Could anyone please orientate me with regard to R-K's operas? Which are his greatest operas - and why? And which recordings might friends recommend?
I only know "The Tsar's Bride". Very beautiful music. I just listened to a recording with Galina Vishnewskaya, Christina Anghekakova, Vladimir Atlantow and Evgheny Nesterenko from Bolshoi which I can greatly recommend.
I keep meaning to listen (to more than what I have so far) to a video (@ Amazon Prime) or other recording of his very last opera (Golden Cockerel), which looks in score, and so far sounds, quite remarkable. (And yes to his others.)
Perhaps because the season's upon us, I'd choose "Christmas Eve" as a good place to start. It brims over with melody and fantasy in the Russian folk idiom.
A more epic, and darker, side of R-Korsakov is "Tale of the Invisible City of Kitezh," my favorite if I had to choose. Brilliant orchestral painting, powerful themes, and a story which still has relevance. My recording of choice is the Melodiya LP set from I believe the 1960's or 70's; I'm not sure if there's been a CD transfer,
Right behind those I'd suggest "Sadko," closer in tone to "Christmas Eve," and with many of its same qualities. A production from the Bolshoi was released on VHS in the 90's, in an appropriately faithful rendition.
"Mlada" is more properly an opera-ballet. Befitting a pageant, the orchestral passages and choral writing take precedence. Like "Kitezh," the Melodiya LP's from that same era are my choice.
I've heard that the recent DVD / Blue Ray of "Tale of Tsar Saltan," conducted by Gergiev, is well worth seeking out. To my knowledge this was, except for "Servilia," the last operatic work of R-K to finally receive a proper studio recording: in this instance, staged.
Honorable mention to "The Maid of Pskov." No folktale here; like "Tsar's Bride" this is a more realistic account of an episode from Ivan the Terrible's reign. I don't find it as consistent as some of the others but it has powerful moments, and some choruses as skillfully deployed as those in "Boris Gudonov." I actually prefer the old live recording with Boris Christoff over the more recent studio recording by Gergiev.
The one of Kitezh conducted by Svetlanov with Vedernikov and others recorded and released in 1975 or so? Worldcat suggests it was issued on CD by Chant du Monde around 1999 on 3 CDs. (But then Worldcat also lists another recording from Melodiya from the mid-1970s conducted by Nebolsine with other vocalists. And one or two others. Maybe it's a question of which Melodiya Kitezh you mean? :) )
Thanks, everyone! I've ordered the Bolshoi/Melodiya recording of The Tsar's Bride which is clearly magnificently sung.
I totally agree with scottevan3. "Kitesh" is by far the best opera by Rimsky, his opus summum (Gergiev does a fine job there), but I also like "Christmas Eve" very much, "Mlada" and "Sadko" a little less. Maybe one should also mention "Kashchei" and one must not forget about the final "The Golden Cockerel", which has some very good music although a somewhat dull plot. On the other hand, Rimsky's most popular opera "Tsar's Bride" lets me completely cold, as does "Tale of Tsar Saltan". So the range is large and you have to find your own way through...
Thank you! Very helpful!
Most of Rimsky's operas are beautiful and very valuable. I adore "Tsar Saltan" - and "The Golden Cockerel" perhaps even more. Its plot may appear dull to some listeners, but reading the libretto carefully, one discovers literary and satyrical treasures. Not to speak about its harsh political criticism! What is also interesting in "Cockerel": there are two different musical worlds (styles) used. A dull academic one for King Dodon and his entourage and an absolutely fascinating exotic music for the Queen of Shemaka and the plot by the Astrologer and his Rooster.
The best recording of "Cockerel" is, in my opinion, the 1968 Melodyia, in which the part of the Astrologer is a real "tenor altino" (two conductors are named: Kovalov and Akulov). Just to list Russian recordings, there is also an old Melodiya of 1951 with an excellent cast (conducted by Alexandr Gauk) and a more recent one of 2008 conducted by Dmitry Kitaenko. If I am lucky enough, there is a fourth one the way to my collection: Svetlanov's 1988 live from the Bolshoi. Bass Alexei Korolev sings the part of Dodon in both recordings of 1951 ans 1968.
