrepit old woman. Rejected by the wizard, now she haunts him. Finn warns Ruslan against the machinations of the evil sorceress. Ruslan continues on his way.

Looking for Lyudmila and Farlaf. But everything that meets on the way frightens the cowardly prince. Suddenly, a terrible old woman appears before him. This is Naina. She wants to help Farlaf and thereby take revenge on Finn, who patronizes Ruslan. Farlaf triumphs: the day is near when he will save Lyudmila and become the owner of the Kyiv principality.

The search leads Ruslan to an ominous deserted place. He sees a field littered with the bones of fallen warriors and weapons. The fog dissipates, and the outlines of a huge Head appear in front of Ruslan. She begins to blow towards the knight, a storm rises. But, struck by Ruslan's spear, the Head rolls away, and a sword is revealed under it. The head tells Ruslan the story of two brothers - the giant and the dwarf Chernomor. The dwarf overcame his brother by cunning and, having cut off his head, forced her to guard the magic sword. Giving the sword to Ruslan, the Head asks to take revenge on the evil Chernomor.

Magic castle of Naina. The virgins, subject to the sorceress, invite travelers to take refuge in the castle. Here the beloved of Ratmir - Gorislava yearns. Appeared Ratmir does not notice her. Ruslan also ends up in Naina's castle: he is fascinated by the beauty of Gorislava. Vityazey is saved by Finn, who destroys Naina's evil spell. Ratmir, returned to Gorislava, and Ruslan again set off in search of Lyudmila.

Lyudmila languishes in the gardens of Chernomor. Nothing pleases the princess. She yearns for Kyiv, for Ruslan and is ready to commit suicide. An invisible chorus of servants persuades her to submit to the power of the sorcerer. But their speeches only provoke the wrath of the proud daughter of Glory City. The sounds of the march herald the approach of Chernomor. Slaves bring in a dwarf with a huge beard on a stretcher. The dancing begins. Suddenly, a horn sounds. It is Ruslan who challenges Chernomor to a duel. Having plunged Lyudmila into a magical dream, Chernomor leaves. In battle, Ruslan cuts off Chernomor's beard, depriving him of his miraculous strength. But he cannot wake Lyudmila from her magical sleep.

Ruslan's camp is broken in the valley. Night. Ratmir guards the dream of friends. The frightened slaves of Chernomor run in, whom Ruslan freed from the power of the evil wizard. They report that Lyudmila has been kidnapped again by an invisible force, followed by Ruslan.

Farlaf, having kidnapped the princess with the help of Naina, brought her to Kyiv, but no one is able to awaken Lyudmila. Svetozar mourns his daughter. Ruslan suddenly appears. Finn's magic ring awakens the princess. The jubilant people of Kiev glorify the brave knight, sing of their homeland.

MUSIC

Ruslan and Lyudmila is an epic opera. Monumental images of Kievan Rus, the legendary figures of the Grand Duke Svetozar, the hero Ruslan, the prophetic folk singer Bayan take the listener to an atmosphere of ancient times, give rise to an idea of the beauty and grandeur of folk life. significant place the opera is occupied by fantastic pictures of the kingdom of Chernomor, the castle of Naina, whose music is endowed with oriental flavor. The main conflict - the clash of the forces of good and evil - is reflected in the music of the opera due to the relief opposition of the musical characteristics of the characters. Vocal parts of goodies, folk scenes are full of songs. Negative characters or deprived vocal characteristics(Chernomor), or outlined with the help of a recitative "talker" (Naina). The epic warehouse is emphasized by the abundance of choral mass scenes and the unhurried development of the action, as in an epic narration.

The idea of the work - the triumph of the bright forces of life - is already revealed in the overture, in which the jubilant music of the opera's finale is used. In the middle section of the overture, mysterious, fantastic sounds arise.

The first act impresses with breadth and monumentality musical embodiment. The act opens with an introduction that includes a series of numbers. Bayan's song "Cases of Bygone Days", accompanied by harps imitating the harp, is sustained in a measured rhythm, full of majestic calmness. The second song of Bayan "There is a desert land" has a lyrical character. The introduction ends with a powerful congratulatory choir "To the Light Prince and health and glory." Lyudmila's cavatina "I'm sad, dear parent" - a developed scene with a choir - reflects the different moods of a girl, playful and graceful, but capable of great sincere feeling. The choir "Lel mysterious, intoxicating" resurrects the spirit of ancient pagan songs. The scene of the kidnapping begins with the sharp chords of the orchestra; music takes on a fantastic, gloomy flavor, which is preserved in the canon “What wonderful moment”, conveying a state of stupor that has engulfed everyone. The act is crowned by a quartet with a choir “O knights, rather in an open field”, full of courageous determination.

The second act, consisting of three scenes, begins with a symphonic introduction depicting a harsh, mysterious northern landscape, embraced by watchful silence.

