Peak lady musical work Author. Opera P.

20.06.2019

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Modest Tchaikovsky, for ten years younger than Brother Peter, is not known as the playwright outside of Russia, with the exception of the Libretto of the "peak lady" in Pushkin, laid on music in early 1890. The plot of the opera was proposed by the Directorate of the Imperial Petersburg theaters, which removed the grand performance from the era of Catherine II. When Tchaikovsky began to work, he made changes to the libretto and himself partially wrote poetic text by introducing poets to him - Pushkin's contemporaries. The text of the scene with Liza at the winter groove fully belongs to the composer. The most spectacular scenes were reduced by them, but nevertheless they give the effect of the opera and make up the background of the development of action. And even the Tchaikovsky's scene processed the masterfully, aware of the example - the text that the King's Slavric Choir is the final chorus of the first picture of the second action.

Thus, he attached a lot of strength to create a genuine atmosphere of that time. In Florence, where Opera sketches were written and a part of the orchestration was made, Tchaikovsky did not part with the music of the XVIII century, the "Peak Lady" era (Gretri, Montiny, Piccchinni, Salieri) and wrote in her diary: "At times it seemed that I live in XVIII A century and that there was nothing further than Mozart. " Of course, Mozart in his music is no longer so young. But besides the imitation - with the inevitable fraction of dryness - rococo patterns and the resurrection of expensive gallantic-neoclassical forms, the composer relied primarily on its aggravated susceptibility. Its fevering state during the creation of the opera went beyond the limits of the usual voltage. Perhaps, in the obsession of Germany, requiring the Countess to name three cards and the obverse of themselves to death, he saw himself, and in the Countess - His patron of Baroness von Mecc. Their strange, unique relations that were supported only in letters, as if two probable shadows, ended with a gap just in 1890.

The deployment of action, increasingly frightening, is distinguished by the brilliant Tchaikovsky technique, which connects the complete, independent, but closely related scenes: minor events (externally leading to the side, in fact necessary for the whole) alternate with the components of the main intrigue. You can distinguish five rods that the composer uses both Wagner leitmotifs. Four are closely related to each other: the topic of Herman (descending, dark), the theme of three cards (anticipating the sixth symphony), the theme of love Lisa ("Timonaya", by definition of the gofman) and the topic of fate. A mansion is the subject of graphate based on the repetition of three notes of equal duration.

Score is characterized by a number of features. The color of the first act is close to "Carmen" (especially the march of boys), there is also a soul-free Arioso Herman, recalling Lisa. Then the action is suddenly transferred to the living room of the end of the XVIII - the beginning of the XIX century, in which the pathetic duet sounds, hesitating between major and minor, with mandatory flutes accompanied. In the appearance of Herman, in front of Liza, the power of fate is felt (IV his melody reminds something "the power of fate" Verdi); Countess makes a grave cold, and the sinister thought about the three cards poisons the consciousness of a young man. In the scene of his meeting with the old woman, the stormy, desperate Rechitative and Aria Hermann, accompanied by the evil, repeating wooden sounds, mean the collapse of the unfortunate, who loses the mind in the next stage with the ghost, truly expressionist, with the echoes of Boris Godunova (but with a richer orchestra) . Then the death of Lisa: a very tender sympathetic melody sounds on a terrible funeral background. German death is less than magnicity, but not without tragic dignity. This double suicide once again testifies to the decadent romanticism of the composer, forced to tremble as many hearts and still constituting the most popular side of his music. However, for this passionate and tragic picture is hidden a formal design, inherited from neoclassicism. Tchaikovsky wrote well about it in 1890: "Mozart, Beethoven, Schubert, Mendelssohn, Schumani composed their immortal creations as a shoemaker sews boots." Thus, in the first place is the skill of the artisan and only then - inspiration. As for the "peak lady", she immediately was adopted by the public as a huge fortune of the composer.

G. Markesei (Translated by E. Greek)

History of creation

The plot of Pushkin's "peak lady" was not immediately interested in Tchaikovsky. However, over time, this novel eventually mastered his imagination. Especially agitated by the Tchaikovsky scene of the fatal meeting of Hermann with Countess. Her deep drama captured the composer, causing a hot desire to write a opera. The writing was started in Florence on February 19, 1890. Opera was created, according to the composer, "with self-inflammatory and enjoyment" and was completed at a maximum short term - forty-four days. The premiere took place in St. Petersburg at the Mariinsky Theater 7 (19) of December 1890 and had a huge success.

Shortly after the publication of its novella (1833), Pushkin recorded in the diary: "My" peak lady "in great fashion. Players pont for a triple, seven, ace. " The popularity of the story was explained not only to the enormity of Fabul, but also the realistic reproduction of types and morals of the St. Petersburg society of the beginning of the XIX century. In the libretto opera written by the brother of the composer M. I. Tchaikovsky (1850-1916), the content of Pushkin's story is largely rethought. Lisa from the poor pupil turned into a rich granddaughter of the Countess. Pushkin Herman is a cold, calculating egoist embedded alone for the thirst for enrichment, appears in Tchaikovsky's music as a person with fiery imagination and strong passions. The difference in the social position of Heroes contributed to the Opera the topic of social inequality. With high tragedy pathos, it reflects the fate of people in society, subordinate merciless power of money. Herman - the victim of this society; The desire for wealth imperceptibly becomes an intrusive idea that obscure love for Lisa and leading it to death.

Music

Opera "Peak Lady" is one of the greatest works of world realistic art. This musical tragedy shakes the psychological truthfulness of reproduction of thoughts and feelings of heroes, their hopes, suffering and death, brightness of the paintings of the era, intensity of musical and dramatic development. The characteristic features of the Tchaikovsky style got their most complete and perfect expression here.

At the heart of orchestral entry, three contrasting musical images: a narrative, associated with Tomsk Ballowder, an ominous, drawing the image of the old Countess, and passionately-lyrical characterizing the love of German to Lisa.

The first act opens with a bright household scene. The choirs of Nyanyushki, Governess, the progress of the boys launched the drama of subsequent events. In Arioso, Hermann "I don't know her name", then Egyptian-gentle, then a pureness and the power of his feeling are captured. The Duet of Herman and Yeletsky faces sharply contrasting states of the heroes: Passionate complaints of Herman "Unhappy day, I curse you" intertwined with a calm, measured speech of Prince "Happy day, you bless you." The central episode of the picture - Quintet "I'm scared!" - transmits the gloomy premonitions of the participants. In the Ballade of Tomsk, sinister sounds about three mysterious maps. A stormy thunderstorm, against the background of which the olath of Germany sounds, the first picture ends.

The second picture falls into two halves - domestic and loving-lyrical. The idyllic duet of Polina and Lisa "Evening" sheepiyan with light sadness. Romance Polina "Girlfriend cute" sounds gloomily and doomed. Contrast is served by a live dance song "Well, Svetik-Masha". The second half of the picture opens Arioso Lisa "Where these tears" - the heartfelt monologue, full of deep feeling. Lisa longing is replaced by enthusiastic recognition "Oh, listen, night." Gently sad and passionate Arioso Herman "Sorry, Heavenly Create" is interrupted by the appearance of a Countess: Music acquires a tragic shade; There are sharp, nerve rhythms, sinister orchestral paints. The second picture is completed by the statement of the bright theme of love. In the third picture (second act) the background of the developing drama becomes the scenes of the capital's life. The initial choir in the spirit of the welcome Cantat of the Catherine Epoch is a kind of screensaver of the painting. Aria Prince Yeletsky "I love you" outlines its nobility and restraint. Pastoral "Bravery sincerity" - stylization of the music of the XVIII century; Graceful, graceful songs and dancing framing the idyllic love duet of the pricks and the Milnzor. In the final at the time of the meeting, Liza and Herman in the orchestra there is a distorted melody of love: in the minds of Hermann, a fracture came, from now on, they are not led by love, and the non-accidenting thought about three cards. The fourth picture, central in the opera, is saturated with anxiety and drama. It begins orchestral entry, which guesses the intonation of the love of Hermann's love confessions. The Choir of the Surroundings ("Our Blaretaker") and the Song of the Countess (Melody from the opera Gretri "Richard Lion's Heart") are replaced by the music of an ominous church. She contrasted with a passionate sense of Arioso Hermann "If you ever knew a sense of love."

At the beginning of the fifth picture (the third act) against the background of the clock singing and howling a storm, an excited monologue of Hermann "All the same Duma, all the same terrible dream". Music, accompanying the appearance of the ghost of the Countess, fascinates with dead immobility.

The orchestral entry of the sixth picture is painted in the dark tones of the doom. Wide, freely pouring melody of Aria Lisa "Ah, wasted, I'm tired" is close to Russian standing songs; The second part of the Aria "So this is true, with the villain" is full of despair and anger. The lyric duet of Herman and Lisa "Oh yes, passed suffering" is the only light episode of the picture. It replaces the wonderful psychological depths of the scene of Brad German about gold. The brushing of hopes is talking about the return of music entry, sounding concern and inexorably.

The seventh picture begins with household episodes: the drinking song of the guests, the frivolous song of Tomsk "if a lovely maiden" (for the words of G. R. Derzhavin). With the advent of Herman, the music becomes nervously excited. Anxious and wary septo "There is something wrong here" transfers excitement that swept the players. Eustion of victory and cruel joy are heard in Aria Herman "What is our life? The game!". At a death minute, his thoughts are reappearing to Lisa, "the orchestra arises a tremendous delicate image of love.

This opera is the top of Tchaikovsky's creativity. She was composed of them for 44 days. With a stunning power, the composer managed to translate into music the power of human passions. Compared to the story, the plot collisions in the opera are more dramatized (for example, Lisa at Pushkin does not cord not cum, but he gets married, Herman gets into a psychiatric hospital).

Tchaikovsky's musical language in this work has been enriched by a number of harmonic and rhythmic finds (especially in the 2nd picture of 2 d.). Music masterpieces include such opership episodes like Tomsk ballad Once in Versaille (1 d.), Aria Lisa Where these tears come from (1 d.), Aria German Sorry, Heavenly Creation (1 d), scene in the bedroom of the Countess (2 d.), Arioso Lisa Midnight is nearing and Aria German What is our life? (3 d.) And others.

The opera was successfully delivered in many countries of the world (among them we will note the performance of 1902 in the Vienna opera P / at Maler). The largest event was the performance of the Bolshoi Theater in 1904 by P / at Rakhmaninov. Among the best performers in the Russian scene of the German Alchevsky, Pechkovsky, Lisa - Derjanskaya, Vishnevskaya.

Publications

Provincial theaters on the "Golden Mask" 04/05/2013 at 10:10 pm "Peak Lady" in the Vienna Statsoper (operanews.ru) 01/27/2013 at 22: 27News in the "Peak Lama" Theater of Stanislavsky and Nemirovich-Danchenko (operanews.ru) 10/21/2012 at 17: 17Velikova Operanews.ru in Astrakhan (operanews.ru) 08.07.2012 at 13:06 "Peak lady" in large (operanews.ru) 03.06.2012 at 15: 47Pether Conviction Put in the Grace "Peak Damu" Tchaikovsky (operanews.ru) 04/15/2012 at 17:11 "Peak lady" in Paris (operanews.ru) 11.03.2012 at 16:10 "Peak Lada" successfully goes to Stockholm 02.09.2009 at 11: 18piece "Peak Lady" In the Bolshoi Theater 08.10.2007 at 13:22

Strikingly, but before P.I. Tchaikovsky created his tragic opera masterpiece, Pushkin's "peak lady" inspired Franz Zupe to an essay ... Operettes (1864); And even earlier - in 1850, OPER's named the French composer Jacques Francois Firomantal Gallevi (however, there was little from Pushkin: Libretto wrote Skrib, taking advantage of the "peak lady" to French, made in 1843 by Prosper Merim; In this opera, the name of the hero is changed, the old woman-countess was turned into a young Polish princess and so on). This, of course, curious circumstances, to find out about which you can only from musical encyclopedia - these works are not present.

