Exhibition of the tragedy of love and power: "Pskovtyanka", "Tsarist Bride", "Service. Opera "Tsarist Bride"
On the libretto of the composer and I.Tymenov in the same name of the drama l.mey.
Characters:
Vasily Stepanovich Dogkin, Novgorod merchant (bass)
Marfa, his daughter (soprano)
Scrambles:
Grigory Grigorievich Dirty (Bariton)
Grigory Lukianovich Malyuta Skuratov (bass)
Ivan Sergeevich Lykov, Boyarin (tenor)
Lyubaso (mezzo soprano)
Elisha Bomeliy, Tsarsky Lebel (tenor)
Doma Ivanovna Saburova, merchant wife (soprano)
Dunyasha, her daughter, friend Martha (contralto)
Petrovna, Konkin Key (Metzo-Soprano)
Tsarist Power (BAS)
Hen girl (mezzo soprano)
Young guy (tenor)
Tsar John Vasilyevich (no words)
Nonable heap
Okrichniki, boyars and boarants,
Songns and Signs, Dance,
Hay girls, servants, people.
Action time: autumn 1572 years.
Schedule: Alexandrovskaya Sloboda.
First idea: Moscow, October 22 (3) of 1899.
"Tsarist Bride" - Ninth Opera N.A. Rimsky-Korsakov. The plot of L. Maya (EGO The same name was written in 1849) long ago occupied the composer's imagination (back of the composer's attention on this play of the composer's attention; at that time, Roman-korsakov stopped - also on the Council of Balakirev - on another Maya Drama - "Pskovtyanka" - and wrote the same opera).
Maya's drama is based on historical (although a little-known) episode of marriage (for the third time) of the king of Ivan the Terrible. This is what Karamzin talks about this story in his "history of the Russian state":
"We are bored by love, although not chaste, he (Ivan Grozny. - A.M.) has long been looking for a third spouse for a long time ... from all cities brides were brought to the settlement, and noble and dormant, the number of more than two thousand: each of them imagined him especially . At first he chose 24, and after 12 ... a long time compared them in beauty, in pleasures, in mind; Finally, I preferred to all Marfu Vasilyev Dog, the daughter of the merchant of Novgorod, at the same time choosing the bride and for his senior Tsarevich, Evdokia Bogdanov Saburov. Fathers of happy beauties from nothing was taken by boyars (...) Having raised San, they were given and wealth, the extraction of opal, the estate taken away from the ancient kinds of Prince and Boyars. But the royal bride was tamed, began to lose weight, dry: she was told that she was spoiled by the villains, haters John the family well-being, and the suspicion appealed to the near relatives of the queen of the dead, Anastasia and Mary (...) We do not know all the circumstances: we know only who and how The fifth era of the murder (...) was died in the fifth era, Dr. Elisha Bomelius (...) suggested the king to destroy Lyarkheev poison and amounted to, as they assure a destructive potion with such hell arts that the poison was frightened to the minutes appointed by Tyran. So John executed one of his favorites Grigory dirty, Prince Ivan Gvozdeva-Rostov and many other recognized by the participants in poisoning of the royal bride or in the treason that opened the way Hanu to Moscow (Crimean Khan Devlet-Gireu - A.M.). Meanwhile, the king was married (October 28, 1572) on the patient Marfe, hoping, on the eve of his own words, to save her sim by the action of love and power of attorney to the grace of God; After six days, he married her son on Evdokia, but wedding feots ended in the funeral: Marfa died on November 13, formerly or truly the victim of human malice, or only an unhappy guilty of invalid execution. "
L. A. Mei interpreted this story, naturally, as an artist, not a historian. EGO drama does not claim historical accuracy, but draws bright characters in unusually dramatic circumstances. (Despite the fact that Mei brings out historical characters in his drama, he, and after him, and Roman Korsakov, made a mistake: he calls Grigory dirty at the departure of Grigorievich, believing that he was a native brother knows in the time of Ivan the Terrible Okrichnik Vasily Grigorievich Mudnogo . In fact, Borisovich was in reality, and the nickname - big) in the opera plot of the drama Maya did not undergo significant changes, and its drama immeasurably intensified ingenious music.
OVERTURE
Opera begins overtoo. This deployed orchestral play, written in the traditional form of so-called Sonata Allegro, in other words, built on two main topics: The first ("Home" Party) tells the listener about the upcoming tragic events, the second ("side" party) - a bright singing melody - creates The image of Martha, who has not yet known grief, which did not experience the blows of fate. The peculiarity of this overture is that its main themes do not appear in the Opera itself. It is usually different: an overture, as it may announce the main musical images, which will then appear in the opera; Often overtures, although in the operations they sound the first, composers are composer in the last place or, at least when the musical material of the opera has already finally crystallized.
Action I.
Pirushka
Scene 1. Large sparkler in the house of Gregory dirty. In the background, a low entrance door is referring to her, stuck with cups, chambers and buckets. On the right side, three red windows and against them a long table, covered with a tablecloth; On the table, the candles in high silver candlesticks, solonks and chest. On the left side of the door to the inner chambers and a wide bench with a patterned panberry; Rogatina is pressed against the wall; On the wall hangs a self-timer, a large knife, a different dress and, not far from the door, closer to the outstanding, the bearish of the skin. On the walls and both sides of the table - benches covered with red cloth. Dirty, in thought dropping his head, stands at the window.
Greyly on the soul of the young royal scramble Gregory dirty. For the first time in life, he experiences a strong all-consuming feeling of love for Martha ("Beautiful man's crazy! And I will be happy to forget her, there is no forgetation forget." In vain, he sent a matchmaker to the father of Martha: the dog replied that his daughter from ornamental years was intended to Ivan Lykov in his wife (we learn from the first cleattee of Gregory dirty from the first cleattee). Recitalizes goes to Aria "Where are you, deleted the former went, where the days of the days were smelled?" He argues about his past times, about violent acts, but now all his thoughts are absorbed by Martha and his rival Ivan Lykov. In the next Aria, he concerned about Aria (himself): "And Ivashka's Lykov does not bypass the name of the nation with Martha!" (that is, not to be the applied). Now Gregory is waiting for guests to forget with them, and first of all Elisha Bomelia, which he needs everyone.
Scene 2. The middle door is replete. Included Malyuta with chicks. Gregory claps in your hands, calling the servants. They are and dealt with honey Cups (that is, with a strong honey tincture). Malyuta drinks dirty health and bowed to him. Ivan Lykov enters and after him bomber. Gregory with a bow welcomes them and invites you to enter. The servants make the Lykov and Bomeli Cups. Those drink.
Okrichniki - And this was exactly what they came to visit the dirty - thank the owner for the treat (the choir "Floral Honey Affectionate Word"). All sit at the table.
From the conversations of the oprichnikov it becomes clear that the Lykov returned from the Germans, and now Maluta asks him to tell, "How do they live there for the sea?" In response to his request, Lykov in his Arioso describes in detail that he saw the colonic among the Germans ("other, and people, and the earth"). Aria is over. Lykov sings praise by a sovereign, who, according to him, "wants us to have a good one for the ingenians." For the king, everyone dries their glasses.
Scene 3. Malyuta asks dirty to invite Huslarov and singers to have fun. They enter and become along the walls, the Houchrs occupy places on the shop on the left side. Sounds a sub-relat song "Glory!" (This is a genuine old Russian folk song, which has retained from Roman-Korsakov partly and folk text). For the song again, the slook of the king. Guests again turn to the Lykov and ask if the king basurmen praise? It turns out - and the Lykov "regret repeating the evil speeches", - what the sea of \u200b\u200bour king is considered to be Grozny. Malyuta expresses joy. "The thunderstorm is the mercy of God; Groza Gnillu Sosina is breaking, "he express allegorically. Gradually, the Malyuta breaks up, and now his words are already heard: "And you, boyars, the king is not without reason to the sadles tied. We will get out of Rus Orthodox all Sor! " (Tied to the saddle of the broom and the dog's head - these were the signs of the post, held in order to track down, sniff out and sweep the treason and nibbled sovereign victims-Kramolnikov). And he again and drinks the health of the "father and the sovereign!". Some of the guests get up and diverge on the doors, others remain at the table. Girls come to the middle to dance. Performed at the Yar-Hop Choir ("As for the river-hops around Kusta wakes").
Malyuta recalls the Lyubasha, his "skeleton" living near the dirty (later it turns out that the ghosts once took her from the cashira, and the force beat it with Kashirs: "I drank the Kashirsk citizens" - because I called her "Kissrack" ). Where is she, why not go?
Gregory orders to call Lyubash. On the issue of bommetic, who this Lyubash, Malyuta answers: "The lover of a dirty, miracle of the girl!" Lyubasha appears. Malyuta asks her to sing the song - "Expressible, so that the heart is enough." Lyubasha sings ("Extremely, Mother's mother-in-law, under the crown of his own dyatko favorite"). Two tickets in the song. Lubash sings solo, without orchestra. Okrichniki thank for the song.
The fun went on the night. Malyuta rises from the bench - just call to the Sautren, and "tea, the sovereign wondered." Guests drink goodbye, bow, diverge. Lyubasha stands at the side door, turns out with the guests; I was looking at her bomeline. Dirty drives servants. Bomelia he asks to stay. Suspusage is born in Lyubashi: what is Gregory to "German" (bomeline from the Germans)? She decides to stay and hides behind bearish skin.