In the first picture, Finn's ballad takes center stage; her music creates a noble image, full of deep humanity and moral beauty.

The second picture is the opposite of the first. The appearance of Naina is outlined by the prickly rhythms of short orchestral phrases, cold instrumental timbres. A well-aimed comic portrait of a jubilant coward is captured in Farlaf's rondo "The hour of my triumph is near."

In the center of the third picture is Ruslan's magnificent musical aria; her slow introduction "O field, field, who strewn you with dead bones" conveys the mood of deep, concentrated meditation; the second section, in a fast energetic movement, is endowed with heroic features.

The third act is the most diverse in terms of color and picturesqueness of the music. Alternating choirs, dances, solo numbers paint the atmosphere of Naina's magical castle. The flexible melody of the Persian choir “Night darkness falls in the field” sounds charmingly seductive, imbued with sweet languor. Cavatina Gorislava "Luxury Star of Love" is full of hot, passionate feelings. Ratmir's aria "And heat and heat replaced the night with a shadow" is noted with a pronounced oriental flavor: the whimsical melody of the slow section and the flexible waltz-like rhythm of the fast one outline the ardent nature of the Khazar knight.

The fourth act is distinguished by lush decorativeness, brightness of unexpected contrasts. Lyudmila's aria “Oh, you share, share” - a detailed monologue scene; deep sadness turns into determination, indignation and protest. The march of Chernomor paints a picture of a bizarre procession; angular melody, piercing sounds of pipes, flickering sounds of bells create a grotesque image of an evil sorcerer. The march is followed by oriental dances: Turkish - smooth and languid, Arabic - mobile and courageous; the dance suite concludes with a fiery, whirlwind lezginka.

There are two scenes in the fifth act. In the center of the first is Ratmir's romance “She is my life, she is my joy”, imbued with bliss and passion.

The second scene is the finale of the opera. The stern, sorrowful choir "Oh, you, light-Lyudmila" is close to folk lamentations. The second move “The bird won't wake up in the morning” is colored with sadness, interrupted by the mournful remarks of Svetozar. The music of the awakening scene is fanned by the morning freshness, the poetry of a flourishing life; a melody full of lively, quivering feeling (“Joy, clear happiness”) is sung by Ruslan; Lyudmila joins him, and then the rest of the participants and the choir. The final chorus (“Glory to the great gods”) sounds jubilant, light and cheerful (overture music).

1 A. A. Shakhovsky (1777-1846) - playwright, author of many vaudevilles and comedies.

2 Bayan's second song, not directly related to the plot, is a kind of musical dedication to Pushkin.

The opera begins with the scene of the prince's feast. The prince gives his daughter (Lyudmila) for the hero - Ruslan. The hero himself is good, and Lyudmila loves him, rejecting all other contenders for her hand: Farlaf and Ratmir. Here Bayan in the song predicts the difficult fate of Ruslan and Lyudmila. They'll get in the way evil force but all will end well.

And indeed, it becomes dark here, and when the “smoke” clears, it turns out that Lyudmila was kidnapped. Bayan says that the evil sorcerer Chernomor did this.

Of course, Ruslan goes to save his bride. Other "suitors" also decide to try their luck.

On his way, Ruslan meets a wizard - Finn, who tells him his story. In his youth, he could not subdue the beautiful Naina in any way. When, out of despair, he resorted to charms, he already fell in love with old Naina. Now she pursues him, and he hides in horror.

Now Ruslan passes another test - he meets Naina, who lures him to a beautiful palace full of food, jewelry and beauties. Ratmir is already there, followed by Gorislava, who is in love with him. Men are bewitched, they have forgotten everything. But Finn saves them from Naina's spell. Ratmir returns to Gorislava. And Farlaf has long been ready to give up Lyudmila, but Nana promises him magical help.

Meanwhile, Lyudmila, in captivity at Chernomor, refuses his gifts. And Ruslan challenges him to a fight. The hero cuts off the sorcerer's beard, which contained his power.

Together with the enchanted Lyudmila, Ruslan returns to her father. Here Farlaf tries to wake up the princess, but only Ruslan succeeds.

The opera teaches that good always wins.

