"Tsarist Bride.

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.

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.

According to the drama of the same name L. A. May

Characters:

HISTORY OF CREATION

PLOT

Rich and Slary Prince Tokmakov, the royal governor in Pskov. But the alarm is embraced by PSKovichi - there must come here the Terrible Tsar Ivan Vasilyevich. Will he meet Pskov anger or grace? There is another concern for Tokmakov - he wants to marry Olga's daughter for the power boyin Matutu. She loves Mikhail Cloud, the brave warrior of Pskov Wolitsa. In the meantime, Olga's girlfriend is having fun. Mommy Mammy is being conversation and peflight. Much knows about the family of Tokmakov Vaselyvna. He wants to disappear from her face: walks the rumor, as if Olga is not the princes daughter, and above the raise. " But the old mammy does not give out his favorite. Olga is held on the side of everyone - waiting for the narrowed. Hear a familiar instance - the cloud came on a date. The son of a poor posing, he knows that Rich Matuta will be sent to Olga. There is no more cloud of living in Pskov, he wants to leave his native places. Olga asks him to stay, perhaps it will be able to bother her father to send their wedding. But Tokmakov - he leads a conversation with Matuta, turns him a family secret. Hiding in the bushes, Olga learns from this conversation, that she is the daughter of Tokmakov's presenters, who was married to a boyarian with a silg. Girl in confusion. The glow of fires arises, the bell strikes: Pskovichy appear in the evening. Olga sighs the mountain: "Ah, do not call for good, then my happiness is burying!"

The trading area flies crowds of Pskovichi. Folk passions will be buried - the terrible news brought the messenger from Novgorod: the Great City fell, with a cruel Officient there is a king Ivan Vasilyevich in Pskov. Tokmakov tries to calm people, calls him to accept him, meet the Terrible Tsar bread-salt. I don't like this advice to the Volnochemical Mikhail cloud: it is necessary to fight for the independence of the hometown, while hiding in the forests, then, if you have to, with arms in the hands oppose the ryrichnikov. Brave Volnitsa leaves him. People in confusion dispel. It was decided to solemnly meet the Terrible on the square in front of the Tokmakov House. Tables are placed, eating, braga is spread. But unshakable is cooking for the meeting. Even more sadly in the soul of Olga. In no way will come to his senses from the overheard of Tokmakov; As often she went on the grave to the named mother, not suspecting that her native mother was lying nearby. V. Svsevna comforts Olga: perhaps, Tokmakov said so, wanting to dare from her Matutu. But the girl does not listen to an old mother: why is her heart beating so beats waiting for Grozny? A solemn procession is becoming increasingly near, the Tsar Ivan Vasilyevich is jumping in front of the tsar. Tokmakov takes the king in the house. But that incredulous and malicious - everywhere I will see him treason. The Grozny Cup suspects poison. It forces me to dry this host's cup. Olga brings the king honey.

Boldly and straight looks in the eyes of the king. He was shocked by her similarity with faith, asked for Tokmakov, who is the mother of the girl. The hard truth was recognized as Grozny: Boyarin Silly threw faith and died in the battle with the Germans, and she herself soul himself and died. Shocked king changed anger to mercy: "Yes, all the murders will be punished! A lot of blood. We jeep swords about stones. Pskov keeps the Lord! "

Olga went to the thick forest in the evening with the girls to Pechersk Monastery. A little hide from them, at an agreed place, it meets with a cloud. First, the girl prays him back with her in Pskov. But he has nothing to do there, he does not want to conquer Grozny. Yes, and why Olga go back to Tokmakov when she was not daughter him? They want to start a new, free life. Suddenly, the clouds are attacked by the servants of Matuta. The young man falls wounded; The feelings of Olga deprived - she takes her guards of Matuta, who threatens to tell the Tsar Ivan about treason.

Not far from the Moede River, a camp of the royal rate is located. At night, Groznyy alone indulges in grave thinking. Tokmakov's story stuck memories about the past hobby. How much experienced, and how much still needs to be done, "so for Russia to accumulate the law to wisely, that the armor". Medits are interrupted by the news that the royal guard grabbed Matutu who tried to kidnap Olga. The king in rabies does not listen to Boyarin's imaging on a free Pskovich, drives Matuta away. Olga is introduced. First, an incredulous Grozny, annoying with her. But then frank recognition of the girl in his love for cloud and her affectionate, the penetrated conversation conquered the king. But what kind of noise is heard at the rate? A cloud, having recovered from the wound, attacked with his squad to the guards, he wants to free Olga. In anger, the king orders to shoot the Volnitz, and the bold young man lead to him. However, the cloud is able to avoid captivity. From afar to Olga, the farewell words of the loved one are coming. It runs out of the tent and falls, a well-fastened bullet. Olga is dead. In despair, Grozny leans over the body of his daughter.