Thanks, Adriano. Have you seen Gergiev's DVDs of 'The Golden Cockerel' and 'Tsar Saltan'?
The reason I ask is that there is a real problem with historic recordings of this music in that R-K's wonderful powers of orchestration surely require high fidelity sound.
No I haven't Alan. I am not a great fan of Gergiev - although he does, occasionally, great performances. "Kitezh" is excellent.
His most horrible concert repertoire recordings are "Sheherazade" and "Pictures at an Exhibition"; a real shame. On the other hand, his (live) Szymanowski from London is great - and so are his Prokofiev Symphonies and Concertos.
We had a bad experience with him years ago at the Zurich Opera when he came over to conduct "Salomé" - it was simply preposterus what he did - and this already in rehearsals. And he never looked at the singers at all, they felt totally lost; I had to give every cue. Another assistant was also helping out on the opposite side of the wings where I was. In the midst of a rehearsal he suddenly stopped and said "I think this theatre is too small for Salomé" and then he continued without interrupting till the end. At the orchestra main rehearsal - everybody was ready in costume etc - he did not appear. We waited over 15 minutes, totally aghast - then he came in and said: "Sorry, I had to give an interview" - and he started to wave his Parkinson-like hands. Sometimes he hold the stick with two fingers only, letting it balance from above like a pendulum... And we all thought he was totally doped, since his expression was completely absent.
The two mentioned Russian stereo recordings of "The Golden Cockerel" have excellent sound balances - and the mono one is equally excellent. Comparing with scores I actually never missed anything. I think it is not always necessar to put a colorful score on an operation table, making everything hearable. Rimski had also a perfect sense of a well balanced tutti. In "Cockerel" there are even chamber-music-like sections, this to emphasize particular effects which may drown in a tutti.
Pristine Audio have produced a sonically restored version of the Aleksey Kovalev/Yevgeny Akulov 'Golden Cockerel':
https://www.pristineclassical.com/products/paco104 (https://www.pristineclassical.com/products/paco104)
QuoteThe one of Kitezh conducted by Svetlanov...released in 1975 or so?
That's the one, with the Bolshoi Theater orchestra, though the set is dated 1983.
QuoteWhat is also interesting in "Cockerel": there are two different musical worlds (styles) used.
I've noticed this, too. A fascinating, screwball comedy folktale with very satirical undertones. "Kitezh" may be his finest, but "Cockerel" is Korsakov's valedictory statement. I saw a performance many years ago with (I believe) Norman Triegle as Tsar Dodon. Also caught the recent ballet version in NY City, which preserved most of the opera's music and had incredible Russian-storybook style sets.
NYC Opera: Yes, and with Beverly Sills as the Queen!
https://www.amazon.com/Rimsky-Korsakov-Coq-DOr-N/dp/B0002ABU9I
https://www.youtube.com/watch?v=TIDyxdc6Iw8
https://www.youtube.com/watch?v=pY1TePizviE
The best recording of "Kitezh" is the old Melodiya (mono) conducted by Nebolsin (who also conducts the old recording of "Tsar Saltan"). Incredible singers, including the great Ivan Petrov!
QuoteIncredible singers, including the great Ivan Petrov
Agreed, of course! But what about the wonderful orchestration?
Tangentially: Anyone using a Kindle to read the Rimsky/Steinberg Principles of Orchestration and looking forward to the many musical examples (and necessary to the argument of the book) should be warned that the cheaper renderings of this book wholly _omit_ the music examples, many of them taken from Rimsky's operas (fortunately, while Steinberg noted rightly that full scores of the operas were difficult to obtain at the time of writing, they're mostly (though not always) easier to download (from eg IMSLP) now, though that still won't help much when the book refers one to a particular absent music example to illustrate a point - and one needs to _guess_ where, in a huge full opera score, it's referring to.)
As mentioned early, Alan. Even in Mono, the orchestration is clearly enjoyable. Modern recordings often distort by emphasizing too many details, that's why I said that Rimsky was also a master of tuttis. Like Strauss and Respighi.
I understand what you're saying. For me, though, R-K's operas absolutely must have both good singing and beautiful sound-quality. It's what makes R-K so enjoyable to listen to. It's the same with Respighi and Strauss - whereas I'm quite happy to listen to historic Beethoven, for example.