The plot of the "peak ladies", proposed by the composer with his brother, Modest Ilyich, was not immediately interested in Tchaikovsky (as in due time and the plot "Yevgeny Onegin"), but when he still mastered his imagination, Tchaikovsky began to work on the opera "with self-religion and Delight "(as well as" Eugene Onegin "), and opera (in a key) was written in a strikingly short term - for 44 days. In a letter to N.F. Background Mecca P.I. Tchaikovsky talks about how he came to the thought of writing Opera to this plot: "It happened in this way: the brother of my Modest three years ago began to compose libretto on the plot of" peak ladies "at the request of some Klenovsky, But this last of the essay of music eventually refused, for some reason not sighing with his task. Meanwhile, director of theaters Vsevolozhsky carried away the thought so that I wrote to this very plot of Opera and, moreover, by the future season. He expressed this desire to me, and since it coincided with my decision to flee from Russia in January and work together, I agreed ... I really want to work, and if I manage to get a good job somewhere in a cozy corner abroad - it seems to me That I will master my task and I will present to the directorate of the keywords to Mai, and in the summer I will instrument it. "

Tchaikovsky went to Florence and began working on the "peak lady" on January 19, 1890. The preserved sketched sketches give an idea of \u200b\u200bhow and in what sequence work flowed: this time the composer wrote almost a "consecutive". The intensity of this work amazes: From January 19 to January 28, the first picture is composed, from January 29 to February 4 - the second picture, from February 5 to February 11 - the fourth picture, from February 11 to 19 - the third picture, etc.

Aria Yelets "I love you, I love immensely ..." performed by Yuri Glyaeva

Libretto opera is very large different from the original. The work of Pushkin is prosaic, libretto - poetic, and with verses not only the librettist and the composer himself, but also Derzhavin, Zhukovsky, Batyushkova. Lisa in Pushkin is a poor pupil of a rich old woman-graphate; Tchaikovsky she is her granddaughter. In addition, there is no clarifying the question of her parents - who, where they are, that with them. Hermann at Pushkin - from the Germans, because it is exactly what the writing of his name, Tchaikovsky about his German origin knows nothing, and in the opera "Herman" (with one "H") is perceived simply as a name. Prince Yeletsky, which appears in the opera, there is no Pushkin

Tomsk's charges for Derzhavin's words "If you are cute girls .." Please note: the letter "P" is completely not found in these versions! Sing Sergey Leifeferus

Tomsky graph, whose relationship with Countess in Opera is not noted in any way, and where he is withdrawn by an unauthorized person (just familiar with Hermann, like other players), Pushkin is her grandson; This, apparently, explains his knowledge of family mystery. The action of the Drama Pushkin takes place in the era of Alexander I, while the Opera carries us - it was the idea of \u200b\u200bthe director of the imperial theaters I.A.Vsevojsky - in the Catherine Epoch. Drama finals at Pushkin and Tchaikovsky are also different: Pushkin Hermann, although it goes crazy ("He sits in the Obukhov Hospital in the 17th Numer"), nevertheless does not die, and Lisa, moreover, relatively safely marry himself; Tchaikovsky - both hero dying. There are still many examples of differences - both external and internal - in the interpretation of events and characters by Pushkin and Tchaikovsky.

Modest Ilyich Tchaikovsky

Aria Countess performed by Elena Exena

When Tchaikovsky began to work, he made changes to the libretto and himself partially wrote poetic text by introducing poets to him - Pushkin's contemporaries. The text of the scene with Liza at the winter groove fully belongs to the composer. The most spectacular scenes were reduced by them, but nevertheless they give the effect of the opera and make up the background of the development of action.

Scene at the grocery. Sings Tamara Milashkin

Perhaps, in the obsession of Germany, requiring the Countess to name three cards and the obverse of themselves to death, he saw himself, and in the Countess - His patron of Baroness von Mecc. Their strange, unique relations that were supported only in letters, as if two probable shadows, ended with a gap just in 1890.

In the appearance of Herman, the power of fate is felt before Liza; Countess makes a grave cold, and the sinister thought about the three cards poisons the consciousness of a young man.

In the scene of his meeting with the old woman, the stormy, desperate Rechitative and Aria Hermann, accompanied by the evil, repeating wooden sounds, mean the collapse of the unfortunate, who loses the mind in the next stage with the ghost, truly expressionist, with the echoes of Boris Godunova (but with a richer orchestra) . Then the death of Lisa: a very tender sympathetic melody sounds on a terrible funeral background. German death is less than magnicity, but not without tragic dignity. As for the "peak lady", she immediately was adopted by the public as a huge good luck of the composer

History of creation

Music

The second picture falls into two halves - domestic and loving-lyrical. The idyllic duet of Polina and Lisa "Evening" sheepiyan with light sadness. Romance Polina "Girlfriend cute" sounds gloomily and doomed. The second half of the picture opens Arioso Lisa "Where these tears" - the heartfelt monologue, full of deep feeling.

Sings Galina Vishnevskaya. "Where these tears come from ..."

Lisa longing is replaced by enthusiastic recognition "Oh, listen, night." Gently sad and passionate Arioso Herman "Sorry, Heavenly Creation"

Georgy Nalepp- Best Hermann, sings "Sorry, Heavenly Creation"

interrupted by the appearance of a Countess: Music acquires a tragic shade; There are sharp, nerve rhythms, sinister orchestral paints. The second picture is completed by the statement of the bright theme of love. Aria Prince Yeletsky "I love you" outlines its nobility and restraint. The fourth picture, central in the opera, is saturated with anxiety and drama.

Aria Herman "What is our life- game" performed by Vladimir Atlantov

Tchaikovsky was so deeply captured by the entire atmosphere of action and the images of the actors of the "peak lady", which perceived them as real living people. After graduating from the sketch of the opera with feverial speed(All work was performed for 44 days - from January 19 to March 3, 1890. The orchestration was completed in June of the same year.)He wrote to his brother Modest Ilyich, the author of Libretto: "... when I got to the death of Herman and the final choir, I had a sorry for Herman, that I suddenly began to cry hard<...> It turns out that Herman was not only a pretext to write this or other music for me, and all the time a living person ... ".

Pushkin Herman is a person of one passion, straight, calculating and hard, ready to make his own goal to the card and his own and other life. Tchaikovsky is donated internally, it is in power of contradictory feelings and deposits, the tragic intransigence of which leads it to the inevitable death. The image of Lisa was subjected to indigenous rethinking: the ordinary colorless Pushkin Lizaveta Ivanovna became a strong and passionate nature, belessly devoted to his feeling, continuing to the gallery of pure poetically elevated female images in Tchaikovsky operations from the "Okrichnik" to the "sorcerer". At the request of the director of the Imperial Theaters I. A. Vsevolozhsky, the opera was transferred from the 30s of the XIX century to the second half of the XVIII century, which gave rise to the inclusion of a magnificent ball in her in the Palace of Ekaterininskoy Velmazbi with an intermenia stylized in the spirit of the "Galant Century" But I did not affect the overall flavor of the actions and the characters of its main participants. According to the wealth and complexity of their spiritual world, the sharpness and intensity of the experiences are contemporaries of the composer, in many ways the relative heroes of psychological novels of Tolstoy and Dostoevsky.

And one more execution of Aria Herman "What is our life? Game!" Sings Zurab Andzhaparidze. Record 1965, Big Theater.

In the film-opera Picovaya Lady, the main parties were performed by Oleg Strizhenov-Herman, Olga-Krasinas. Vocal parties performed Zurab Andzhaparidze and Tamara Milashkin.

Aria Yelets "I love you, I love immensely ..." performed by Yuri Glyaeva

Tomsk's charges for Derzhavin's words "If you are cute girls .." Please note: the letter "P" is completely not found in these versions! Sing Sergey Leifeferus

Modest Ilyich Tchaikovsky

Aria Countess performed by Elena Exena

Scene at the grocery. Sings Tamara Milashkin

In the appearance of Herman, the power of fate is felt before Liza; Countess makes a grave cold, and the sinister thought about the three cards poisons the consciousness of a young man.

History of creation

Music

The second picture falls into two halves - domestic and loving-lyrical. The idyllic duet of Polina and Lisa "Evening" sheepiyan with light sadness. Romance Polina "Girlfriend cute" sounds gloomily and doomed. The second half of the picture opens Arioso Lisa "Where these tears" - the heartfelt monologue, full of deep feeling.

Sings Galina Vishnevskaya. "Where these tears come from ..."

Lisa longing is replaced by enthusiastic recognition "Oh, listen, night." Gently sad and passionate Arioso Herman "Sorry, Heavenly Creation"

Georgy Nalepp- Best Hermann, sings "Sorry, Heavenly Creation"

Aria Herman "What is our life- game" performed by Vladimir Atlantov

And one more execution of Aria Herman "What is our life? Game!" Sings Zurab Andzhaparidze. Record 1965, Big Theater.

In the film-opera Picovaya Lady, the main parties were performed by Oleg Strizhenov-Herman, Olga-Krasinas. Vocal parties performed Zurab Andzhaparidze and Tamara Milashkin.

"Peak lady". Opera in 3 acts, 7 pictures.

Libretto M.I. Tchaikovsky with the participation of P.I. Tchaikovsky in the same name of A.S. Pushkin.

The action takes place in St. Petersburg at the end of the XVIII century.

Existing persons and performers:
Herman-Nyolai Cherepanov,
Honored Artist of Ukraine
Lisa-Delena Barysheva, Laureate of the International Competition
Countess -Valentina Ponomareva
Count Tomsk - Vladimir Audonov
Prince Yeletsky -Lonid Wevnukhin,
-Noylai Leonov
Chekalinsky -Vladimir Mingaluv
Surin-Nyolai Lochov,
- Vladimir Dumenko
Narimov -Evyoshin
Manager - Jury Shalaev
Polina -Natalia Semenova, Honored Artist of the Russian Federation,
-Tero Sirotskaya
Masha -elin Yuniev
-Aleutina Ygunov

Existing persons and performers in Intermediate:
Prilep -anna Devyatkina
-Thero Solovyov
Milovzor - Natalia Semenova, Honored Artist of the Russian Federation
-Tero Sirotskaya
Zlatogor -Vladimir AvtoMon.

Action I.

Picture 1.

Sunny summer garden. In the situation of prosperity and joy, a crowd of citizens walks, children accompanied by nyanyushka and governess. Surin and Chekalinsky officers share their impressions about the strange behavior of her friend Herman. All nights, he spends in the gambling house, but does not even try to try fate. Soon, Herman himself appears accompanied by the graph of Tomsk. He opens Herman soul: he is passionately, dustfully loved, although the name of his chosen does not know. Prince Yeletsky, who joined by the company, tells about the upcoming soon to marry: "The bright angel consent gave his fate with Wine to combine!" Herman in horror learns that the bride of the prince and is the subject of his passion when the Countess passes by the Countess, accompanied by his granddaughter, Lisa.

Both women are covered by heavy premiems, hypnotized by a burning look of unfortunate German. Meanwhile, Tomsky tells the present secular anecdote about the Countess, which, being a young Moscow "Lioness," lost everything and "at the price of one Randevo", having learned the fatal secret of three always winning cards, defeated fate: "Since her card, she called, in another Once, their young handsome learned, but on the same night, only one left, the ghost appeared to her and Grozno said: "You will get a fatal blow from the third who, dusty, passionately, like, will come to find out three cards, three Maps, three cards! "Hermannds makes a story with a special tension. Surin and Chekalinsky make fun of him and offer to bring the secret of cards from the old woman. The thunderstorm begins. The garden begins. Only Herman meets the swirling element" with an open element ", he has a fire in his shower no less power: "No, prince! While I am alive, I will not give her, I do not know how, but take it away! "He exclaims.

Picture 2.

In the twilight, the girls are musicized in the Lisa room, trying to cheer out the saddened, despite the engagement with the prince, a girl. Left is alone, she turns the night of his secret: "And my whole soul is in power!" "She confesses in love for a mysterious stranger, in whose eyes he read the" fire of the scorching passion. " Suddenly, Hermann arises on the balcony, who came to her before going from life. His ardent explanation carries Lisa. The knock awakened the Countess is interrupted. Herman hidden for the porter is excited by the species of the old woman, represented by the terrible ghost of death. Unable to hide your feelings more more, Lisa is given to the power of Herman.

Action II.

Picture 1.