Picture or drawing of Glinka - Ruslan and Lyudmila

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The ballet "Ruslan and Lyudmila" was created on the basis of the works of two great creators of the Russian land - the poet A.S. Pushkin and composer M.I. Glinka. This performance is not just a charming fairy tale, and a philosophical parable about eternal, like the world, human feelings: true love conquering betrayal and deceit. Pushkin lines filled with love for the characters, whose feelings are not fictional, but real. Young, carefree Lyudmila, fearless Ruslan, in love with the pleasures of Ratmir, Gorislava, who retained her love for the young man who rejected her. The magical characters of the poem that the main characters encounter, drawing them into the world of miracles, as if checking the truth of the feelings of lovers, forcing them to make their choice.
The great Russian composer M. Glinka conceived his opera a few months after tragic death Pushkin in a duel, dedicating his work to his memory. In the ballet version of the opera, created by the famous composer, professor of the Moscow Conservatory Vladislav Agafonnikov, a number of musical abbreviations were made, the vocal and choral sections were reworked for the orchestra, and the necessary musical connections were made. The ballet "Ruslan and Lyudmila" attracts not only with the dance and director's finds of the outstanding choreographer of Russia Andrei Petrov, but also with luxurious scenery and costumes made by the wonderful theater designer Marina Sokolova.
The premiere of the play "Ruslan and Lyudmila" by the Kremlin Ballet Theater took place on March 31, 1992 and was enthusiastically received by critics and the public.

Choreographic fairy tale in 2 acts
Libretto by A. B. Petrov (based on the poem by A. S. Pushkin and the libretto of the opera of the same name by M. I. Glinka)
Staged by the Ballet Theater of the Kremlin Palace of Congresses 1992
Director and choreographer ANDREY PETROV
Artist MARINA SOKOLOV
Conductor ALEXANDER PETUKHOV

BALLET "RUSLAN AND LYUDMILA"

1 ACT
PROLOGUE
Under a mighty oak, the singer-storyteller Bayan plays the harp... Ruslan and Lyudmila meet under the wide crown of the oak. Their love is still a secret for everyone, and in the morning Lyudmila must choose a groom for herself.

I PICTURE
There is a festive revival in the gridnitsa of the Grand Duke Svetozar. Everyone is looking forward to which betrothed Lyudmila will choose. The suitors of the princess appear: the arrogant Varangian knight Farlaf and the dreamy Khazar prince Ratmir. Ratmir is pursued by Gorislava, who is in love with him, with a plea to abandon the idea of intermarrying with the prince of Kyiv.
Here is Ruslan. The opponents look at each other suspiciously. Ludmila appears. Her choice has long been made. The squad and the prince praise the young couple. The wedding ceremony begins. The young are brought under the curtain with honors... Thunder... Lightning...
The sinister figure of Chernomor appears. Everyone freezes. Enchanted by Chernomor, Lyudmila freezes. The evil sorcerer and his prisoner disappear.
Everyone woke up. Ludmila is not. Ruslan is in despair. Svetozar promises Lyudmila as a wife to the one who returns his daughter to him. All three knights swear to do so. Opponents leave Kyiv.

2 picture
Fairy forest. Naina pursues Finn with her love. He rejects her. She vows revenge.
Ruslan goes through the forest and comes to the home of the good Finn. The owner welcomes Ruslan cordially. Ruslan sees Lyudmila and Chernomor in the smoke of the magic fire. Ruslan thanks Finn and leaves to look for Chernomor's castle.
Naina lies in wait for Farlaf. She promises him Lyudmila. The coward is ready for anything. His joy knows no bounds. Naina gives him what he dreamed of: a soft bed and a table with food. Overwhelmed by wine and gluttony, he falls asleep, forgetting about Lyudmila.

3 PICTURE
Ruslan enters the field: traces of a bloody battle, the remains of heroes are visible. Death Valley makes a painful impression. Ruslan is tired. Doubt gnaws at him. Will I find Lyudmila, or maybe I will fall like these unknown warriors? Suddenly Ruslan sees a hill, with the brilliance of the moon it comes to life - in front of the hero is the head. The head crumbles into many warriors. The battle is fierce, the forces are unequal, but Ruslan emerges victorious. The warriors are scattered: in place of the head is a magic sword.

4 PICTURE
Naina conjures, attracts knights. Her retinue is a swarm of ugly old women, but at the gesture of the sorceress they turn into beautiful maidens. And Naina herself becomes a young beauty. The forest comes alive with a wonderful oriental palace. Naina is waiting for the victim, preparing a poisoned drink for her.
Gorislav relentlessly follows Ratmir, but he is relentless. He longs to find Lyudmila, although Gorislav is dearer and closer to him, but the stubbornness of the proud prince is boundless. Ratmir leaves the weeping Gorislava and enters Naina's palace. Fairy maidens, wine and refreshments - now he lost his shield, and sword, and helmet. Here is the seductive hostess. The charms of Naina make Ratmir forget about everything in the world. Gorislava appears in the palace, bringing Finn and Ruslan with her. Together they release Ratmir from the spell.

2 ACT
1 PICTURE
Morning. Lyudmila wakes up in Chernomor's castle. Everything here is alien to her. The servants want to feed her marvelous dishes. Chernomor appears. Wanting to achieve the love of Lyudmila, he takes the form of Ruslan. Lyudmila feels deceit, and the spell is dispelled. In front of her is a dwarf. Lyudmila tangles the villain's magical beard.
The servants of Chernomor come out in a solemn march, carrying the dwarf and his beard. Lyudmila is solemnly planted in front of Chernomor. Wizard Power Parade. The whirlwind of lezginka captures everyone. Both thrones are rushing in a circle. Lyudmila is already almost without feelings. The dwarf approaches his victim with laughter...
The sound of a horn is heard. This is Ruslan calling Chernomor to battle. The sorcerer enchants Lyudmila and draws his sword. A short but fierce fight, and the dwarf carries Ruslan under the clouds.