The recent great production of Golden Cockerel by Laurent Pelly is available on Youtube, here :
https://www.youtube.com/watch?v=1v1szTXS7E0
I am surprised May Night ("Maiskaya Noch) hasn't been mentioned here. Based on Gogol's fantasy comedy of the same name.
Two years ago the Royal Academy of Music performed it brilliantly, in Russian, in a theatre deep underground at Baker Street that I had previously been unaware of, it was so atmospheric (Ambika P3 - http://www.p3exhibitions.com/ (http://www.p3exhibitions.com/)).
Most particularly it is known for Levko's aria from Act 3 "How cool is the night - Sleep my beauty Sleep" - one of the most lyrical Russian songs of love you will ever hear. Here it is with Koslovsky singing - https://www.youtube.com/watch?v=CNpVNgZRwME (https://www.youtube.com/watch?v=CNpVNgZRwME)
Here is the full list of Rimsky's operas - a huge output, barely known:
The Maid of Pskov (Псковитянка = Pskovitjanka) (sometimes referred to as Ivan the Terrible), 1868–1872 (1st version), 1876–1877 (2nd version), 1891–1892 (3rd version)
Mlada (Млада), 1872 (portions of acts 2 and 3 from project composed collectively by Borodin, Cui, Minkus, Mussorgsky, and Rimsky-Korsakov)
May Night (Майская ночь = Majskaja noch'), 1878–1879
The Snow Maiden (Снегурочка = Sneguročka), 1880–1881 (1st version), ca. 1895 (2nd version)
Mlada (Млада), 1889-1890 (complete setting of unstaged collaborative project from 1872)
Christmas Eve (Ночь перед Рождеством = Noč' pered Roždestvom), 1894–1895
Sadko (Садко), 1895–1896
Mozart and Salieri (Моцарт и Сальери = Mocart i Sal'eri), Op. 48, 1897
The Noblewoman Vera Sheloga (Боярыня Вера Шелога = Bojarynja Vera Šeloga), Op. 54, 1898
The Tsar's Bride (Царская невеста = Carskaja nevesta), 1898
The Tale of Tsar Saltan, of His Son, the Famous and Mighty Bogatyr Prince Gvidon Saltanovich, and of the Beautiful Princess Swan (Сказка о царе Салтане, о сыне его, славном и могучем богатыре князе Гвидоне Салтановиче и о прекрасной Царевне Лебеди = Skazka o care Saltane, o syne ego, slavnom i mogučem bogatyre knjaze Gvidone Saltanoviče i o prekrasnoj Carevne Lebedi), 1899–1900
Servilia (Сервилия = Servilija), 1900–1901
Kashchey the Immortal (Кащей бессмертный = Kaščej bessmertnyj), 1901–1902
Pan Voyevoda (Пан воевода = Pan vojevoda; literally, The Gentleman Provincial Governor), 1902–1903
The Legend of the Invisible City of Kitezh and the Maiden Fevroniya (Сказание о невидимом граде Китеже и деве Февронии = Skazanie o nevidimom grade Kiteže i deve Fevronii), 1903–1904
The Golden Cockerel (Золотой петушок = Zolotoj petušok), 1906–1907
Quote from: Alan Howe on Wednesday 12 December 2018, 17:09
Here is the full list of Rimsky's operas - a huge output, barely known:
The Maid of Pskov (Псковитянка = Pskovitjanka) (sometimes referred to as Ivan the Terrible), 1868–1872 (1st version), 1876–1877 (2nd version), 1891–1892 (3rd version)
The Noblewoman Vera Sheloga (Боярыня Вера Шелога = Bojarynja Vera Šeloga), Op. 54, 1898
These two are regarded by some as basically one continuous opera. "The Noblewoman" is only about 25 minutes long and is more like a prologue to "The Maid of Pskov"
Thanks for that invaluable information.
...and the discovery goes on. I'm now listening to The Snow Maiden, evidently R-K's own favourite among his operas. And it's just fabulous. There's that wonderful use of the orchestra, melodies in superabundance and heart-rending characterisation.
