Author of historical drama Tsarist Bride and Pskovsian. Through my days ...

Almost all Roman-Korsakov operations accompanied misunderstanding, and the misunderstanding is effective. The controversy around the "tsarist bride" turned around at the time when Nikolai Andreevich did not have time to finish the score. From this controversy, which was initially friends and members of the composer family, and then colleagues and critics, have signed several estimated, classification stamps. It was decided: in the "tsarist bride", Roman Korsakov returned to "outdated" vocal forms, primarily an ensemble; Refused the indispensable innovation, the search for "fresh", sharply original means of expressiveness, departing from the traditions of the new Russian school or even betraying them. "Tsarist Bride" - drama (historical or psychological), and therefore in it the Roman Korsakov changes himself (in fact, scenes and images from the area, template to refer to the area "Myth and Fairy Tales").

The unceremoniousness is striking, with which even the closest people pointed to the master for his error (failure). Curious attempts of benevolent correspondents explain the unexpected style of the Tsarist Bride, which seemed strange after Sadko. Here, let's say, the famous place from the letter V. I. Belsky, Librettist Rimsky-Korsakov: "The abundance of the ensembles and the importance of the dramatic moments expressed by them would have to bring the" bride "to the operations of the old formation, but there is one circumstance, which sharply moves it from They give your acts a completely original physiognomy. This is the absence of commonly secure long and noisy ensembles in the conclusion of each action. " Belsky, devotee friend, the writer of huge talent, the nature is truly artistic, finally, the face is the most close to Roman-Korsakov for many years ... What does the naive challenge of his acquittal period mean? Go gesture courtier-friendly loyalty? Or maybe an attempt to express an intuitive understanding of the "tsarist bride" contrary to the templates that were imposed on her interpretors?

Roman Korsakov complained: "... For me, a specialty is scheduled for me: fantastic music, and they are applied dramatic. Is my lot of water, earth and amphibians? "Is mine?" Like none of the great musicians of the past, Roman Korsakov underwent from prescriptions and labels. It was believed that historical dramas - the profile genre of Mussorgsky (despite the fact that Pskovtyanka was composed simultaneously with Boris Godunov, in essence, in the same room, and it is possible that the language of the Korsakovskaya opera had a significant impact on the Opera Mussorgsky), the drama psychological - According to Tchaikovsky. Wagner Opera Forms are the most advanced, it means to appeal to the number structure - retrogradism. So, Roman Korsakov had to compose the operas of fairy tales (epics, etc.), preferably in the Wagner forms, filling the parties with picturesque harmonic and orchestral innovations. And just in the period when the final and fraliminary boom of Russian Vagneryanism was ready to break out, Nikolai Andreevich created the "tsarist bride"!

Meanwhile, Roman Korsakov is the author of the least polemical, the least fuss of all that can be imagined. He never sought to innovation: So, some of his harmonic structures, whose radicalism has not yet been surpassed, are derived from the fundamentally understood traditions in order to express special images, special - state-of-states. He never wanted to invent opera ones, conclude himself in a framework of a particular type of dramaturgy: the shapes through and the license plates were used also in accordance with the tasks of the artistic meaning. Beauty, harmony, jewelry fitness - and no controversy, no declarations and innovations. Of course, such perfect, transparent integrity is less clear than all the catchy, unequivocal, - it provokes the controversy to a greater extent than the most frank innovations and paradoxes.

Some ... Is it so far "realistic" Opera Roman-Korsakov from his "fantastic" works, "opera-fairy tales", "opera-epic", "Opera-Mysteries"? Of course, it does not have natural spirits, immortal magicians and paradise birds. In it (which, in fact, attractively for the audience) the tense collision of passions - those passions that people live in real life and the incarnation of which are looking for in art. Love, jealousy, social plan (in particular, family and lawless cohabitation as two poles), a social structure and despotic power - a lot from what occupies us in everyday life, the place is found here ... But all this came from a literary source, from the Drama Maya which may have attracted the composer precisely a significant coverage of life (in a broad sense), the hierarchical arrangement of its elements - from self-leveling, permeating the life of everyone, to the lifestyle and experiences of each.

Music raises what is happening for a different semantic step. Belsky faithfully noticed that the ensembles express the most important dramatic moments, but incorrectly interpreted the dramaturgical difference between the "bride" from the operas of the "old formation". N. N. Rimskaya-Korsakov, the wife of the composer, wrote: "I do not sympathize, I will return to old opera forms ... especially in the application to such a purely dramatic plot." The logic of hope Nikolaevna is as follows: if you write a musical drama, then it (in the conditions of the end of the 19th century) should repeat the forms of dramatic, for the infection of the plot collision, continued, enhanced by sound means. In the "tsarist bride" - complete discreteness of forms. Arias not only express the state of the characters - they reveal their symbolic meaning. The scene is deployed in the scene side of the action, the ensembles give the moments of fatal contacts of characters, those "Nodes of Fate", which constitute a crystal lattice of action.

Yes, the characters are discharged tangible, sharply psychologically, but their inner life, their development is not traced with the continuous chance that distinguishes itself a psychological drama. Characters vary from "switching" to "switching", stepwise go into a new quality: with contact with each other or with a higher order. In Opera, there is a categorical - impersonal row, which is located above the heroes, as if in the upper case. Categories "Jealousy", "Revenge", "Madness", "Potion", finally, "Terrible Tsar" as a carrier of abstract, incomprehensible strength is embodied in formula musical ideas ... The total series of aria, scenes, numbers are strictly planned, through it the topic categorical level Pass in their own rhythm.

In particular, the perfection of the opera. The perfection of a regular, covering all the little things of the order, which, in conjunction with the heroes and feelings, which came from life, seems to be desirable and frightening. Characters appeal around the categories as in a hinge toy, sculpt from the axis on the axis, moving according to the specified trajectories. Axis - musically embodied categories - indicate inside the design, on the general cause, unknown and dark. "Tsarist Bride" is not a realistic work. This is the perfect phantom "Opera about life", in essence - the same mystical action, like other Korsakovsky operas. This ritual committed around the category of "horror" is not horror of "fatal passions" and reigning cruelty in the world - no, some deeper, mysterious ...

The gloomy ghost, released into the world of Roman-Korsakov, should be releavingly behind the Russian culture for more than a century. At the time of the present of the dark vision, it is done by particularly tangible, signs - so, according to unknown reasons, for the last season, two premieres of the new stage versions of the Tsarist Bride were held in four metropolitan theaters: in Mariinsky, in the Moscow center of Vishnevskaya and the new opera; The "tsarist bride" goes in Myligot.

Scenes from the play. Opera and Ballet Theater. M. Mussorgsky.
Photo V. Vasilyev

Of all the listed performance of the small opera - the oldest in all parameters. First of all, there are no special experiments in this formulation: the costumes of the XVI century are kindly stylized, the interiors are quite in the spirit of the Epoch of Ivan IV (artist Vyacheslav Okunev). But it is impossible to say that the plot of the opera remained without the directorial "reading". On the contrary, the director Stanislav Gaudasinsky has its own concept of the "royal bride", and this concept has been highly tight.

The performance is an extreme number of Ivan the Terrible. The discussion on whether this despot should be shown in the "Bride" modulation, it is conducted for a long time - in opera pipes, in conservative classes ... Even orchestrants sometimes amused, hanging out a silent character with a flaming eyes and a beard that fuses on stage and gesticulating threateningly. Answer Gaudasinsky: it follows! For the music of Overtures and Introduction to the paintings, four, if you can put it, mimico-plastic frescoes that make up a special plan of the performance. For the transparent curtain, we see Tirana by the leading orgies, marched from the temple, choosing a bride, squeezing on the throne before serving boyars ... Of course, despotism, depravity of the monarch and his environment, are shown. Okrichniki flirty, knock the sabers (probably for the sake of training) that sometimes prevents listening to music. Waving twisted whips, click them in front of the nose in girls attracted for orgiastic pleasures. Then girls fall a bunch in front of the king; When he chooses "Usladen" and removes with her in a separate office, the chicks of the whole crowd are attached to those that remained. And I must say, in the behavior of the remaining girls, although it can be seen, and it is afraid of them, some kind of masochist ecstasy is read.

The same horror is observed "on the squares and streets" of the performance. Before the scenes, Martha and Dunyshi - when the ghosts rush into the crowd of walking, peaceful citizens in full panic are hiding behind the scenes, and the king, dressed in some kind of monastic row, is like a frost on the skin. In total, one episode is more significant ... Six huge players play a prominent role - in the entire height of the scene - candles that are tirelessly shine, despite what immoral readers are identifying characters. In the second picture, the candles are grouped into a dense beam, tin-colored masks hang over it - it turns out the church allegedly. So, at the time of the area of \u200b\u200bthe Okrichnikina, this symbolic structure begins to go to the walker - shock the foundations of spirituality ...

By the way, to be or not to be Grozny on stage - this is not a question. But the question: Do I need to show in the "tsarist bride" of whisk? And again the answer of Gaudasinsky - affirmative. In fact, among the walkers wandering the warrior, this unwanted folk conscience, asks a penny, risks a rattle (again, having to listen to music), and it seems, that's about it, across the orchestra, sing: "The month shines, the kitten crying ...".

Yes, an extremely conceptual performance. The concept penetrates into the miceanssen: so, the rudeness of the morals, the issued in the formulation, is reflected on the behavior of the bomeline, which, beating for Lyubash, threatens it in vain. In the finals, Lyubasha rushes onto the scene with the whip, probably wanting to test the instrument on the opponent, repeatedly applied to it the most dirty. The main thing - the "tsarist bride" is interpreted as a drama historical and political. Such an approach is not deprived of logic, but they are fraught with forced congestures, alluzia on operas, actually having a political subtext: "Boris Godunov" and almost "Ivan the Terrible" Slonim. Remember, like Bulgakov in the "Baghrov Island": a piece taken from the scenery of "Ivan the Terrible", taken from Maria Stewart.

Center Vishnevskaya, despite its extensive activity, very miniature. A small cozy hall in the style of Luzhkovsky Baroque. And the "tsarist bride", supplied there by Ivan Popovski, for monumentality, can not be compared with the "fresco" of Gaudasinsky, ne all with the Mariinsky play. However, Popovski and did not strive for any reason. The reader of its work is already determined by the fact that the performance, in essence, is the abstract of the "tsarist bride": all choral episodes are seized from the opera. Yes, I could not be: the center of Vishnevsky - a training organization, prepare soloists there, and the Opera is fulfilled to ensure that the galendar discovered by Galina Pavlovna in various parts of Russia could practice show themselves. This is partly explained by some "student raid", tangible in the performance.

