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Золотой Петушок» Для Театра « Casino » Ский В Либретто К Опере Смело Развил По- В Виши

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Золотой Петушок» Для Театра « Casino » Ский В Либретто К Опере Смело Развил По- В Виши ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ ВЫСТАВКИ ВЫСТАВКИ он говорил: «Царя Додона хочу осрамить Сцена из I акта окончательно» 2. постановки оперы По указанию композитора Бель - «Золотой петушок» для театра « Casino » ский в либретто к опере смело развил по- в Виши. 1934 литические мотивы пушкинского тек- Фотография ста, придав им современную направлен - Государственный ность и тем самым усилив сатирическое центральный театральный музей им. А.А. Бахрушина звучание произведения. Мастерски овла- дев нужным литературным слогом, Бель - Act I scene from ский расширил некоторые сцены сказки “The Golden Cockerel” opera at the Casino и более рельефно обрисовал действую - Маргарита Чижмак Theatre in Vichy. 1934 щих лиц оперы, тем самым удивительно Photo гармонично дополнив музыку Римско- Archives and Manuscript го-Корсакова. По воспоминаниям со - Section of Bakhrushin Опера Н.А. Римского-Корсакова Central Theatre Museum временников, Бельский был единствен - ным «прирожденным либреттистом, в «Золотой петушок» котором сочетались любовное знание русской старины и народной поэзии Н.А. Римский- кандальные события, сопутст- Корсаков Фотография. 1890-е вующие появлению оперы на С императорской сцене, безуслов- Всероссийское музейное объединение музыкальной но, были спровоцированы колким по культуры им. М.И. Глинки отношению к царской власти содержа - Nikolai нием произведения. Основой оперы по- Rimsky-Korsakov служила одноименная сказка А.С. Пуш- Photo. 1890s кина, написанная поэтом в 1834 году и Glinka Central Museum of Musical Culture представлявшая собой своеобразный «са- тирический портрет» эпохи Николая I. По замыслу Николая Андреевича Рим - ского-Корсакова (1844–1908) в опере, ставшей последним произведением в его творческом наследии, политические ак- центы должны быть более утрирован - ными. В записных книжках композитора первые музыкальные эскизы к «Золото- «… Сколько мытарств при - му петушку» обнаруживаются в октябре 1906 года, а уже в августе 1907 совместно шлось претерпеть бедной с его другом – либреттистом В.И. Бель- опере Римского-Корсакова! ским (1866–1946) – была закончена пар- титура оперы. Подзаголовком произве - Оказалось, что петушку не дения было выбрано название «Небы- легче, чем верблюду, про - лица в лицах. Художественный образец лезть сквозь игольное уш- русской лубочной сказки». Интересно вспомнить названия предыдущих про - ко театральной цензуры. изведений Римского-Корсакова: «Весен - Сколько перьев у него при няя сказка “Снегурочка”», «Волшебная опера-балет» “Млада”», «Быль-коляд- этом выщипали, сколько ка “Ночь перед Рождеством”». Казалось красок стерли…» 1, – так в бы, родники вдохновения композитора питаются исключительно миром грез, 1909 году современник ком- сказок и легенд. ментировал историю по - Однако в последние годы жизни становки оперы Римского- композитор все более насыщал свои со - К.А. КОРОВИН чинения современным звучанием, по- Палаты у воеводы Корсакова «Золотой пету- следовательнее обличал самодержавие. Додона Уже в «Сказке о царе Салтане» (также Эскиз декорации шок». написанной в союзе с Бельским) пока - I действия оперы Бумага серая, тушь, зан смешной и вздорный царь, а позднее гуашь, кисть в опере «Кащей Бессмертный» монарх 39 ¥ 60,2 предстает в зловещем образе, олицетво - ГТГ ряющем силу, губительную для всего Konstantin KOROVIN живого. Недаром в 1905 году исполне - Tsar Dodon’s ние этой оперы вылилось в политиче - Palace Hall скую демонстрацию. Sketch of the Act I В процессе работы над «Золотым stage set петушком» Римский-Корсаков не скры- Indian ink, gouache, 1 Энгель Ю.Д. Глазами современника. РГБИ, 1971. С. 276. вал своего желания уязвить монархию brush on grey paper сильнее, чем Пушкин. В одном из пи- 39 ¥ 60.2 cm 2 Римский-Корсаков Н.А. Летопись моей театральной Tretyakov Gallery жизни. М., 1982. С. 318. сем к своему ученику М.О. Штейнбергу 54 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #1’2012 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #1’2012 55 THE TRETYAKOV GALLERY CURRENT EXHIBITIONS CURRENT EXHIBITIONS Margarita Chizhmak Nikolai Rimsky-Korsakov’s opera “The Golden Cockerel” “This poor opera by Rimsky- he scandalous events accompanying opera-ballet “Mlada”, and a true story-carol Korsakov has been through so the opera’s production on the Im - “Christmas Eve”. It might seem that the T perial Stage were undoubtedly the composer used to derive his inspiration ex - many ordeals! It turned out result of the work’s caustic remarks regard - clusively from fantasies, fairy tales and myths. ing the Tsar’s power. The opera was based However, in his last years, he filled his К.А. КОРОВИН that it was not easier for the Царь Додон (Додон on the fairy tale of the same title by Alexan - works with increasingly topical themes and Военный). 