In the house of the rich capital dignity ball. Yeletsky, alarmed by the coldness of Lisa, assures her in the immenseness of his love. Chekalinsky and Surin in masks mocked her Germany, finding him: "You are not the third one who, passionately, who will come to find out from her three cards, three cards, three cards?" Herman was excited, their words excite his imagination. At the end of the presentation of the "sincerity of the shepherd", it faces a countess. And when Lisa gives him the keys to the bedroom of the Countess, which leads to her room, Herman perceives it as an omen. Tonight, he learns the mystery of three cards - the way to take hold of the hand of Lisa.

Picture 2.

Herman sneaks into the bedroom of the Countess. He is peering with a thrill in the portrait of the Moscow Beauty, with which "some kind of secret force" is associated. So she is accompanied by survival. Countess is unhappy, she is not to taste the current morals, customs, she remembers the past and falls asleep in the chair. Suddenly, herman arises before her, begging to open the secret of three cards: "You can make the happiness of a lifetime, and it will not cost you!" But the Countess, which is frightened, immovable. Under the threat of a pistol, she emits the spirit. "She's dead, and I did not recognize the secrets," Herman's close to the misconduration crushes in response to the reproaches of the entered Lisa.

Action III

Picture 1.

Herman in the barracks. He reads Lisa's letter, who gone to him, where she appoints him a date on the embankment. In the imagination the paintings of the stools of the old woman stand, the funeral singing is heard. The emerging ghost of the Countess in White Funeral Savane is broadcasting: "Save Lisa, marry her, and three cards will win the rock. Remember! Troika! Seven! Ace!" "Troika ... Seedry ... ace ..." - how the spell repeats Herman.

Picture 2.

Lisa is waiting for Herman on the waterfront from the grocery. It is breaking doubts: "Ah, I was deprived, I made it," she exclaims in despair. At the moment when the clock is hit midnight, and Lisa finally burned in his lover, he appears. But Hermann, at first, repeating the words of love for Liza, obsessed with another idea. Trying to captivate the girl to hurry behind him in a gambling house, he shouting with a cry. Understanding the inevitability of what happened, the girl rushes into the river.

Picture 3.

Players are having fun at the card table. They entertain Tomsk joking song. In the midst of the game appears the treasured Herman. Twice in a row, offering large bets, he wins. "The damn itself plays with you at the same time," those present. Game continues. This time is against Hermann Prince Yeletsky. And instead of a win-win ace in his hands, a lady peak is. Herman is seen on the map of the deceased old woman: "Damned! What is needed! My life? Take it!" He challenges. In a clarified consciousness, the image of Lisa arises: "Beauty! Goddess! Angel!" With these words, Herman dies.

The opera was ordered by the Tchaikovsky Directorate of Imperial Theaters. The plot is offered by I.A.Vsevagoysk. The beginning of the negotiations with the Directorate refers to 1887/88. Initially, C. refused and only in 1889 decided to write a opera on this plot. At the meeting at the Directorate of Imperial Theaters at the end of 1889, the scenario was discussed, the layout of the opera scenes, staged moments, elements of the performance of the performance. In sketches, Opera Operated from 19/31 Jan. On 3/15 March in Florence. In July - Dec. 1890 C. made a lot of changes to the score, in literary text, recitatives, vocal parties; Optionally, N.N. Figner also created two variants of Aria Germany from the 7th cards. (Different tonality). All these changes are fixed in the correct arrangement of transformation for singing with piano, litters, various inserts of the 1st and 2nd ed.

When creating sketches, C. actively processed libretto. He significantly changed the text, introduced stage remarks, made abbreviations, composed his own texts for Aria Yeletsky, Aria Lisa, Choir "Well, Svetik Masha". Batyushkova verses are used in libretto (in the Romance Polina), V.A. Zhukovsky (in Duet Polina and Lisa), G.R. IDRAVINA (in the final stage), P.M. Karabanova (in the Intermedia).

In the scene in the Film Bedroom used the vintage French song "Vive Henri IV". In the same scene with insignificant changes, the beginning of Aria Loretta from Opera A.Gretri "Richard Lion's Heart" was borrowed. In the final scene, the second half of the song (Polionize) "Thunder Victory, distribute" I.A. Kozlovsky. Before starting work on Opera, Tchaikovsky was in an depressed state, what he confessed in a letter to A.K.Lazhunov: "I worry a very mysterious stage on the way to the grave. Something is done inside me, for me the most incomprehensible. Some kind Fatigue from life, some kind of disappointment: at times, insane longing, but not the one, in the depths of which foresight of the new tide of love for life, and something hopeless, the final ... And with this hunting to write a terrible ... on the one hand I feel That as if my song is already spitting, and on the other - an insurmountable desire to tighten or all the same life, or even better a new song "...

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1840 In the family of the head of the Kamsko-Votkinsky plant Ilya Petrovich Tchaikovsky, a son known at one time, a son was born, which was called Peter.

The boy grew sensitive, susceptible, impressionable. When he turned four years old, the father brought Orchestrin from St. Petersburg (mechanical organ), and the music of Mozart, Rossini, Donizetti sounded in distant Votkinsk ...

The family was materially secured. The future composer was able to get a solid home education. Since childhood, Peter Ilyich spoke freely in French, read a lot and even wrote poems. Music was included in the circle of household sessions. Alexandra Andreevna Tchaikovskaya played well and sang well. In the performance of Mother Tchaikovsky especially loved to listen to the Alyabyevsky "nightingale".

The years of childhood, lived in the city of Votkinsk, remained for life in the memory of the composer. But Tchaikovsky

eight years old, and the family of Votkinsk moved to Moscow, from Moscow to St. Petersburg, and then to Alapaevsk, where Ilya Petrovich received the place manager of the plant.

In the summer of 1850, he sent his wife and two children (including the composer's future) to St. Petersburg.

In the St. Petersburg school of law, Tchaikovsky studies common disciplines and specialty - jurisprudence. Music classes continue here; He takes the lessons for the piano, sings in the school chore, whose head was an outstanding Russian choir conductor G. E. Lomakin.

A visit to symphony concerts and the theater also played an important role in the musical development of Tchaikovsky. Operas of Mozart ("Figaro", "Don-Zhuan", "Magic Flute"), Glinka ("Ivan Susanin") and Weber ("Magic shooter") he had considered unsurpassed samples of opera art.

General artistic interests near Tchaikovsky with many pupils of the School; Some of the friends of the school subsequently became enthusiastic composer admirers. They own the poet A. N. Apukhtin, on the verses of which Tchaikovsky later wrote wonderful romances.

Every year, a young lawyer was convinced that his true calling was music. He began to compose from fourteen years, and in seventeen he wrote the first romance "My genius, my angel, my friend" (for the words A. A. Feta).

By the end time of the School (in 1859) with all souls,

all thoughts he was in art. But his dreams were not yet destined to come true. In winter, Tchaikovsky took the place of the younger assistant charter, and dried out the dull years of service in one of the departments of the Ministry of Justice.

At the service field, Tchaikovsky reached a little. "From me made an official and that bad," he wrote his sister.

In 1861, Tchaikovsky began to attend the public music classes of Anton Grigorievich Rubinstein, the Great Russian Pianist and the outstanding composer, the founder of the first conservatory. A. G. Rubinstein friendly advised Tchaikovsky to devote his life to his beloved business.

Tchaikovsky did it: he left the service. In the same 1863 he received the resignation of Tchaikovsky's father; He could not help her son more, and the young musician learned life, complete deprivation. He had lack of funds even to the most necessary expenses, and at the same time with classes in the St. Petersburg Conservatory (which was opened in 1862) he gave lessons, accompanied in concerts.

In the conservatory, Tchaikovsky was engaged in A. G. Rubinstein and N. I. Zaremba, studying the theory of music and composition. Among the students, Tchaikovsky was allocated by solid preparation, exceptional performance, and most importantly - creative purposefulness. He was not limited to the assimilation of the conservative course and did a lot to himself, studying the works of Shuman, Berlioz, Wagner, Serov.

The years of the teachings of the young Tchaikovsky in the conservatory coincide with the period of public lifting of the 60s, democratic ideals of that time were reflected in the work of the young Tchaikovsky. Starting from the first symphonic work - Overtures to Drama A. N. Ostrovsky "Thunderstorm" (1864) - Tchaikovsky forever connects his art with folk songs and fiction. In this work, for the first time, the main theme of the art of Tchaikovsky is put forward - the topic of human struggle against the inexorable evil forces. This topic in the largest works of Tchaikovsky is allowed in two ways: the hero either fits in the fight against opposing forces, or overcomes the barriers that arose on its path. In both cases, the end of the conflict shows the strength, the courage and beauty of the human soul. Thus, the features of the tragic globility of Tchaikovsky are completely devoid of the features of fallency and pessimism.

In the year of the end of the Conservatory (1865), the dream of Tchaikovsky comes true: Having completed a musical education with honors, he receives a diploma and the title of a free artist. For the final act of the conservatory, he, on the advice of A. G. Rubinstein, wrote music to the anthem of the great German poet Schiller "Ode to Joy." In the same year, the orchestra under the control of Johann Strauss, who came to tour to Russia, publicly performed the "characteristic dances" of Tchaikovsky.

But, perhaps, the happiest and most significant event for Tchaikovsky at the time was his

meeting with Nikolai Grigorievich Rubinstein - Brother Director of the St. Petersburg Conservatory.

They met in St. Petersburg - Tchaikovsky - a small famous musician and N. G. Rubinstein - a famous conductor, a teacher, a pianist and a music and public figure.

From that time, N. G. Rubinstein carefully monitors the works of Tchaikovsky, rejoices every new achievement of a young composer, skillfully promotes his works. After organizing the Moscow Conservatory, N. G. Rubinstein invites Tchaikovsky to occupy the position of teacher of music theory in it.

From this time, the Moscow period of the life of P. I. Tchaikovsky begins.

The first major product of Tchaikovsky, created in Moscow, was the first symphony, called "winter dreams" (1866). The pictures of nature are captured: winter road, "foggy edge", blizzard. But Tchaikovsky does not just reproduce pictures of nature; It primarily transmits that emotional state that these paintings cause. In the works of Tchaikovsky, the image of nature is usually fused with a subtle, heartfelt disclosure of the human inner world. This unity in the observation of the world of nature and the world of human experiences is also pronounced pronounced in the cycle of the piano plays of Tchaikovsky "Seasons" (1876). Outstanding German

the pianist and conductor of the city of Bulove somehow called Tchaikovsky "True Poet in Sounds." Words von Bulbov can serve as an epigraph to the first symphony and the "year of year".

The life of Tchaikovsky in Moscow took place in an atmosphere of fruitful communication with the largest writers and artists. Tchaikovsky visited the "Artistic Circle", where in a circle of discerning artists, the great Russian playwright A. N. Ostrovsky read his new works, here there was a poet A. N. Pleshcheev, a wonderful artist of the Small Theater P. M. Sadovsky, Polish violinist Veavavsky, and N. G. Rubinstein.

The participants of the "artistic mug" were hotly loved by the Russian folk song, they were engaged in their gathering, execution, study. Among them, first of all, A. N. Ostrovsky should be called, which put a lot of strength to the propaganda of the Russian folk song on the stage of the dramatic theater.

A. N. Ostrovsky closely met Tchaikovsky. Soon the results of this friendship were affected: in 1868-1869, Tchaikovsky prepared a collection, which entered the fifty most popular Russian folk songs for piano in 4 hands.

Tchaikovsky and in creativity were repeatedly addressed to folk songs. The Russian song "Sat Vanya on the sofa" is developed by Tchaikovsky in the first quartet (1871), Ukrainian songs "Zhuravel" and "Go out, Ivanku, Swellive Vesninka" - in the second Symphony (1872) and in the first concert for piano with orchestra (1875).

The circle of the creatures of the Tchaikovsky, in which he uses folk tunes, so wide that lists them - it means to bring a large list of works of various musical forms and genres.

Tchaikovsky, so deep and lovingly appreciated the folk song, painted in her the broad mission, which all his creativity was marked.