Popovski some time ago made a strong impression, showing the composition "PS. Dreams "by Schubert and Shuman songs. The composition was laconic and covered with conditional. Laconicity and conventions Therefore, it was possible to expect from the production of the "tsarist bride" - but the expectations did not come true. Instead of the backbone - the luminous plane of the favorite Popovsky (judging by the "Gresses") of a cold blue-green shade. The scenery is minimalistic: the design that resembles the porch of the boyars or ordinar buildings is not so much even XVI as the XVII century. A similar porch can often be found in the inner courtyards of the "Naryshkinsky" style buildings. It is logical: there is an entrance - the arch, through which they penetrate into the "black", office premises. There are both steps that can be closed in a flavor. Finally, with such a porch, state people announced orders, and local suzaseines are their boyars will. The porch is made of plastic, it is dirty, depicting the inhabitant of a dirty one, then Bomelia's coneer at the same time with the dog's home ... - in the course of action. Characters before participating in action, board steps, then descend - and then they begin to bother bows and make other welcoming procedures. In addition to this design, there are still some plastic furniture, annoyingly wretched.

In general, Popovski is inclined to conventions and even ritualization, the performance consists of few repetitive actions. The ensembles are performed emphasized by philharmonic: the ensemblers go to the forefront, frozen in concert poses, at the moments of enthusiasm they raise their hands and turn their eyes. When a character dates into some moral height, he, naturally, rises to the porch pad. There is also a character when he is a messenger of fate. If a character gets a predominance over another character - a certain volitional act is performed on it, as dirty over the lyrics in the third picture or Lubash over dirty in the final, then the side of the suffering turns out to be at thenime, the side of the same offensive hangs, taking pathetical postures, having released either eye of the eye. The question of the presence of the king was solved by compromising: occasionally the foggy, dark gray figure, which may be king, and may not be (then this figure is rock, fate, Fatum ...).

In a word, the performance could potentially express the removal, the "algebraichness" of the actions laid down in the "tsarist bride". He could seriously touch - as a story about "fate", told by the language of the machine.

Scene from the play. Center for Opera singing Galina Vishnevskaya. Photo by N. Vavilova

But some of the moments are too characteristic for the general plan spoil the impression: so, dirty, portraying the passion of nature, sometimes hills on the table and kicks stools. If Popovski achieved Popovski in the Schuberto-Shumanovskaya composition from four singers of gestures of almost mechanical gestures, then it turned out to be unattainable with Vishevians. Therefore, the idea of \u200b\u200bthe performance as an "arithmometer, which tells about fate," saves, laconicism is rolled into the "modesty" (if not saying the poverty) of the student performance.

In the play of the Mariinsky Opera (director Yuri Aleksandrov, Artist-etharse Zinoviy Margolin) - a fundamental departure from the usual "historicism". Zinovy \u200b\u200bMargolin so straightly declared: "To say that the" tsarist bride "is a Russian historical opera, will be the most perfect untrue. The historical start is absolutely insignificant in this composition ... "Well, probably, at our other days, the feelings of the audience" Tsarist ", who observing the" chambers ", are not quite clear, for which the" fur coats "and" Kokoshniki "move ... Instead of the chambers, the authors of the performance staged something on stage It seems of the Soviet Park of Culture and Recreation - hopelessly closed space in which there are all sorts of carousel-dancelords, but in general is uncomfortable, even scary. According to Alexandrov, the flight from this "Park" is impossible, and in its air will spill the fear of the Stalinist type.

Of course, the ryrichniki are dressed in double costumes - gray, do not resemble some kind of special services, not that privileged fraternity. Dirty performs his monologue, sitting at a table with a glass of vodka in his hand, and the "servicehouse" is fusing him. The choirs of the walking roaming in the scene in clothes, stylized - not too, however, straightly - under the 1940s. But historical signs are not completely expelled from the stage, however, they treat them a few mockery. So, let's say, the Malyuta Skuratov, with a predatory irony, listening to the narrative of Lykov about the benefits of European civilization, on top of gray Franch pounces the notorious fur coat. Sundars and Kokoshnikov go to the mainly ricycle girls who entertain an oprichnin ... and Lyubasha, the leading life of the Saharanny life, appears for the most part in the national outfit.

In total, the stage design is important in the performance. Two rotary circles move multiple items: a set of lanterns, garden stage-sink, spectator tribunes ... These tribunes are very typical: a brick booth (in the old days, a film projector or a restroom was placed in such a booth), benches descended from it. "Rakovin" is an effective invention. It floats on stage, like a whiten planet, then used as interior - let's say when Lubash spies on the window for the family of dog ... But the best application is probably, as a "fate scene". Some important outputs of characters are furnished as phenomena with this garden pop. Not devoid of spectacularism and the emergence of Martha in the last picture: the stage sharply unfolds - and we see Martar on the throne, in the clothes of the princes, surrounded by some kind of companies (white top, black bottom, corresponding gesturing). The garden, of course, is not deprived of trees: black, graphic networks of the branches are lowered, rise, converge, - that, in conjunction with the magnificent Gleb Forshinsky, creates an expressive spatial game ...

In general, despite the fact that the "visible plastic" of the formulation is determined by the combination of the same decorations, it is more impressive of individual moments, Kunshutyuki, which fall out of the overall course of events. So, there is no Ivan Grozny in the play. But there is a ferris wheel. And so, in the second picture, when the people shake, jealous of the Terrible Tsar (in the orchestra, the motive "Sun of Red Glory"), in the firm depth of the scene it is a wheel, like a night sun, lights up with dim lights ...

It would seem that the performance of the performance is like a cube of Rubik - echoes the rituality of the Korsakovskaya opera. The circulation of turning circles, a few stage objects that are conceivable as the attributes of the performance - in all this there is an echo "Tsarist Bride" as a strict construction from a certain number of semantic units. But ... here, let's say, the declaration of the impossibility of putting the "bride" in the historic key. You can not know the declarations of the deciduous - the attempt of the "non-historical" solution is easily viewed in the performance itself. What does she turn around? By the fact that one historical "entourage" is replaced by another. Instead of the era of Ivan IV, an arbitrary mixture of the Stalinist period with post-pre-stroke modernity. After all, if the decorations and costumes of traditional productions are reconstructive, but almost as reconstructive elements of the Alexandrovsko-Margolinskaya stage are also reconstructive. It does not matter, imitate these elements of the 40th or 90s, - they need to be stylized, transfer to the recognizable in the stage box ... It turns out that the authors of the new performance go well-downtown - despite the mixture of times, the level of abstraction is even declining: the signs of the ancient Russian life Already perceived as something conditional, while the objective world of the twentieth century still breathes concretic. Or maybe the "tsarist bride" requires not "non-historical", and timeless - absolutely conditional decision?

Or notorious fear that the director stubbornly injected in the performance. It is identified with them with specific historical phenomena, with historical forms of communication: Stalinism and its later echoes, some structures of the Soviet society ... How does all this differ from Ivan the Terrible and Okrichnina? Only dates and costumes. And, repeat, the horror of the Roman Corsakov is not a household, not public - artistic. Of course, on the material of the Tsarist Bride, the artist wants to talk about his close ... I want to translate the candy generalization into the language of the parties - those with whom you live, "emit" the ghost, warm it with something personal - at least with their fears ...

As always in Marinka, there is something fundamentally different in the pit, rather than on stage. The performance is problematic, a discusional - orchestral game is perfect, adequate to the score. In fact, the setting is discussed with the interpretation of Gergiev, since its execution at the moment - almost the most accurate cast of the Korsakovsky plan. Everything is listened, everything lives - no detail is mechanical, each phrase, each construction is filled with companion breathing, sublimated beauty. But the wholeness is close to the Absolut - they found a measured "Corsakovsky" rhythm, in which there are also strange, inventical orchestral bellments, and endless subtleties of harmony ... Rhythm is amazing, with solemnity he is completely unsurchased: as far as the Gergiev avoids the external-emotional cheating, all sorts of jerks and Swirls, as it does not pedals the pathos of statics. Everything is accomplished with the naturalness at which the music lives his own - free, unnecessary life. Well, sometimes it seems that in the Mariinsky Theater, we are in part in order to contemplate the abyss, weakened now between music and opera directory.

Finally, the performance of the new opera (director-director of Yuri Grymov). Here you sit in the hall, waiting for the sounds of an overture. And instead of the bell battle. People come out in white (chorists), with candles in hand and rank are located along the left side of the scene. On the left - the platform, somewhat nominated in the hall. Horists sing the "king of the kingdoms". Opera characters, one after the other, are on the edge of the pallet, having pre-pulling a candle from the hands of some chorist, fall on his knees, bawrs, go. And then immediately - the aria is dirty. Okrichniki are represented by non-sinheads, not that criminal - with unpleasant belongings, shaved tanks (however, the britheads are not natural, it is depicted tightly fitted with the heads of head removes repellent "leather" coloring). On scrambles (as well as on all male characters, except for bomylais) - the similarity of the historical dress established by Ivan Grozny for its stems: a hybrid of a correction with Kuntush, intercepted on the belt with a red rag.

In the formulation of Grymov, Ochrichnikov do not flush, they are sausage - they behave exactly as skins or zenithtsy, pretty pouring beer. Come to the dirty, they receive a treat not only with honey, but also girls, which are immediately born (quite naturally), forming a picturesque background for the first scene with Lyubash. A dog, chasing far abroad, is naturally exposed to moral and physical humiliation. Scene with bommetic ...

But bomylais should be touched especially, for, according to Grymov, this character is in opera "Tsarist Bride" - the main one. Anyway, the key. In the middle of the scene, something built from untidy slats, underestimated and in several places punched, albeit with a geometrism ... in a word, something else. What - it is proposed to guess the viewer. But the director naturally has its own opinion on the meaning of the design: according to this opinion, it symbolizes forever unfinished Russia. There are no more scenery. The actors appear, as a rule, on top, on the pavement, transferred to the upper part of the structure, are descended along the screw staircase to the ramp.

The environment of the bomylais is extremely unpleasant freaks, part of the crutches, part of its own legs. They are dressed in burlap covered with greenish spots depicting rot. Or degeneration, perhaps.

Freaks appear on stage first separately from their cartridge. Barely ends the first picture (Lyubasha swears to destroy the rival), as, to the amazement of listeners, the sounds of Overtures are heard. A choreographic episode was put on an overture, which can be conventionally entitled to "Russian people and dark forces". At first, the vile retinue bomeline makes vigorously native television. Then the Russian girls and Russian guys run away, the latter lead themselves with girls much tolerant than chicks: look around, they are embarrassed ... Then everyone is broken into the pair and dance takes place. In short, idyll from the movie of the collective farm theme. But it lasts for a short time: scrambles pumped, and then freaks, turning what is happening in the poor.