2 picture
Ruslan runs in with the severed beard of Chernomor. Lyudmila sleeps like a witch's dream and does not recognize her lover. Sobbing Ruslan carries Lyudmila away. Ratmir and Gorislava came to the aid of Ruslan.

3 PICTURE
Naina drags the shaking Farlaf - his hour has come. Fear makes him submit. They follow the trail of Ruslan.

4 PICTURE
Night in the steppe. Ratmir and Gorislava leave for the forest. Ruslan guards Lyudmila's sleep, but, tired, falls asleep. Naina and Farlaf appear. Naina forces Farlaf to raise his sword against Ruslan. Farlaf plunges his sword into the knight's chest and kidnaps Lyudmila. Naina is jubilant. Suddenly, Finn appears. In his hands he has two vessels - with dead and living water. He heals Ruslan's wounds.
Ruslan, Ratmir and Gorislav rush to Kyiv. Finn's blessing overshadows them. Naina is defeated, her plans are destroyed,

5 PICTURE
Farlaf, having kidnapped Lyudmila, brought her to Kyiv. But no one can wake her from her magical sleep. She doesn't even recognize her father...
The prince mourns his daughter. Unexpectedly for everyone, Ruslan appears. Farlaf begs for mercy. Ruslan's love awakens Lyudmila. Happiness and jubilation in the halls of Prince Svetozar. Russians praise the brave knight and the young princess...

"Traditions of antiquity deep", told in the language classical dance: the mutual love of Ruslan and Lyudmila, her abduction by Chernomor, the rivalry of contenders for the hand and heart of the Kyiv princess - the cowardly Farlaf and the proud Ratmir, Chernomor and the magical power of his beard ...
Anger, deceit and cowardice are overcome by justice, good heroic strength and love.

“The first thought about Ruslan and Lyudmila was given to me by our famous comedian Shakhovsky ... At one of the evenings of Zhukovsky, Pushkin, speaking of his poem “Ruslan and Lyudmila”, said that he would redo a lot; I wanted to know from him what kind of alterations he intended to make, but his premature death did not allow me to fulfill this intention. This is how Glinka describes the conception of the opera Ruslan and Lyudmila. The composer began working on the opera in 1837, without a libretto ready yet. Due to the death of Pushkin, he was forced to turn to minor poets and amateurs from among friends and acquaintances. Among them were N. V. Kukolnik (1809-1868), V. F. Shirkov (1805-1856), N. A. Markevich (1804-1860) and others.

The text of the opera included some fragments of the poem, but in general it was written anew. Glinka and his librettists made a number of changes to the composition of the characters. Some characters disappeared (Rogdai), others appeared (Gorislava); subjected to some alteration and storylines of the poem.

The idea of the opera is largely different from the literary source. Pushkin's brilliant youthful poem (1820), based on the themes of a Russian fairy tale epic, has features of light irony and a playful attitude towards the characters. Glinka resolutely refused such an interpretation of the plot. He created a work of epic scope, full of great thoughts, broad life generalizations.

Heroism, nobility of feelings, fidelity in love are sung in the opera, cowardice is ridiculed, deceit, malice and cruelty are condemned. Through the entire work, the composer conveys the thought of the victory of light over darkness, of the triumph of life. Glinka used the traditional fairy tale plot with exploits, fantasy, magical transformations to show a variety of characters, complex relationships between people, creating a whole gallery of human types. Among them are chivalrous and courageous Ruslan, gentle Lyudmila, inspired Bayan, ardent Ratmir, faithful Gorislava, cowardly Farlaf, kind Finn, treacherous Naina, cruel Chernomor.

The opera was written by Glinka for five years with long breaks: it was completed in 1842. The premiere took place on November 27 (December 9) of the same year at the Bolshoi Theater in St. Petersburg.

Music

Ruslan and Lyudmila is an epic opera. The monumental images of Kievan Rus, the legendary figures of the Grand Duke Svetozar, the hero Ruslan, the prophetic folk singer Bayan take the listener into an atmosphere of ancient times, give rise to an idea of the beauty and grandeur of folk life. A significant place in the opera is occupied by fantastic pictures of the kingdom of Chernomor, the castle of Naina, whose music is endowed with oriental flavor. The main conflict - the clash of the forces of good and evil - is reflected in the music of the opera due to the relief opposition of the musical characteristics of the characters. Vocal parts of goodies, folk scenes are full of songs. Negative characters are either devoid of vocal characteristics (Chernomor), or are outlined with the help of a recitative "talker" (Naina). The epic warehouse is emphasized by the abundance of choral mass scenes and the unhurried development of the action, as in an epic narration.