Scene 5. Grigory with bomber comes a conversation. Gregory asks Tsarsky Lekary, whether he has a tool to be a girl (he supposedly wants to help the friend). He answers that there is a powder. But the condition of his impact is that the one who wants to be awesome himself in the wine is in the Wine, otherwise he does not work. In the next trio of Lubash, bomeline and dirty - everyone expresses their feelings about the heard and said. So, Lyubash has long felt cooling to her Grigory; Gregory does not believe that the tool can be permanently marked; Bomelius, recognizing the existence of the innermost secrets and forces in the world, assures that the key to them is given by the light of knowledge. Gregory promises to miss bomeline if his tool will help "buddy." Grigory leaves billing.
Scene 6. Lyubasha mits in the side door. Enters a dirty, swimming head. Lyubasha quietly dissolves the door and is suitable for dirty. She asks him than he was named, that he stopped paying attention to her. Gregory rudely replies to her: "Leave!" Their duet sounds. Lyubasha speaks of his love, that he is passionately waiting for him. He is about the fact that it sobbed her, which was broken by a string - and the node do not get it up. Flame love, tenderness sounds in handling Lyubashi to Gregory: "After all, I love you one." Bell is heard. Gregory gets up, he is going to the Sautron. Punch. Grigory leaves. Lyubasha alone. Third blow. Hate boils in the soul of Lyubashi. Sounds of Blagovest. "Oh, I will find your sorcerer and her docolate!" She exclaims.
Action II.
LOVE POTION
Scene 1. Street in Aleksandrovskaya Sloboda. Ahead of the left house (dog occupied) in three windows on the street; Gate and fence, at the gate under the windows wooden shop. Right Bomelia's house with Kalito. Behind him, in the depths, fence and gate of the monastery. Against the monastery, - in the depths, left - the house of Prince Gvozdeva-Rostovsky with a high porch leaving the street. Autumn landscape; In the trees, bright overflows of red and yellow tones. Time in the evening.
People come from the monastery after the church service. Suddenly, the crowd says: Okrichnina goes! The choir of oprichnikov sounds: "Everyone, they seem to be noticed to the prince of the nail to get confused." The people feel that something unfaiths again. The conversation goes to the upcoming royal wedding. Soon, see, the king will choose the bride. Two young guys come out of the house of Bomelia. The people of cosy them for what they are staring with this basurman, because he is a sorcerer, friendly with unclean. Guys admit that the bomeline gave them herbs. The people assure them that she is conspirable that it must be thrown away. Guys scared, they throw a bundle. People gradually diverge. From the monastery, Marfa, Dunyasha and Petrovna come out.
Scene 2. Marfa and Dunyasche decide to wait on a bench at the house of Father Marphs merchant Vasily Stepanovich Dogkin, who should come back soon. Marfa in his aria ("We lived in Novgorod" in Novgorod ") tells the Duny about your bridegroom: how in childhood she lived next door to Lykov and became friends with Vanya. This aria is one of the best opera pages. A short response precedes the next opera section.
Scene 3. Martha looks deep into the scene, where at this time two noble cipers are displayed (that is, rider on horseback; in the layout of the opera on the stage they usually go on foot). The expressive appearance of the first, closed in rich oxaben, allows you to find out in him John Vasilyevich Grozny; The second cerebral, with the female and the dog's head at the saddle, is one of the apricots close to the king. The sovereign stops the horse and silently looks at Martar. She does not recognize the king, but frightens and freezes on the spot, feeling the dire breath of his insightful look. (It is noteworthy that in the orchestra at that moment the theme of the king of Ivan the Terrible from another opera of Roman Corsakov - "Pskovysian" is sounded.) "Oh, what's wrong with me? Froze in the heart of blood! " - she says. The king is slowly removed. In the depths are shown dog and flashes. Lykovs with a bow welcomed Marfu. She gently stakes him that he forgets his bride: "Yesterday, I did not show all day and eyes ..." Quartet sounds (Marfa, Lykov, Dunyasha and Dogkin) - one of the brightest episodes of the opera. Dog invites Lykov to the house. The scene is empty. Fire lit in the dog's house. Twilight is condensed in the yard.
Scene 4. The orchestral intermezzo predresses this scene. While it sounds, a lubash is shown in the scene depth; her face is covered by the Fao; She slowly looks around, stealing between the houses and goes to the forefront. Lyubasha Drew Martar. Now she sneaks up to the window to consider his rival. Lyubasha acknowledges: "Yes ... Naughty ... Blush and Bela, and eyes with a painful ..." And, seeing her attentive, exclaims even: "What a beauty!" Lyubasha knocks on the house of Bomelia, because she went to him. Bomelius comes out and invites Lyubash to enter the house, that flatly refuses. Bomelius asks why she came. Lyubasha asks him a potion, which would not be completely thugged a person, but only beauty would have experienced. " Bomeline has potions for all occasions and this - too. But he hesitates to give it: "As you know, I execute me." Lyubasha offers him for his potion a pearl necklace. But Bomelius says that this powder is not a sale. So what's the then board?
"With you a little ... - Pronounces Bomelius, grabbing Lyubha by hand, - only a kiss!" She is in indignation. Runs on the other side of the street. Bomeliy runs for her. She prohibits to touch him. Bomeliy threatens that tomorrow everyone will tell the boyar dirty. Lubash is ready to pay any price. But bomeline demands: "Love me, love me, Lubash!" Funny voices are coming from the Dogian House. This finally deprives Lyubasha reason. She agrees to the conditions of Bomelia ("I agree. I ... I will try to love you"). Bomeliy grinds running into his house.
Scene 5. Lyubasha alone. She sings her Aria "The Lord will condemn you, condemns me" (it is reproaches in his thoughts Grigory, who brought it to such a state). From the house of the dogs, first Marfa (her farewell with the guest heard behind the scene), then the lips and a dog himself appear. From their conversation, which Lyubash overhears, it becomes clear that tomorrow they are waiting for Gregory to themselves. All diverge. Lyubasch again stands, she reflects on the heard and waiting for the bomylais. They promise not to deceive each other. In the end, the bomber carries her to her.
Scene 6. ("Okrichniki"). Swipe the doors of the house of Prince Gvozdeva-Rostovsky. On the porch there are drunk chick jumps with a rampage rampant song ("then not falcons in the swelling flies"). "Nobody from the work of protection" is their "fun."
Action III
Friendly
Orchestral joining the third action does not foreshadow tragic events. Good already familiar song "Glory!" Sounds here calmly, solemn and great.
Scene 1. Tornyland in the house of a dog. Right three red windows; left in the corner of the tiled furnace; beside her, closer to the forefront, blue door. In the background, in the middle, the door; on the right side of the table in front of the lavo; On the left, at the door itself, supply. Under windows wide shop. A dog, liks and dirty sit on the bench at the table. The latter hides his love for Marfe and hatred for Lykov, her fiance. The whole first scene is their big trio. Dogkin talks about his numerous family left in Novgorod. Lykov hints that it is time to attach to Martarf, that is, to play their wedding. Dolkin agrees: "Yes, you see, deposit not before the wedding," he says. Tsar Ivan the Terrible, it turns out that the bride was arranged, from two thousand collected in the Alexander Slobod, twelve remained. Among them Marph. Neither Lykov, nor dirty knew that Martha should be on the penetration. And what if the king chooses it? Both are very excited (but Grigory should not give a form). Their voices are woker - everyone sings about her. In the end, dirty offers himself in his boyfriend (according to the old Russian tradition at the wedding there should be friendship). Gulling Lykov, unaware of the Gregory anything wrong, willingly agrees. The dog leaves to order about treating guests. The dirty and flashes are alone alone. Lykov still worries what to do if the king would like Marph? He asks about it dirty. He sings his ariepet "What to do? Let the Lord be free! " At the end of Arietta, he pretends the happiness of the Lykov.
Scene 3. It includes a dog with a stack of honey and charm. Guests drink. Knock wickets. It was returned (from the villa at the king) Marph and Dunyasha, and with them and the domain of Ivanovna Saburov, the mother of Dunyasha and a merchant wife. The girls went to move their front dresses, and the Saburov's domain is immediately to the guests. From her story it seems that the king opted his choice for the Dunyash, "after all, the sovereign with the Dunny said." A short answer is not satisfied with the dog, he asks to tell more. Arioso Saberova - a detailed story about the royal looks. Again, bloomed hope, faith in a happy future - the content of Big Aria Lykov "Tucia Radial Movement Movement". Lykov sings it in the presence of dirty. They decide on joy to drink. Grigory goes down to the window to pour charm (in the house he was already dark). At this moment, when for a moment he turns his back to the Lykov, he pulls out the powder because of her sinuses and pouring into the charm.
Scene 6. Included a dog with candles. Behind him Marfa, Dunyasha, Saburov and girls from Dog's servants. The sign of dirty flashes is coming to a marfee and stops next to her; Dirty takes (as friendly) guests with a drink (in one of the chapters on the tray of the leading potion for Martha). Lykov takes his charm, drinks and bow. Marfa also drinks - from the one that is intended for her. All drink the health of newlyweds, the dogs are sworn. Doma Saburova is singing the magnitude song "How Falcon Falcon Podfully". But the song remains missing - walking in Petrovna; She informs that a boyache is going to the dog in the royal word. The little ones are a whores with boyars; Dog and others bow to the belt. Malyuta reports that the king chose himself to Marfu's wife. All are amazed. The dog is put in the ground.