The episode of the festivation is abolished. After the flashes with the family of dogs are removed (the dogs dwell somewhere at the top, are shown by the torment Lyubash, leaving the bridge under the scene ceiling), we learn that Bomelius lives inside "unfinished Russia." Non-valid long definition also serves as a place of permanent residence of freaks. They are there in every way society and crawl. Crawl, sticking to Lyubash. When she is surrendered, no bomber pulls her inside the construction - freaks, finally sealed the avenue, carries her in the bowels of their disgusting mass. In the scene of the wedding policy of the Lykov, for some reason, it is dressed in a night shirt, lying on the climb, from where the old man of decent care is descending. When dirty mixes the potion, bomeline occurs at the top of the construction. In the fourth picture, he also presents the Gregory knife, which will be slaughtered by Lubash. Finally, freaks with greed attack on the corpse of Lyubashi and still live, but the insane mapping, they drag them ... The action is completed.

It should be noted that the bills (in addition to the scene of the festivities, the choir "Swealth of Honey Affectionate Word", about a third of the music of the last picture, etc.) and the permutations are made not a director. The plan of shuffling "Tsarist Bride" belongs to the late leader of the new opera conductor A. Kolobov. What did Kolobov wanted to say, arranged instead of an overture theatrical imitation of prayers? Unknowing. With the idea of \u200b\u200bthe director, everything is easier: the dark forces corrupt, enslave, etc. The Russian people (it is obscure only whether these forces are metaphysical (bomeline - demon, sorcerer), ethnopolitical (bomelis - German) or both those and others together) ; The Russian people itself behaves wildly and unproductive (on the passion of a land, can not build anything). It is a pity that Grymov meant under his scenery "unfinished temple" - that quite blasphemously. It would be better if he saw in the invention of his own plastic dating tilted cup, on which, in general, the scenery is most likely. Then it would have happened relatively correct reading: Piva and its supplier - in the center of action; And in the "tsarist bride" there is a musical indication of the Satanic nature of the potion and those passions, in the plexus of which it plays a nodal role. And the music of Bomlais is also filled with ice demonic dishes. Alas, in reality, the posterity of both the director's idea and its incarnation leads to a radical semantic hardware, it produces almost a parody of the effect - and is paroded, in fact, the opera of Roman Corsakov ...

Let me allow myself, looking at four performances that I saw me for one and a half months, it's not about the staged ideas, but about your own feelings. After all, how interesting: the wilts of the fate formed a holistic stage of life, passed under the sounds of the Opera of Roman-Korsakov, of all his creations closest to everyday life, to the feelings of urgent. The "tsarist bride" for a while merged with the current landmark, the leitmotifs of the Terrible Tsar, Love, - Bezumia went through with colored threads, without opera, and through my days. Now this stage ended, went into the past, and somehow I do not want to sum up the activities of artists in parallel working on the same work. What is the fact that each of them saw only one side of the gloomy secret of the work of Nikolai Andreevich? What for all of them and the opera, and the mystery hidden in it are attractive, but are perceived somewhat selfish - they are interpreted in each of the four cases subjectively, arbitrarily? That in any of the four cases is dimmedly not implemented by beauty, aesthetic perfection, which is the main content of any Korsakovskaya opera, in relation to which a specific plot-musical plot, her idea occupy a subordinate position?

What I needed before, since I learned on experience, to what extent the "royal bride" can turn into a play of life.

On March 24, at the Memorial Museum-Apartment N. A. Rimsky-Korsakov (Country Ave., 28) opened an exhibition "Tragedy of love and power": "Pskovtyanka", "Tsarist Bride", "Service". The project dedicated to the three operations created on the dramatic works of Lev Maya completes the series of chamber exhibitions, since 2011, a systematicly acquainted general public with the Opera Heritage of Nikolai Andreevich Rimsky-Korsakov.

"Nicholas Andreevich Roman-Korsakov Great Pavitsa Maya" - gold embossed is written on a tape presented to the composer. Dramas, poetry, translations - the work of Lev Alexandrovich Maya attracted Roman-Korsakov throughout almost his life. Some materials of the Opera - Heroes, Images, Music Elements - switched to the "tsarist bride", and later moved to the "service", so seemingly far from the drama of the Epoch of Ivan Grozny. The focus of three operas is the bright female images, a fragile world of beauty and purity, which dies as a result of the invasion of the powerful forces embodied in their quintessence, whether the Moscow King or the Roman Consul. Three doomed bridesmaid Maya - Roman-Korsakov is one emotional line as directed to the highest expression in the form of Fevronia in the "Tale of the Invisible Grada Kitege". Olga, Martha and Serving, loving, sacrificial, anticipating death, were brilliantly embodied on the scene of the Korsakovsky ideal - N. I. Ballet-Vrubel, with her unearthly voice, ideally suitable for these parties.

Opera "Tsarist Bride" is familiar with the wide viewer of more than other operas of Roman Corsakov. The funds of the Museum of theatrical and Music Arts have preserved evidence of many productions: from the premiere in the private theater S. I. Mamontov in 1899 to performances of the last quarter of the XX century. These are sketches of costumes and scenery of K. M. Ivanova, E. P. Ponomareva, S. V. Zhirotovsky, V. M. Zaitseva, original work D. V. Afanasyev - two-layer sketches of costumes, imitating fabric relief. The central place at the exhibition will take sketches of scenery and costumes S. M. Yunovich. In 1966, she created one of the best performances in the history of the scenic life of this opera - shrill, tense, tragic, as the life and fate of the artist. The exhibition will be presented for the first time. Maternity costume for soloist of the Tiflis opera I. M. Korsunskaya will be presented. By legend, this costume was purchased from the Freillana of the Imperial Court. Later, Korsunskaya presented the costume of L. P. Filatova, also taking part in the play S. M. Yunovich.

"Pskovtyanka", chronologically the first opera of Roman Corsakov, will not accidentally be presented in the final exhibition of the cycle. Work on this "chronicler opeara" was dispersed in time, three editions of the composition cover a significant part of the composer's creative biography. At the exhibition, visitors will see a sketch of the scenery of M. P. Zandina, a scenic costume, a collection of dramatic works of the Maya in the edition of Kushelev-Beramojo from the personal library of Roman Corsakov. The score of the opera "Fear of Faith Sologa" was preserved, which became the prologue to the "Pskovtyanka", with autograph V.

V. Yastrebtseva - Biograph of the composer. Memorial tapes are also presented in the exposition: "N.A. Roman-Korsakov" Pskovtyanka "Benifis Orchestra 28.x.1903. Orchestra of Imperial Russian Music "; "N. A. Rimsky-Korsakov "For Memory about MN Rod Ivan" Pskovtyanka 28 x 903. S.P.B..

Shalyapin, stood every intonation of the party of Ivan Grozny, who bursts between the love of the acquired daughter and the burden of power, turned the historical drama of "Pskovtyanka" in a genuine tragedy.

The visitors of the exhibition will have a unique opportunity to get acquainted with the opera of the Roman Corsakov "Service", represented by the sketches of the costumes of E. P. Ponomarev to the premiere spectrum in the Mariinsky Theater in 1902; A scenic suit that will first be set in an open exposure, as well as the opera key with personal litters of the composer. Opera for several decades has not appeared on the stage of the theater, nor in the concert hall. There is no complete recording of "Servia". The museum's appeal to the forgotten opera of Roman Corsakov, scheduled a few years ago, was surprisingly coincided today with the expectation of an outstanding event - the upcoming statement of "serving" in the chamber music theater. B. A. Pokrovsky. Before the premiere scheduled for April 15, Gennady Christmas also plans to carry out the first record of the recording of "Service". This will be filled with an empty window in the majestic opera building N. A. Rimsky-Korsakov.

Opera in three actions of the Nikolai Andreevich Rimsky-Korsakov; The libretto of the composer (with the participation of V. V. Stasov, M. P. Mussorgsky, V. V. Nikolsky) according to the same name Drama L. Maya.

Characters:

tsar Ivan Vasilyevich Grozny (BAS), Prince Yuri Ivanovich Tokmakov, Tsarist Vicer and Power Plant in Pskov (BAS), Boyarin Nikita Matuta (tenor), Prince of Afanasy Vyazemsky (bass), Bomelius, Tsarsky Tsuch, Planting Son (Tenor), Yushko Velebin, Racing from Novgorod (bass), Princess Olga Yuryevna Tokmakova (Soprano), hawaicing Stepanid Matuta, Olga's girlfriend (soprano), V.S. Mamka (Metzo-soprano), Perflight, Mamka (Metzo Soprano ), Watchdog's voice (tenor).
Thousands, judge, Pskov boyars, possessing sons, ghosts, Moscow Sagittarius, hay girls, people.

Action time: 1570 year.
Situation: Pskov; from the Pechurch Monastery; near the river Medemnya.
First execution of the first edition: Petersburg, 1 (13) January 1873.
The first execution of the third (final) edition: Moscow, 15 (27) December 1898.

"Pskovtyanka" is the first of the fifteen operas created by N. A. Rimsky-Korsakov. When he conceived her - in 1868, he was 24 years old. About the first impulses to the composition of the Opera himself, the composer himself says in the "chronicle of my musical life": "I remember how, sitting at myself (in the apartment of Brother), I received his note with the appointment of the day of the day (in the village of Kashinsky County of Tver province. A.M.). I remember how the picture of the upcoming trip to the wilderness, ingoing Russia, instantly initiated the tide of some love for Russian folk life, to her story at all and to the "Pskovtyanka" in particular and as under the impression of these sensations I sat down to the piano and immediately Syllized the topic of the King Ivan's Choir with the Pskov People (among the writings of "Antara" I was already thinking about and about the Opera). " It is noteworthy that the "Pskovtyanka" was composed of Roman Corsakov at the same time when Mussorgsky, being in close relations with Roman-Korsakov, composed his "Boris Godunova." "Our life with modernity was, I suppose the only example of a joint life of two composers," wrote Roman-Korsakov many years later. - How could we not interfere with each other? That's how. From the morning of the hour before 12, Royal was used by Mussorgsky, and I or rewrote or orcked something, quite thoughtful. By 12 o'clock he went to the ministry service, and I enjoyed Royal. In the evenings, the case was happening by a mutual agreement ... In this fall, and we have worked a lot, exchanging constantly thoughts and intentions. Mussorgsky composed and orchestrated the Polish act of Boris Godunova and the folk picture "under Kromov". I orchestrated and ended the "Pskovtyanka". "

The fruits of the friendship of these two great composers are well known - Mussorgsky contributed to the creation of a libretto "Pskovtyanka", Roman-Korsakov - in the promotion of Boris Godunova on the opera scene.

"Pskovtyanka" was put on the stage of the Mariinsky Theater in St. Petersburg on January 1, 1873. But, as it turned out, it was only the first edited. The composer remained dissatisfied to many, and it took another five years to make the second edition of the opera. But she did not bring the desired satisfaction (and was not put on stage; only its individual numbers were filled with the piano in the circle of the composer's friends, which, despite their own active participation in this performance - Mussorgsky, for example, sang a batch of boyar silver - quite restrained Related to her). And only the third edition (1892) - the opera is set to this day - brought the composer satisfaction. But even at the same time, he did not stop thinking on the whole plan of the drama. So, already in 1898, he finally extends from the "Pskovtyanka" a storyline associated with hawkering faith with a silgar, and creates the one-act Opera "Vera Solod", which is now a prologue to "Pskovtyank". Thus, this plot occupied the thoughts of the composer more than thirty years.