Is R-K the most neglected great operatic composer of the 19th century?
You are right, Alan; Snow Maiden is fabulous music - and very straightforward.
The problem with Russian operas is mainly the language - that's why, I think, they are more neglected, compared to those of the Italian, French and German repertoire. It's always recommendable to engage Russian conductors and authentic Russian singers over here, rather than take a house ensemble having painstakingly to memorize Russian syllables without knowing what they actually mean. We had such cases at the Zurich Opera during Pereira's aera - where also a lot of Czech operas were produced.
Mirella Freni told me once she had needed years to learn Tatjana, but she managed it thanks to her (Bulgarian) husband, who coached her. Some ex-East German singers, or some from Finland were also good for this repertoire, since in the past they had to learn Russian in school - or those great Bulgarians.
In my opinion it needs real Russian-formed singers to properly sing those operas. The cultural gap for an European, usually singing Italian, French or German towards the Russian repertoire is much bigger, unless you are professionally coached. It also includes a lot of unwritten traditions (like Italian belcanto). Today, one can also learn a lot from older Russian recordings!
Well, one could consider the French repertoire also a similar case, especially seeing that today even genuine French singers have no real knowledge of the French vocal tradition and "singing pronounciation" (which differs from the speaking language).
But really cultured and experienced singing maestri do not exist anymore; today only technique and young age count...
Thanks for that expert view. It's certainly true that all the R-K operas I have are Russian recordings. It's such a shame that some of the excellent Soviet-era recordings aren't generally - and permanently - available. Fedoseyev's Snow Maiden from the mid-seventies is a case in point. And I still can't believe how great this music is - and how I can have missed it for all these years.
Since I am not a great fan of Fedoseyev, I only kept the 1952 Kondrashin and the 2008 Lazarev recordings of "Snow Maiden"... Kondrashin has Lemeshev, Maslennikova and A. Ivanov. I remember that the Fedoseyev was issued on DGG (with a lovely cover), and had Vedernikov and Archipova as stars.
I'm aware of the reservations concerning Fedoseyev, so I simply judge on what I can hear - and his Snow Maiden is very well sung and played. Once I've got hold of the remaining operas by R-K, I may consider adding Lazarev to my collection, though.
That was in 1981, Fedo in his younger, much better years. The same applies for his 1973 "May Night" which I kept in my collection, although its singers are not all exceptional.
But I remember he took very slow tempi in "Snow Maiden"...
I have his May Night too. Indispensable.
I have read that Fedoseyev's tempi in his Snow Maiden recording are slow, but I've never heard anyone else's, so I simply can't judge. No doubt I'll add Lazarev in due course.
When I listed my R-K recommendations earlier this month, I had a feeling I was leaving something important out. "Snow Maiden" (Snegurochka) is it. Russian to the core, melodic, touching in its theme. An unjustly neglected masterwork, to be sure.
Very good points as to why Russian operas, particularly those of R-K, are not more widely known outside their home country. The language is a big part of it. One reason why the recent production of Rubinstein's "Demon" was so successful at the recent Bard Music Festival was that the principal singers all hailed from Russia.
I agree with Christopher that "May Night" (also not included in my earlier list) is among R-K's best, the superb (and too brief) tenor aria from Act 3 being a particular highlight.
I just realized that the stories of two of my favorite R-K operas ("Snow Maiden" and "The Slippers") were also covered by Tchaikovsky, and they're likewise two of my favorite operatic works of his. Why so? I think because the two stories are so intrinsically Russian, which brought out some of the best work in their respective composers. (True, Tchaikosky's "Snow Maiden" is actually incidental music, but it comes across as more operatic than anything.)
Oh yes, Snow Maiden and May Night are further highlights. Both are wonderful in respect of atmosphere and melody.
Quote from: scottevan3 on Tuesday 25 December 2018, 00:00
I just realized that the stories of two of my favorite R-K operas ("Snow Maiden" and "The Slippers") were also covered by Tchaikovsky, and they're likewise two of my favorite operatic works of his. Why so? I think because the two stories are so intrinsically Russian, which brought out some of the best work in their respective composers. (True, Tchaikosky's "Snow Maiden" is actually incidental music, but it comes across as more operatic than anything.)