The first act impresses with the breadth and monumentality of the musical embodiment. The act opens with an introduction that includes a series of numbers. Bayan's song "Cases of Bygone Days", accompanied by harps imitating the harp, is sustained in a measured rhythm, full of majestic calmness. The second song of Bayan "There is a desert land" has a lyrical character. The introduction ends with a powerful congratulatory choir "To the Light Prince and health and glory." Lyudmila's cavatina "I'm sad, dear parent" - a developed scene with a choir - reflects the different moods of a girl, playful and graceful, but capable of great sincere feeling. The choir "Lel mysterious, intoxicating" resurrects the spirit of ancient pagan songs. The scene of the kidnapping begins with the sharp chords of the orchestra; the music takes on a fantastic, gloomy flavor, which is also preserved in the canon “What a wonderful moment”, which conveys a state of stupor that has engulfed everyone. The act is crowned by a quartet with a choir “O knights, rather in an open field”, full of courageous determination.

The second act, consisting of three scenes, begins with a symphonic introduction depicting a harsh, mysterious northern landscape, embraced by watchful silence.

In the first picture, Finn's ballad takes center stage; her music creates a noble image, full of deep humanity and moral beauty.

The second picture is the opposite of the first. The appearance of Naina is outlined by prickly rhythms of short orchestral phrases, cold instrumental timbres. A well-aimed comic portrait of a jubilant coward is captured in Farlaf's rondo "The hour of my triumph is near."

There are two scenes in the fifth act. In the center of the first is Ratmir's romance “She is my life, she is my joy”, imbued with bliss and passion.

M. Druskin

The premiere of the opera passed without resounding success. In the future, from performance to performance, success increased. We note the 1904 production at the Mariinsky Theater for the 100th anniversary of the birth of Glinka (soloists Slavina, Chaliapin, Ershov, Kastorsky, Alchevsky, Cherkasskaya). Often placed abroad. In 1969, the production in Hamburg was staged by the choreographer D. Balanchine (director Mackeras, artist N. Benois).

Glinka's second opera. In many ways, it is the opposite of Ivan Susanin - a folk tale instead of a historical tragedy, an epic unhurried narrative - instead of intense drama. From here new genre - fabulous epic opera.

And at the same time, many historians of Russian music, among them Boris Asafiev, speak of in general terms two operas by Glinka, which became the basis of the Russian classical opera school. Operas are related:

1) High ethical ideals - faith in the victory of good over evil, love for the native land.

2) Heroic idea.

3) Folk song basis. national musical language.

4) Breadth and scale in the depiction of folk life.

5) Oratorio, epic beginning in choral scenes. Glinka is in them the heir to the ancient traditions of Russian choral culture.

History of creation. Premiere.“The first thought about Ruslan and Lyudmila was given to me by our famous comedian Shakhovsky ... At one of the evenings of Zhukovsky, Pushkin, speaking of his poem “Ruslan and Lyudmila”, said that he would redo a lot; I wanted to know from him what kind of alterations he intended to make, but his premature death did not allow me to fulfill this intention. This is how Glinka describes the conception of the opera Ruslan and Lyudmila. The composer began working on the opera in 1837, without a libretto ready yet. Due to the death of Pushkin, he was forced to turn to different poets and lovers from among friends and acquaintances. Among them are V. F. Shirkov, Nikolai Andreevich Markevich ( Ukrainian historian, ethnographer-folklorist and writer), N. Kukolnik, Alexander Mikhailovich Gedeonov (since 1833 - director of the imperial theaters), Konstantin Alexandrovich Bakhturin.

Valerian Fyodorovich Shirkov(1805-1856). He received a comprehensive home education. In the autumn of 1836, Shirkov made a personal acquaintance with the composer M. I. Glinka, which grew into a long-term friendship. It was at the suggestion of Valerian Fedorovich that M. I. Glinka began to write Kamarinskaya. Since Valerian Fedorovich wrote poetry, M. I. Glinka suggested that he write a text for Gorislava's cavatina "Luxury Star of Love" and for part of the first act of the opera "Ruslan and Lyudmila". Appreciating the texts, M. I. Glinka asked Shirkov to write the entire libretto. However, since Valerian Fedorovich lived most of the time on his estate, and Glinka lived in St. Petersburg, their creative communication was difficult, and took place mainly by correspondence. Therefore, part of the libretto of the opera was performed by the St. Petersburg poets Kukolnik and Markevich.