Action IV.
BRIDE
Scene 1. Passionate Chamber in the Tsarh Tereme. In the depths, against the audience, the door to the chambers of the princess. Left in the first plan door in the sen. Window with gilded lattices. The Chamber of Human Red Suk; Paddling straws. Ahead, on the right side, a brocade "place" of princes. From the ceiling, on the gold-plated chain, the crystal panicade is descended.
After a small orchestral entry, the aria of a dog "Forgotten ... maybe it will be easier." He is deeply saddened by a daughter's disease, from which no one can heal. From the chambers of the princess leaves Domna Saburov. She calms the dog. Overweight. He reports that the boyar arrived at them with the royal word.
Scene 2. This boyar is Gregory dirty. He welcomes the dog and reports that Martha's lipames confessed in everything and that Sovereign Lebel (Bomelius) is taken to heal her. But who is the loci, asks a dog. Gregory does not give a response. Dog goes to Marfe. Gregory languishes with the desire to see Martar. For the scene, her voice is heard. Marfa runs out pale, alarmed: she herself wants to talk to a boyarian. She sits on the "place." She angry says that rumors lie that they were spoiled. Maluta with several boyars come from Seine and stops at the door. And here Gregory reports that Ivan Lykov repeated in the intention to poison Martar, that the sovereign ordered him to execute and that he himself, Grigory, committed himself. Hearing it, Martha falls without memory. General confusion. The feelings are returned to Martha. But her mind clouded. It seems to her that in front of her not Gregory, but her favorite Vanya (Lykov). And everything she said is a dream. Gregory, seeing that when the Mother's imaginary mind, she strives for Ivan, aware of the futility of all his villain plans. "So there is a notch love! You deceived me, deceived, Basurman! " - In desperate, he exclaims. Unable to demolish mental flour, a dirty confesses in his crime - this is he slandered Lykov and destroyed the sovereign's bride. Marfa still perceives everything as a dream. She invites Ivan (for which he takes a dirty) to the garden, he suggests him to play the catch-up, runs herself, stops ... Marfa sings his last Aria "ah, see: what a bell and I threw a looser." Dirtless can not be taken out. He betrays himself into the hands of Malutes: "Arrange me, Malyuta, lead to the Terrible Court." Lubash runs out of the crowd. She admits that Grigory's conversation with bomelis overheard and replaced the leading potion for death, and Grigory, not knowing this, brought him marvel. Martha hears their conversation, but still takes Gregory for Ivan. Gregory snatches the knife and, whipping a Lubash, is attacked him right in the heart. Dog and boyars rush to dirty. His last desire is to say goodbye to Martha. He is taken away. In the doorway dirty for the last time turns around to Martha and sends her a farewell look. "Come tomorrow, Vanya!" - The last words of the pursuit of Martha's relatives. "Oh, Lord!" - A single heavy sigh makes all close to Martha. This drama is completed by a squall descending chromatic passage of the orchestra.
A. Makar.
History of creation
The Opera "Tsarist Bride" is based on the same name of the Russian poet, translator and drama L. A. May (1822-1862). Back in 1868, on the advice of Balakirev, Roman Korsakov paid attention to this play. However, the composer began to create the Opera on its plot, only thirty years later.
The composition of the "tsarist bride" was launched in February 1898 and completed within 10 months. The premiere of the opera took place on October 22 (November 3) of 1899 at the Moscow Theater of the Private Opera S. I. Mamontov.
The action of the "Tsarist Bride" of Maya (the play was written in 1849) takes place in the dramatic era of Ivan the Terrible, during the fierce struggle of the royal Okrichnina with a boyar. This struggle contributing to the association of the Russian state was accompanied by numerous manifestations of despotism and arbitrariness. Tense situations of that era, representatives of various segments of the population, the life and life of Moscow Rus are historically truthfully outlined in the play of Maya.
In the opera Roman Corsakov, the plot of the play did not undergo any significant changes. In Libretto, written by I. F. Tyumen (1855-1927), many poems of drama entered. The light, pure image of Martha, the bride of the king, is one of the most charming female images in the works of Roman Corsakov. Marfe is opposed to the dirty - cunning, domineering, not stopping into anything in the exercise of its plans; But dirty has a hot heart and falls victim to his own passion. Realistically convincing images of the abandoned mistress of dirty Lyubashi, youth of simple and trusting Lykov, prudent-cruel bomeline. Throughout the opera, the presence of Ivan the Terrible, invisibly determining the fate of the heroes of the drama. Only in the second action, his figure is shown for a while (this scene is absent in the drama of the Maya).
Music
"Tsarist Bride" is a realistic lyrical drama, saturated with sharp stage situations. At the same time, its distinctive feature is the predominance of rounded arias, ensembles and choirs, which are based on beautiful, plastic and penetrating-expressive melodies. The dominant value of the vocal principle is emphasized by transparent orchestra.
Determining and energetic overture, with its bright contrasts, anticipates the drama of subsequent events.
In the first act of the opera, an excited cleattive and aria ("Where are you, deleting the former, went?") Dirty serves as a string of drama. Choir of Ochrichnikov "Felicious Honey" (Fugetta) is designed in the spirit of magnificent songs. In Arioso Lykov "Other all", his lyric-gentle, dreamy appearance is revealed. Choral dance "Yar-Hop" ("as behind a river") is close to Russian dance songs. Mournful folk tunes resembles the song of Lyubashi "Squint Early, Mother Rima", performed without accompaniment. In tercet of dirty, bomeline and Lyubashi prevail the feelings of sorrowful emotion. Duet of dirty and Lyubashi, Arioso Lyubashi "After all, I love you one" and its final aryozo creates a single dramatic increase from sorrow to the stormy confusion of the end of the act.
The music of orchestral accession to the second act mimics the bright chime of bells. Serendantly sounds the initial choir interrupted by the ominous chorus of chickles. In the devotically gentle Aria, Martha "As now I look" and a quartet is dominated by a happy peace. The hue of the alertness and the hidden anxiety introduces the orchestral intermezzo before the appearance of Lyubashi; It is based on the melody of her sorrowful song from the first act. The scene with the bomber is a busy duet-duel. The aria of Lyubashi "Lord will condemn the deeper sorrow. The sorry rampant and the youthful delets are heard in the dashing song of the Ochrichnikov "that not falcons", close in nature to Russian robbing songs.
Solemn, calm orchestral joining the third act opens. Terzet Lykov, dirty and dogne sounds leisurely and powerively. Bindless, careless Aryette dirty "let everything in everything". Arioso Saberova - a story about the royal looks, Aria Lykov "Cloud Radial Movement Movement", Sextete and Choir was performed peaceful peace and joy. With folk wedding songs, the magnifier is connected "as Falcon Falcon".
Entry to the fourth act transmits the mood of the doom. Restrained sorrow hears in the aria of a dog "did not think, did not guess." Intense drama saturated quintet with choir; Recognition of dirty forms its climax. Dreamily fragile and poetic aria Martha "Ivan Sergeich, want to go to the garden?" Forms a tragic contrast next to the despair and inflated drama of the meeting of the dirty and lubashi and a brief final ariozo of a dirty "sufferer innocent, sorry."
M. Druskin
The writing history of the "Tsarist Bride" is as simple and short as the story of "Nights before Christmas": conceived and launched in February 1898, the opera was described and completed in the score for ten months and next season was delivered private opera. The decision to write the "tsarist bride" was born as if suddenly, after long discussions of other plots (Among the plots discussed at this time with Tyumen, there were other dramas from Russian history. The librettist offered his own developments: "Undoubted" - Moscow Russia XVII century, popular uprisings, "mother" - from the old Moscow life, "cherished belt" - From the time of the specific principalities; I was remembered again "Evpathy Kolovrat", as well as the "song about the merchant Kalashnikov".)But, as indicated in the "Chronicles", the appeal to the drama of the Maya was the "long-standing intention" of the composer - probably since the 60s, when Balakirev and Borodin thought over the "tsarist bride" (the latter did, as is known, several sketches for choirs Ochrichnikov, which were then used in "Prince Igor" in the scene of Vladimir Galitsky). The scenario was painted by the composer himself, "the final production of libretto with the development of lyrical moments and inserted, additional scenes" was commissioned by Tyumene.