Being a composer deeply national, Tchaikovsky has always been interested in the culture of other countries. Ancient French songs formed the basis of his opera "Orleansian Virgo", the motifs of Italian street songs were inspired by the creation of the "Italian Capricchio", the well-known duet "My Cute Friend" from the Opera "Peak Lady" - This is the masterfully rendered by Tchaikovsky People's Czech Song "I have There was a dove. "

Another source of title works of Tchaikovsky is his own experience of romance creativity. The first seven chaikovsky romances written by a confident hand of the master were created in November - December 1869: "Tears tremble" and "Do not believe, my friend" (the words A. K. Tolstoy), "Why" and "No, only one knew "(on the poems of Heine and Goethe in translations of L. A. May)," Forget so soon "(the words of A. N. Apukhtin)," and hurt, and sweetly "(the words E. P. Rostopchina)," Not a word , O my friend "(the words A. N. Plesechev). All over the course of creative activity, Tchaikovsky wrote more than a hundred romances; Bright feelings, and passionate emotion, and sorrow, and philosophical reflections were reflected in them.

Inspiration attracted Tchaikovsky to various areas of musical creativity. This caused one phenomenon that had itself due to the unity and organicity of the composer's creative style: often in its operations and instrumental works you can catch the intonation of its romances and, a set - in the romance, opera aryozyality and symphonic latitude are felt.

If the Russian song was for the Tchaikovsky source of truth and beauty, if she constantly updated his works, the relationship between genres, their mutual penetration contributed to the continuous improvement of skill.

The largest work that put forward twenty-one-year-old Tchaikovsky among the first composers of Russia was the symphonic Overture of Romeo and Juliet (1869). The plot of this composition Tchaikovsky suggested by M. A. Balakirev, who then headed the Commonwealth of young composers, entered into the history of music called "Mighty Cup".

Tchaikovsky and cutters are two channels of the same current. Each of the composers - be it N. A. Rimsky-Korsakov, A. P. Borodin, M. A. Balakirev, M. P. Mussorgsky or P. I. Tchaikovsky - made a unique contribution to the art of his era. And when we talk about Tchaikovsky, we can not remember the Balakirevsky mug, about the community of their creative interests and recognition of each other. But among the links that bind cutters with Tchaikovsky, the program music is perhaps the most significant link.

It is known that, besides the program of Symphonic Overture "Romeo and Juliet", Balakirev suggested a Tchaikovsky plot for the Menfred symphony (on Bairon), and both works are devoted to Balakirev. The "storm", the symphonic fantasy of Tchaikovsky on Shakespeare, was created on the advice of V. V. Stasov and is dedicated to him. The most famous software and instrumental works of Tchaikovsky also includes the symphonic fantasy "Francesca da Rimini", which is based on the fifth song of the Divine Comedy Dante. Thus, the three greatest creations of Tchaikovsky in the field of software music are obliged to be their appearance Balakirev and Stasov.

The experience of creating the largest software essays enriched the art of Tchaikovsky. It is significant that the non-Program Music Tchaikovsky has all the full-fashioned emotional expressiveness, as if she had plots.

Following the symphony "Winter dreams" and the symphonic unimpression of Romeo and Juliet, the Opera "Voivod" (1868), "Undina" (1869), "Okrichnik" (1872), "Kuznets Vakula" (1874). Tchaikovsky himself was not satisfied with his first work for the opera scene. Earlings "Governor", for example, was destroyed by him; She restored according to the preserved parties and is already set in Soviet times. Forever lost Opera "Undina": the composer burned her score. And Opera "Kuznets" Vakula "Tchaikovsky later (1885) recycled (second

the editorial office is called "Cherevichki"). All this examples are great demanding composer to themselves.

Of course, Tchaikovsky - the author of "Voevod" and "Okrichnik" is inferior to the maturity of Talakovsky's talent - the creator of the "Eugene Onegin" and "peak ladies". Nevertheless, the first Tchaikovsky Opera, delivered at the end of the 60s - early 70s of the last century, retain artistic interest for the listeners of our days. They have emotional saturation and then melodic wealth, which are typical for the mature operas of the Great Russian composer.

In the press of that time, in newspapers and magazines, prominent musical critics G. A. Laroc and N. D. Kashkin wrote in detail about the successes of Tchaikovsky. In the widest circles of listeners, Music Tchaikovsky found a hot response. Among the adherents of Tchaikovsky, the Great Writers L. N. Tolstoy and I. S. Turgenev turned out to be.

The multilateral activity of Tchaikovsky in the 60-70 years was of great importance not only for the musical culture of Moscow, but also for the whole Russian musical culture.

Along with the intensive creative activity, Tchaikovsky led and pedagogical work; He continued to teach at the Moscow Conservatory (among the disciples of Tchaikovsky there was a composer S. I. Taneyev), laid the foundations of musical and theoretical teaching. In the early 70s, the Tchaikovsky harmony textbook is published, the dynam has not lost its meaning.

Defending his own artistic beliefs, Tchaikovsky not only implemented new aesthetic principles in his works, not only introduced them in the process of pedagogical work, he fought for them and acted as musical criticism. Tchaikovsky disturbed the fate of his native art, and he took over the work of the music reviewer of Moscow.

Tchaikovsky, undoubtedly, possessed literary abilities. If it was necessary to write a libretto for his own opera - it did not make it difficult; He belongs to the translation of the literary text of the Mozartovskaya opera "Weddings of Figaro"; The translation of the poems of the German poet Bodenstedt Tchaikovsky inspired by A. G. Rubinstein to create famous Persian songs. The gift of the Tchaikovsky-writer shows his magnificent heritage of musical criticism.

The debut of the Tchaikovsky-Publicist was two articles - in defense of Roman Corsakov and Balakirev. Tchaikovsky authoritatively denied the negative judgment of the reaction criticism of the early work of the Roman Corsakov "Serbian Fantasy" and predicted a brilliant future to the twenty-one-year-old composer.

The second article ("Voice from the Moscow Music World") was written due to the fact that the sacred "patrons" of art led by the Grand Digger of Elena Pavlovna expelled Balakirev from the Russian Music Society. In response to this Tchaikovsky was angrily wrote: "Balakirev can now say the fact that the father of Russian literature, when he got the news of exile from

Academy of Sciences: "The Academy can be returned from Lomonosov .... But Lomonosov cannot be returned from the Academy!".

All advanced and viable in art found hot support for Tchaikovsky. And not only in Russian: in his homeland Tchaikovsky promoted the most valuable thing, which was in French music of that time, - Creativity J. Bizet, K. Saint-Sansa, L. Deliba, J. Massne. With the same love treated Tchaikovsky and the Norwegian composer of the Migra, and to the Czech composer A. Dvorakik. These were artists whose creativity answered the aesthetic views of Tchaikovsky. He wrote about Edward Griege: "My and his nature are in close inner relationship."

Many talented Western European composers perceived his location with all the souls, and now it is impossible to read Saint-Sansian letters to Tchaikovsky without excitement: "You will always have a friend's friend and faithful in me."

It should be reminded about what the significance of the critical activity of Tchaikovsky in the history of the struggle for the National Opera.

Seventies for Russian Opera Arts were the years of a rapid flourish, which was held in an acute struggle with everything that prevented the development of national music. A long struggle turned over the musical theater. And in this struggle Tchaikovsky played a big role. For Russian opera art, he demanded space, freedom of creativity. In 1871, Tchaikovsky began writing about the "Italian opera" (so called Italian

opera troupe, who constantly toured in Russia).

Tchaikovsky was far from thought to deny the opera achievements of Italy, - the cradles of opera art. What admiration wrote Tchaikovsky about joint speeches on the scene of the Bolshoi Theater of wonderful Italian, French and Russian singers: A. Patti, D. Arto, E. Nodena, E. A. Lavrovskaya, E. P. Kadmina, F. I. Stravinsky . But orders established by the Directorate of Imperial Theaters prevented the creative contest of representatives of two national cultures - Italian and Russian. At the position of the Russian opera, the fact that the aristocratic audience demanded primarily entertainment and refused to recognize the successes of their national composers. Therefore, the Directorate issued unheard of privileges to the anthyrenerer of the Italian opera pipe. The repertoire was limited by the works of foreign composers, and Russian operas and Russian artists were in the pen. Italian troupe has become a purely commercial enterprise. In pursuit of profit, the atrenener speculated on the tastes of the "pre-Silent Parter" (Tchaikovsky).

With exceptional perseverance and the sequence of Tchaikovsky exposed the cult of profit, incompatible with genuine art. He wrote: "Something sinister embraced my soul when, among the idea of \u200b\u200bBeno'a, a high figure of the Lord of Moscow Pockets, Señora Merlelli appeared. His face

i breathed calm self-confidence and on the mouths at times I played a smile not that contempt, not that sly complacency ... "

Condeming the entrepreneurial approach to art, Tchaikovsky and conservatism of tastes, supported by certain layers of the public, dignitaries from the Ministry of the courtyard, officials from the office of imperial theaters.

If the seventies were the time of the heyday of the Russian Opera, the Russian ballet at that time was experiencing a sharp crisis. G. A. Laros, finding out the reasons for this crisis, wrote:

"Behind the most few exceptions, serious, the gas principles hold themselves far from the ballet."

Favorable conditions for composers-artisans have been created. The scene literally flooded ballet performances in which the music served as a dance rhythm, - no more. Ts. Puni, a regular composer of the Mariinsky Theater, in such a "style" managed to be frozen more than three hundred ballets.

The first of the Russian composers-classics addressed Tchaikovsky ballet. He could not achieve success without mastering the best achievements of the Western European ballet; He also relied on the wonderful traditions created by M. I. Glinka in dance scenes from Ivan Susanin, Ruslan and Lyudmila.

Did Tchaikovsky thought when he created his ballets, what does the reform in Russian choreographic art?

Not. He was excessively modest and never considered himself an innovator. But from the day the Tchaikovsky agreed to fulfill the order of the Bolshoi Theater Directorate and in the summer of 1875 began to write the music of the Swan Lake, he began reforming the ballet.

The element of the dance was not less close to him than the sphere of a song and romance. No wonder the first among his works, it was "characteristic dances", attracted the attention of I. Strauss.

The Russian ballet in the face of Tchaikovsky gained a thin lyrics of thinker, a real symphony. And Tchaikovsky ballet music is deeply meaningful; It expresses the characters of the actors, their spiritual essence. In the dance music of the former composers (Puni, Minkus, Gerbera) there was no heavy meaningality, no psychological depth, nor the ability to express the image of the hero in the sounds.

It was not easy for Tchaikovsky innate in ballet art. The premiere of the Swan Lake in the Bolshoi Theater (1877) could not add anything good to the composer. According to N. D. Kashkin, "hardly a third of Tchaikovsky's music was replaced by inserts from other ballets and more mediocre." Only at the end of the XIX century of the 20th century, the efforts of the balletmaster M. Petipa, L. Ivanova, I. Gorsky, art produced "Swan Lake" were carried out, and the ballet received worldwide recognition.

1877 was perhaps the most difficult in the life of the composer. All biographers write about this. After an unsuccessful marriage Tchaikovsky leaves Moscow and leaves abroad. Tchaikovsky lives in Rome, Paris, Berlin, Vienna, Geneva, Venice, Florence ... and nowhere for a long time is delayed. The Tchaikovsky calls his lifestyle with the border of the Tchaikovsky. Creativity helps Tchaikovsky to get out of the mental crisis.

For his homeland, 1877 was the year of the beginning of the Russian-Turkish war. Tchaikovsky's sympathies were on the side of the Slavic peoples of the Balkan Peninsula.

In one of the letters to Motherland, Tchaikovsky wrote that in a heavy moment for the people, when, because of the war, many families are "orphans and turns into a bench in the bench, conscientiously immersed on the throat in their private small divids."

1878 was marked by two greatest creations that were created in parallel. They were - the fourth symphony and the Opera "Eugene Onegin" - they were the highest expression of ideals and the Duma Tchaikovsky at that time.

There is no doubt that a personal drama (Tchaikovsky even thought about suicide), as well as historical events had an impact on the content of the fourth symphony. Having finished this work, Tchaikovsky dedicated him to N. F. von Mecc. At the critical moment of the Tchaikovsky

Nadezhda Filaretovna von Mecc played a big role, having moral support and material assistance, which contributed to the independence of Tchaikovsky and was used by them in order to devote themselves entirely to creativity.

In one of the letters to the background, Mecc Chaikovsky outlined the content of the fourth symphony.

The main idea of \u200b\u200bsymphony is the idea of \u200b\u200ba person conflict and hostile forces. As one of the main Top Tosykovsky uses the "rock" motif, which permeates the first and last part of the symphony. The theme of rock has a wide collective value in the Symphony - this is a generalized image of evil, a person comes into an unequal struggle.