Now that the materials relating to Glinka's work on the opera have been published - her plan, the composer's letters to V. Shirkov, the librettist, not to mention the composer's autobiographical notes - it is difficult to understand how Glinka could be reproached for carelessness in relation to the creation of the libretto. And such reproaches were heard from the composer's contemporaries, and even later: “The libretto was composed almost without a preliminary, strictly thought-out plan, it was written bit by bit and by different authors,” A. Serov wrote at one time. It must be admitted, however, that the words of Glinka himself served as the reason for such an idea of working on an opera. Here is what he wrote in his Notes: “In 1837 or 1838, in the winter, I once played some excerpts from the opera Ruslan with fervor. N. Kukolnik, who always took part in my works, incited me more and more. Then there was Konstantin Bakhturin among the visitors; he undertook to make a plan for the opera, and in a quarter of an hour waved it under his drunken hand, and imagine: the opera was made according to this plan! Bakhturin instead of Pushkin! How did it happen? “I don’t understand myself.” It must be said that this was the end of Bakhturin's participation (according to Glinka that this was his plan). The surviving plans and materials of Glinka himself clearly prove his painstaking work over the smallest details of the plot. And one can agree with V. Stasov, who argued that “never before has any composer more than Glinka cared about the libretto and all its details, from the largest to the smallest, and never has any composer less than Glinka presented anything to arbitrariness and the taste of his librettist.

The premiere of the opera passed without resounding success. “The first act went pretty well,” Glinka later recalled. - The second act was also not bad, except for the chorus in the head. In the third act, Petrova's pupil (the wonderful singer Anna Petrova was unwell on the day of the premiere, and she was replaced by a young singer, also named Petrova - Anfisa. - A.M.) turned out to be very weak, and the audience noticeably cooled off. The fourth act did not produce the effect that was expected. At the end of the 5th act, the imperial family left the theater. When the curtain was lowered, they began to call me, but they applauded very unfriendly, meanwhile they zealously hissed, and mainly from the stage and the orchestra. I turned to General Dubelt, who was then in the director's box, with the question: “It seems that they are hissing; should I go to the challenge? “Go,” the general replied. “Christ suffered more than you.” Departure royal family before the end of the performance, of course, could not but affect the reception of the opera by the public. Nevertheless, in the first season of its existence, the opera was held in St. Petersburg 32 times. It is noteworthy in this regard that F. Liszt, who visited St. Petersburg in 1843, testified to Glinka that the opera was also given 32 times in Paris (for comparison, William Tell was given 16 times in the first season in Paris).

Further fate operas. In the future, after the death of the composer, the success of the opera increased from performance to performance. You can note following productions:

1904 at the Mariinsky Theater for the 100th anniversary of the birth of Glinka (soloists Slavina, Chaliapin, Ershov, Kastorsky, Alchevsky, Cherkasskaya).

1969 - choreographer D. Balanchine (director Mackeras, artist N. Benois) staged in Hamburg.

1994 - at the Mariinsky Theater (directed by Gergiev, with renewed design by artists A. Golovin and K. Korovin for the performance of 1904).

Tradition and innovation. As in Ivan Susanin, Glinka did not escape the experience of his Russian predecessors. Neither the fabulous, epic images of the naive-romantic operas of the 1800s, nor the images of the romantic ballet, nor the fantasy of Verstovsky's operas passed without a trace.

However, it is difficult to name at least one work close to the opera "Ruslan and Lyudmila" in terms of strength. artistic images. The main thing is that in Glinka's opera, as before in Ivan Susanin, the general ideological concept has changed. Instead of naive magical opera» a grandiose work appeared, revealing the eternal philosophical basis folk tale!

Idea. Thus, heroism, nobility of feelings, fidelity in love are sung in the opera, cowardice is ridiculed, deceit, malice and cruelty are condemned. Through the whole work, the composer carries out the idea of the victory of light over darkness, good over evil, the triumph of life. Glinka used the traditional fairy tale plot with exploits, fantasy, magical transformations to show a variety of characters, complex relationships between people, creating a whole gallery of human types. Among them are chivalrous and courageous Ruslan, gentle Lyudmila, inspired Bayan, ardent Ratmir, faithful Gorislava, cowardly Farlaf, kind Finn, treacherous Naina, cruel Chernomor.

The plot and its interpretation. The time of work on the opera was marked by interest in ancient sources folk art, the foundations of the people's worldview. Old samples of Russian musical and poetic folklore were recorded: epics, ritual songs, spiritual verses. Therefore, we can say that the idea of creating a fabulously epic opera was inspired by the atmosphere of the time. The composer knew Pushkin's poem "Ruslan and Lyudmila" from a young age, and it turned out to be a suitable plot.

The appeal to Pushkin's poem brought the composer even closer to the poet. Optimism, the life-affirming power of art, characteristic of Glinka's work, manifested itself in this work with particular completeness. There are not many works of such a light, clear, major tone in the entire world of operatic literature!