The drama of the Maya from the time of Ivan the Terrible is characteristic of the romantic drama, a love triangle (more precisely, two triangles: Martha - Lubash - Dirty and Marfa - Lykov - dirty), complicated by the intervention of fatal power - Tsar Ivan, whose choice of brides is falling on Martar . The conflict of personality and states, feelings and debt is very typical for numerous plays dedicated to the era of Grozny. As in the "Pskovtyanka", in the center of the "tsarist bride", the image of a happily started and early ruined young life, but, unlike the first drama of the family, there are no large folk scenes, the socio-historical motivation of events: Marfa dies due to the tragic progress of personal circumstances. And the play, and the opera, written in it, belong not to the type of "historical drams" as "Pskovtyanka" or "Boris", but to the type of works, where historical situation and characters are an initial condition for the development of action. You can agree with N. N. Roman-Korsakova and Belsky, which this play and its characters did not seem original. Indeed, compared with the previous operators of Roman-Korsakov, where libretto was created according to wonderful literary monuments or develop a new image for the opera genre, the plots of the "royal bride", "Pan of Governor" and, to a lesser extent, "servile" are shade of melodrama. But for Roman Corsakov in his then mentality, they opened new opportunities. It is not by chance for the three in a row of the created opera, he chose the plots in many respects like: in the center - the perfect, but not fantastic, female image (Martha, Service, Maria); At the edges - positive and negative men's figures (heroin grooms and their rivals); In the "Pan of Voevod", as in the "royal bride", a contrast "dark" female image, there is a motive of poisoning; In the "servius" and "tsarist bride" heroine is dying, in the "Pan of Voevod" Help Heaven comes at the last minute.
The common flavor of the plot of the "Tsarist Bride" reminds such Opera Tchaikovsky, as the "Okrichnik" and especially "sorcerer"; Probably, the opportunity to "compete" with them had Roman-Korsakov in mind (as in the "nights before Christmas"). But it is clear that the main bait for him in all three operations was constituted by central women's figures and, to a certain extent, the paintings of life, Uklade. Do not put forward such difficulties that arose in the previous Operators of Roman Corsakov (large folk scenes, fiction), these plots allowed to focus on clean music, clean lyrics. This is confirmed by lines about the "tsarist bride" in the "chronicle", where it is mainly about musical problems: "The style of the opera should have been a singers in the advantage; Aria and monologues were assumed developed how much dramatic provisions allowed; Voice ensembles meant real, finished, and not in the form of random and prescribing hooks of some votes for others, as it was suggested by modern requirements allegedly dramatic truth, according to which two or more persons speak together.<...> The composition of the ensembles: Quartet II Actions and Sextet III, caused me in me the special interest of the techniques for me, and I believe that, on singers and the grace of independent vote, there were no similar opera ensembles from the time of the Glinka.<...> The "tsarist bride" turned out to be written for strictly defined votes and beneficial for singing. Orchestration and development of the accompaniment, despite the fact that the votes are not always put on the fore, and the composition of the orchestra was taken by the ordinary, turned out to be more effectively and interesting. "
The turn, performed by the composer after Sadko in the "tsarist bride", was so sharp that many fans of the art of Roman Corsakov were perceived as a departure from Kuchkism. This point of view was expressed by N. N. Rimskaya-Korsakov, sorry that the opera was generally written; Much softer - Belsky, who argued that "New Opera stands ... a completely mansion ... Even certain places do not resemble anything from the past." Moscow critic E. K. Rosenov in his precedence at the premiere clearly formulated the idea of \u200b\u200b"the departure of Korsakov from Kuchkaism": "A number of strikingly real and deeply imbued types, as if grateful from the most subsurface of Russian life, were one after another before the opera public in the creations New Russian school, convincing the Society that the tasks of modern musical drama are significant, intelligent and broadly and that in comparison with her musical sweetness, virtuoso braviers and sentimentalities of the French-German-Italian opera of the previous type are only children's bastard.<...> The "tsarist bride", being, on the one hand, the highest model of modern opera equipment, is essentially it turns out - by the author - a step towards conscious reincarnation from the coveted principles of the new Russian school. Which new path will bring this renunciation of our favorite author - will show the future. "
The criticism of another direction was welcomed by the "patrimony" of the composer, "the aspiration of the author to reconcile the requirements of the new musical drama with the forms of the old opera," saw in the "royal bride" a sample of the antivagnery movement to the "rounded melody", to the traditional opera action, where "the composer was extremely agreed The completion of musical forms with the feligation of the expression of dramatic positions. " The public has a very major success, overlapping even the Sadko triumph.
The composer himself believed that the criticism was simply confused - "everything rushed to drama, naturalism and other messengers," and joined the opinion of the public. Roman Korsakov estimated the "tsarist bride" unusually highly - on a par with the Snow Maiden and persistently repeated such a statement for several years (for example, in letters to his wife and to N. I. Garlya - the first executor of the role of Marepha). In part, it was polemic and caused by the motives of the struggle for creative freedom, which was mentioned above: "... they have [musicians] for me the specialty: fantastic music, and the dramatic will be appreciated.<...> Did my go to draw only a litter of water, earthly and amphibians? The "tsarist bride" is not at all fantastic, and the "Snow Maiden" is very fantastic, but also the one and the other is very human and souvenons, and Sadko and Saltan are significantly devoid of it. Conclusion: from many of my operas I love more than others, "Snow Maiden" and "Tsarist Bride". But it is true: "I noticed," the composer wrote, - that many who, or with other words or themselves were for some reason "Tsarist Bride", but he listened to two times or three times, began to be attached to it ... it can be seen, and there is something incomprehensible in it, and it is not so simple as it seems. " Indeed, under the charm of this opera, in time, in part, its consistent opponent has fallen - Nadezhda Nikolaevna (After the premiere of the opera in the Mariinsky Theater in 1901, Nadezhda Nikolaevna wrote her husband: "I remember what I wrote you about the" tsarist bride "after the first view in the Moscow private opera, and I find that from much, I was then said, I did not refuse Now, for example, from his opinion about the party of the Malyuts, the shortcomings of a libretto, a bad and unnecessary trio in the first act, a plaque duet is also there. But this is only one side of the medal.<...> I almost did not speak anything about the merits, about many excellent cleattives, about strong fourth-action drama and, finally, about an amazing tool, which is just now, performed by an excellent orchestra, has become quite clear for me. ") and "Idean" who did not sympathize with opera Belsky (V. I. Belsky, carefully, but definitely criticized the playwright of the opera after the first audition, wrote, however, about the last action: "This is such a perfect combination of the so-breeding beauty and psychological truth, such a deep poetic tragedy, which is listening like enchanted , I have nothing to analyze and not remembering. Of all the scenes in operations, the tears of sympathies, one can say, - this is the most perfect and ingenious. And at the same time, this is another side of your creative gift ... ").
B. V. Asafiev believed that the impact of the "tsarist bride" is that "the topic of love rivalry ... and the long-standing opera-libretic situation" quartzness "... is announced here in intonations and the framework of the Russian realistic household drama in distant The future, which also strengthens its romantic and romantic attractiveness, ", and most importantly, in the" rich Russian heartfelt emotional observance. "
Now the "tsarist bride" in the general context of the Creativity of Rimsky-Korsakov is not perceived as a work that shakes with Kuchkism is rather - as uniting, the resulting Moscow and St. Petersburg Lines of the Russian School, and at the composer himself - as a chain link leading from "Pskovsystem" to "CITEY". Most of all this refers to the sphere of intonationalism - not archaic, not a ritual, but a purely lyrical, naturally extensive, as if spilled in all Russian life. Characteristic and newly for Roman Corsakov, the inclination of the general song color of the "Tsarist Bride" to the romances in its folk and professional refractions. And finally, one more essential line of style of this opera is Glubianism, by E. M. Petrovsky, after the premiere of the opera in the Mariinsky Theater: "The peculiarity of the" royal bride "is not in the" retreats "or" crimes "against the aesthetic principles of the current of the day, "in those actually tangible trends of the Glinkinsky spirit, which the whole opera is penetrated to the oddity. I do not want to say that something or another resembles the corresponding places in the compositions of Glinka.<...> It seems unwittingly that such "globning" the plot was included in the intentions of the author and that Opera with the same (and even greater!) The right could be devoted to the memory of Glinka, as the preceding "Mozart and Salieri" - the memory of Dargomyzhsky. This spirit affected both in the desire for the possibly wide, smooth and flexible melody and to the melodic content of the spectatives, and - in particular, in the predominance of the characteristic polyphony of the accompaniment. With his clarity, purity, the latter's singer must be in mind many episodes of "life for the king", in which it was exactly this peculiar polyphonity of the accompaniment of the Glinka far across the conditional and limited manner of the modern Western opera. "
In the "tsarist bride", unlike the preceding operas, the composer, lovingly drawing life, way (scene in the house of dirty in the first action, the scene in front of the house and in the house of a dog in the second and third actions), in fact, does not try to transfer the spirit of the era ( The few times of time are the grade in the first action and the "sign" lattice of the Terrible, taken from the "Pskovtyanka"). It is also eliminated from sound landscapes (although the motives of nature sound in the subtext of both Aria Martha and the first Aria of Lykov, in idylls of the beginning of the second action - the people diverge after the evening).
Critics, which, in connection with the "royal bride, wrote about the refusal of Roman-Korsakov from" Vagneerism ", were mistaken. An orchestra playing an important role in this opera, and although there are no deployed "sound paintings", as in the "nights before Christmas" or "Sadko", their absence is balanced by the big overture (tension, with drama of images, it resembles the "Pskovtyanka" supervision) , expressive intermezzo in the second action ("Portrait of Lyubashi"), joining the third and fourth actions ("Official" and "Martha") and the activity of instrumental development in most scenes. Leitmotives in the "tsarist bride" are quite a few, and the printers of their use are the same as in the preceding composer operations. The most prominent (and most traditional) group consists of "fatal" leittems and leitharmoniums: the topics of Lekary Bomelia, the Malyuts, the two Lyutimos of the Terrible ("Glory" and "Designed"), "Lyubashi chords" (the theme of rock), chords of "Votor Potion". In the party of dirty, closely in contact with the sphere of fatal, the dramatic intonation of its first cleattative and the arias are of great importance: they accompany the dirty to the end of the opera. Leitmotive work, if you can put it, ensures the movement of action, but the main emphasis is not on this, but on two female images, brightly speaking on the background beautifully, lovingly, in the best traditions of Russian painting of the XIX century prescribed old life.