1909 cockerel to go through theatre der Pushkin, written in 1834 and represent - criticized autocracy in an increasingly con - Эскиз костюма censorship than for a camel ing a peculiar “satirical portrait” of the rule sistent way. Already in “The Tale of Tsar к опере в постановке of Nicholas I. In the opera that would be Saltan” (also written together with Belsky), Большого театра to go through the eye of a nee - his last work, Rimsky-Korsakov (1844- we see a ridiculous and foolish Tsar, and (1909) 1908) intended to expand the fairy tale’s later, in “Kashchey the Immortal”, a Бумага, карандаш, dle. It has lost so many feath - political accents even further. monarch is shown as an ominous character акварель, гуашь, ers and so many colours…” 1 бронзовая краска The first drafts for “The Golden Cock - symbolizing a dark force, destructive to any - 35,4 ¥ 26,5 That is how a contemporary erel” appeared in the composer’s notebooks body full of life and striving for freedom. Un - Санкт-Петербургский in October 1906, and in August 1907 he had derstandably the production of that opera государственный музей in 1909 commented on the театрального и музыкаль - already completed its score, together with his resulted in a political demonstration in 1905. ного искусства difficult staging of the opera friend the librettist Vladimir Belsky (1866- While working on “The Golden Konstantin KOROVIN “The Golden Cockerel” by 1946). They chose to give the work a subtitle, Cockerel”, Rimsky-Korsakov did not hide Tsar Dodon “Enactment of a Fanciful Story. An Artistic his desire to sting the monarchy even more Costume sketch for the Nikolai Rimsky-Korsakov. Sample of a Popular Print Russian Fairy painfully than Pushkin had done. In one of Bolshoi Theatre pro - Tale”. It is interesting to cite the titles of pre - his letters to his pupil Maximilian Stein - duction, 1909 vious works by Rimsky-Korsakov: a spring berg, he wrote: “I want to disgrace Tsar Pencil, watercolour, fairy tale “The Snow Maiden”, a magic Dodon completely”. 2 gouache, bronze paint on paper 35.4 ¥ 26.5 cm St. Petersburg Museum of К.А. КОРОВИН Following the composer’s instruc - “He’s got Tsar’s rank and clothing by an ‘unexpected’ one, and the ‘new’ Theatrical and Musical Art Эскиз декорации tions, Belsky, in his libretto, had boldly de - But his body and soul are those dawn will become ‘white’; some verses are I действия veloped the political themes in Pushkin’s of a slave. softened, and the line ‘rule, lying on your Постановка оперы text*, making them more topical and thus What does he look like? His figure’s side’ shall remain.” 5 В.В. Осипов в Большом театре в роли царя Додона (1909) emphasizing the work’s satirical tone. Hav - Odd curves remind one of a camel, Despite all the efforts and suggested Постановка оперы Бумага, темпера, ing mastered the required literary style, And his grimaces and whims compromises, in June 1908, two days before в Большом театре серебряная и золотая Belsky expanded certain episodes of the Are those of a monkey…” his death, Rimsky-Korsakov wrote in a let - (1909) краски. 41 ¥ 55 fairy tale and described the characters in a ter that the situation was hopeless: “As for Фотография Всероссийское музейное bolder manner, thus complementing Rim - The rest of the libretto was equally ‘The Golden Cockerel’, things are not well Музей Большого театра объединение музыкальной России, Москва культуры им. М.И. Глинки sky-Korsakov’s music in an amazingly har - poisonous: such lines were outrageous and with it. Moscow’s Acting Governor-Gen - monious way. Judging by the memoirs of his could not be uttered from an Imperial stage. eral is against a production of the opera and Konstantin KOROVIN Vasily Ossipov as Tsar Sketch of the Act I contemporaries, Belsky was the only “born Lengthy negotiations and disheartening has informed the censorship committee Dodon stage set librettist combining a loving knowledge of hindrances followed, which probably accel - about that, and that is why I think that in St. Bolshoi Theatre Bolshoi Theatre old Russian traditions and folk poetry with erated Rimsky-Korsakov’s death. The Petersburg they will be against it too.” 6 production, 1909 production, 1909 Photo a precise and resonant verse, a sense of composer declined numerous requests by It was probably the death of the com - Tempera, silver and 3 Museum of the Bolshoi stage and a musical grounding” . Sergei Gershelman, the Acting Governor- poser, a fervent defender of the opera’s initial Theatre, Moscow gold paint on paper The resulting opera sounded truly General of Moscow, to make cuts in the text, that allowed Telyakovsky to restart ne - 41 ¥ 55 cm Glinka Central Museum topical at the time: it spoke rather directly text, not wishing to distort the play’s mes - gotiations on a production of the censored Consortium of Musical about the rotten Tsarist regime committing sage. “So,” he wrote bitterly, “‘The Cock - opera version a year later. While Rimsky- Culture crimes and not keeping its promises. Its au - erel’ cannot be staged in Russia. I do not Korsakov was still alive, it was decided that dacity and wit were very appealing, and as intend to make any changes.” 4 Neverthe - the staging’s artistic director should be Kon - early as February 1908, Vladimir Telya- less, there had been some work on changing stantin Korovin, who, by then, had headed kovsky (1860-1924), director of the Impe - separate parts of the text.
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