The stories come from the pens of Ostrovsky and Gogol who were wildly popular in Russia at the time, and remain so.
My goodness, The Golden Cockerel is a fascinating score, quite unlike his earlier operas. I can see how it must have fascinated the modernists with its biting wit and sarcasm, not to mention its advanced harmonies and unusual orchestration (e.g. use of percussion). I don't think it'll ever be a favourite of mine, but what music this is...
Pleased to hear this, Alan!
In the late 1960s I made a presentation of Rimsky's "Petuchok" at the Zurich Conservatory (using the Kovalev/Akulov recording, issued in Europe by Le Chant du Monde) together with recitations of the libretto's excerpts and projections of those fascinating contemporary tales' illustrations by Bilibin. Teachers and fellow students shook their heads and could not understand why I liked this silly and superficial music! But I was used to such provincial reactions - after I had done similar shows on Charles Ives, Erik Satie and (you don't believe it!) Tchaikovsky!
In the meantime I also could find the 1988 Svetlanov recording, which is excellent. The only negative aspect is the sound; it's a live recording from the Bolshoi, with applauses and microphones placed a bit too far away.
And then there's Kaschey the Immortal (I have bought Gergiev's recording). Not as strange or exotic as The Golden Cockerel, this is nevertheless in R-K's late style - often harmonically unstable, immensely varied orchestrally and often alternating sections of recognisable melody with passages of dialogue. Quite extraordinary. And quite wonderful.
Oh yes, Alan! I have only the (great) old Melodiya recording, conducted by Samosud.
The best music is in the second tableau and in the final singer's quartet: it's quite original, more "modern" and somehow Rimsky-atypical. It makes me dare to think that we are not too far away from Shostakovich's "Lady Macbeth of Mtsensk"...
Stravinsky immortalised the villain Kastchei (the legendary Tzar Koschei the Deathless and his enchanted garden) in his "Firebird" ballet. Today he is also the protagonist of some video games...
On Rimsky's,operas there are various studies, which I can recommend.
In earlier postings I've already quoted Richard Taruskin's book "On Russian Music", which contains the chapters "The case for Rimsky Korsakov" and "Kitezh, Religious Art of an Atheist". Incidentally, the autor quotes Richard Strauss, who, after having heard the suite of "Christmas Eve" said: "That is all very welll, but we are no children anymore"...
The site academia.edu has also various interesting studies, as "Lending support to Russian dual faith (dvoeverie) as a facet of identity – aspects of belief in Rimsky-Korsakov's operas". and "Rimsky-Korsakov - a decisive influence in the search for a Russian national identity" (by John Nelson) - or "The operas of NA Rimsky-Korsakov from 1897 to 1904" (by Stephen Muir).
One can download many interesting articles from there! In any case, I have the two last mentioned ones already.
Thanks, Adriano. What a repository of information this site is!
I'm now listening to The Maid of Pskov (c. Gergiev), which apparently occupied R-K for around a quarter of a century. This is much more 'accessible' music than Kaschey the Immortal or The Golden Cockerel - and probably more to my taste, if I'm being honest. From the outset one notices the wonderful orchestration - my goodness, this score requires a first-class orchestra - and the easy, heartfelt lyricism. Beautiful solos for the woodwind abound. A real treat for the ears.
>Have you seen Gergiev's DVDs of 'The Golden Cockerel' and 'Tsar Saltan'?
I just viewed "Saltan," and cannot recommend it highly enough. Truly a revelation.
A story as imbued in fantasy as this deserves a traditional, Russian storybook production; that's exactly what you get from the Maryinsky, conducted by Gergeiv. I'd even call it ultra-traditional. I've waited *many* years for a more modern recording than the only one generally available, from the late 50s, conducted by Nebolsin. As fine as that old recording is, you really do need good sonics to appreciate the incredible orchestration. I'm with Alan on that point.
As far as I know, it's only available as a DVD / Blu Ray combo, not as a CD. Still worth it.
>As far as I know, it's only available as a DVD / Blu Ray combo, not as a CD. Still worth it.