Overture

Opera begins with orchestra overtures, in which the main conflict of the opera is scheduled. Spearly, the theme of the Tsar Ivan Grozny sounds wary. Tsar Ivana people Pskov, wait for them now thunderstorms. This first topic is opposed to the impulse volitional melody of the songs of the clouds. The rapid flow is interrupted by a wide, like a folk song, the theme of Olga. In the end, the theme of the king is defeated in the struggle of these images.

The first action. Picture first

Pskov. 1570 year. Garden Prince Yuri Tokmakova, governor of the king in Pskov; right boyars choirs; Left is a slit fence into a nearby garden. In the foreground of the thick tree of the cherry. Under it a table and two benches. The Kremlin and part of Pskov are visible. Dusk. A lively, joyful mood. The girls are frolic here - they play burners. Two mothers - Vassevna and Pontfilore - sit at the table and carry out the conversation. On the bench on the other side of the garden, without taking part in the game, Olga sits, the daughter of Prince Yuri Tokmakova. Among the funny girls Stesh, Olga's girlfriend. Soon she proposes to finish playing the burner and go to collect Malina. Everyone agrees and go; Stesha carries Olga behind him. Moms remain alone and talk; The peflight transfers the rumor about the fact that Olga de Not the daughter of the prince is "higher raising". V. Slasurance does not like empty conversations and considers this topic stupid. Another thing is news from Novgorod. She says that "Tsar Ivan Vasilyevich leobled to Novgorod, he came from all Officient." He ruthlessly punish guilty: it stands in the city of moan, and on the square for the day three thousand people were executed. (Their conversation occurs on the background of the Choir girls, which sounds behind the scene). Girls are returned with berries. They ask Vlasurance to tell a fairy tale. This long rests, but in the end agrees to tell the Lada about Tsarevna. While I was persuaded by V. Slasuna, Stesha managed to whisper Olga that a cloud, beloved Olga, said that he would come later and I would give the news to Olga. That happy. V. Slasurance begins a fairy tale ("Beginning the fairy tale of the sentence yes the promccode." Suddenly, a sharp whistle is heard at the next fence. This is Mikhail (Mikhailo) cloud, beloved Olga, came. V. V. V. V. V. Vasuchna frightened a loud whistling and scolding a cloud. Girls go to the house.

Mikhail cloud sings (first behind the fence, then climbing him) a wonderful length of the song (you take up, cuckoo "). The yard becomes completely dark; Because of the Kremlin floats the month. Olga comes to the sounds of the song in the garden; She quickly goes on the track towards the cloud; He goes to her. Their love duet sounds. But both understand that Olga cannot belong to the cloud - she is promoted for another, Boyarin Matutu. They think about different options, how to solve this problem: to leave him, cloud, in Siberia, to get rid of it there and then rightfully compete with Matuta (this option Olga rejects - she does not want to part with his beloved), whether Olga leaves in his feet And to admit to him in love for Mikhail Cloud and, perhaps, even aware of what secretly came to him on a date? What to do? Their duet ends with passionate explanation to each other in love.

The prince Yuri Tokmakov and Boyar Matuta appear on the porch of the house; They seem to continue the conversation started in the house. Scared by their appearance, Olga sends a cloud away, and herself hides in the bushes. Prince and boyar descend into the garden. The prince there is something to say Matuta, and he intends to do it in the garden. "Here is not what in Terem; Cool, and they are trying to lead, "he says Matoute, however, restlessly - he recalls that he made himself: someone shouted when they were entering the house, and now he notices that the bushes move. Prince Tokmakov soothes him and surprised by whom this Matuta is scared. Matuta fears the unexpected arrival of the king in Pskov. But the prince another thought cares. "Do you think I am Olga my mother's daughter?" He cries with this question Matutu. "Then who?" - Boyar is perplexed. Who ... who ... how to call I do not know! " Replies the prince. Next, he suggests that Olga is actually his receptional daughter.

(Here is aware of the knowledge of the maintenance of the opera "Vera Sillar", which is the prologue to the "Pskovtyanka". Here is its summary (its plot is the first action of the Drama of Maya). Faith, wife of old boyar silver, His unmarried sister Nadezhdova, Bride Prince Tokmakova . Faith gone: her husband's return was scared - during his long lack, she gave birth to Olga's daughter. Once, walking with the girls from the Pechersk Monastery. Faith met the young king Ivan, loved him. Olga - Daughter of the Tsar, not a silver. How to meet her unloved Husband husband comes with Tokmakov, guessing that this is not his child, he interrogates faith in anger. But hope takes blame for himself, boldly stating that it is her child. Later (this is indirectly described in the opera "Pskovtyanka") At the hope and focused Olga. She became a favorite of Pskov. Hence the name of the drama of Maya and the Opera Roman-Korovakov.) So, the old prince told the boyar secret: Olga is not his daughter. (Prince Tokmakov revealed Matuto only half a truth - called mother, but about his father said that he did not know, and he really, apparently, he did not know who he was). Olga, kicked in the bushes, hears it; She can not resist and cries: "Lord!" Matuta again alarmed by this cry. But at this moment in the city, in the Kremlin, the bell rang: one blow, the other, the third ... Bell, never ceases to buzz. Pskovovy convene a gathering. Matuta does not know what to do, whether to go with the prince or wait for him in Tereme; The prince reproaches Boyharin in Malodues: "Stop Nikita! Here, maybe Pskov will have to defend, and you are on the baba oven, as if Baba. " In the end both hastily leave. Olga comes out of the bushes, in the excitement listens to the bell: "Not to good call! That is my happiness bury. " She closes his face with his hands and falls on the bench.

From the bell tower, accompanying the end of the first picture, the following orchestral intermezzo grows. Soon the themes of the Tsar Ivan the Terrible are crowded into it.

Picture of the second

Trade area in Pskov. Veneer place. Floors are laid out on the square. A bell buzzes on the Trinity Bell Tower. Night. From everywhere, the crowds of the people are hastily included. Yushko Velebin, the Novgorod messenger, stands at the fever; Near him a circle of Pskov. The people are becoming more and more. Mikhailo cloud and landing children. Everything is alarm: who rang in the bell? Seen NE to good. The messenger enters the idle measure, takes off his cap and bowed on the three sides. He has bad relevant: "Your brother is a senior (Novgorod the Great. A.M.), he walked around, told you for a long time, but to rule on him." He tells the Church Details of Kara, who was committed to the king Ivan above Novgorod, and says that the king with an oprichnina goes to Pskov. At first, the people are configured to defend their city strength. But the word old prince Yuri Tokmakov takes. He, on the contrary, calls on Pskovichi to meet the king of bread-salt (we will remember that he is the governor of the king in Pskov). His arguments - of course, erroneous (although, apparently, he believes in him) that the king is not going to worship with Kari, and the Pskov shrine worship, and it was not necessary to meet him with a six-meter and Berdych as an enemy. (Sheet-foam of the cloth, Bulava. Berdysh - the genus of secreirs on a long spear.) But here is a word takes Mikhailoo cloud. He does not like Prince's proposal. He draws a picture of the humiliation of Pskov: "Examine all the gates from the Kremlin, swords and spears that are squeezed, in churches with icons of salaries, we punish Kramolnikam on the Crimp Laughter and Joy!" He, Mikhail Cloi, will not tolerate it - he leaves. Cloud and with him brave Wolitsa (his squad) go to hide in the forests, and then defend the freedom of Pskov. People in confusion. Prince Tokmakov is trying to cut the people so that he is hospitably met the Tsar Ivan Vasilyevich. There are shocks of the idle bell.

Action second. Picture first

Large square in Pskov. In the foreground, Terem Prince Yuri Tokmakova. Houses covered tables with bread and salt. The people are anxiously awaiting the coming of the king (the choir "The Terrible Tsar goes to the Great Pskov. Will the Kara we, the execution of Ludea"). Olga and Vassevna comes to the porch of the prince's house. Heavily in the soul of Olga. It cannot come to himself from that spiritual impact that she received, becoming an involuntary witness of the prince with Matuta. She sings his ariepet "Ah, Mom, Mom, there is no red fun! I do not know who my father and whether he is alive. " V. Slasurance is trying to calm her. And then it turns out that Olga is passionately waiting for the arrival of the king Ivan, and on him the soul disappeared, and the light did not cute her without him. V. Slasurance is frightened and says (to the side), as if prefabricating unkind: "Not much bright, clear days to you, child, fate looked." The scene is filled with the people. Bell ring begins around the city. Showing a royal procession. The people in the belt bow to the king entering the horse, and becomes kneeling before him.

Picture of the second It begins orchestral intermezzo, drawing fragile, the perfect image of the heroine of the opera is Olga. Melodies, of which it will be worn, will subsequently sound in its story about children's Gins, in her appeal to the king. Intermezzo directly leads to the scenic action of the second picture. Room in the house of Prince Yuri Tokmakova. Pskov to know the king here. But the king is unlikely - he will experience treason everywhere. He suspects poison in the Cup, which Olga takes him, and requires the prince himself first. Then he orders Olga to bring him; But not just with a bow, but with a kiss. Olga boldly looks straight into the eyes of the king. He is shocked by her similarity with the faith of the chali. Olga leaves, Tsar Ivan gesturing triggers others who were in Tereme. Now the king and the prince remain in the gram one (even the doors are locked). And the Terrible asks Tokmakov, he was married to whom. The prince talks about his wife, hope, about her sister faith and how Olga was in his house, the illegal daughter of Faith (that is, briefly retells the content of the Prolog Opera "Vera Silog"). The king clearly understands who Olga is for him. Shocked king varies anger to mercy: "Yes, all the murders will be punished; a lot of blood! We jeep swords about stones. Pskov keeps the Lord! "

Action third. Picture first

The third action begins with an orchestral musical picture, which the composer called "Forest. Royal hunting. Storm". With the striking skill of N. A. Rimsky-Korsakov gives in it a colorful image of Russian nature. The dense dark forest surrounds the road to the Pechersky Monastery. From afar, the sounds of the royal hunt - signals of hunting horns. They are joined by the militant leitmotif of the king Ivan the Terrible. Gradually darkens. The thunderstorm comes. The orchestra is heard of the stormy impulses of the wind. But the storm passes, thunder subsides. Because of the clouds, the setting sun is playing. A song sounds from afar - they sing the village girls of Prince Tokmakov. They accompany Olga to the monastery, where she goes on a mantis. Olga specially slightly lagging behind - she wants alone alone, because it should be secretly meeting here with Mikhail Watsey, his beloved. And so he appears. Their love duet sounds. Olga Molite Cloud Back with her in Pskov: The king is not grozen, gently looks his eyes. These words of Olga hurt the cloud: "If you say so to leave me so, so go to him, a lean," he throws it annoyed. But Olga convinces him in his love, and their voices merge in a single impulse.