The fourth symphony summed up the instrumental creativity of the young Tchaikovsky.

Almost at one time with him another composer - Borodin - created the "Bogatyr Symphony" (1876). The emergence of the epic "hedgehog" and the lyric-dramatic fourth symphony was a real creative victory of Borodin and Tchaikovsky - two founders of classical Russian symphony.

Like the participants of the Balakirevsky mug, Tchaikovsky highly appreciated and loved Opera, as the most democratic genre of musical art. But unlike the Kuchkstov, who appealed in Opera Creativity to the topics of history ("Pskovtyanka" Roman Corsakov, Boris Godunov, "Prince Igor" Borodin), where the main character is the people, Tchaikovsky attract

plots that help him reveal the inner world of a simple person. But before finding these "their" plots, Tchaikovsky passed a big way of quest.

Only at the thirty-eighth year of life, after the "Undines", "Governor", "Kuznez Vakula" Tchaikovsky created his opera masterpiece, writing Opera "Eugene Onegin". All in this opera boldly violated the generally accepted traditions of the opera performances, everything was simple, deeply truthfully and, at the same time, everything was innovative.

In the fourth symphony, Tchaikovsky came to the full maturity of his skill. In the further evolution of the Opera Creativity of Tchaikovsky, the operas is complicated and enriched by the opera, but everywhere there are deep lyricism inherent in him and exciting drama, the transfer of the most subtle shades of mental life, classically clear form.

In 1879, Tchaikovsky finished the Opera "Orleansian Virgo" (Libretto is written by the composer on the Schiller Drama). The heroic page of the history of France was connected with the new opera - an episode from the century of war in Europe of the XIV-XV centuries, the feat of Jeanne d'Ark - the heroine of the French people. Despite the variety of external effects and theatrical techniques, clearly contradicting the aesthetic views of the composer himself, there are many pages performed by real drama and lyrically penetrated by the "Orleans' Virgo". Some of them can be safely attributed to the best samples of Russian opera art: for example, wonderful

aria John "Sorry You, Fields, Forests, Natives" and the whole third picture saturated with mighty emotional force.

Toppers of Opera Art Tchaikovsky reached in works on the topics of Pushkin. In 1883, he wrote Opera "Mazepa" to the plot of Pushkin "Poltava". Sleepiness of the composite opera plan, the brightness of dramaturgical contrasts, the multifaceted images, expressiveness of folk scenes, the orchestration workshop - all this can not not indicate that after the Oleansan Deva Opera, Tchaikovsky stepped significantly forward and that Mazepa is an outstanding work enriched Russian Art of the 80s.

In the field of symphonic creativity during these years, Tchaikovsky created three orchestral suite (1880, 1883, 1884): "Italian capricchio" and "Serenad for String Orchestra" (1880), Great Symphony "Manfred" (1884).

The ten-year term, from 1878 to 1888, which separates Evgenia Onegin and the fourth Symphony of Tchaikovsky from the fifth symphony, was marked by important historical events. Recall that at first it was the time of the revolutionary situation (1879-81), and then - the reaction period. All this, albeit in indirect form, but reflected in Tchaikovsky. From the correspondence of the composer, we learn that he did not escape the oppression of the reaction. "Currently, even the most peaceful citizen lives hard in Russia," the Tchaikovsky wrote in 1882.

The political response was not able to undermine the creative forces of the best representatives of art and literature. It is enough to list the works of L. N. Tolstoy ("Power of Darkness"), A. P. Chekhov ("Ivanov"), M. E. Saltykov-Shchedrin ("Judushka Zhuppi", "Poshekhonskaya Starina"), brilliant canvases I. E . Repina ("did not expect", "Ivan the Terrible and Son of His Ivan") and V. I. Surikov ("Morning Streletzka", "Fear of Morozova"), point to Khovanchina Mussorgsky, "Snow Maiden" Roman Corsakov and Mazepa Tchaikovsky to recall the great achievements of Russian art and literature of the 1980s.

It was at that time that Tchaikovsky's music conquers and brings world fame to her creator. With great success are the author's concerts of Tchaikovsky - conductor in Paris, Berlin, Prague, in cities, which, from a long time, were foci of European musical culture. Later, in the early 1990s, the triumphals were performances of Tchaikovsky in America - in New York, Baltimore and Philadelphia, where the Grand Composer met with exceptional hospitality. In England, Tchaikovsky is assigned the honorary degree of Dr. Cambridge University. Tchaikovsky is elected to the largest music societies in Europe.

In April 1888, Tchaikovsky settled under Moscow, not far from the city of Klin, in Frolovsky. But here Tchaikovsky could not feel quite calm, so

as it turned out to witness the predatory destruction of the surrounding forests, and moved to Maidanovo. In 1892, he moved to Wedge, where he rented a two-story house, now known to the world as a house-museum of Tchaikovsky.

In the life of Tchaikovsky this time is marked by the highest achievements of creativity. For these five years, Tchaikovsky creates the fifth symphony, the ballet "Sleeping Beauty", the Opera "Peak Lady", "Iolanta", the "Nutcracker" ballet and, finally, ingenious sixth symphony.

The main idea of \u200b\u200bfifth symphony is the same as the fourth - the opposition of rock and the human desire for happiness. In the fifth symphony, the composer returns to the theme of rock in each of the four parts. Tchaikovsky introduces lyrical musical landscapes to the symphony (he composed in the hotel's beautiful surroundings). The outcome of the struggle, the resolution of the conflict is given in the final, where the topic of rock develops into a solemn march, personifying a person's victory over destiny.

In the summer of 1889, Tchaikovsky fully finished ballet "Sleeping Beauty" (on the fairy tale of the French writer, Sh. Perso). In the fall of the same year, when the new ballet was preparing for its production on the stage of the Mariinsky Theater of St. Petersburg, the director of the Imperial Theaters I. A. Vsevolozhsky ordered Tchaikovsky Opera "Peak Lady". Tchaikovsky agreed to write a new opera.

Opera in Florence was composed. Tchaikovsky arrived here on January 18, 1890, settled in the hotel. After 44 days - March 3 - Opera "Peak Lady" was completed

in the key. Very quickly, the process of instrumentation was very quickly, and soon after the end of the scooter "Peak Lada" was adopted for the production of the Mariinsky Theater in St. Petersburg, as well as in the Kiev Opera and in the Bolshoi Theater.

The premiere of the "peak lady" took place in the Mariinsky Theater on December 19, 1890. The G. German sang outstanding Russian singer N. N. Figner, an inspirated executor of the Lisa party was his wife M. I. Figner. The prominent artistic forces of that time took part in the play: I. A. Melnikov (Tomsk), L. G. Yakovlev (Yelets), M. A. Slavina (Countess). Conducted by E. F. direction. A few days later, on December 31 of the same year, the opera was set in Kiev with the participation of M. E. Medvedev (Hermann) I. V. Tatakov (Yeletsky) and others. After a year, November 4, 1891, the first stage of the "peak lady took place "In Moscow on the stage of the Bolshoi Theater. The main roles were charged with a wonderful Pleiad of Artists: M. E. Medvedev (Hermann), M. A. Dysh-Zionitskaya (Lisa), P. A. Khokhlov (Yeletsky), B. B. Korovoy (Tomsk), A. P. Kratikova (Countess), conducted by I. K. Altani.

The first settings of the opera differed in great care and the public had a huge success. How many stories like the "small" tragedy German and Lisa were during the reign of Alexander III. And the opera forced to think, sympathize offended, hate all the dark, ugly, which prevented the happy life of people.

Opera "Peak Lady" was consonant with the mood of many people of Russian art of the 90s. The ideological similarity of the Opera Tchaikovsky fromworks of the visual art and literature of those years are found in the work of great Russian artists and writers.

In the story "Peakkin" (1834) Pushkin created typical images. Drawing a picture of the ugly morals of a secular society, the writer condemned the noble Petersburg of his time.

Long before the Tchaikovsky, the plot conflict of the "peak lady" was used in the opera of the French composer J. Galevi, in the operetta of the German composer F. Zupe and in the drama of the Russian writer D. Lobanova. Nobody from the listed authors failed to create any original essay. And only Tchaikovsky, turning to this plot, created a brilliant work.

Libretto for the Opera "Peak Lady" wrote Brother's composer - Dramaturgical Modest Ilyich Tchaikovsky. The source was recycled in accordance with the principles of creativity, desires and instructions of the composer; He took the most active part in the compilation of libretto: wrote poems, demanded the introduction of new scenes, reduced the texts of the opera parties.

The main dramatic stages of development stages are clearly indicated in the libretto: Tomsk Ballade about three maps marks the beginning of the tragedy that reaches the climax

in the fourth picture; Then the discourse of drama comes - first the death of Lisa, then Herman.

In the opera Tchaikovsky Pushkinsky plot is supplemented and developed, the accusatory motifs of Pushkin Tale are strengthened.

From the story "Peak Lady" Tchaikovsky and his librettist left intact scenes in the bedroom of the Countess and in the barracks. At the request of the Vsevolozhsk, the operation of the Opera was transferred from St. Petersburg the times of Alexander I to St. Petersburg Ekaterininsky times. The same Vsevolozhsky advised Tchaikovsky to introduce the Intermedia "sincerity of the shepherd" (third picture). The music of the Intermediate is written in the style of Mozart - a hot-beloved Tchaikovsky composer, and the words are taken from the texts of Karabanov, a little-known and long-forgotten poet of the 18th century. To emphasize the household flavor more stronger, the librettist appealed to heritage and more well-known poets: the joggy song of Tomsk "If a cute maiden" is written on the text of G. R. Derzhavin, the poem V. A. Zhukovsky was elected for the Lisa duet and Polina, the words of another poet XIX Century - K. N. Batyushkova are used for polyna's romance.

It should be noted that the difference that exists between Hermann in the story of Pushkin and in Tchaikovsky's opera. Herman Pushkin does not cause sympathies: it is an egoist who has some condition and with all their forces asking him to increase it. Herman Tchaikovsky - contradictory and complicated. Two passions are fighting in it: love and thirst for wealth. Inconsistency of this image

its internal development - from love and gradually kneading the obsessive idea of \u200b\u200bthe priest to death and rebirth at the time of the death of the previous German - they gave the composer with exceptionally grateful material for incarnation in the opera genre of the favorite Tchaikovsky theme - the topic of opposing a person, his dreams about happiness to his fate.

The contrast features of the image of Hermann, which is the central figure of the entire opera, with a huge realistic force disclosed in the music of his two Arioso. In the poetic-penetrated monologue, "I don't know her name" - German appears to be embraced love. In Arioso "That our life" (in a gambling house), the composer was brilliantly handed over the moral drop in his hero.

Librettist and composer revised the image of Lisa - the heroine of the story "Peak Lady". Pushkin Lisa is represented by the poor pupil and a shot of the old Countess. In Opera Lisa (here she is the granddaughter of rich countess) actively fights for his happiness. At the initial version, the performance was completed by the reconciliation of Lisa and Yeletsky. False of this situation was obvious, and the composer created the famous scene at the grocery, where the artistically completed truthful end of the Lisa tragedy, which ends suicide.

The musical image of Lisa encompasses the features of warm leaf and incessing with typical tragic doors typical. At the same time, the complex inner world of Heroine Tchaikovsky expresses

without the slightest performance, keeping full natural vitality. Arioso Lisa "Ah, I suffered grief." The exceptional popularity of this dramatic episode is explained by the fact that the composer managed to invest in him all his understanding of the big tragedy of the Russian woman, lonely mourning his fate.

Some characters missing in the story of Pushkin, boldly introduced in Tchaikovsky's opera: this is the groom Lisa and the rival Hermann - Prince Yeletsky. The new character exacerbates conflict; In the opera there are two contrasting images, brilliantly captured in Tchaikovsky's music. Recall Arioso Hermann "Sorry, Heavenly Creation" and Arioso Yeletsky "I love you." Both heroes turn to Lisa, but as their experiences are different: Herman is crushed by fiery passion; In the appearance of the prince, in the music of his Arioso - beauty, self-confidence, as if he says not about love, but about calm affection.

Very close to Pushkin primary source opera characteristics of the old Countess - the imaginary owner of the secret of three cards. Tchaikovsky's music outlines this character as a way of death. Minor changes have undergone secondary actors like Chekalinsky or Surin.