However, Glinka's opera differs in many ways from its literary source. Pushkin's brilliant youthful poem (1820), based on the themes of a Russian fairy tale epic, has features of light irony and a playful attitude towards the characters. Glinka refused such an interpretation of the plot. The genre of the fairy tale was enriched with the features of the epic narration. Light carefree irony gave way to a serious and reverent attitude towards native antiquity. The opera impresses with epic calm, unhurried, measured development of events. Its epic-philosophical warehouse is entirely determined by the beginning of Pushkin's poem: "Cases of Bygone Days."

Dramaturgy of the opera. The appeal to the epic, narrative plot caused special interpretation operatic form, significantly different from the more dynamic composition of Ivan Susanin. Based on the classical tradition of closed, finished numbers, Glinka creates his own type of epic narrative operatic dramaturgy. Such a dramatic principle was so new that the opera as a theatrical stage work was not understood by many contemporaries.

Even during the life of Glinka, the dramaturgy of Ruslan caused heated debate. But the controversy flared up with particular force in the period of the 60s, when the leading music critics of that time - Alexander Nikolaevich Serov and Vladimir Vasilyevich Stasov. Recognizing the musical merits of Ruslan, Serov generally denied the very possibility of creating an opera based on an epic story. “The purely epic content of the opera Ruslan, in other words, will come out as anti-dramatism, anti-stage,” he wrote in 1860. "An opera must be, above all, a drama." Comparing Glinka's two operas, Serov gives preference to "Ivan Susanin": "... Glinka's first opera is what an opera should be - there is a drama in its full, deep, natural organism, and "Ruslan" is not a drama, not a play, therefore, not an opera, but a randomly formed gallery musical pictures».

In contrast to Serov, Stasov, who supported the aesthetics of the Balakirev circle, admired the innovative concept of Ruslan and considered this opera by Glinka a wonderful embodiment of folk epic, the main basis of the New Russian School.

History has confirmed the correctness of the point of view of Stasov and his friends - composers " mighty handful". Possessing an exceptional breadth of artistic views, the critic was able to sense in Glinka's music a whole trend of Russian art. The "epic world" discovered by Glinka in "Ruslan" gave rise to a whole system of images and dramatic techniques that retain their significance in Russian music of the subsequent time up to the present day.

Important features of the epic, narrative dramaturgy of "Ruslan and Lyudmila" are:

1. The unhurried development of events, characteristic of Russian epics;

2. New principle of conflict. The active forces do not so much clash and fight as they contrast with each other. Conflict, intensely dramatic development is replaced by the principle of contrast. The most tense and dramatic moments remain behind the scenes (for example, Ruslan's battle with Chernomor). In such a comparison of two opposite spheres of action, the principles of the future development of Russian epic symphony(Borodin, Rimsky-Korsakov, Glazunov) and the corresponding opera stage genres (fairy tale opera, epic opera, legend opera).

3. The principle of symmetry, characteristic of Russian folklore. The theme of the overture is repeated in the finale of act 5 in the same key of D-dur, which gives the opera a special harmony and completeness. In addition, a stage arch also appears: the introduction and finale paint majestic pictures of Kievan Rus, these are monumental choral scenes - like the beginning and conclusion, between which contrasting scenes of the heroes' magical adventures unfold. The principle of dramatic three-partness is being created, which in the future will become typical for Russian fairy tale operas. Balance and harmony distinguishes not only the overall design as a whole, but also individual actions, scenes.

4. The principle of picture comparisons, characteristic of a folk tale. Before the listener unfolds a story about the wonders of a fabulous magical world; one picture follows another. Princely Gridnitsa - a mysterious forest - the warm southern kingdom of Naina - the ghostly gardens of Chernomor. And in this sense, Serov's opinion about the opera as a "gallery of musical pictures" is not without foundation. However, this gallery was not at all “accidentally formed”.

Here's the order they line up fabulous pictures operas:

1st act– an exposition of images of the main characters (introduction: the wedding feast of Ruslan and Lyudmila in the princely chambers of Svetozar) and the beginning of the plot (the abduction of Lyudmila).

2nd act: 1st picture: Ruslan's meeting with the wizard Finn, his story about love for the sorceress Naina;

2nd picture: Farlaf's meeting with Naina, who promises to help him find Lyudmila;

3rd picture: Ruslan's meeting with the Head, duel, Head's story, Ruslan receiving a sword with which to defeat Chernomor;

3rd act: the magic castle of Naina, into which Ratmir first falls, and then Ruslan. Finn saves them from Naina's magic spells;

4th act: Lyudmila yearns for magical gardens Chernomor. Chernomor appears. Ruslan summons Chernomor to battle with the sound of a signal horn and wins by cutting off his beard, in which magical power is hidden. Ruslan finds Lyudmila, but cannot wake her up.

5th act: 1st picture: the slaves of Chernomor tell Ratmir about the disappearance of Lyudmila and that Ruslan went to save her. Finn hands over to Ratmir magic ring, which should wake up Lyudmila.