But not long was the joy of Olga and clouds. For Olga has long followed the insulting indifference of Matuta. And here, on the forest road, he finally recognized the reason for her contempt for him: hiding in the bushes, he watched her meeting with a cloud. And now, according to his order, his slaves attack the cloud, wounded him, and Olga, knocking with him. Matuta is annoying annoying, he threatens to tell the Tsar Ivan about treason.

Picture of the second

Royal rate. The back side is thrown away; A wooded terrain and a steep bank of the river are visible. Night. Shines a month. The rate is removed by carpets; in front of the left of the custody of the skin on top of the carpet; On it, an indoor golden parel table with two candelabras; On the table, a fur hat, a silver sword, a stack, charm, inkwell and several scrolls. Here weapons. Tsar Ivan Vasilyevich one. His monologue sounds ("Wasy joy, the passion of the victim, a dream of a dream!"). It does not go from Olga's head. His meditation is interrupted by news that the royal guard grabbed Matutu, who tried to kidnap Olga. The king to listen does not want the Matuta's shutters on the cloud and chayan drive away. And Olga calls for himself. She comes. At first, the king is wary of Olga, but it frankly tells him about her childhood, how even then prayed for him, and that at night he dreamed. King Rastogan and excited.

Suddenly noise is heard about the bet. This is the voices of Wolnitsa Tuchi squad. It turns out that, having recovered from the wound, he gathered his fighters and now attacked the king's bet, wanting to free Olga. Having learned about this, the king in anger orders the shooting of the rioters, and the cloud itself lead to him. The cloud however, it is possible to avoid captivity and from afar to Olga the words of his farewell song. Olga breaks down and runs out of the bet. The bid is the command of Prince Vyazemsky: "Shoot!" (The prince meant Mikhailo Cloud.) Olga turned out to be killed ...

Slowly enters the squad with dead Olga on his hands. At the sight of Olga, the king rushes to her. He is sadly grieving, bending over her. He is calling Lekary (Bomelia), but he is powerless: "The Lord is having the dead" ...

The bet is filled with the people who mourning Olga. But in the sound of the final choir there is no tragedy. The general mood is an enlightened sadness.

A. Makar.

Pskovtyanka, the first opera of Roman Corsakov and the only historical musical drama in his heritage, or, more precisely, the musical drama about history, has an unusually long and complex creative biography. Like "Boris Godunov" Mussorgsky, it does not have one, and not even two, but three copyright editors, but, unlike Boris, these edits dispersed in time: between the beginning of work on the opera and the end of her scores in the third edition passed quarter of century. The second editorial office, which Roman-Korsakov was engaged in the eve of the "May night", there is now as a whole. About her character can be judged by different sources: In addition to the preserved, but unpublished materials belonging to this edition, - according to the Samorecians of the Roman Corsakov in the "Chronicle" and conversations with Yastrebhetsev, as well as on those fragments that remained in the third edition, or were Included by the author to music to the drama of the Maya "Pskovtyanka" (1877; Overture to Prologue and four symphonic intermission), or in a revised form, they entered the opera "Fear of the Vera Silly" (completed in 1897), or form an independent opus ("Stee about Alexei God man "for choir and orchestra).

The composer himself emphasized that the third editorial office is a "valid" type of opera and that here he "in general did not retreat from the first edition", that is, returned to her. This is true, if we compare the final version with the intermediate, but still not with the original, and between the first and third editions of the opera there is a relationship, partly reminiscent of the relationship between the two sterevators of Boris Godunova. True, quantitatively discrepancies between the texts of the first and third editions of "Pskovtyanka" less than between the two edits of the Opera Mussorgsky, the insertion of new music into the third edition is not so radically change the concept of opera action, as the Polish scenes and "chrome", and yet they inform the opera Other appearance than the exemplary initially. The first edition of Pskovystyanka was on the stage only in the premiere stage of the Mariinsky Theater, and nevertheless it makes sense - at least in a historical aspect - consider this text as the original and independent.

(Such a point of view contradicts the opinion of the overwhelming majority of researchers, unambiguously preferring the third editorial board and analyzing the opera only in the text of the beginning of the 90s or contacting the first edition in terms of purely comparative in order to prove its imperfection. But there is still another research concept in relation to This opera, recognizing the independent value of the first edition. She was reflected, for example, in the book M. S. Druskin "Questions of Music Drama Opera" (M., 1952), in the article by the American researcher Richard Tarucin "Past in the present".)

Speaking about the influences tested by him during the work on the "Pskovtyanka" (1868-1871), Roman-Korsakov calls five names: Mussorgsky, Kyu, Dargomyzhsky, Balakirev, leaf. Less sheet, the impact of which in the "Pskovityank" could have been affected mainly in the accord and harmonic sphere, and with the addition of the "forgotten" Borodin, who was then working on the symphony and opera-historical epic - the second symphony and "prince Igor", we get the full composition " Mighty bunch "in the most fruitful period of its existence. Influence on the Roman Corsakov Kui and Dargomyzhsky, most of all conveyed, of course, opera form and a cleaner style, was very intense during this period: the written "Pskovtyanka" first went against the background of frequent homework performances of the almost complete "stone guest" and preparing to the production " William Ratcliffe, "and then he was suspended by the work of the Roman Corsakov over the opera of Dargomyzhsky's opera (some rooms in Opera Kyu were tools, too). The influence of the Mussorgsky and Balakirev marked first of all by an indication of the drama of the Maya - a writer who is well known to them both by works and personally (but by the appearance of Roman-Corsakov on the musical horizon who has already gone from life), on whose poems they wrote the romances, whose plays were watching For a long time (so, Balakirev at one time intended to take the plot of the "tsarist bride", and then recommended His Borodina; Back in 1866, he gave Roman-korsakov text from the first act of Meysk "Pskovtyanka", to which the beautiful "lullaby" was written, later entered in the "Fragment of Faith Sologu"). In the process of writing the opera, Balakirev intervened little, not counting himself competent in this genre; In addition, the end of the "Pskovtyanka" coincided with a severe crisis in his life. Councils for the layout of the libretto, the rise in texts, etc., performed Mussorgsky, Nikolsky, Stasov. But examples of a highly artistic, innovative peopling of folk song, data in the Balakirevsky collection of 1866, the most decisive way determined the meaning of the song in the drama "Pskovtyanka", influenced its musical language as a whole. At the beginning of work on Opera, the "marriage" of the Mussorgsky appeared on the opera, and then the first edition of Boris Godunova, deeply struck the listeners, including Roman-Korsakov. The second editorial office of Boris and the Pskovikyani scores ended at the same time and even on some walls - in the months of the joint live of two composers, and it is symbolic that only a month separates the premiere of "Pskovtyanka" from the first public execution of the Opera Mussorgsky (Prime Minister "Pskovtyanka" - 1 January 1873; Three scenes from Boris, delivered to the Benefis Director G. P. Kondratieva, - February 5 of the same year). In addition, for the period "Pskovtyanka" accounts for a collective essay by four cakes of the Gedeonian "MEDA", which also encouraged to the constant exchange of musical ideas. Thus, the dedication of the opera in the first edition is "dear to me a musical circle" (shot in the third edition) - not a simple declaration: this is the expression of gratitude to comrades, deeply conscious unity of goals.

Subsequently, the style of "Pskovikanka" is unique in the works of Roman-Korsakov, "under the sign" Boris ", which gave a reason to some of his statements and the Roman Korsakov himself. Undoubtedly, this opera, especially in the first edition, is the most "Mussorgskaya" among the writings of Roman Corsakov, which was already determined by the genre of "Pskovtyanka". But it is important to note that the impact was not unilateral, but mutualAnd a lot was born, apparently, in joint requests: for example, if the "subanel highlighter" in the coronation scene, folk crying in the prologue and the scene "Vasily of Blessed" chronologically preceded closely in the sense of the meeting of the Grozny Pskov, then a brilliant "veche" Anticipates "chrome", and the tale of Vsessievna is the terman scenes "Boris Godunova".

The generals were the courage, the maximalism with which both young composers would undertake to embody the Music Drama of the New Type of the most difficult issues of Russian history. It is noteworthy, in particular, that both plays are Pushkin and Maya - by the beginning of work on the operations were under the censorship ban for setting on stage. General for both operas, as a result, it turned out to be regular, the spirit of time due to the ambiguity of their concepts: Boris, and Ivan combine contradictory principles - good in them is in the inevitable boring with evil, "personal" with "state"; Buntea in the meadow under the chicks and at the Pskov Temporary Square are written with enthusiasm and deep mental sympathy, but also with the premonition of their doom. It was not by chance that hostile reviewers occurred to the comparison with the "painful", "divided" Dostoevsky (with a newly published "crime and punishment") not only in connection with Boris Mussorgsky and its central character, but also in connection with the "Pskovtyanka" And its main characters - King Ivan and Olga.

Without continuing to further compare the operas of Roman-Kororsakov and Musorgsky - this is a separate big topic, we indicate only that the work on them happened like: directly in the texts of the dram with the enrichment of them with samples of folk creativity.

The studies usually emphasize that Roman Korsakov delivered the concept of the Maya's drama, which threw many "purely household" episodes, including the entire first act, and "sharply intensifying the role of the people." Perhaps it would be more correct to first point out that in the work of this beautiful Russian writer, a friend and like-minded people A. N. Ostrovsky, the composer found the harmonious consonance of his nature: the desire to truth and beauty, based on the widespread knowledge of the people's Russian worldview, history , life, language; Balance, objectivity, if you can put it, nonsense with feelings and thoughts painted with heart heat. In the future, Roman Korsakov "voiced" the entire Maya's playwriter. In Pskovtyanka, he did not need to rethink the main idea, and the concept of the opera coincides with Meyskaya (expressed both in the text of the drama and in the author's historical notes to her): this is the same combination, sometimes turning into the fight "Karamzinsky" and "Solovyovsky "," State "and" federal "began tendencies in the disclosure of the historical process, which is also noted by Boris Mussorgsky in the second edition, and, for example, the concept of Balakirev" Rusi ".

(This question is illuminated in detail in the named books A. A. Gozenpud and A. I. Kandinsky; its modern interpretation gives R. Tarucin in the above work. The feature of the historical concept of "Pskovtyanka" is that the opposition of the King Ivan - "state" beginning And the Pskov Volnitsa - the beginning of the "federal" the death of Olga, who will be involved in both the victims of the fate of the fate of the fate. Such permission of an intractable contradiction through the sacrifice, brought by a female soul, appearing for the first time in the "Pskovtyanka", occurs repeatedly in the following Operators of Roman Corsakov ("Snow Maiden" , "Sadko" - the image of Volkhov, "Tsarist Bride", "Service", "KUMIT" - Fevronia and Grishka Kurthmy).)