The dramatic concept determined the system of leitmotifs. The most widely deployed in the opera leitmotif of the fate of Herman (the theme of three cards) and the exciting deeply emotional topic of love Lisa and German.

In the opera "Peak Lady" Tchaikovsky brilliantly combined the melodic wealth of vocal parties with the development of musical material. The "peak lady" is the highest achievement of Tchaikovsky's opera creativity and one of the greatest vertices in the world opera classics.

Following the tragic opera "Peak Lady" Tchaikovsky creates a product of optimistic content. It was "Iolanta" (1891) - the last Opera Tchaikovsky. According to Tchaikovsky, the one-act Opera Iolanta should go in one play with the ballet "Nutcracker". Creation of this ballet composer completes the reform of musical choreography.

The last work of Tchaikovsky was his sixth symphony, executed on October 28, 1893 - a few days before the death of the composer. Conducted Tchaikovsky himself. On November 3, Tchaikovsky was seriously ill and on November 6 passed away.

Russian Music Classic The second half of the XIX century gave the world a lot of famous names, but the brilliant music of Tchaikovsky highlights him even among the greatest artists of this era.

The creative path of Tchaikovsky runs through the complex historiceci period of the 60s of the 60s. For a relatively short period of creativity (twenty-eight years), Tchaikovsky wrote ten operas, three ballet, seven symphony and many works in other genres.

Tchaikovsky amazes with its versatile gifting. I say a little that he is an opera composer, creator of ballets, symphony, romances; He achieved recognition and fame in the field of instrumental music, created concerts, chamber ensembles, piano works. And in any of these art types, he performed with the same force.

Tchaikovsky received wide fame in life. He had an enviable fate: his works were always a response in the hearts of the listeners. But really the popular composer he became in our time. Wonderful achievements of science and technology - sound recording, radio, cinema and television made his work available in the most remote corners of our country. The Grand Russian composer became the favorite composer of all the peoples of our country.

The musical culture of millions of people is raised on the creative heritage of Tchaikovsky.

Music lives in the people, and this is immortality.

O. Melikyan

Peak lady

Opera in 3 acts

PLOT
Borrowed from the story
A. S. Pushkin

Libretto
M. Tchaikovsky

Music
P. I. Tchaikovsky

CHARACTERS


Count Tomsky (Zlatogor)
Prince Yeletsky
Chekalinsky

Chaplitsky

Manager
	mezzo-soprano

Polina (Milovor)	contralto
Governess	mezzo-soprano

Boy commander	unpleasant
Integrated persons in intermedia

Milnor (Polina)	contralto
Zlatogor (gr. Tomsky)

Nyanyushki, Governess, Kormilitsy, Walking
Guests, children, players, and so on.

Action takes place in St. Petersburg
At the end of the XVIII century.

INTRODUCTION.
First action

Picture first

Spring. Summer garden. Playground. The benches are sitting and packed in the garden of Nyanyushki, governess and cormalts. Children play burners, others jump through the ropes, throw balls.

Gori, Gori clearly,
So as not to go out
One two Three!
(Laughter, exclamation, running.)

Sinky, kids are cute!
Rarely sunshine you, birthmarks,
Teschit joy!
If, cute, you are on a volley
Games, pranks up,
That is my little nyanyushy
You take peace then deliver.
Fuck, run, kids cute,
And in the sunshine sunny!

Kormilitsy

Bai, Bai Bai!
Sleep, Major, Wire!
Clear eyes do not open!

(Heard drum fighting and children's pipes.)

Here our warriors go - soldiers.
How slim! Must! Places! Once, two, two times ...

(Flying boys in toy weapons; ahead of the commander.)

Boys (marching)

Times, two times, two,
Left, right, left right!
Friendly, brothers!
Do not get off!

Boy commander

Right shoulder forward! Once, two, stand!

(Boys stop)

Listen!
Musket in front of herself! Take a blow! Musket to the leg!

(Boys fulfill the team.)

Boys

We all gathered here
For fear of Russian enemies.
Angry inland, beware!
And with the thoughts of the villainet run, Ile will conquer!
Hooray! Hooray! Hooray!
Fatherland save
We fell to share.
We will fight
And enemies in un
Without an account take away!
Hooray! Hooray! Hooray!
Long live a wife,
Turning the queen
We are Mother to all she,
Chown, Empress
Both pride and beauty!
Hooray! Hooray! Hooray!

Boy commander

Well done boys!

Boys

We are glad to try your gradually!

Boy commander

Listen!
Musket in front of herself! Right! On guard! March!

(Boys go, drum and tube.)

Nyanyushki, Kormilitsa, Governess

Well, well done, our soldiers!
And really push fear on the enemy.

(Other children leave behind the boys. Nyanyushki and governess diverge, giving way to another walking. Participate Chekalinsky and Surin.)

Chekalinsky

What is the game yesterday?

Of course, I blurted scary!
I'm not lucky ...

Chekalinsky

Did you play again until the morning?

I'm terribly tired
Chort Take, at least if you won't win!

Chekalinsky

Was Herman?

Was. And, as always,
Eight and eight in the morning
Chained to the gambling table
sitting

And silently blew wine

Chekalinsky

Only?

Yes, I looked at the game.

Chekalinsky

What is he a strange man!

As if he had heart
Villains, at least three.

Chekalinsky

I heard that he is very poor ...

Yes, not rich. Here he is, look:
As a demon of hell grumbled ... pale ...

(It includes Herman, thoughtful and dark; with him together, Tomsky graph.)

Tell me, Herman, what to you?

With me? Nothing...

You are sick?

No, I'm healthy!

You became another one ...
Something unhappy ...
Happened: restrained, lean,
You were cheerful, at least;
Now you are gloomy, silent
And, - I do not believe our ears:
You, the new passion of grief,
As they say, up to the morning
Do you spend the night for the game?

Yes! To the goal is a hard foot
Go, as before, can not me.

I myself do not know what to me.
I lost, resenting weakness,
But to own yourself no longer ...
I like! Love!

How! Are you in love? In whom?

I do not know her name
And I can not find out
Earthly name is not wanting
It is called ...
Comparing all overgoing
I do not know who to compare ...
My love, Bliss of Paradise,
I would like to keep the age!
But the thought is jealous that it is another to possess
When I track the legs do not dare to kiss her,
Tomit me; And terrestrial passion
In vain I want to learn
And I want to hug everything then,
And I want to hug my holy holy then ...
I don't know her name
And I do not want to know ...

And if so, soon for business!
We find out who she is, and there -
And the suggestion do boldly
And - the case is hand!

Oh no! Alas, it is valid
And I can not belong!
That's what Mutit and Gots Me!

We find another ... not alone in the world ...

You do not know me!
No, I do not believe it!
Oh, Tomsk, you do not understand!
I could only live quietly
So far, I dreamed of passion ...
Then I could own himself.
Now that the soul is in power of one dream,
Goodbye peace! Poisoned as if inuced
I'm sick, sick ... I'm in love.

Are you Herman?
I confess, I would not believe anyone,
What are you able to love so much!

(Herman and Tomsk pass. Walking fill the scene.)

Choir walking

Finally God sent a sunny day!

This day is not waiting for us for a long time.

For many years we do not see such days,
And it happened, often we saw them.
In the days of Elizabeth - Wonderful time, -
It was better for summer, autumn and spring.
Oh, many years have passed, as there were no such days,
A, it happened, before, we often seen them.
The days of Elizabeth, what a wonderful time!
Ah, in ancient times, the greasy, more fun,
There were no such spring, clear days for a long time!

At the same time

What a joy! What for happiness!
How gratifying how to live!
How nice in the summer garden walk!
Charm, how nice in the summer garden walk!
Look, look at how many young people
And military, and civil wanders a lot along Alley
Look, see how many things are wandering:
And military, and civilians, as elegant, as beautiful.
How beautiful, look, look!
Finally God sent us a sunny day!
What air! What kind of sky! Exactly May we have!
Oh, what a charm! Right, all day for a walk!
Day not wait for this
Day this does not wait
For a long time again.
Day this does not wait
Long for us, long for us again!

Young people

Sun, sky, air, nightingry
And the blush is bright on the lans of the virgins.
Then spring gives, with her and love
Sweetly worries young blood!

Are you sure that she does not notice you?
I bet that in love and misses you ...

When an Opolovo doubts, I lost
Did it delve my soul's torment?
You see: I live, suffer, but in a terrible moment,
When I find out that I was not destined to master it,
Then there will be one ...

Die! (Prince Yeletsky is included. Chekalinsky and Surin come to him.)

Chekalinsky (prince)

You can congratulate you.

You say the groom?

Yes, gentlemen, I'm marrying; Light Angel converted
It's my fate to combine my fate! ..

Chekalinsky

Well, in good time!

I'm happy with all my heart. Be happy, prince!

Yeletsky, congratulations!

Thank you friends!

Prince(with feeling)

Happy day, You bless you! How it all connected So together to join me, Everywhere reflected Bliss of life unearthly ... Everything smiles, everything shines, Like on my heart All cheerfully trembles To the bliss of the paradise!		At the same time
Unfortunate day I curse you! As if everything connected To fight with me in the fight. Everywhere joy reflected But not in my soul my patient ... Everything smiles, everything shines, When I have on my heart Announced Anga trembles, Some torment sly ...		At the same time

Tomsky(prince)

Tell me, do you marry?

Prince, who is your bride?

(It includes the Countess with Liza.)

Prince(pointing to Lisa)

She is? She is his bride! Oh my God!...

Lisa and Countess

Again it here!

So here's who is Nameless Beauty Your!

I'm scared! He is again in front of me Mysterious and gloomy stranger! In his eyes ukore mute Changed the fire insane, burning passion ... Who is he? Why pursues me? His eyes of ominous fire! I'm scared!.		At the same time
I'm scared! He is again in front of me Mysterious and terrible stranger! He is a ghost fatal Embraced all the wild passion,		At the same time

What does he want to pursue me? Why again he prevailed me? I'm scared, as if I am in power His eyes of ominous fire! I'm scared...		At the same time
I'm scared! Here again in front of me like the ghost of fatal There was a gloomy old woman ... In her eyes of terrible I read my sentence dumb! What should she want from me? As if I am in power Her eyes of ominous fire! Who is she who? I'm scared!
I'm scared! My God, how embarrassed she! Where does this strange excitement come from? In her soul tomgle In her eyes, some fear of dumb! In them a clear day why suddenly It came to change bad weather. What with her? Do not look at me! Oh, I'm scary, as if close Threatens some unexpected misfortune. Scary to me!
That's what he spoke about? How he is embarrassed by an unexpected news! In his eyes, I see fear ... Fear mute replaced the fire of insane passion!

I'm scared.

(Graph Tomsk is coming to a decanter. Prince to Lisa. Countess stares at German)

Countess
Let me congratulate ...

Tell me, who is this officer?

Which the? This? Herman, my friend.

Where did he come from? What is it terrible!

(Tomsky escorts it to the depths of the scene.)

Prince (feeding the hand of Lisa)

Heaven charming charm
Spring, Marshmallows light rustle,
Having fun crowds, friends hello, -
Promise in the coming many years
We are happiness!

Rejoice, buddy!
Forgot you, what a quiet day
Thunderstorm happens. What is the creator
Gave the happiness of tears, Vader - Thunder!

(Remote thunder. Herman in gloomy thoughtfulness goes on the bench.)

What a witch is this countess!

Chekalinsky

Student!

No wonder it was called the "peak lady."
I can not comprehend, why doesn't she pont?

How? Old woman?

Chekalinsky

Ansky-year-old carga!

So you know nothing about her?

No, right, nothing.

Chekalinsky

Oh, so listen!
Countess Many years ago in Paris, Krasavitsa walked.
All youth on her crazy went
Calling "Venère Moscow".
Count Saint-Germain - among others, then there is still a handsome man,
Spoiled her. But unsuccessfully he sighed on the Countess:
All nights, the beauty played beauty and, alas,
Preferred Pharaoh Love.

Once in Versaille "Au Jeu De La Reine" Vénus Moscovite was played to the alert.