The DVD is a lacklustre Kirov effort, though the singing is very good. Much better is the classic Bolshoi recording under Nebolsin (1950s) which has been available on Melodiya 2-CD recently. If that's hard to source, then the Aquarius label's 2-CD transfer is just as good - and cheaper.
The Aquarius Moscow website has all the classic Rimsky opera Bolshoi performances available, and then some. They're good to deal with, ship the CDs quickly, and I really can't recommend them highly enough. All quality, mainly with English notes too.
http://aquarius-classic.ru/?ver=eng
A very helpful discussion with lots of recommendations.
My only recording of May Night is the 1946 Golovanov. Do you know if this is a complete recording?
The 2001 rerelease by the Italian Aura label runs at 1h 51min.
Which other recording would you recommend: Nebolsin, Fedoseyev or Lazarev?
May Night: Comparing Golovanov's single track timings with those of Fedoseyev, they both look as making a pretty complete version. That is what Lazarev's may also be (I don't have this in my collection, it may be perhaps a better interpretation than Fedoseyev's). Golovanov's interpretation is just super, but most music lovers prefer looking at the audio system first...
Thank you, Adriano!
I was never in doubt about Golovanov's merits. My concern was about the short playing time but I have now compared the timings of the tracks in different recordings. It seems that Golovanov was just a little faster each time. Nebolsin has a pretty legendary cast though...
Sorry I am just seeing this now, but I wanted to let folks in the District of Columbia, Maryland and Virginia (aka "the DMV") in the US know that scrappy local opera company Bel Cantanti is in the middle of staging "The Tsar's Bride" in Silver Spring, Maryland. There are two performances left, this Saturday and Sunday. My wife and I are planning to go the Saturday performance. I saw this company stage Bizet's "Pearl Fishers" last year and it was really well done, with reduced orchestra (one per part per section plus piano/keyboard) and young 'n' hungry singers. It's not a big company and the sets are nothing to write home about, but, according to Bel Cantanti, "This opera was performed in US only once, at the Kennedy Center in 1986 with Mstislav Rostropovich conducting and his wife, Galina Vishnevskaya directing the show. Our production is the second known in US performance of this opera." It's a rarity, so I am fine with the smaller scale. I know the music will be good. This will be my first time seeing a Rimsky-Korsakov opera.
Saturday, May 18, at 7:30pm
Sunday, May 19, at 3:00pm
Randolph Road Theater (4010 Randolph Rd, Silver Spring, MD)
Stage Director: Tyler Eighmey
Stage Designer: Ksenia Litvak
Producer and Artistic Director: Katerina Souvorova
Tickets are sold online through www.eventbrite.com and at the door.
Information: (240)230-7372 or tickets@belcantanti.com
Go to Eventbrite Adult: $40, Senior: $35, Student: $15. Groups of 10 and more: $30.
... I thought it was DelMarVa with Del standing for Delaware.
I caught the second-to-last performance of Bel Cantanti's staging of "The Tsar's Bride" last Saturday. There was a good-sized crowd in the small theater, including support from the local Russian community. The company director, from Belarus, expressed her desire before the performance to share Russian culture by presenting Rimsky-Korsakov operas like "The Tsar's Bride", "Sadko" (last season – sorry I missed it!) and "May Night" (next season, apparently). It was obviously a labor of love to put on this opera and I'm going to say that the company largely succeeded. I was impressed with the voices of the young singers, although some singers had more stage presence than others. The synopsis in the program was a little confusing and the opera started off a little slowly for me. Each character got a chance to lament his or her own situation and, while some of the arias were quite lovely, I was not fully engaged until midway through the second act when the plot picked up steam and I was able to figure who was who and what everyone's motivations were. After that, I was totally engaged. The Marfa character got all the best music and I think the singer who was cast in the role was probably the best performer overall. She really got into the character, including a convincing mad scene at the end. I would say the whole cast gave it their all and a couple, like the singer who played Marfa, really stood out. I will definitely have to seek out a recording of the opera to hear the full orchestration. The small orchestra (four strings, four winds and a piano) only rose up to a big orchestral thrill once, which was probably to be expected. The sets lived up to my expectations, which were not much. Really minor quibbles, though. I thoroughly enjoyed myself and it was good to see a nice turnout for the unsung composer!