Indeed, in accordance with the aesthetics of the Kuchkaism of the 60s, the drama is cleared of the "Mostovism", from episodes of this plan, it is selected what the folk customs can characterize: in the "Pskovtyanka" this is marked by the Roman-Korsakov "burners", the choir of girls in The first and fourth acts, the silence of the king in the house of Tokmakov. But the culmination of two opera lines - the scene of the Wonder and reasoning of the King Ivan in the last action - written almost exactly according to the Mou (of course, with abbreviations and permutations, inevitable due to the specifics of the opera and a strong decrease in the number of actors). As for the magnificent scene of the Grozny meeting, the Maya is only scheduled, and the epilogue, who is anew, is here, except for the successful find of V. V. Nikolsky, a high summary power of music came to the rescue, which could not express the fact that the drama of the last century was not Under power, the one-piece image of the people.

B. V. Asafiev called "Pskovityank" " opera Chopinais", Thereby defining the overall tone of the musical narration - the objective, reserved-epic and general orientation of musical characteristics - their constancy, stability. This does not exclude a multilateral image of Ivan's images and Olga (but only them: all other characters are determined immediately, - and the characters of the two main actors do not develop, but rather reveal) nor the introduction of diverse genre elements (life, love drama, landscape, light touches of the comium and fiction), but they are all given in submission of the main idea, the main carrier of which, as applies to the opera-chronicle, becomes the choir: and burly inner clashes Choir Pskoviyi in the evening (the idea of \u200b\u200bchoral speaking and semantic contradictions of choral groups, declared in the first edition of Boris, and the development of the development), and a single "fresco" (A.I. Kandinsky) Choir of the Tsar, and the final choral funerary.

(It naturally causes an analogy with the epilogue of the second edition of Boris Godunova, especially since the completion of the Opera of the Mussorgsky crying of anovy, absent from Pushkin, as well as mourning Olga and Pskovsky liberty, missing from the Maya, is proposed by one person - Nikolsky. In these dramaturgically parallel and At the same time, theroid finals are particularly strongly distinguished by the difference in historical, artistic, personal world of two artists brought up by one school: a piercing-anxious question of the future in Musorgsky and reconciling, the catharsic conclusion from Roman Corsakov.)

A very important find of the composer in the scene of the Waite is the introduction of a Cappell song in the climax with solo spans (clouds and freebies from Vech). This idea was proposed by Meem, like some other songs of the Drama (Chorus "by Malina", the song of Tuchi (in Drama - Four) ("You're, cuckoo"), and the poet leaned here on the dramatic aesthetics of Ostrovsky, according to which the people The song becomes a high symbol of human destiny. Roman Korsakov, armed with the means of music, went in this sense further, making a folk song in the scene by the Symbol of Fate peopleAnd this discovery was accepted by Mussorgsky in the second edition of Boris ("Diar to, roared" in the "chrome"), and Borodin in the "Prince of Igor" (Chorus Poslag). It is also important that both unfolded episodes of the love drama are solved in the song key - Olga duets and clouds in the first and fourth actions (remember what kind of songs and - wider - popular beliefs, popular speech in the dramatic concept of "Thunderstorm" Ostrovsky). For this, Roman Korsakov received a lot of critics reproaches, including Kyui, who did not understand how exactly it is an objective - not "from themselves", and through the "Peto People" - the expression of a personal feeling corresponds to the overall building of the work. Here, Roman Korsakov, like Mussorgsky in the second edition of Boris, goes on a new way, leaving the "stone guest" and "Ratcliffe" and continuing "life for the king" (and maybe listening to the experiments of Serov).

A peculiarity of "Pskovtyanka" is a very dense saturation of musical tissue not only by leitmotives, but also leitharmoniums, leithertonations. Perhaps, just this quality meant the composer, writing in the characteristics of his first opera the word "symmetry and dryness". In the reviews on the Prime Minister of Kyu, it was then to the main disadvantages of "Pskovtyanka" "some of its monotony ... which comes from a small variety of musical ideas ... mostly related to each other." Among the often repeated reproaches, criticism also appeared the accusation of unnecessary "Simphonism", that is, in the transfer in a number of scenes of the main musical and thematic action to the orchestral party. Based on modern auditory experience, it would be possible to talk about the wonderful stylistic despusting of the intonation system of the opera, its deep content, time, time, nature, as well as a significant extent of asceticism and radicalism in solving the problems of musical drama and speech inherent in the "Pskovityank" (quality, Inherited by her, undoubtedly, from the "Stone Guest" Dargomyzhsky and very close first edition of Boris Godunova). The best example of ascetic drama can serve as a final chorus in the first edition: not a wedding monumental historical drama expanded epilogue, and a simple, very short choral song, which beats, as it were, on the hemis. The most radical on the plan is the monothematic characteristic of the king, which, besides the last scene with Olga, focuses around the Archaic "Grozny" theme (according to V. V. Yastrebtseva, heard by the composer in childhood in the singing of Tikhvin monks) with the following leitharmonias: she is skillfully varied In the orchestra, and the reclamation vocal party seems to be superimposed on the topic, then coinciding with individual sites with it, then departing quite far. B. V. Asafiev was remarkably compared the meaning of the target of the king in the opera with the value of the leader's theme in a fugue, and the reception of the monotematic characteristic - with the icon-painting ("he calls the rhythm of the lines of the old Russian icons in memory and is the face of Grozny in that sacred halo on Which himself the king constantly relied ... "). The harmonic style of the opera is concentrated in the leitcomplex of the Terrible, "harsh and internally tense ... often with a terrible archaic taste" (Kandinsky A. I.). In the "thoughts about my own operations", the composer called this style "firmly", but it would be better, applying his own term against Wagner, to name the harmony of "Pskovtyanka" "exquisite".

With the same constancy and the topics of Olga are held, which, in accordance with the main dramatic idea, come closer to themes of Pskov and Volnitsa, then with the speakers of Grozny; The special area is formed by the intonation of an extracted nature associated with the interests of Olga's premonitions, - precisely they highly raise the main female image of the opera, leading it from ordinary opera collisions and putting along with the majestic images of the king and free city. Analysis of the Rechitatives of "Pskovtyanka", made by M. S. Druskin, shows how sensitively lentonation and genre painting of intonation were also used in other opera vocal parties: "Not in the bright individuality of the speech of the acting persons should look for their strengths, but in their typical warehouseIn which every time the main ideological orientation of the opera is reflected in its own way, "(Druskin M. S.).

The history of the production of "Pskovtyanka" in the Mariinsky Theater, associated with numerous censorship difficulties, is described in detail in the "chronicle". I put and performed the same group of theatrical figures, which in a year I achieved passing on the scene of the second edition of Boris. The response of the public was very sympathetic, success is large and stormy, especially in young people, but despite this "Pskovsian", like Boris, was not delayed for a long time in the repertoire. Among the reviews of Critics, Cui's reviews and Larosh are allocated - the fact that they define the directions for which the criticism of the new operas of Roman Corsakov will be conducted for decades: inept declamination, subordinating the text of music; The preference of "symphonic" (in the sense of instrumental) forms purely opera; The conversion of the choral beginning over personal lyrical; the predominance of "skillful buildings" over the "depth of thought", in general the dryness of the melodes, the abuse of the thematism of the people or the folk spirit, etc. There is no need to talk about the injustice of these reproaches, but it is important to note that some of them composer took note by working on The second and third edition of the opera. In particular, he developed and meloded Olga and Ivan's party, made free, more than many recitatives. However, the experience of approaching the concept of "Pskovtyanka" in the second edition to the literary source, which caused the inclusion of a number of episodes of lyrical and domestic episodes (Prolog, "Merry Couple" - Stesh and Four, Extended Burner Game, game in grandmother, Talking steha with king, change The final of the drama, etc.), as well as an articulated Stasov scene of the royal hunt and the meeting of the king with whitewash, not only rejected Opera, but loosened and blurred its main content, led musical playwright towards the stencils of the dramatic and opera theater. "Inconsistency", characteristic of the compositions of the Roman Corsakov of the 70s, stylistic instability was reflected in this way on the "Pskovtyanka".

In the third edition, much returned (as a rule, in a recycled form) in their place. Introduction of musical paintings "Evening Nabat" and "Forest, Thunderstorm, Tsarskaya Hunt" in conjunction with the overtuyra and previously existing orchestral Intermezzo - "Portrait of Olga", as well as an expanded epiralo chorus formed through symphonic dramaturgy. Opera undoubtedly won the beauty of the sound, in stability, equilibrate forms: it would have gained quality inherent in the style of Roman Corsakov in the 90s. Inevitable at the same time, the losses in the sharpness, the novelty, the very dilute of drama and language, including several dilutes turned out to be the northern and, more specifically, the Pskov flavor of musical speech, truly "miraculously captured" (the words of Rimsky-Korovakov about the color of the Poem Sadko) novice opera Composer (This is especially noticeable in mitigating hard dissidents, in a more traditional lyrical inclination of the new episodes of the Olga party, in a beautiful, but having analogues in the opera literature of the scene of the royal hunting.). Very important, therefore, the recognition of the composer Yastrebtseva, which rarely pay attention to. In January 1903, Roman Korsakov, arguing about the need for the artist to listen "exclusively to the inner voice of his inner feeling, creative instinct," noticed: "And then my" recycled "" Pskovtyanka "- isn't it a kind of concession to insistence and Glazunov's advice? After all, and in the "May night" there are their shortcomings, and, however, I will not have to handle it again. "

M. Rakhmanova

This early opera is written by Roman-Korsakov under the influence and in the active participation of members of the "Balakirevsky Mug". They are the composer and devoted his work. The premiere of the opera did not have unconditional success. The composer abandoned the traditional forms of opera art (Aria, ensembles), a cleatative and declaignation style was dominated in writing. Dissatisfied with its creation, the composer reworked the score twice.

The historical has become the premiere of the last edition of the opera in 1896 (Moscow private Russian opera, Ivan's party performed Shalyapin). With a huge success of "Pskovtyanka" (called "Ivan Grozny") was shown in Paris (1909) within the framework of the Russian seasons organized by Dyagilev (Capital Party. Shalyapin, dir. Sanin).

Discography: CD - Great Opera Performances. Dir. Schippers, Ivan Grozny (Christ), Olga (Panny), Cloud (Botchchchi) - Melody's Gramplasty. Dir. Sakharov, Ivan Grozny (A. Pirogov), Olga (Shumilova), cloud (nonlepp).

The 1890s is the era of high maturity in the creative life of N. A. Rimsky-Korsakov. Since the spring of 1894, one opera is written in a draft or projected in sketches, the other tool is, the third is preparing for production; At the same time, the works are renewed in different theaters. Roman Korsakov still teaches in the St. Petersburg Conservatory, conducts Russian symphony concerts, continues numerous editorial works. But these cases depart into the background, and the main forces are given to continuous creativity.