In the author's comments to the drama of Mei calls two heroines "Tsarist Bride" "Song types" and leads to their characteristics the corresponding songs folk texts (The idea of \u200b\u200b"meek" and "passionate" (or "predatory") types of Russian female character was one of the favorite for the "compassion", to which Mai belonged. Theoretically, it was developed in the articles of Apollo Grigoriev and was developed by other writers of this direction, including F. M. Dostoevsky.). A. I. Kandinsky, analyzing the sketches of the Tsarist Bride, notes that the first sketches for the opera were the character of a lyric stretching song, and the key intonational ideas were referred to both heroines. In the party of Lyubasi, the stool song warehouse has been preserved (a song without accompaniment in the first action) and supplemented with dramatic-rossy intonations (duet with dirty, aria in the second action).
Central in Opera The image of Martha has a unique composite solution: in fact, Marfa as a "face with speeches" appears on stage twice with the same musical material (Aria in the second and fourth actions). But if in the first aria - "Mappi happiness" - the emphasis was put on light songs of its characteristics, and the enthusiastic and mysterious theme of the "malicious crowns" is only being exhibited, then in the second Aria - "on the outcome of the Martha's soul", pre-fixed and interrupted "fatal" Chords and tragic intonations of "sleep", "the" theme of the crowns "stands and reveals its meaning as the theme of the premonition of a different life. This interpretation suggests the genesis and the further development of this intonationalism in Roman-Korsakov: Appearing in the "Mlada" (one of the shadows of the Princess Mladust), she, after the "royal bride," he sounds in the death of "Service", and then in the "Paradise Swirl "And songs of Sirina and Alkonosta in" Kitezh ". Using the terms of the composer's era, it is possible to name this type of "ideal" melodics, "universal", although in the Martha Party he maintains at the same time the Russian song color. The Martha scene in the fourth action not only fastens the entire playwright of the "royal bride", but also takes it outside the domestic drama to the height of the genuine tragedy.
M. Rakhmanova
"Tsarist Bride" is one of the most heartfelt operas of Roman Corsakov. She stands a mansion in his work. Her appearance caused a number of critical reproaches in the departure from "Kuchkaism". Opera melodiousness, the presence of finished numbers was perceived by many as the composer's return to the old forms. Roman Korsakov objected to critics, said that the return to singing could not be a step back, which could not be in pursuit of drama and "vital truth" to follow only by melodiclamation. The composer in this essay, the most closely approached the operatic aesthetics of Tchaikovsky.
The premiere, held in the Moscow private Russian opera Mamontov, was distinguished by the professionalism of all the components of the performance (artist M. Vrubel, dir. The Caplement, Marfa's party sang).
Unforgettable Wonderful Opera Melodies: Recatative and Aria of Dirty "crazy" Lyubashi "(1 d.), Two Arias Lyubashi out of 1 and 2 d., Final Aria Martha out of 4 d." Ivan Sergeich, you want to go to the garden "and others. On the imperial stage, the opera was delivered in 1901 (Mariinsky Theater). In 1902, Prague Premiere took place. Opera does not come off with scenes of leading Russian musical theaters.
On March 24, at the Memorial Museum-Apartment N. A. Rimsky-Korsakov (Country Ave., 28) opened an exhibition "Tragedy of love and power": "Pskovtyanka", "Tsarist Bride", "Service". The project dedicated to the three operations created on the dramatic works of Lev Maya completes the series of chamber exhibitions, since 2011, a systematicly acquainted general public with the Opera Heritage of Nikolai Andreevich Rimsky-Korsakov.
"Nicholas Andreevich Roman-Korsakov Great Pavitsa Maya" - gold embossed is written on a tape presented to the composer. Dramas, poetry, translations - the work of Lev Alexandrovich Maya attracted Roman-Korsakov throughout almost his life. Some materials of the Opera - Heroes, Images, Music Elements - switched to the "tsarist bride", and later moved to the "service", so seemingly far from the drama of the Epoch of Ivan Grozny. The focus of three operas is the bright female images, a fragile world of beauty and purity, which dies as a result of the invasion of the powerful forces embodied in their quintessence, whether the Moscow King or the Roman Consul. Three doomed bridesmaid Maya - Roman-Korsakov is one emotional line as directed to the highest expression in the form of Fevronia in the "Tale of the Invisible Grada Kitege". Olga, Martha and Serving, loving, sacrificial, anticipating death, were brilliantly embodied on the scene of the Korsakovsky ideal - N. I. Ballet-Vrubel, with her unearthly voice, ideally suitable for these parties.
Opera "Tsarist Bride" is familiar with the wide viewer of more than other operas of Roman Corsakov. The funds of the Museum of theatrical and Music Arts have preserved evidence of many productions: from the premiere in the private theater S. I. Mamontov in 1899 to performances of the last quarter of the XX century. These are sketches of costumes and scenery of K. M. Ivanova, E. P. Ponomareva, S. V. Zhirotovsky, V. M. Zaitseva, original work D. V. Afanasyev - two-layer sketches of costumes, imitating fabric relief. The central place at the exhibition will take sketches of scenery and costumes S. M. Yunovich. In 1966, she created one of the best performances in the history of the scenic life of this opera - shrill, tense, tragic, as the life and fate of the artist. The exhibition will be presented for the first time. Maternity costume for soloist of the Tiflis opera I. M. Korsunskaya will be presented. By legend, this costume was purchased from the Freillana of the Imperial Court. Later, Korsunskaya presented the costume of L. P. Filatova, also taking part in the play S. M. Yunovich.
"Pskovtyanka", chronologically the first opera of Roman Corsakov, will not accidentally be presented in the final exhibition of the cycle. Work on this "chronicler opeara" was dispersed in time, three editions of the composition cover a significant part of the composer's creative biography. At the exhibition, visitors will see a sketch of the scenery of M. P. Zandina, a scenic costume, a collection of dramatic works of the Maya in the edition of Kushelev-Beramojo from the personal library of Roman Corsakov. The score of the opera "Fear of Faith Sologa" was preserved, which became the prologue to the "Pskovtyanka", with autograph V.
V. Yastrebtseva - Biograph of the composer. Memorial tapes are also presented in the exposition: "N.A. Roman-Korsakov" Pskovtyanka "Benifis Orchestra 28.x.1903. Orchestra of Imperial Russian Music "; "N. A. Rimsky-Korsakov "For Memory about MN Rod Ivan" Pskovtyanka 28 x 903. S.P.B..
Shalyapin, stood every intonation of the party of Ivan Grozny, who bursts between the love of the acquired daughter and the burden of power, turned the historical drama of "Pskovtyanka" in a genuine tragedy.
The visitors of the exhibition will have a unique opportunity to get acquainted with the opera of the Roman Corsakov "Service", represented by the sketches of the costumes of E. P. Ponomarev to the premiere spectrum in the Mariinsky Theater in 1902; A scenic suit that will first be set in an open exposure, as well as the opera key with personal litters of the composer. Opera for several decades has not appeared on the stage of the theater, nor in the concert hall. There is no complete recording of "Servia". The museum's appeal to the forgotten opera of Roman Corsakov, scheduled a few years ago, was surprisingly coincided today with the expectation of an outstanding event - the upcoming statement of "serving" in the chamber music theater. B. A. Pokrovsky. Before the premiere scheduled for April 15, Gennady Christmas also plans to carry out the first record of the recording of "Service". This will be filled with an empty window in the majestic opera building N. A. Rimsky-Korsakov.
Genre - Lyric-psychological drama.
The premiere of the opera took place in 1899 from the private opera S. Mamontov. Sketches of costumes created M.Vrubel, the Marfi batch performed N. Zabel.
Roman-korsakov addressed the historical plot three times. All three operas based on historical themes were created by the drams of Lion Maya. The first was "Pskovtyanka", then - "Fear of Vera Silly", the plot of which precesses the events of "Pskovtyanka", and the "tsarist bride." All three dramas are associated with the epoch of Ivan the Terrible.
I. Plot firstocial opera. At the heart of the Tsarist Bride lies with the real historical event: Ivan Grozny chose himself a third wife, having gathered about 2000 girls from merchant and boyar families (N.M. Karamzin writes about this. He chose a new city merchant. Maple Dogkin, however, the bride of the king in front of the wedding was hospitalized. The wedding took place, but Martha soon died. This event of Lev Mei in his drama rethought in a romantic key, creating a complex psychological intrigue around the death of the royal chosen one. The concept of the play. ..
P. refraction of the historical theme. Interest in the history of the composer arose under the influence of Mussorgsky. "Boris Godunov" and "Pskovtyanka" were created simultaneously. However, Roman-korsakov is concentrated not on large-scale mass scenes, but on the lyrical and psychological line of the plot. Its more attracts the problem of personality immersion to historical era.