2nd picture: princely chambers of Svetozar. Farlaf brings Lyudmila, who was kidnapped by him, but no one can wake her up. Ruslan appears and awakens her with the help of a ring given to him by Ratmir. People glorify the bride and groom.

The principle of symphony. The opera is dominated by finished numbers. At the same time, the opera is symphonic. As in "Susanin", its symphonic concept is associated with the consistent implementation of the main leittems and the comparison of two through lines - "the forces of action and counteraction". The main themes of the two opposite spheres are first heard in the overture, and then developed in the opera. Russian singing is especially important main party overtures - T 5 3 with a sixth, "Glinka hexachord". It is “sung” in different ways in the heroic scenes of Ruslan, embodying the image of a mighty heroic bright folk spirit. We hear new versions of this motive - in Bayan's solemn chant from the introduction, in Ruslan's aria (here the hexachord is intoned now in minor, then in major), in the powerful final chorus "Glory to the great gods." Variant-variational way of development.

Less changeable are the themes of Chernomor, which also permeate the opera throughout. Being the embodiment of a cold, constricting force, these themes are given in a static state.

Contrasting images. Like "Ivan Susanin" in "Ruslan", the opposing forces, i.e., positive heroes and fantastic ones hostile to them, are opposed musical means. Goodies have an aria-portrait, are characterized vocally. Their music is based on folk song traditions, it is diatonic, it is distinguished by modal certainty and stability.

Fantastic characters are characterized by instrumental music, for example, Chernomor is deprived of a vocal part, Naina has only a recitative (sings on one or two notes in a dry tongue twister). As opposed to diatonic - chromatism in melody, in harmony - instability, Uv. 5 3 , Min. 5 3 , sharp dissonances. Chernomor is characterized by a whole-tone scale, which is devoid of the usual gravity, has a “cold” flavor as opposed to the “human” major and minor modes.

At the same time, Glinka does not deprive his "anti-heroes" who oppose bright characters with Pushkin's humor. They are more comical than terrible. "Black Sea" and magical in "Ruslan and Lyudmila", of course, is hostile, but as if for fun, like a fairy tale. The humorous effect is created by sharp staccato woodwinds in Naina’s theme, grandiose “trumpet calls” in Chernomor’s march, grotesque orchestration techniques in oriental dances. Glinka's evil wizards are both terrible and comical at the same time, they are powerless before the power and good will of man.

East at the opera. As in "Ivan Susanin", in "Ruslan" 2 national cultures are compared - Rus' and the East. Oriental images, which have long been inherent in Russian fairy tales, first came to life and flourished in Glinka's music. This is Ratmir's aria, "Persian choir", dances of the IV act. The sources of these themes are different - the composer uses Arabic, Iranian, Caucasian themes, creates his themes in the spirit of the Oriental. We can say that Glinka's "East" is a collective concept, without exact national coordinates. It is in this opera that the basic principles of recreating oriental images in Russian music are developed, which later passed to his heirs - Balakirev, Borodin, Mussorgsky, Rimsky-Korsakov, Glazunov. Both Glinka and his successors oriental folklore developed mainly in the instrumental-symphonic plan.

Orchestra. In "Ruslan" Glinka reached the heights of orchestral skill. The fairy-tale plot of the opera seems to suggest new coloristic techniques to the composer. The role of independent orchestral numbers is expanding. In the overture, intermissions and dances appeared best qualities Glinka's orchestral style, mastery of symphonic development.

Important in the characterization of images are leittimbres. Lyudmila's leittimbres are a flute or violin, Gorislava's are an "exotic" bassoon timbre. Ratmir is accompanied by an English horn imitating the oriental zurna, Naina - the "prickly" sound of woodwinds playing staccato.

Opera in five acts to a libretto by composer V. Shirokov, with the participation of K. Bakhturin, N. Kukolnik, N. Markevich, A. Shakhovsky, based on poem of the same name Alexander Sergeevich Pushkin.

Characters:

SVETOZAR, Grand Duke of Kiev (bass)
LYUDMILA, his daughter (soprano)
RUSLAN, Kiev knight, fiance Lyudmila (baritone)
RATMIR, prince of the Khazars (contralto)
FARLAF, Varangian knight (bass)
GORISLAVA, captive of Ratmir (soprano)
FINN, the good wizard (tenor)
Naina, the evil sorceress (mezzo-soprano)
BAYAN, singer (tenor)
Chernomor, the evil wizard (no words)
SONS OF SVETOZAR, VITYAZS, BOYARS AND
BOYARINS, HAY GIRLS, NUNS AND NUMS,
OTROKI, GRIDNI, CHASHNIKI, STOLNIKI,
DRUZHINA and PEOPLE; VIRGINS OF THE MAGIC CASTLE,
Dwarfs, Slaves of Chernomor, Nymphs and Undines.

Time of action: epic (“long gone days”).

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