The emergence of the Russian private opera Savva Mamontov in Moscow contributed to the maintenance of the working rhythm of the composer, which became, after the death of P.I. Tchaikovsky in 1893 recognized by the head of the Russian music school. The whole cycle of Opero Rimsky-Korsakov was first put in this free entrepreneur: "Sadko", "Mozart and Salieri", "Tsarist Bride", "Farming of Vera Silly" (who went as a prologue to "Pskovtyank"), "Tale of Tsar Saltan" ; In addition, Mammont was "May night", "Snow Maiden", Korsakovsky editors "Boris Godunova" and "Hovovishche", "Stone Guest" and "Prince Igor". For Savva Mamontov, private opera was a continuation of the activities of the Abramtsevsky estate and its workshops: almost all artists of this association took part in the design of opera performances. Recognizing the advantages of the theater works of the Vasnetsov brothers, K. A. Korovina, M. A. Vrubel and others, Roman-Korsakov still believed that Mammont had a picturesque side of performances with musical, and most importantly in Opera - music.

Perhaps the choir and orchestra of the Mariinsky or Bolshoi theaters were stronger than in private entrepreneur, although in terms of soloists the Mammoth Opera was hardly inferior. But the new artistic context is especially important, in which the Operas of Roman Corsakov got: "Snow Maiden" in the scenery and costumes of Viktor Vasnetsov, Sadko Konstantin Korovina, "Saltan" Mikhail Vrubel became major events not only musical order: they carried out a real synthesis of arts . For the further creativity of the composer, for the development of his style, such theatrical impressions were very important. The operas of the Roman Corsakov of the 1890s are diverse in forms and genres. By definition of the composer himself, "Mlada", "Night before Christmas" and "Sadko" form a trilogy; After that, it comes, saying again by the words of the author, "Once again, the doctrine or alteration." It is about "the development of melodiousness, singer", which was reflected in the romance and chamber operations of this period ("Mozart and Salieri", the final edition of the prologue to Pskovityank) and especially brightly in the "tsarist bride".

On the creative rise after the completion of the ingenious "sadko", the composer wanted not to remain with the old one, and try new. Another era comes - Fin de Siecle. As Roman-Korsakov wrote: "We have a lot of things in our eyes and has fallen, and a lot that seemed outdated, apparently, will later be fresh and strong and even eternal ..." Among the "Eternal Lighthouses" Roman Corsakov - Great Musicians PAST: Bach, Mozart, Glinka (as well as Tchaikovsky: his "peak lady" studied Nikolai Andreevich during the period of work on the "royal bride"). And eternal themes - love and death. The history of the writings of the Tsarist Bride is simple and short: conceived and launched in February 1898, the opera was described and completed in the score for ten months and next season was delivered by a private opera. The appeal to this drama of Lion Maya was the "long-standing intention" of the composer - probably since the 1860s, when the Roman-Korsakov himself composed on another play of his "Pskovtyanka", and Balakire and Borodin were thinking over the plot of the "tsarist bride" (the last There were even a few sketches of chorus of oprichnikov, whose music was then used in "Prince Igor"). The scenario of the new opera of Roman-korsakov planned independently, and the "final production of libretto" commissioned Ilya Tyumev, the writer, theatrical figure and his former student. (By the way, writing a few years later, "Series" on the play of Maya, Roman-korsakov "covered" all the playworking of this, so loved by him, the author.)

Based on the play of Maya, a love triangle is typical for a romantic drama, or rather, two triangles: Martha - Lubash - dirty and marfa - Lykov - dirty. The plot is complicated by the intervention of the fatal force - the king of Ivan the Terrible, whose choice at the visibility is falling on Martar. And the play, and the opera written in it belong not to the type of "historical drams" as the same "Pskovtyanka" or "Boris Godunov", but to the type of works, where historical setting and characters are only the original condition for the development of action. The general flavor of the plot of the Tsarist Bride is reminiscent of the Opera Tchaikovsky "Okrichnik" and "Sorcerer"; Probably, the opportunity to "compete" with them had Roman-Korsakov in mind, as in his "nights before Christmas", written on the same plot that Tchaikovsky's "Cherevichki". Without making such difficulties that arose in previous Operators of Roman Corsakov (large folk scenes, paintings of rites, fantastic worlds), the plot of the "royal bride" allowed to focus on clean music, clean lyrics.

Some fans of the art of Roman-Corsakov, the appearance of the "royal bride" was perceived as a betrayal of the past, departure from the ideas of the mighty bunch. The critics of another direction were welcomed by the "patrimony" of the composer, his "desire to reconcile the requirements of the new musical drama with the forms of the old opera." The public has a very major success, overlapping even the Sadko triumph. The composer was: "... Many who or other people's words, or for some reason they were against the" royal bride ", but they listened to two times or three times, they began to attach to it ..."

Now the "tsarist bride" is unlikely to be perceived as a work that shares with the heroic past of the new Russian school, rather, as an essay, uniting the Moscow and St. Petersburg Lines of the Russian School, as the link of the chain from "Pskovtyanka" to the "Cite". And most of all in the sphere of melody - not archaic, not a ritual, but a purely lyrical, close modernity. Another essential line of style of this opera is Her Glubanism: as he wrote one subtle and smart critic (E. M. Petrovsky), "Really feel the trends of the Glinkinsky spirit, which the entire opera is penetrated.

In the "tsarist bride", unlike the preceding opera, the composer, lovingly drawing the Russian life, does not try to transfer the spirit of the era. It is also almost eliminated from his favorite sound landscapes. Everything is focused on humans, on the mental movements of the heroes of the drama. The chief emphasis is placed on two female images speaking on the background of beautifully prescribed old Russian life. In the comments to the drama, Lev May calls two heroines of the "Tsarist Bride" "Song types" (two types - "meek" and "passionate") and leads to their characteristics the relevant folk texts. The first sketches for the opera were the character of a lyric stretching song, and the melodies refer immediately to both heroines. In the party of Lyubasi, the standing of the stretch song was preserved (her song without accompaniment in the first action) and supplemented with dramatic romance intonations (duet with dirty, aria in the second action). The central in the Opera image of Martha received a unique solution: In essence, Marfa as a "face with speeches" appears on stage twice with almost the same music (Aria in the second and fourth actions). But if in the first Aria - "Maternity's Happiness" - the emphasis was put on light songs of its characteristics, and the enthusiastic and mysterious theme of the "malicious crowns" is only being exhibited, then in the second Aria - "on the outcome of the soul", pre-fixed and interrupted by the "fatal chords" and the tragic intonations of "sleep", the "theme of the crowns" stands and reveals its meaning as the theme of the premonition of a different life. The Martu scene in the Opera finals not only fastens all the playwright of the work, but also takes it outside the household love drama to the height of the genuine tragedy. Vladimir Belsky, a wonderful librettist of the composer's late opera, wrote about the last action of the "tsarist bride": "This is such an ideal combination of the beauty of the beauty and psychological truth so often, such a deep poetic tragedy, which is listening like enchanted, without analyzing anything and not remembering. .. "

In the perception of contemporaries of the composer, the image of Marta Dogian - like Snow Maiden, Volkhov in Sadko, and then printed swans in the "tale about Tsar Saltan" - it was not safe, the spouses of the artist Mikhail Vrubel, who was sophisticated. And Roman Korsakov, usually observed a certain "distance" in relation to the performers of his music, belonged to this singer carefully and gently, as if to the sense of her tragic fate (the death of a single son, madness of her husband, an early end). Nadezhda turned out to be the perfect expressiveness of the sublime and, often, not quite the earthly female image, which passes through all the opera creativity of the Roman Corsakov - from Olga in Pskovtyanka to Fevronia in Kitege: Just look at the paintings of Vrubel, imprinted his wife in Corsakovsky Opera parties to understand what is being spent here. The Martha Party, of course, was composed with the thought of the hope of a fever, which became her first performer.

Marina Rakhmanova

Lion Aleksandrovich Mei was born in 1822 in a poor noble family and was educated in the same Tsarskoye Lyceum, where A.S. Pushkin studied a few decades. The poet began to be printed since the mid-40s in the Slavophile magazine "Moskvatikan". Having live in the light of forty years, he left a rather extensive literary inheritance. The influence of the reactionary Slavophilic ideas, captured to which the poet hit the Smoloda, limited the horizons of L.A. May and led him to the camp of supporters of "pure art". However, in poems written in the last years of life, realistic motives comeleply. According to the researchers of creativity L.A. May, his works do not belong to the number of the most vivid phenomena of Russian poetry, but differ in variety and originality.

A prominent place in the works of L.A. May occupy folk poems, closely adjacent to the historical drama of the poet. In the "Pskovtyanka", for example, a few songs were introduced. According to A.Ismayilov, A.P.hehkhov once expressed the view that the nationality of the Maa was honest and original as the opera nation A.K. Tolstoy. Using the word "opera" as a negative term, Anton Pavlovich meant, of course, not high musical and scenic art, and the worst samples of the wicker opera, who held in those years a leading place on the stage of imperial theaters.

The work of L.A. MEY over the historical dramas "Pskovtyanka" and "Tsarist Bride" proceeded in the late 40s and early 50s of the XIX century. The content of both works belongs to the same period of Russian history - the era of Ivan the Terrible, more precisely - by 1570-1572. L.A. May, among the first writers, began to develop plots on the topics of this period of Russian history. "Pskovtyanka" and "Tsarist Bride" were written earlier than the trilogy A.K Tolstoy ("Death of John Grozny", "Tsar Fyodor John", "Tsar Boris"), play by A.N. Ostrovsky "Vasilisa Melentyeva", before the works of P. Volkhovsky , A.Suhova, F. Milius and other, now forgotten writers. As actual sources of drama, the poet used, along with the fundamental work of N.M. Karamzin "History of the Russian state", the annals, letters of Prince Kurbsky Ivan Grozny, folk songs. He develops a frankly fictional psychological situation. "Could be" - this is the main argument, the same measure and formulated. Olga could be an illegal daughter Ivan IV from the haulant of the faith of a shelot, and it is this circumstance that the poet explains the salvation of Pskov from the same as in Novgorod, robberies, pogroms and executions. Arriving the "tsarist bride" and "Pskovtyanka" new in the drama of those years of the genre of the literary work, built on a fictional situation from the life of a really existing historical figure, L.A. May believed that the artist had the right to such fiction.