Among the invited was Count Saint-Germain;
Watching the game he heard how she
Sheptala in the midst of Azart: "Oh, God! Oh my God!
Oh God, I could not play off
When it were enough to put again

Count, choosing a good minute when
After leaving the guests of the guests the full hall,
Beautiful silence sat alone,
She whispered in love with her ear whispered the words of Mozart sounds:

"Countess, Countess, Countess, attendance of one," RendezVous "want,
Perhaps, I will call you three cards, three cards, three cards?
The countess flared: "How dare you!"
But the count was not a coward ... and when in a day
Beauty appeared again, alas,
Without a penny in the pocket "Au Jeus de La Reine",
She already knew three cards.
They boldly putting one after another
I returned your ... but what a price!
About the card, about the card, about the card!

Since she called her card, she called
Another time their young handsome learned.
But on the same night, only one remained,
The ghost came to her and Grozno said:
"Get a fatal blow you

Three cards three cards, three cards! "

Chekalinsky

SE NONè VERO, и BEN TROVATO.

(Thunder is heard, thunderstorm comes.)

Funny! But the Countess can safely sleep:
Lovely lover to be dishonled.

Chekalinsky

Listen, Herman, here's a great case,
To play without money. Think!

(Everyone laughs.)

Chekalinsky, Surin

"From the third who dust, passionately lovingly
Will come to learn from you
Three cards, three cards, three cards! "

(Going away. Strong thunder blow. Thunderstorm is playing. Walking rustling in equal sides. Exclamation, screams.)

Choir walking

How fast the thunderstorm came ... Who could expect? ..
Passion what ... Blow over a blow louder, worse!
Fight soon! Most likely to go to the goal!

(Everyone scatter. Thunderstorm increases.)
(Published.)

Oh, soon home!
Fresh soon!

(Strong thunder blow.)

Hermann (thoughtfully)

"Get a fatal blow you
From the third who dusty, passionately loving

Will come to learn from you
Three cards, three cards, three cards! "
Oh, what to me in them, at least I possessed them!
Everything died now ... one I stayed. I'm not terrible storm!
In me, all the passions woke up with such a murder of force,
What is this thunder nothing in comparison! No, prince!
While I am alive, I will not give it to you.
I do not know how, but take away!
Thunder, zipper, wind, with you solemnly give
I am an oath: she will be mine, Il will die!

(Runs away.)

Picture of the second

Lisa room. The door to the balcony overlooking the garden. Lisa behind Claviersin. Near her Polina. Girlfriends.

Lisa and Polina

Even evening ... the clouds fell in the edges,
The last ray ray on the towers is dying;
The latter in the river is a shiny jet
With extinct sky fading.
All quietly: groves sleep; There is peace around;
Shattering on the grass under the guise of tilted,
I look like a murmur, merging with the river,
Flow, bushes autumn.
How to merge with cool plants fragrance!
How sweet in silence at the Bagge jet Pledins!
How quietly messenger on the waters,
And flexible willow tremble!

Choir of girlfriends

Charming! Charming!
Wonderful! Charming! Ah, wonderful, good!
More, mesdames, more, more.

Sleep, fields, we are alone.

One?
But what to sing?

Choir of girlfriends

Please know what you know.
Ma Chère, dove, spoile something to us.

I will sing your beloved romance ...

(Sits down for the clusal, plays and sings with a deep feeling.)

Wait ... how is it? Yes, I remembered!
Girlfriends are lovely, in the carelessness of playful,
Under the dancing entrance you are frolic in the meadows!
And I, as you, lived in Arkady happy,
And I, in the morning of days, in the groves and fields
Minutes of joy tasted:
Love in the dreams of the dreams of me happiness Sulil
But what did I get in this joyful places?
Tomb!

(All touches and excited.)

I thought the song was singing a tearful such?
Well, why? Already sad you are something, Lisa,
On such a day! Think, because you are engaged, ah, ah, ah!

(Girlfriends.)

Well, what did you hang all the noses? Merry let's

Yes, Russian in honor of the groom with the bride!
Well, I'll start, and you feed me!

Choir of girlfriends

And indeed, let's go funny, Russian!

(Girlfriends beat in your hands. Lisa, without taking participation in fun, thoughtfully stands at the balcony.)

Pauline (girlfriends sick her)

Well, Svetik Masha,
You sweat, babes,
Ai, Luli, Luli,
You sweat, baptize.
His white handle
Under the side of pick up.
Ai, Liu Li, Li,
Under the side of pick up.
Scoothes sighs
Do not regret, please.
Ai, Luli, Luli,
Do not regret, please.

(Polina and some girlfriends are set in dance.)

Ki will ask Mama: "Merry!"
Ai, Liu, Liu, "Merry!" Speak.
And to the answer toat:
Like, "Saw to Dawn!"
Ai, Liu, Liu, Liu,
Like, "Saw to Dawn!"
It will become a crowd:
"Look away, go!"
Ai, Liu Li, Li,
"Look away, go!"

(Includes the governess of the Countess.)

Governess

MesDemoiselles, what is your noise here? Countess angry ...
Ah ah ah! I am not ashamed to dance in Russian!
FI, QUEL GENRE, MESDAMES!
The laryrs of your circle must be decency to know!
Must would you feel a friend of the world to inspire.
In the girls only raged, not here, Mes Mignonnes.
Is it impossible to have fun, not forgetting Bonton? ...
It's time to disperse ...
You sent me to say goodbye ...

(Ladies diverge.)

Pauline (Approaching Lisa)

Lise, what are you boring like that?

I am boring? Not at all! Look at what night!
As after the storm terrible, everything was updated suddenly.

Look, I will comply with you a prince.
I will tell him that on the day of the engagement you sad ...

No, for God's sake, do not say!

Then please smire now ...
Like this! Now goodbye. (Kiss.)

I spend you ...

(Going up. Maid comes and extinguishes fire, leaving one candle. At the time when she fits a balcony to cool it, Lisa returns.)

Do not shove. Leave.

They would not catch a young lady.

No, Masha, night so warm, so good!

Order help to undress?

No I myself. Go to sleep.

Late, young lady ...

Leave me, go ...

(Masha leaves. Lisa stands in deep thoughtfulness, then quietly crying.)

Where are these tears, why are they?
My girlish dreams, you changed me!
That's how you justified in reality! ..
I aished my life now the prince - the chosen one,
Creature, mind, krasoy, knowledge, wealth,
A worthy girlfriend is not like me.
Who is conflict, who is handsome, who is meant how is he?
No one! And what?...
I am all full, trembling and flowing and crying.
Why do these tears, why are they?
My girlish feces, you changed me ...
And hard, and scary! But what to deceive yourself?
I'm here alone, everything is quietly sleeping ...

Oh, listen, night!

You alone can believe my soul mystery.
She is gloomy, like you, she's sad eyes,
Peace and happiness with me taken ...

Queen night!

As you, beauty, as an angel fallen, he is beautiful.
In his eyes, the fire of a scorching passion,
As a wonderful dream, I can manit.
And my whole soul is in power.
Oh, night!

(Herman appears in the door of the balcony. Lisa is horrified. They silently look at each other. Lisa makes movement to leave.)

Stay, begging you!

Why are you here, a crazy person?
What do you need?

To say goodbye!

(Lisa wants to leave.)

Do not leave! Stay! I'll leave now
And more here will not return ... one minute!
What should you? The dying call you.

Why, why are you here? Go away!

I scream.

Shout! (Taking out the gun) Call everyone!
I still die, one or other.

(Lisa lowers head.)

But if there is, beautiful, in you, at least spark compassion,
Then wait, do not go! ..

After all, this is my last, mortal hour!
I learned my sentence today.
You are, cruel, your hand is handing my heart!

(Passionately and expressive.)

Let me die, bless you, not klyan,
Can I live the day when someone else's you for me!

I lived you;

One feeling and thought of stubborn one owned by me.
I will perish, but before you say goodbye to life,
Give me at least a mig one to stay with you together
The medium is wonderful silence of the night, you give me to get enough.
Then let death and her - peace!

(Lisa stands, looking at Hermann with sadness.)

Stretch! Oh, how good you are!

Go away! Go away!

Beauty! Goddess! Angel!

(Herman becomes knees.)

Forgive, heavenly creating that I broke your rest.
Sorry! But passionate do not reject recognize,
Do not reject with longing.
I regret, I'm dying,
I carry my Molub:
Looking from Heavenly Heights
For mortal struggle
Souls, frowning love for you,
About the Spirit of my caress, regret,
The tear of your seed!

(Lisa cries.)

You are crying! What do these tears mean -
Do not you chase and sorry?

(Takes her hand, which she does not take away)

Thank you! Beauty! Goddess! Angel!

(Falls to the lysine hand and kisses it. Noise of steps and knock on the door.)

Countess (Behind the door)

Lisa, digest!

Lisa (in confusion)

Fight! God's god! I died!
Run! .. Late! .. here! ..

(The knock is enhanced. Lisa indicates Herman on the porter. Then goes to the door and turns it out. It comes to the Countess in the fur coil, surrounded by maids with candles.)

What are you awake? Why dressed? What is there for noise? ..

Lisa (confused)

I, grandmother, went around the room ... I won't sleep ...

Countess (gesture to wove the balcony)

Why is the balcony open? What is this fantasy? ..
See you! Not Duri! Go to bed now (knocking stick)
Do you hear? ...

I, grandmother, now!

Will not sleep! .. Does it dumb! Well, times!
Do not sleep! ... now lie down!

I'm listening. Sorry.

Countess (leaving)

And I hear noise; You worry your grandmother! Come ...
And nonsense do not dare it here!

"Who, passionately loving
Will come to know from you
Three cards, three cards, three cards! "
The grave cold has happened around!
Oh, a terrible ghost! Death, I do not want you! ..

(Lisa, defending the door for the Countess, is suitable for a balcony, I will answer him and tells Hermann gesture.)

Oh, spare me!

Death a few minutes ago
I seemed to me saved, almost happiness!
Now not that! She is terrible to me!
You revealed me happiness,
I want to live and die with you.

Crazy man what you want from me
What can I do?

Solve my fate.

Take! You ruin me!
Go away! I ask you, I drove to you!

So, it means, the death sentence you say!

Oh, God ... I'm glaming ... Go, please!

Tell me then: die!

God's god!

(Herman wants to leave.)

Not! Live!

(Intrivily hugs Lisa; she lowers his head on his shoulder.)

Beauty! Goddess! Angel!
Love you!

Second action

Picture Three

The masquerade ball in the house of rich capital Velmazby. Big hall. On the sides, between the columns, the lodges are arranged. Guests dance Koldans. Singers sing on the choras.

Choir Pevichi.

Joyful! fun!
On the day of this selected, friends!
Throw your inadaches
Download, dancing bold!
Bate in your hands,
Click loudly with fingers!
Black eyes take
Movy you all say!
The fertrige of hand you are in Boki,
Make light bulk
Chobot about Chobot knock,
With the obscure swing!
Owner with his wife
Welcome good guests!

(Applies a manager.)

Manager

The owner asks for expensive guests
View on the shine of fusion lights.

(All guests are sent to the terrace in the garden.)

Chekalinsky

Our german hang out again.
I handle you that he is in love;
That was gloomy, then he became cheerful.

No, gentlemen, he is passionate
What do you think than?
Hope to learn three cards.

Chekalinsky

Fucking!

I do not believe, you need to be ignorant for this!
He is not a fool!

He spoke me himself.

Chekalinsky (Surin)

Come on, let's go to tease!

(Pass.)

And, however, he is from those
Who, once thinking
Must do everything to accomplish!
Poor!

(The hall is empty. Part of the servants to cook the middle of the scene for the intermedy. Prince and Lisa pass.)

You are so sad, dear,
As if you have a bitter ...
Trust me.

No, after, prince.
Another time ... I beg!

(Wants to leave.)

Wait ... for one moment!
I have to tell you!
I love you, I love immensely,
Without you, I do not think to live the day,
I am a feature for unparalleled,
Ready to accomplish now for you
But know: the hearts of your freedom
I do not want to shy
Ready to hide you in favor
And the dust of jealous feelings to take.
For all, I'm ready for you!
Not only a loving spouse -
The servant is sometimes useful,
I wish you be your friend
And the consolation is always.
But I see, I feel now,
Where myself in the dreams of a rayon.
How little in you go to me
How alien I am as far away!
Oh, I torment this distance.
Just with you all the soul,
I love your sadness
And I pay your tear,
Oh, I torment this distance,
Just like you with all my heart!