P. A peculiar refraction of the historical theme determines the complexity of the drama organization. In the opera, several dramaturgical "circles" forming the concentric structure. The center of the storylock - Marfa Dogkin. I dramaturgical circle - love Marta and Ivan Lykov. This is a lyrical line of the plot. II Circle - Love for the Marfa of the Okrichnik dirty and at the same time tragedy of the lubashi abandoned them. This is a dramatic opera line, sC.olkova, precisely sch The main intrigue of the plot is formed. IIIthe circle combines all the characters with Ivan Grozny. It is on this level of dramaturgy that the historical era (Ivan Grozny) can be controlled by a personal destiny. Both the pure love of Martha and Ivan Lykov and Koznya Lyubashe and dirty broken about the decline of the king.
III. The musical language of the opera is a bright sample of an aryo-style Roman-Korsakov, to which the composer approached for a long time, writing a large number of romances. For the embodiment of the dramaturgical plan, the composer builds a complex leytetem in opera.
IV. Characteristics of basic characters
Marfa - this is lyric, perfect and absolutely passive pitch. Image Exposition - Aria II.actions where there are three topics that will accompany the heroine in the final scenes of the opera. The development of the image is associated with an increase in the features of the doomescence and tragedy. Culmination - the scene of the made "Ah, Vanya, Vanya! What kind of dreams are! " (the topic of madness appears
how much before, in Quintet, preceding) and Aria IV actions, where all three Leittems arise.
Gregory dirty - The most active and complex character. This is a person led by his passions. He makes no crime that angry, and because of his feelings are unbridled. You can spend some kind of analogy with Don Juan.
Exposure of the image - Aria i Actions "Wherever you delete the former toast" unrequited in love, a person. The image is revealed in ensemble scenes (with bommetic and Lyubasha in the II of action): On the one hand, the dirty is characterized as a person who will not stop his design, on the other hand, in the scene with Lyubasha shows his ability to feel and regret deed. Aryette III Actions demonstrates the one's co-humility, an imaginary refusal of their ideas. IV Action - Culmination and disagreement of the image. Arioso "She is sick, and crying and flaruse" causes the hope of the hero on the success of his scene plan with Lyubash and Arioso "Stradalitsa Innocent" - the interchange of the development of the image that demonstrates the hero's argument, his desire for punishment for the deed.
Lubash "Like a marvel, this heroine is revealed enough to one-novoplano: this is a strong person, obsessed with one idea - to return the love of dirty. Exposure of the image - the tragic song from I Actions "Extra Source". Development occurs in the I action, in a trio with dirty and bomeline, in a duet with dirty. A significant stage in the development of the image - Arioso "Oh, I will, I will, I will find your sorcerer" from the first action, where Lyubasha makes the decision to "disappear" to the opponent. The next stage is the scene of Lyubashi and Bomelia, where Martha's death is served predicted. Interchange of the image - the scene of the dirty and loudly of the IV action, where Lubash dies.
Ivan groznyjAlthough the central figure of the opera events, the vocal characteristic does not have. It appears in a short time in the action of the second action.
Overture GL.T. - The first 8 clocks. T. - s. C.Z.
Almost all Roman-Korsakov operations accompanied misunderstanding, and the misunderstanding is effective. The controversy around the "tsarist bride" turned around at the time when Nikolai Andreevich did not have time to finish the score. From this controversy, which was initially friends and members of the composer family, and then colleagues and critics, have signed several estimated, classification stamps. It was decided: in the "tsarist bride", Roman Korsakov returned to "outdated" vocal forms, primarily an ensemble; Refused the indispensable innovation, the search for "fresh", sharply original means of expressiveness, departing from the traditions of the new Russian school or even betraying them. "Tsarist Bride" - drama (historical or psychological), and therefore in it the Roman Korsakov changes himself (in fact, scenes and images from the area, template to refer to the area "Myth and Fairy Tales").
The unceremoniousness is striking, with which even the closest people pointed to the master for his error (failure). Curious attempts of benevolent correspondents explain the unexpected style of the Tsarist Bride, which seemed strange after Sadko. Here, let's say, the famous place from the letter V. I. Belsky, Librettist Rimsky-Korsakov: "The abundance of the ensembles and the importance of the dramatic moments expressed by them would have to bring the" bride "to the operations of the old formation, but there is one circumstance, which sharply moves it from They give your acts a completely original physiognomy. This is the absence of commonly secure long and noisy ensembles in the conclusion of each action. " Belsky, devotee friend, the writer of huge talent, the nature is truly artistic, finally, the face is the most close to Roman-Korsakov for many years ... What does the naive challenge of his acquittal period mean? Go gesture courtier-friendly loyalty? Or maybe an attempt to express an intuitive understanding of the "tsarist bride" contrary to the templates that were imposed on her interpretors?
Roman Korsakov complained: "... For me, a specialty is scheduled for me: fantastic music, and they are applied dramatic. Is my lot of water, earth and amphibians? "Is mine?" Like none of the great musicians of the past, Roman Korsakov underwent from prescriptions and labels. It was believed that historical dramas - the profile genre of Mussorgsky (despite the fact that Pskovtyanka was composed simultaneously with Boris Godunov, in essence, in the same room, and it is possible that the language of the Korsakovskaya opera had a significant impact on the Opera Mussorgsky), the drama psychological - According to Tchaikovsky. Wagner Opera Forms are the most advanced, it means to appeal to the number structure - retrogradism. So, Roman Korsakov had to compose the operas of fairy tales (epics, etc.), preferably in the Wagner forms, filling the parties with picturesque harmonic and orchestral innovations. And just in the period when the final and fraliminary boom of Russian Vagneryanism was ready to break out, Nikolai Andreevich created the "tsarist bride"!
Meanwhile, Roman Korsakov is the author of the least polemical, the least fuss of all that can be imagined. He never sought to innovation: So, some of his harmonic structures, whose radicalism has not yet been surpassed, are derived from the fundamentally understood traditions in order to express special images, special - state-of-states. He never wanted to invent opera ones, conclude himself in a framework of a particular type of dramaturgy: the shapes through and the license plates were used also in accordance with the tasks of the artistic meaning. Beauty, harmony, jewelry fitness - and no controversy, no declarations and innovations. Of course, such perfect, transparent integrity is less clear than all the catchy, unequivocal, - it provokes the controversy to a greater extent than the most frank innovations and paradoxes.
Some ... Is it so far "realistic" Opera Roman-Korsakov from his "fantastic" works, "opera-fairy tales", "opera-epic", "Opera-Mysteries"? Of course, it does not have natural spirits, immortal magicians and paradise birds. In it (which, in fact, attractively for the audience) the tense collision of passions - those passions that people live in real life and the incarnation of which are looking for in art. Love, jealousy, social plan (in particular, family and lawless cohabitation as two poles), a social structure and despotic power - a lot from what occupies us in everyday life, the place is found here ... But all this came from a literary source, from the Drama Maya which may have attracted the composer precisely a significant coverage of life (in a broad sense), the hierarchical arrangement of its elements - from self-leveling, permeating the life of everyone, to the lifestyle and experiences of each.
Music raises what is happening for a different semantic step. Belsky faithfully noticed that the ensembles express the most important dramatic moments, but incorrectly interpreted the dramaturgical difference between the "bride" from the operas of the "old formation". N. N. Rimskaya-Korsakov, the wife of the composer, wrote: "I do not sympathize, I will return to old opera forms ... especially in the application to such a purely dramatic plot." The logic of hope Nikolaevna is as follows: if you write a musical drama, then it (in the conditions of the end of the 19th century) should repeat the forms of dramatic, for the infection of the plot collision, continued, enhanced by sound means. In the "tsarist bride" - complete discreteness of forms. Arias not only express the state of the characters - they reveal their symbolic meaning. The scene is deployed in the scene side of the action, the ensembles give the moments of fatal contacts of characters, those "Nodes of Fate", which constitute a crystal lattice of action.
Yes, the characters are discharged tangible, sharply psychologically, but their inner life, their development is not traced with the continuous chance that distinguishes itself a psychological drama. Characters vary from "switching" to "switching", stepwise go into a new quality: with contact with each other or with a higher order. In Opera, there is a categorical - impersonal row, which is located above the heroes, as if in the upper case. Categories "Jealousy", "Revenge", "Madness", "Potion", finally, "Terrible Tsar" as a carrier of abstract, incomprehensible strength is embodied in formula musical ideas ... The total series of aria, scenes, numbers are strictly planned, through it the topic categorical level Pass in their own rhythm.
In particular, the perfection of the opera. The perfection of a regular, covering all the little things of the order, which, in conjunction with the heroes and feelings, which came from life, seems to be desirable and frightening. Characters appeal around the categories as in a hinge toy, sculpt from the axis on the axis, moving according to the specified trajectories. Axis - musically embodied categories - indicate inside the design, on the general cause, unknown and dark. "Tsarist Bride" is not a realistic work. This is the perfect phantom "Opera about life", in essence - the same mystical action, like other Korsakovsky operas. This ritual committed around the category of "horror" is not horror of "fatal passions" and reigning cruelty in the world - no, some deeper, mysterious ...
