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Constantine Orbelian, Conductor DE 3517 with Asmik Grigorian, Soprano State Academic Symphony Orchestra of Russia

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Constantine Orbelian, Conductor DE 3517 with Asmik Grigorian, Soprano State Academic Symphony Orchestra of Russia Dmitri Hvorostovsky sings of War, Peace, Love and Sorrow Constantine orbelian, conductor DE 3517 with Asmik Grigorian, soprano State Academic Symphony Orchestra of Russia Helikon Opera Chorus 1 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow PROKOFIEV: War and Peace (Scene 1) TCHAIKOVSKY: Mazeppa (Mazeppa’s Aria) Iolanta (Robert’s Aria) • Queen of Spades (Tomsky’s Ballad; Tomsky’s Song) RUBINSTEIN: The Demon (Scene 6) with Asmik Grigorian, soprano Irina Shishkova, mezzo-soprano • Mikhail Guzhov, bass Igor Morozov, tenor • Vadim Volkov, countertenor Constantine Orbelian, conductor Academic State Symphony Orchestra of Russia, “Evgeny Svetlanov” • Helikon Opera Chorus Total Playing Time: 53:51 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow 1. Sergei Prokofiev: War and Peace, 4. Tchaikovsky: Queen of Spades, Scene 1 (11:47) Tomsky’s Ballad (5:42) "Svetlaje vesenneje nebo” "Odnazdy v Versale, au jeu de la Reine” (The radiance of the sky in spring) (One day at Versailles, at the Jeu de la Reine) with Asmik Grigorian (Natasha) with Mikhail Guzhov (Surin) and Irina Shishkova (Sonya) and Igor Morozov (Chekalinsky) 2. Pyotr Ilyich Tchaikovsky: Mazeppa, 5. Tchaikovsky: Queen of Spades, Mazeppa’s Aria (5:27) Tomsky’s Song (2:17) "O Mariya, Mariya!” "Yesli b milyye devitzy” (O Maria, Maria!) (If cute girls) 3. Tchaikovsky: Iolanta, Robert’s Aria (2:36) 6. Anton Rubinstein: The Demon, "Kto mozhet sravnitsja s Matildoj moej” Scene 6 (26:03) (Who can compare with my Mathilde) with Asmik Grigorian (Tamara) and Vadim Volkov (Angel) Constantine Orbelian, conductor State Academic Symphony Orchestra of Russia, “Evgeny Svetlanov” Helikon Opera Chorus Total Playing Time: 53:53 2 ussian is one of the most difficult languag- This studio recording, made in Moscow over es to sing: too many noisy consonants! five consecutive days in October of 2015, brings RNevertheless, some of the most beautiful this plan closer to reality. With this group of vocal music has been written with Russian lyrics. scenes and arias from five operas by Prokofiev, Dmitri Hvorostovsky, however, has always felt Tchaikovsky, and Rubinstein, Hvorostovsky especially comfortable with Italian music, and returns to his Russian roots and the traditions with is most famous for his wide array of Verdi roles which he grew up, while reprising some of his – from Giorgio Germont to Simon Boccanegra favorite parts, trying new ones, and introducing and Rigoletto. Yet he constantly returns to the a diverse group of complicated, colorful, and music of his native country in concert perfor- relatively unfamiliar characters to international mances and operas as well as in the recording audiences. Some of these roles, such as Tomsky studio. His performances and recordings of or Mazeppa, he has never performed on stage; Russian songs, covering almost the entire histo- other numbers he has either never recorded ry of Russian music from Glinka to Sviridov and before or recorded long ago. Shostakovich, are legendary – as are his roles in Eugene Onegin and Queen of Spades, which According to Constantine Orbelian, a longtime he has sung sensationally on the world’s most friend, collaborator, and the conductor of this prominent opera stages. project, the entire recording process for this As he observed in his 2008 interview for The album was smooth, fast, and inspired: “It was New York Times, “The older I become, the a remarkable outburst of creative energy, and closer I feel to Russia” – and that includes it brought out an entirely new vocal palette in Russian operatic repertoire. Unfortunately, Dmitri’s already outstanding singing.” Russian operas are still underrepresented on the international stage, limited to just a The internationally acclaimed young soprano few of the better-known titles, although the Asmik Grigorian, the latest recipient of the situation has been changing – albeit slowly. prestigious International Opera Award as But Hvorostovsky has a plan. In another quote, Young Female Singer of 2016, has previously from the 2012 Opera News magazine’s feature appeared with Hvorostovsky in concerts and article “Elements of Style,” he remarked, “I think contributed to this recording as Natasha in a few years’ time I will start doing some Rostova in Prokofiev’s epic War and Peace and bulkier Russian roles, because there’s a demand as Princess Tamara in Rubinstein’s The Demon. for that. And with my experience and authority, There is a special bond here: Dmitri has known in a certain way, I’ll be able – and allowed – to Asmik since her early childhood, as Asmik’s do certain Russian roles and become an expert father, the recently deceased great tenor in that.” Gegam Grigorian, was Dmitri’s close friend 3 and colleague. They performed together on 70, Mazeppa is a