I love you, I love immensely ...
Oh, honey, trust me!

(Go.)
(Enters Hermanless mask, holding a note in the hands.)

Hermann (is reading)

After the presentation, wait for me in the hall. I have to see you ...
Rather to see her and throw this thought (sits).
Three cards know - and I'm rich!
And with her I can run
Away from people.
Curse! This thought will drive me crazy!

(Several guests are returned to the hall; among them Chekalinsky and Surin. They point to Herman, sneak up and, leaning over it, whisper.)

Chekalinsky, Surin

Aren't you the third
Who is passionately loving
Will come to find out from her
Three cards, three cards, three cards ...

(Hid. Herman frightened, as if without giving himself a report in what is happening. When he looks around, Chekalinsky and Surin have already disappeared into the crowd of youth.)

Chekalinsky, Surin, several people from the choir

Three cards, three cards, three cards!

(Laugh. Mix with the crowd of guests).

What is it? Nonsense or mockery?
Not! What if...

(Closes face with hands.)

Madman, madman I!

(Thinks.)

Manager

The owner asks for expensive guests to listen to pastoral
Under Title: "Brand sincerity!"

(Guests are sitting on the cooked places.)

Shepherd and shepherd choir

(During the choir of the prilek, one does not take part in dancing and weave wreath in sad thoughtfulness.)

Under the trust of thick
Near the quiet stream
We came to the crowd
Please yourself, sing, have fun
And dance news,
Nature enjoy
Wreaths Flower Take ...

(Shepherds and shepherds are dancing, then removed in the depth of the scene.)

My nice friend
Kind shepherd
About whom I sink
And I wish the passion to open
Ah, did not come to dance,
Ah, did not come to dance!

(Milnor is included.)

Milovzor

I am here, but boring, Tomen,
Look how to lose weight!
I will not be more modest,
I hid a long passion ...

Zlatogor

How are you sweet, beautiful!
Say: of us -
Me or him -
Forever to love agree?

Milovzor

I agreed with my heart
I bow to love
Whom it tells
To whom it burns.

I do not need
Neither rare stones
I'm with a cute intermediate fields
And in the hut to live is glad! (Milovor.)
Well, Barin, in good way,
And you are calm!
Here in solitude
Hurry in reward
Such beautiful words
Bring me a bunch of colors!

Prile and Milovzor

Came the end of the torment

Love admirations
Comes soon an hour
Love! Try us.

Shepherd and shepherd choir

Came the end of the torment -
Bride and groom are worthy of admiration,
{!LANG-c82f1e5e11fc638e34784ad3334ad25d!}

{!LANG-66768c28d7365ff5f36902e0533d4c67!}

Hermann (thoughtfully)

{!LANG-bcdf79f627aefe4388d08c4bc4ffe33a!}
{!LANG-c44748d5a00a83d86c344a63222926c3!}
{!LANG-7601eb322d48785e2f59d34161192aeb!}

{!LANG-f64024f6ba02fb43b0b6d1312250db64!}

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{!LANG-3078eee7f039087d743957ca4e50a0fb!}

{!LANG-7ccc100232a5961b043f0e63f53f4e28!}
{!LANG-7a5f28ad6f695297d3e156c01d0a81f8!}
{!LANG-9e5cf4f928c4a687ebb57a0c9dadca02!}

{!LANG-8f55f11fb08793b9fa6389467c1c559f!}
{!LANG-0297c427b23af3ce6b86b64e6f1cc32a!}
{!LANG-7ceeddeb7df1280c9e8d7119d76fd0d5!}
{!LANG-e4a5cba89efb32c1768cd2e8e32d4093!}

{!LANG-665335197fe6c8b159484ba17bc29396!}

{!LANG-3903bc54cfcbce8e0367264084da1036!}
{!LANG-944420aa7c384c13492eb1e4bd63ec59!}
{!LANG-5f33114f4665160281370e9e7a091d8f!}
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{!LANG-f9ab479fa306f3a7eeba23641d13179e!}
{!LANG-87c4f9a8a0b359929fc27361e6b49f1e!}

{!LANG-59830ac4ae7056f19b4f28692d9a2f90!}

Lisa {!LANG-a7ee20e68a92d3a9ea8fa1bcae213f6b!}

{!LANG-becf88bc960c9b56c9b75b0d42740d81!}

{!LANG-e114a698b579c8206c517a0702ceaccd!}
{!LANG-c7f65d0c5f1a6123393b6d5c3fd46a13!}
{!LANG-8d7dfb9d5b328d7895c32f3085507308!}

{!LANG-5003ba6c0efc7778d90de417b984616c!}

{!LANG-20d8086e9328be99b50e9a3c4dafde19!}
{!LANG-b54eec8021e14c5f85df49da878bb9a6!}
{!LANG-62461b30edc0c7220ba1989608346a85!}

(Runs away.)

{!LANG-6dc9296613beb084b1eab13bcc8e3e88!} {!LANG-6c92150a638d02c595aabafa7d8dc836!}

{!LANG-0d20bd2cffb61a352e5f50f17cead9ab!}

{!LANG-5cd9b68b1a0553b489507e54b18d8386!}

{!LANG-44fab01d71f932a02630c21fec182138!}

{!LANG-9256799a78179f30d5f5cbfc70237f22!}

{!LANG-18f2f4238589c6566ed5b66ccab4f339!}

{!LANG-1eee0945d76a390119c70f9d67d2b64e!}
{!LANG-d95694d7183ce3563e816437441648f4!}

{!LANG-5057558b8860fff67c8fee8f6aed16c3!}

{!LANG-ad7099ad1a5e5b6e95d2f914cf945a71!}

{!LANG-a12cb6c416cded7d3fc15c1a41dff1b8!}

{!LANG-a7f2870399d2d14d81b19417baac06e5!}

{!LANG-2a1908ce8bfbcaf8eb40f49fcfbbb849!}
{!LANG-7647e824827bca5eae51a90917d85c91!}
{!LANG-1fded0cb336f31a51faec1aaa020d886!}
{!LANG-3b6c3b7fcb000b77323108042aeb3538!}

(Thinks.)

{!LANG-3a467203ae62a6d9f8d19489e58b81e8!}
{!LANG-56b618853f58de68e9fd9594dcaffdd1!}
{!LANG-07068895cccf7d8143cca1aee012e59f!}

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{!LANG-6e2a4d44a386ddcf954cb8113918d00d!}

{!LANG-7eddc3d464b58a3f517336bb34cd6219!}
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{!LANG-b89897e96aeec6a2ef02fa980a0eeede!}

{!LANG-ec3e3712f8ad3bfd8a71c7247e9d6123!}
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{!LANG-153b11a3ca600bada183befa36fc382c!}

{!LANG-27fd746b460a8895742cf40e066c199c!}

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{!LANG-3df5056f067d60d7e15e6b162bbb4fa7!}

{!LANG-4aaed554967fb0c547a61b866ab8348a!}

Hermann {!LANG-710c6e7b7e57269e7f71092f1256bb52!}

{!LANG-a230aa1e2c989301ee70a433f80f5c7a!}

{!LANG-3bba753a30f405fb759deea17268ab42!}

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{!LANG-bea3d0d78072f062a644616ebae31d49!}

{!LANG-f8eebb3b16e444c809e845dc717ed1b3!}

{!LANG-7dbecb53b0c78d097802a737e36c9cae!}

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{!LANG-37111d84fa36ee8ac8a97fbd38eb308d!}

{!LANG-a80bcc89c7b805e417740834c6a55210!}

{!LANG-6964ed54b2efd13e92da03129a178df0!}

{!LANG-409983c3d8c2cf0737fd0d8df4ff5d71!}

Hermann (is reading)

{!LANG-2242b581cb4f4436464d20c5cf4e9bda!}

{!LANG-8527696be3b2f9a46ba342208fc94e6d!}

{!LANG-2e68cd5677b3d71ad547019859e1fda2!}

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{!LANG-e34f6a15e7170e9d01db331f0b9fe675!}
{!LANG-bf5babbc1265355c63c29c46393e885c!}
{!LANG-9833d7fcdd77fc3db2fb258699703821!}
{!LANG-826ecb0da18cc489e68eab2ca2ac9ca6!}
{!LANG-ab475a3b77eb2f1e92eb6332d84aa83b!}
{!LANG-e05d8b00c83b613d9d3a0dcfa8bcbeaa!}
{!LANG-94c3328b67cb5629e651546285310e00!}
{!LANG-83c41befb41f208306be4e737915c74f!}
{!LANG-dafc2b0d0bc9e0371d871b433d3c2802!}
{!LANG-a6ee249945e0eadc69387240779f2e79!}

{!LANG-95ec2a6fe9541117591b91f5ad55ad18!}

At the same time

{!LANG-89c41bc5b45143826004d52bd0e64ed7!}

{!LANG-4e074a11ef1cae6a5bad80dbde183cc8!}
{!LANG-698007c352bcc88098be255d69228f09!}
{!LANG-74d87025bb15e6471c6d1701a84c91f0!}
{!LANG-27671ad17f163eeb3ccebbaa3b965d5e!}

{!LANG-61da144bb5842190ed3bafebc8badca6!}

Hermann {!LANG-2f55739477c37602d197c9c499c73e31!}

{!LANG-cc84e0a58efca35d6836657a2b707670!}
{!LANG-add957ef409d779bfde5c6fa7f5e37fc!}

{!LANG-b24a83aa5bdc5732489a7de478e37a9b!}

{!LANG-07861f8b90a5028a7c9e1222c27ec375!}

{!LANG-e26042cc194c20e39b5721ee0e73eb28!}

{!LANG-bd3c4a177ea336f36d9f3c4cd3ddae21!}

Hermann {!LANG-d346a453fd3a751705046bd88b8b3a2b!}

{!LANG-241cafff4f88ce10eb4fba7527734b42!}

{!LANG-f0207783874e55707f43ffe4978eb85d!}

{!LANG-6828422a8a52a85617c25111adf314eb!}

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{!LANG-03b518b423194e6aee9229de6c38aca4!}
{!LANG-c11dc9a7dd51ed13eedf74f43c06502f!}
{!LANG-13443f34291ab224543268a65d5abd5a!}
{!LANG-449175b7452f49539287c7ae7d41cb30!}
{!LANG-51b2aee50b63e6e37311e25de8b62d3f!}
{!LANG-8ee3415131b83a6094a8170af81afeda!}
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{!LANG-53d09e8cc64460bf5cd90299c6a6171f!}
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{!LANG-fddce0e593ad6587e40d5b328f62e699!}
{!LANG-a01df8f33ad210eb6c86c99b7e7d6d10!}
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{!LANG-fddce0e593ad6587e40d5b328f62e699!}
{!LANG-2c3196807c2dcd939d9f7c7fdfc3d160!}
{!LANG-3300d2a0bead64e2214a10cea0c66e3c!}

{!LANG-9c38c2928a64fc37db6faa9c288f4a38!}
{!LANG-95f8323c62c2df4bdad51d5906fa09c7!}
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{!LANG-13c304998e14db79c69c7560fac5c506!}

{!LANG-4d4e52e73e38273a3420da7b16615366!} {!LANG-4d459141ec1810775ed075791ebd3759!}
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{!LANG-05d0c64c8f709c95d4aab6a7c352c67d!}
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{!LANG-596604e8c6ddb41a1194ab160ce51fd5!}
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Chaplitsky

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Chaplitsky

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Chekalinsky {!LANG-3bac5247de3a26e5fb25d2577f2d0697!}

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Chekalinsky

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Tomsky (prince)

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chaplitsky

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Chaplitsky

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Prince {!LANG-838af7649cc6a676fba641414657b568!}

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Chekalinsky

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Prince {!LANG-03b654095795d54a54ef76f300a8ae55!}

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Hermann {!LANG-a7482ba1e3dae6da851bfd53dd2313de!}

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---
{!LANG-652f4834b108310bd734c49d5c95ef3f!}

Peak lady musical work Author. Opera P.

Read also

History of creation

Music

Publications

History of creation

Music

History of creation

Music

Action I.

Picture 1.

Picture 2.

Action II.

Picture 1.

Picture 2.

Action III

Picture 1.

Picture 2.

Picture 3.