The gloomy ghost, released into the world of Roman-Korsakov, should be releavingly behind the Russian culture for more than a century. At the time of the present of the dark vision, it is done by particularly tangible, signs - so, according to unknown reasons, for the last season, two premieres of the new stage versions of the Tsarist Bride were held in four metropolitan theaters: in Mariinsky, in the Moscow center of Vishnevskaya and the new opera; The "tsarist bride" goes in Myligot.
Scenes from the play. Opera and Ballet Theater. M. Mussorgsky.
Photo V. Vasilyev
Of all the listed performance of the small opera - the oldest in all parameters. First of all, there are no special experiments in this formulation: the costumes of the XVI century are kindly stylized, the interiors are quite in the spirit of the Epoch of Ivan IV (artist Vyacheslav Okunev). But it is impossible to say that the plot of the opera remained without the directorial "reading". On the contrary, the director Stanislav Gaudasinsky has its own concept of the "royal bride", and this concept has been highly tight.
The performance is an extreme number of Ivan the Terrible. The discussion on whether this despot should be shown in the "Bride" modulation, it is conducted for a long time - in opera pipes, in conservative classes ... Even orchestrants sometimes amused, hanging out a silent character with a flaming eyes and a beard that fuses on stage and gesticulating threateningly. Answer Gaudasinsky: it follows! For the music of Overtures and Introduction to the paintings, four, if you can put it, mimico-plastic frescoes that make up a special plan of the performance. For the transparent curtain, we see Tirana by the leading orgies, marched from the temple, choosing a bride, squeezing on the throne before serving boyars ... Of course, despotism, depravity of the monarch and his environment, are shown. Okrichniki flirty, knock the sabers (probably for the sake of training) that sometimes prevents listening to music. Waving twisted whips, click them in front of the nose in girls attracted for orgiastic pleasures. Then girls fall a bunch in front of the king; When he chooses "Usladen" and removes with her in a separate office, the chicks of the whole crowd are attached to those that remained. And I must say, in the behavior of the remaining girls, although it can be seen, and it is afraid of them, some kind of masochist ecstasy is read.
The same horror is observed "on the squares and streets" of the performance. Before the scenes, Martha and Dunyshi - when the ghosts rush into the crowd of walking, peaceful citizens in full panic are hiding behind the scenes, and the king, dressed in some kind of monastic row, is like a frost on the skin. In total, one episode is more significant ... Six huge players play a prominent role - in the entire height of the scene - candles that are tirelessly shine, despite what immoral readers are identifying characters. In the second picture, the candles are grouped into a dense beam, tin-colored masks hang over it - it turns out the church allegedly. So, at the time of the area of \u200b\u200bthe Okrichnikina, this symbolic structure begins to go to the walker - shock the foundations of spirituality ...
By the way, to be or not to be Grozny on stage - this is not a question. But the question: Do I need to show in the "tsarist bride" of whisk? And again the answer of Gaudasinsky - affirmative. In fact, among the walkers wandering the warrior, this unwanted folk conscience, asks a penny, risks a rattle (again, having to listen to music), and it seems, that's about it, across the orchestra, sing: "The month shines, the kitten crying ...".
Yes, an extremely conceptual performance. The concept penetrates into the miceanssen: so, the rudeness of the morals, the issued in the formulation, is reflected on the behavior of the bomeline, which, beating for Lyubash, threatens it in vain. In the finals, Lyubasha rushes onto the scene with the whip, probably wanting to test the instrument on the opponent, repeatedly applied to it the most dirty. The main thing - the "tsarist bride" is interpreted as a drama historical and political. Such an approach is not deprived of logic, but they are fraught with forced congestures, alluzia on operas, actually having a political subtext: "Boris Godunov" and almost "Ivan the Terrible" Slonim. Remember, like Bulgakov in the "Baghrov Island": a piece taken from the scenery of "Ivan the Terrible", taken from Maria Stewart.
Center Vishnevskaya, despite its extensive activity, very miniature. A small cozy hall in the style of Luzhkovsky Baroque. And the "tsarist bride", supplied there by Ivan Popovski, for monumentality, can not be compared with the "fresco" of Gaudasinsky, ne all with the Mariinsky play. However, Popovski and did not strive for any reason. The reader of its work is already determined by the fact that the performance, in essence, is the abstract of the "tsarist bride": all choral episodes are seized from the opera. Yes, I could not be: the center of Vishnevsky - a training organization, prepare soloists there, and the Opera is fulfilled to ensure that the galendar discovered by Galina Pavlovna in various parts of Russia could practice show themselves. This is partly explained by some "student raid", tangible in the performance.
Popovski some time ago made a strong impression, showing the composition "PS. Dreams "by Schubert and Shuman songs. The composition was laconic and covered with conditional. Laconicity and conventions Therefore, it was possible to expect from the production of the "tsarist bride" - but the expectations did not come true. Instead of the backbone - the luminous plane of the favorite Popovsky (judging by the "Gresses") of a cold blue-green shade. The scenery is minimalistic: the design that resembles the porch of the boyars or ordinar buildings is not so much even XVI as the XVII century. A similar porch can often be found in the inner courtyards of the "Naryshkinsky" style buildings. It is logical: there is an entrance - the arch, through which they penetrate into the "black", office premises. There are both steps that can be closed in a flavor. Finally, with such a porch, state people announced orders, and local suzaseines are their boyars will. The porch is made of plastic, it is dirty, depicting the inhabitant of a dirty one, then Bomelia's coneer at the same time with the dog's home ... - in the course of action. Characters before participating in action, board steps, then descend - and then they begin to bother bows and make other welcoming procedures. In addition to this design, there are still some plastic furniture, annoyingly wretched.
In general, Popovski is inclined to conventions and even ritualization, the performance consists of few repetitive actions. The ensembles are performed emphasized by philharmonic: the ensemblers go to the forefront, frozen in concert poses, at the moments of enthusiasm they raise their hands and turn their eyes. When a character dates into some moral height, he, naturally, rises to the porch pad. There is also a character when he is a messenger of fate. If a character gets a predominance over another character - a certain volitional act is performed on it, as dirty over the lyrics in the third picture or Lubash over dirty in the final, then the side of the suffering turns out to be at thenime, the side of the same offensive hangs, taking pathetical postures, having released either eye of the eye. The question of the presence of the king was solved by compromising: occasionally the foggy, dark gray figure, which may be king, and may not be (then this figure is rock, fate, Fatum ...).
In a word, the performance could potentially express the removal, the "algebraichness" of the actions laid down in the "tsarist bride". He could seriously touch - as a story about "fate", told by the language of the machine.
Scene from the play. Center for Opera singing Galina Vishnevskaya. Photo by N. Vavilova
But some of the moments are too characteristic for the general plan spoil the impression: so, dirty, portraying the passion of nature, sometimes hills on the table and kicks stools. If Popovski achieved Popovski in the Schuberto-Shumanovskaya composition from four singers of gestures of almost mechanical gestures, then it turned out to be unattainable with Vishevians. Therefore, the idea of \u200b\u200bthe performance as an "arithmometer, which tells about fate," saves, laconicism is rolled into the "modesty" (if not saying the poverty) of the student performance.
In the play of the Mariinsky Opera (director Yuri Aleksandrov, Artist-etharse Zinoviy Margolin) - a fundamental departure from the usual "historicism". Zinovy \u200b\u200bMargolin so straightly declared: "To say that the" tsarist bride "is a Russian historical opera, will be the most perfect untrue. The historical start is absolutely insignificant in this composition ... "Well, probably, at our other days, the feelings of the audience" Tsarist ", who observing the" chambers ", are not quite clear, for which the" fur coats "and" Kokoshniki "move ... Instead of the chambers, the authors of the performance staged something on stage It seems of the Soviet Park of Culture and Recreation - hopelessly closed space in which there are all sorts of carousel-dancelords, but in general is uncomfortable, even scary. According to Alexandrov, the flight from this "Park" is impossible, and in its air will spill the fear of the Stalinist type.
Of course, the ryrichniki are dressed in double costumes - gray, do not resemble some kind of special services, not that privileged fraternity. Dirty performs his monologue, sitting at a table with a glass of vodka in his hand, and the "servicehouse" is fusing him. The choirs of the walking roaming in the scene in clothes, stylized - not too, however, straightly - under the 1940s. But historical signs are not completely expelled from the stage, however, they treat them a few mockery. So, let's say, the Malyuta Skuratov, with a predatory irony, listening to the narrative of Lykov about the benefits of European civilization, on top of gray Franch pounces the notorious fur coat. Sundars and Kokoshnikov go to the mainly ricycle girls who entertain an oprichnin ... and Lyubasha, the leading life of the Saharanny life, appears for the most part in the national outfit.
In total, the stage design is important in the performance. Two rotary circles move multiple items: a set of lanterns, garden stage-sink, spectator tribunes ... These tribunes are very typical: a brick booth (in the old days, a film projector or a restroom was placed in such a booth), benches descended from it. "Rakovin" is an effective invention. It floats on stage, like a whiten planet, then used as interior - let's say when Lubash spies on the window for the family of dog ... But the best application is probably, as a "fate scene". Some important outputs of characters are furnished as phenomena with this garden pop. Not devoid of spectacularism and the emergence of Martha in the last picture: the stage sharply unfolds - and we see Martar on the throne, in the clothes of the princes, surrounded by some kind of companies (white top, black bottom, corresponding gesturing). The garden, of course, is not deprived of trees: black, graphic networks of the branches are lowered, rise, converge, - that, in conjunction with the magnificent Gleb Forshinsky, creates an expressive spatial game ...