MUSIC

"Pskovtyanka" is a folk musical drama. In his drama and style, it is close, which was created in about the same years. In both works, the events of the distant past came to life. But the differences inherent in the individual creative appearance of these classics of opera literature affected: preferably expressed the tragic perception of Russian history, and - with all the dramatism of conflicts - bright, more peaceful. At the same time, he managed to relocate a variety of life phenomena in Pskovityank. In all its contradictions, the magnetic figure of Grozny is truthfully. Charming chastity appearance Olga. The music is imbued with the freedom-loving spirit, which outlines the Pskov Wolnitsa, headed by clouds. Fullable drama folk scenes. The opera as a whole is brightly identified the nature of Russian casualties.

In orchestra overturn, the main conflict of the opera is scheduled. Spearly, the main theme of the Terrible sounds wary. It is opposed to a gusty volitional melody of the Tuchi song as the image of Pskov Wolitsa. Then there is a wide, like a folk song, the theme of Olga. As if in the fighting the theme of the Terrible and Volitz, they are engaged in dramatic development, giving way to the magnitude of the main theme of the ruler of Russia.

A fun game in the burner of Olgin girlfriends opens the opera. Following the conversation of the old Mamok V. V. Sings, "a fairy tale about Tsarevna Lada" singing in the spirit of people. Olga Meeting with Truchi ends with a gentle duet "yes, stay, my dear, do not go to the long side," in which the composer used the melody of the folk song "You're, Field." At the end of the painting, after the Tokmakov conversation with Motouka, the vowers calling the Pskov sounds in the evening. From these stons, which are joined by the musical themes of the king, the subsequent symphonic intermission grows.

The second picture depicting the Pskov veche is one of the best in the opera. As the waves of the surf sounds the exclamations of the folk choir, which form a musical and semantic rod of the picture. The story of the messenger "Bow and the Word of the Nova-City, your brother of the elder was discovered, ordered for a long time to live" causes an even greater wave of people's wrath. The appeal of Tokmakov, trying to pacify the walkers of passion, "fathers and brothers, men, Pskovichi, to you the word," makes calm. But there is a cloud: "Let me, men-Pskovichi, you truth to pray!" His appeal again causes folk excitement. Again, the theme of the spontaneous gust of the people, who is crowned with the clouds of the clouds "Osudari Pskovichi, are going to the yard"; At its point, the melody of the folk song "As under the forest, under the line" (this melody has already sounded in an overture). Wolnitsa, picking it up, removed.

The first picture of the second act begins the sad choral song in the spirit of people's crying "Grezden King goes to great Pskov." The pure chaste appearance of Olga for the first time is so fully revealed in her sorrowful Arioso "Ah, Mom, Mom, there is no more red fun", which precedes a conversation with Vseusiavna. The festive bell ringing accompanies the entry of Grozny to Pskov. The orchestral intermission between the paintings (Intermezzo) gives the sketch of the poetic appearance of Olga.

The initial scene of the second picture, which occurs in Tokmakov, is all permeated by the harsh musical theme of the Terrible. His speech and mock is full of his speech. Fracture comes with Olga's yield. Gently and gently sounds its appeal "Tsar-Sovereign, with you kissing your servant of victory unworthy." After the choir sings the magnitude of the song "From under the Hollyka, under the green, a quick river rolled". At the end of the painting after the recognition of Tokmakov, who was Olga's mother, the topic of the Terrible sounds powerfully and solemnly.

An expanded symphonic intermission called the "Forest, Tsarist Hunting, Thunderstorm" composer, opens the third act. Here are the colorful images of the Russian nature, the echoes of the royal hunt are pictures.

Choir of the girls "Ah, Mati Dubrava Green" is set aside in the spirit of long folk songs. Olga's duet expressive and clouds "Ah, desirable mine, ah, my cute," in which the character of agitated speech is captured. The first picture ends with a dramatic scene injured clouds and kidnapping Olga.

Great music begins the second picture - Grozny alone with his mind. The firm determination is heard in his words: "Only the kingdom is tight, strongly and great, where the people know that he has one Vladyka." The central place occupies a conversation of the king with Olga, rich in various shades of moods. The smooth-calm speech of Olga "I've still prayed for you," the word of the king "is distorted by the spiritual pain" Tell me better without a rustle, who is more often a beech, Al king Ivan they scared you in childhood? " The composer appears in this scene a wonderful master of psychological portrait. All subsequent events are concisely set forth in the opera. The melody of the combat song of the clouds (for others than before, the words) "Ali nowhere, there is nowhere to be molded either the swords or topors, which the choir of Wolnitsa picks up. Briefly passed a battle scene with the clouds of clouds "for Pskov, for the old days!" The tragic farewell of Grozny with his daughter passes against the background of his main musical theme. He completes the opera choir epilogue "The will of God was accomplished: the great Pskov fell with proud will". The chorus sounds epically, great, some melodic turnover, resembling the musical characteristics of Olga, are woven into it.