powerful military leader, a stage in such operas as The Queen of Spades Ukrainian separatist, and a passionate lover: and War and Peace. Especially memorable was his life has been transformed by the young the Metropolitan Opera’s 2002 production of and beautiful Maria. She left her family for War and Peace, featuring Grigorian as Pierre him, which started the opera’s fateful chain of Bezukhov and Hvorostovsky as Prince Andrei events. In a scene from the second act, in a Bolkonsky, one of the main characters in Leo brief moment of solitude – amidst a brewing Tolstoy’s novel, on which the оpera was based. storm of mistrust, betrayals, tortures, and deaths – Mazeppa contemplates his love for Prokofiev began writing the score for War and Maria and invokes her enchanting image. His Peace in the summer of 1942. He completed aria is filled with tenderness and longing: one it quickly, but then had to continuously rework of Tchaikovsky’s most memorable and richly it – adding new scenes and making numerous emotional melodies. Hvorostovsky has never changes and cuts due to the various demands had a chance to sing the entire role, although of Soviet officials and theaters. However, he has performed and recorded the aria, albeit the first scene was kept almost intact, and about twenty years ago. it is one of the best in the entire opera. The scene centers upon recently widowed and Another Tchaikovsky masterpiece, Robert’s aria bitterly disillusioned Prince Andrei, who stays from the composer’s last opera, Iolanta (1892), overnight in Count Rostov’s country estate and also gets here a new, long-awaited recording. overhears a conversation between the Count’s This one-act opera – based on the Danish daughter, Natasha, and his stepdaughter, play King Rene’s Daughter and created by Sonya. Natasha’s youth, idealism, spontaneity, the composer for a double bill with his ballet and rapturous response to the beauty of the Nutcracker – was rarely performed in the West spring night awaken in him new hope for love until internationally acclaimed productions and happiness. Prokofiev is at the height of his at the Metropolitan Opera (2015) and Opéra powers here as a master of lyrical atmosphere, national de Paris (2016). Iolanta, however, was infusing the score with beautiful, soaring always popular in Russia – mainly due to a few melodies while combining the dreamlike “catchy” numbers that had become a staple of musical landscape with keen psychological concert repertoire. The most popular of them insight. all is probably this one: the aria sung by Duke Robert, who as a child became engaged to Tchaikovsky’s controversial Hetman Mazeppa, marry King Rene’s daughter, the blind princess in the opera Mazeppa (1884), is quite Iolanta. In the third scene of the opera, Robert different from Prince Andrei. At the age of tells his friend Count Vaudémont that he does 4 not want to marry Iolanta, as he is in love with Girls” is part of the last scene. In the Casino, Countess Mathilde. The aria is Robert’s vivid Tomsky entertains his fellow gamblers with this and passionate description of Matilde’s beauty dancelike number, full of erotic innuendos, thus and virtues, a fast and tempestuous stream of providing a brief respite from the plot’s growing words and emotions, set to one of Tchaikovsky’s tensions and darkening atmosphere. greatest melodies. Hvorostovsky’s legendary breath control, as well as his emotional sensitivity The character of the Demon in Anton and vocal richness, come in especially handy in Rubinstein’s like-titled opera is another role that this vocally demanding bravura expression of Hvorostovsky has loved, although he admits delight, joy, and the elation of love. that “It is an uneven opera.” But he never had a chance to perform it in full – until February For many years, Hvorostovsky has been of 2015, when his dream was realized in performing the role of Prince Eletsky in semi-staged performances that took place in Tchaikovsky’s Queen of Spades (1890) to great Moscow and were broadcast live on Russian TV. acclaim. The musical portrait he has created has been a model of aristocratic restraint, blended Written in 1871, The Demon was based on to perfection with his vocal warmth and beauty, a romantic poem by Russian poet Michail elegant phrasing, and nuanced emotions. This Lermontov. It tells the story of a fallen angel opera, however, has another baritone role who rejects humankind, but falls in love with – that of the fun-loving, but conniving and Princess Tamara and hopes to find salvation coldhearted Count Tomsky: a character quite in her love. The opera is known mostly for its the opposite of Prince Eletsky. Hvorostovsky has protagonist’s two arias, which have been in always wanted to sing this part, which expresses Hvorostovsky’s repertoire for years. Their long, a less familiar side of his artistic personality. seductive phrases of bel canto-like cantilena are perfectly suited to his technique and a voice Here he performs two key excerpts from the characterized by “melancholy and an aching role.
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