In general, despite the fact that the "visible plastic" of the formulation is determined by the combination of the same decorations, it is more impressive of individual moments, Kunshutyuki, which fall out of the overall course of events. So, there is no Ivan Grozny in the performance. But there is a ferris wheel. And so, in the second picture, when the people shake, jealous of the Terrible Tsar (in the orchestra, the motive "Sun of Red Glory"), in the firm depth of the scene it is a wheel, like a night sun, lights up with dim lights ...
It would seem that the performance of the performance is like a cube of Rubik - echoes the rituality of the Korsakovskaya opera. The circulation of turning circles, a few stage objects that are conceivable as the attributes of the performance - in all this there is an echo "Tsarist Bride" as a strict construction from a certain number of semantic units. But ... here, let's say, the declaration of the impossibility of putting the "bride" in the historic key. You can not know the declarations of the deciduous - the attempt of the "non-historical" solution is easily viewed in the performance itself. What does she turn around? By the fact that one historical "entourage" is replaced by another. Instead of the era of Ivan IV, an arbitrary mixture of the Stalinist period with post-pre-stroke modernity. After all, if the decorations and costumes of traditional productions are reconstructive, but almost as reconstructive elements of the Alexandrovsko-Margolinskaya stage are also reconstructive. It does not matter, imitate these elements of the 40th or 90s, - they need to be stylized, transfer to the recognizable in the stage box ... It turns out that the authors of the new performance go well-downtown - despite the mixture of times, the level of abstraction is even declining: the signs of the ancient Russian life Already perceived as something conditional, while the objective world of the twentieth century still breathes concretic. Or maybe the "tsarist bride" requires not "non-historical", and timeless - absolutely conditional decision?
Or notorious fear that the director stubbornly injected in the performance. It is identified with them with specific historical phenomena, with historical forms of communication: Stalinism and its later echoes, some structures of the Soviet society ... How does all this differ from Ivan the Terrible and Okrichnina? Only dates and costumes. And, repeat, the horror of the Roman Corsakov is not a household, not public - artistic. Of course, on the material of the Tsarist Bride, the artist wants to talk about his close ... I want to translate the candy generalization into the language of the parties - those with whom you live, "emit" the ghost, warm it with something personal - at least with their fears ...
As always in Marinka, there is something fundamentally different in the pit, rather than on stage. The performance is problematic, a discusional - orchestral game is perfect, adequate to the score. In fact, the setting is discussed with the interpretation of Gergiev, since its execution at the moment - almost the most accurate cast of the Korsakovsky plan. Everything is listened, everything lives - no detail is mechanical, each phrase, each construction is filled with companion breathing, sublimated beauty. But the wholeness is close to the Absolut - they found a measured "Corsakovsky" rhythm, in which there are also strange, inventical orchestral bellments, and endless subtleties of harmony ... Rhythm is amazing, with solemnity he is completely unsurchased: as far as the Gergiev avoids the external-emotional cheating, all sorts of jerks and Swirls, as it does not pedals the pathos of statics. Everything is accomplished with the naturalness at which the music lives his own - free, unnecessary life. Well, sometimes it seems that in the Mariinsky Theater, we are in part in order to contemplate the abyss, weakened now between music and opera directory.
Finally, the performance of the new opera (director-director of Yuri Grymov). Here you sit in the hall, waiting for the sounds of an overture. And instead of the bell battle. People come out in white (chorists), with candles in hand and rank are located along the left side of the scene. On the left - the platform, somewhat nominated in the hall. Horists sing the "king of the kingdoms". Opera characters, one after the other, are on the edge of the pallet, having pre-pulling a candle from the hands of some chorist, fall on his knees, bawrs, go. And then immediately - the aria is dirty. Okrichniki are represented by non-sinheads, not that criminal - with unpleasant belongings, shaved tanks (however, the britheads are not natural, it is depicted tightly fitted with the heads of head removes repellent "leather" coloring). On scrambles (as well as on all male characters, except for bomylais) - the similarity of the historical dress established by Ivan Grozny for its stems: a hybrid of a correction with Kuntush, intercepted on the belt with a red rag.
In the formulation of Grymov, Ochrichnikov do not flush, they are sausage - they behave exactly as skins or zenithtsy, pretty pouring beer. Come to the dirty, they receive a treat not only with honey, but also girls, which are immediately born (quite naturally), forming a picturesque background for the first scene with Lyubash. A dog, chasing far abroad, is naturally exposed to moral and physical humiliation. Scene with bommetic ...
But bomylais should be touched especially, for, according to Grymov, this character is in opera "Tsarist Bride" - the main one. Anyway, the key. In the middle of the scene, something built from untidy slats, underestimated and in several places punched, albeit with a geometrism ... in a word, something else. What - it is proposed to guess the viewer. But the director naturally has its own opinion on the meaning of the design: according to this opinion, it symbolizes forever unfinished Russia. There are no more scenery. The actors appear, as a rule, on top, on the pavement, transferred to the upper part of the structure, are descended along the screw staircase to the ramp.
The environment of the bomylais is extremely unpleasant freaks, part of the crutches, part of its own legs. They are dressed in burlap covered with greenish spots depicting rot. Or degeneration, perhaps.
Freaks appear on stage first separately from their cartridge. Barely ends the first picture (Lyubasha swears to destroy the rival), as, to the amazement of listeners, the sounds of Overtures are heard. A choreographic episode was put on an overture, which can be conventionally entitled to "Russian people and dark forces". At first, the vile retinue bomeline makes vigorously native television. Then the Russian girls and Russian guys run away, the latter lead themselves with girls much tolerant than chicks: look around, they are embarrassed ... Then everyone is broken into the pair and dance takes place. In short, idyll from the movie of the collective farm theme. But it lasts for a short time: scrambles pumped, and then freaks, turning what is happening in the poor.
The episode of the festivation is abolished. After the flashes with the family of dogs are removed (the dogs dwell somewhere at the top, are shown by the torment Lyubash, leaving the bridge under the scene ceiling), we learn that Bomelius lives inside "unfinished Russia." Non-valid long definition also serves as a place of permanent residence of freaks. They are there in every way society and crawl. Crawl, sticking to Lyubash. When she is surrendered, no bomber pulls her inside the construction - freaks, finally sealed the avenue, carries her in the bowels of their disgusting mass. In the scene of the wedding policy of the Lykov, for some reason, it is dressed in a night shirt, lying on the climb, from where the old man of decent care is descending. When dirty mixes the potion, bomeline occurs at the top of the construction. In the fourth picture, he also presents the Gregory knife, which will be slaughtered by Lubash. Finally, freaks with greed attack on the corpse of Lyubashi and still live, but the insane mapping, they drag them ... The action is completed.
It should be noted that the bills (in addition to the scene of the festivities, the choir "Swealth of Honey Affectionate Word", about a third of the music of the last picture, etc.) and the permutations are made not a director. The plan of shuffling "Tsarist Bride" belongs to the late leader of the new opera conductor A. Kolobov. What did Kolobov wanted to say, arranged instead of an overture theatrical imitation of prayers? Unknowing. With the idea of \u200b\u200bthe director, everything is easier: the dark forces corrupt, enslave, etc. The Russian people (it is obscure only whether these forces are metaphysical (bomeline - demon, sorcerer), ethnopolitical (bomelis - German) or both those and others together) ; The Russian people itself behaves wildly and unproductive (on the passion of a land, can not build anything). It is a pity that Grymov meant under his scenery "unfinished temple" - that quite blasphemously. It would be better if he saw in the invention of his own plastic dating tilted cup, on which, in general, the scenery is most likely. Then it would have happened relatively correct reading: Piva and its supplier - in the center of action; And in the "tsarist bride" there is a musical indication of the Satanic nature of the potion and those passions, in the plexus of which it plays a nodal role. And the music of Bomlais is also filled with ice demonic dishes. Alas, in reality, the posterity of both the director's idea and its incarnation leads to a radical semantic hardware, it produces almost a parody of the effect - and is paroded, in fact, the opera of Roman Corsakov ...
Let me allow myself, looking at four performances that I saw me for one and a half months, it's not about the staged ideas, but about your own feelings. After all, how interesting: the wilts of the fate formed a holistic stage of life, passed under the sounds of the Opera of Roman-Korsakov, of all his creations closest to everyday life, to the feelings of urgent. The "tsarist bride" for a while merged with the current landmark, the leitmotifs of the Terrible Tsar, Love, - Bezumia went through with colored threads, without opera, and through my days. Now this stage ended, went into the past, and somehow I do not want to sum up the activities of artists in parallel working on the same work. What is the fact that each of them saw only one side of the gloomy secret of the work of Nikolai Andreevich? What for all of them and the opera, and the mystery hidden in it are attractive, but are perceived somewhat selfish - they are interpreted in each of the four cases subjectively, arbitrarily? That in any of the four cases is dimmedly not implemented by beauty, aesthetic perfection, which is the main content of any Korsakovskaya opera, in relation to which a specific plot-musical plot, her idea occupy a subordinate position?
What I needed before, since I learned on experience, to what extent the "royal bride" can turn into a play of life.