"Pskovtyanka" as a literary work intended for publication in the journal and performing a dramatic scene has not been lucky since its appearance to light. In an effort, apparently, somehow realize their sympathy for the writers who have grown around the "contemporary", L.A. May made an attempt to print his drama in this magazine. About how her fate was decided, told in his article "Memories of the relationship of I.S.Turgenev to Dobrolyubov" N. G. Chernyshevsky:

"And now, after one of one such dinners, when the society is located, as it is more convenient, in the Turkish sofa and other cozy furniture, Nekrasov invited everyone to listen to the reading of the Drama of Maya" Pskovtyanka ", which Turgenev offered him to print in the" contemporary "; Turgenev wants to read it. Everyone gathered at that part of the hall, where the Turgenev was located on the couch. One I stayed where I was sitting, very far from the sofa ... reading began. After reading the first act, Turgenev stopped and asked his audience, whether all his opinion share that the drama of the Maya was a high artwork? Of course, one first act can still be completely appreciated, but there is already a strong talent and so on in it. etc. Who considered himself a voice in solving such issues, began to praise the first act and express an anticipation that in general the drama would be a truly high artistic work. Nekrasov said that it provides himself to listen to others. People who did not consider themselves sufficiently reputable for significant roles in the literary areaopag, expressed their sympathy with a competent assessment of modest and brief approval. When I began to subside, I said from my seat: "Ivan Sergeevich, it is a boring and completely urgent thing, you should not print it in the" contemporary "." Turgenev began to protect the opinion expressed them before, I disassembled his arguments, so we talked for a few minutes. He turned and hid the manuscript, saying that he would not continue reading. The case has ended. "

The idealization of the antiquity and the stylization of the nationality in Drama entered into an irreconcilable contradiction with the literary and sociological views of N.G. Chernyshevsky and caused his destroying review. In Russian literature, the image of the Pskov and Novgorod Volnitz was traditionally connected with the opposition and revolutionary poetry K. Yuryeva, A. Odoevsky, M.Lermontov, inspired by the high ideals of the Decembrists. The drama L.Maya "Pskovtyanka" was not poured into this thread. Pskov Wolnitsa and sympathy for it are implemented here only in the poetic plan, coinciding with the moderate political views of the author.

Rejected by revolutionary democrats, "Pskovtyanka" did not meet sympathy and in the opposite literary camp. One of the first responded to the repinted in the journal "Domestic Notes" Drama Representative of the noble lap Boleslav Markovich. In a letter to A.K. Tolstoy, he complained that in Pskovysianka, "John is represented in terms of a democratic school and completely understood."

The genre of the historic work built on a fictional psychological situation, approved by the drams, built on a fictional psychological situation, was unacceptable for the critic of Apollo Grigoriev, close in his views to the ideologists of the official "nationality." The historical drama, in his opinion, herself does not have the right to exist. Making elements of the family novel into it and discredits this genre at all.

"In fact," said Apollo Grigoriev, - in the whole "Pskovtyanka" only the Pskov veche, that is, III act-worth a serious critical assessment or better to say critical study. "

It must be said that the scene of the Pskov Wern is indeed the strongest fragment of the drama. It is full of dynamics and truthfully reproduces the complex, saturated with irreconcilable contradictions the picture of the life of the city, not yet lost republican traditions. L.A. May managed to resurrect the events of history as a meaningful and truthful story about the life of the people. Some individuals and private phenomena are present in it only to explain the depth processes of this life.

Motley in the composition of the Pskov "World" formed two clearly distinguished camps. Some persogently waiting for the monarch of anger or monarch of mercy. Others call on to collect forces and not to put into the city of Sugostites:

And we, Pskovichi,
Also put your head on the fell?
We will pick up that - Tyu! Do not get angry!
No! .. How is it?
Al walls collapsed?
Al at the gate rusted locks?
Do not give out guys, the Great Pskov!
And the shield is so shield!
And really, we can sleep?
Call Eve!
Holy Savior!
At the Trinity!
Dragberry - Pskov!
For the duty world and in the evening!
Rub by guys!
From the street, al from home?
Cut off home!
Rural - with Sokh!
Call Eve!
Lyubo!
Vese! Vese!

And here is a long Nabat, the sounds of the Bell Bell are spread over the city.

Through the juicy, as if overhearding the replicas of the acting persons, the poet reproduces the order of the convening of the Pskov Wern, gives the characteristics impregnated with the poorest people's humor.

Sotsky Dmitro Patrakevich suits roll call. From the Gorodetsky end, the good-natured bogatyr Butcher Goboli. This name, well known to everyone, causes a whole cascade of ulcer, but friendly nicknames:

Fedos Goboli! Dedko-Domaska!
Ovolia Great! Medosos Fedos!

Goboli becomes having fun from such greetings, and he shouts so that everyone heard:

Ugh, dust! Opened throat! ..

The next Epiphany end was a cowardly man, a fan to hide at a critical moment from responsibility, shifting her on the shoulders of others. He does not respond to the voice of Sotsky. But it is impossible to get lost in a crowd, where everyone knows each other. Immediately it turns out that the Epiphany of the Cracks of Cancer, and the heavens, competing with each other, shout:

And then he ...
Come it here!
Where to install?
Grab it for claws,
Shell! ..

The royal governor Yuri Tokmakov permits the Novgorod Race of Yushko Velibina "Hold to Pskov's speech." The piscuals of the reproach of the Novgorod residents listen to the heads of the heads:

Brothers!
Young, all men Pskovichi!
You bowed de Novgorod the Great,
So that you helped the republic,
And you de brother your senior
Did not give help below any
And kiss kiss forgot;
So that's all your power and will,
And help you the saint Trinity!
And the brother de your senior was offended.
And punished you for a long time to live yes
For him a commemoration ...
Noise rises in the crowd, exclamations are helling:
Novgorod Great!
Major!
Caught and treasured
End to him?
The end and Pskov will come!
And befolding: sitting, clambering hands!

But the reaction of some representatives of the crowd to the appearance of Wolnitsa led by Michael Truchi:

Well, admitted!

Wolnica!

Whims!
Immediately exclamated cautious:
Ori Pushkuch - know the eyes of it:
Vish, sons of possessed!
And the voice instantly shut up:
Why am me? ..
I just!..

In this short dialog, the characters of several people are accurately delineated and a clear hint of the long-established differentiation of the Pskov society is made.

It has already been said above that the Pskov veche was eliminated by the royal decree in early 1510, i.e. For sixty years before the events described in the Drama "Pskovtyanka". Why, in this case, L.A. May gives the scene of the Wonder? Maybe he confused in chronology, moved the dates, made a historical error? Not! The poet firmly remembered all this. The speech of a deep old man, the former Plantner Maxim Illarionovich, indicates that L.A. May comprehensively comprehended and ripely appreciated the phenomena of the described era. Having learned about the disagreements that arose at the eve of the events, Maxim Illarionovich left his honorable senile privacy and rose to the everlasting place to reconcile the debaters by the wisdom of fathers and grandfathers:

... here I am now the ninth dozen ...
I saw the will - Krasnoy Maiden,
She saw her - old woman helpless,
And he himself took the dead to the grave ....
Well! .. There was a time, and not our vest,
And it would be nursed
With Moscow ... yes no! smarter were grandfathers,
Al Pskov was like them as expected:
Poor as if the layer did not hear;
Insults seemed not to see;
What tears to the throat approached -
So drove to the heart of beer-honey ...
And having fun ... Well do not having fun
Dedovsky? ..
Grand Duke Vasily
And Korsunsky's bell remove told
And the eve of Rushil ... as we then
Not fell out anticipation with tears -
And god the message! .. And yet got fun,
And yet Pskov Great saved -
Loved Pskov more grandchildren grandfather ...
And I said ...
Who wants to reap
That can be seen young and Moscow does not know ...
Not your own - someone else's account:
Everything takes out, yes will post, yes, it is sweeping
Yes, and take. - Look you with her - judge,
Over the Great Day, before the court of Christ!
And that say: in my time there were
Kings in Moscow, but just kings
In Moscow, they were called, and Nona King Moscow
On all countries and on the peoples - the king.
Hand Hand, Yes, and Soul - Potmon
In Grozny ... Sustained with Pskov.
Good will be a suburb of Moscow -
And thank God!

The mouth of Maxim Illarionovich L.A. May reproaches the Pskov Wolnitsa for the oblivion of the covenants of the ancestors, which have long understood that in the changed conditions it is necessary to inhibit separatist feelings in themselves and put the community interests above the local. The convening of Pskov Wain in 1571, on the eve of the arrival in the city of Ivan the Terrible, does not contradict the historical truth. The process of joining Pskov to the Russian centralized state was long, lasted more than two and a half centuries and ended, essentially, only in the XVII century. The legal act of the destruction of the Wehte in 1510 could not immediately eliminate traditions that have developed centuries. The habit of jointly discussing vital issues gave herself to feel for a long time. The critical moment came, and people hurried to the square to listen to the opinions of others and their considerations to the court fellow citizens. But it was already an accomplishment ever, with whose opinion the authorities were not commonly considered.

The first attempt to put "Pskovtyanka" on the dramatic scene ended in failure. In the report of March 23, 1861, the censor I.Nordstrom, setting out the content of the play, comes to the following conclusion: "In this drama, the historically faithful description of the terrible era of the reign of Tsar John Grozny, a lively image of the Pskov Winger and his violent library. Similar plays have always been prohibited. "

The drama for the first time saw the light of the ramp only in twenty-seven years - January 27, 1888 on the stage of the St. Petersburg Alexandria Theater in Benefis Pelagiai Antipovna Streptova. The Great Russian actress performed the role of the boyfriend of the faith of a shelogue in the prologue and Olga Tokmakova in the play. "She played," recalls one of the audience, "this young, with a poetic face, Russian beauty, despite its external data, excellently. This big actress knew how to force the public to see her beautiful on stage. "

In the role of the faith of Sologi, Pelagia Streptova, hesitated the closest to her personal and scenic fate the topic of paying for a violation of the word. She created an image of a large inner force, but not able to inspire the hall, accustomed to search and find in the democratic art of his beloved actress answers to sick questions of modernity.

"Pskovtyanka" could not conquer any strong position in the repertoire of metropolitan and peripheral theaters. The reason for this should be sought not in the persecution of censorship (purely temporary and random), but in the surceitivity of the play itself. It has already been noted that the drama "Pskovtyanka" contains a number of colorful scenes, is saturated with folk songs, fairy tales, legends; Images of some heroes are full expression. However, all this large and interesting material is organized weakly. The unjustified abundance of actors (more than a hundred), unnaturally long monologues, frank theatricality (in the worst sense of the word) of many scenes and phenomena, stretching of action and other flaws are closed by a play on the dramatic scene for which it was intended. However, the plot designed by LA did not disappear. He attracted the attention of the genius composer N.A. Rimsky-Korsakov. The convention and stylization that has come to the public on the dramatic scene turned out to be quite relevant in such a music genre as opera. Music on the words of individual episodes of "Pskovtyanka" composers wrote before. But only N.A. Rimsky-Korsakov, who created the work outstanding, was able not only to resurrect, but also to create unfading glory of "Pskovtyanka".

Coast, N. Creator "Pskovtyanka" / N. Beregov. - Pskov branch of Lenzdata, 1970. - 84c.