Genre - Lyric-psychological drama.

The premiere of the opera took place in 1899 from the private opera S. Mamontov. Sketches of costumes created M.Vrubel, the Marfi batch performed N. Zabel.

Roman-korsakov addressed the historical plot three times. All three operas based on historical themes were created by the drams of Lion Maya. The first was "Pskovtyanka", then - "Fear of Vera Silly", the plot of which precesses the events of "Pskovtyanka", and the "tsarist bride." All three dramas are associated with the epoch of Ivan the Terrible.

I. Plot firstocial opera. At the heart of the Tsarist Bride lies with the real historical event: Ivan Grozny chose himself a third wife, having gathered about 2000 girls from merchant and boyar families (N.M. Karamzin writes about this. He chose a new city merchant. Maple Dogkin, however, the bride of the king in front of the wedding was hospitalized. The wedding took place, but Martha soon died. This event of Lev Mei in his drama rethought in a romantic key, creating a complex psychological intrigue around the death of the royal chosen one. The concept of the play. ..

P. refraction of the historical theme. Interest in the history of the composer arose under the influence of Mussorgsky. "Boris Godunov" and "Pskovtyanka" were created simultaneously. However, Roman-korsakov is concentrated not on large-scale mass scenes, but on the lyrical and psychological line of the plot. Its more attracts the problem of personality immersion to historical era.

P. A peculiar refraction of the historical theme determines the complexity of the drama organization. In the opera, several dramaturgical "circles" forming the concentric structure. The center of the storylock - Marfa Dogkin. I dramaturgical circle - love Marta and Ivan Lykov. This is the lyrical line of the plot. II Circle - Love for the Marfa of the Okrichnik dirty and at the same time tragedy of the lubashi abandoned them. This is a dramatic opera line, sC.olkova, precisely sch The main intrigue of the plot is formed. IIIthe circle combines all the characters with Ivan Grozny. It is on this level of dramaturgy that the historical era (Ivan Grozny) can be controlled by a personal destiny. Both the pure love of Martha and Ivan Lykov and Koznya Lyubashe and dirty broken about the decline of the king.

III. The musical language of the opera is a bright sample of an aryo-style Roman-Korsakov, to which the composer approached for a long time, writing a large number of romances. For the embodiment of the dramaturgical plan, the composer builds a complex leytetem in opera.

IV. Characteristics of basic characters

Marfa - this is lyric, perfect and absolutely passive pitch. Image Exposition - Aria II.actions where there are three topics that will accompany the heroine in the final scenes of the opera. The development of the image is associated with an increase in the features of the doomescence and tragedy. Culmination - the scene of the made "Ah, Vanya, Vanya! What kind of dreams are! " (the topic of madness appears

how much before, in Quintet, preceding) and Aria IV actions, where all three Leittems arise.

Gregory dirty - The most active and complex character. This is a person led by his passions. He makes no crime that angry, and because of his feelings are unbridled. You can spend some kind of analogy with Don Juan.

Exposure of the image - Aria i Actions "Wherever you delete the former toast" unrequited in love, a person. The image is revealed in ensemble scenes (with bommetic and Lyubasha in the II of action): On the one hand, the dirty is characterized as a person who will not stop his design, on the other hand, in the scene with Lyubasha shows his ability to feel and regret deed. Aryette III Actions demonstrates the one's co-humility, an imaginary refusal of their ideas. IV Action - Culmination and disagreement of the image. Arioso "She is sick, and crying and flaruse" causes the hope of the hero on the success of his scene plan with Lyubash and Arioso "Stradalitsa Innocent" - the interchange of the development of the image that demonstrates the hero's argument, his desire for punishment for the deed.

Lubash "Like a marvel, this heroine is revealed enough to one-novoplano: this is a strong person, obsessed with one idea - to return the love of dirty. Exposure of the image - the tragic song from I Actions "Extra Source". Development occurs in the I action, in a trio with dirty and bomeline, in a duet with dirty. A significant stage in the development of the image - Arioso "Oh, I will, I will, I will find your sorcerer" from the first action, where Lyubasha makes the decision to "disappear" to the opponent. The next stage is the scene of Lyubashi and Bomelia, where Martha's death is served predicted. Interchange of the image - the scene of the dirty and loudly of the IV action, where Lubash dies.

Ivan groznyjAlthough the central figure of the opera events, the vocal characteristic does not have. It appears in a short time in the action of the second action.

Overture GL.T. - The first 8 clocks. T. - s. C.Z.

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