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Home , A Life for the Tsar, Ildar Abdrazakov

POWER PLAYERS Russian Arias for

ILDAR ABDRAZAKOV

CONSTANTINE ORBELIAN, CONDUCTOR KAUNAS CITY SYMPHONY ORCHESTRA KAUNAS STATE CHOIR 1 0 13491 34562 8 ORIGINAL DELOS DE 3456 ILDAR ABDRAZAKOV • POWER PLAYERS DIGITAL iconic characters iconic The dynamics of power in of power The dynamics Russian and its most and its opera Russian DE 3456 (707) 996-3844 • © 2013 Delos Productions, Inc., © 2013 Delos Productions, 95476-9998 CA Sonoma, 343, Box P.O. (800) 364-0645 [email protected] www.delosmusic.com CONSTANTINE ORBELIAN, CONDUCTOR ORBELIAN, CONSTANTINE ORCHESTRA CITY SYMPHONY KAUNAS CHOIR STATE KAUNAS Arias from: Arias Rachmaninov: Aleko Tsar the & Ludmila,Glinka: A Life for Ruslan Igor Borodin: Prince Boris GodunovMussorgsky: The Demon Rubinstein: Onegin, Iolanthe Eugene Tchaikovsky: Peace and War Prokofiev: Rimsky-Korsakov: Sadko 66:49 Time: Total Russian Arias for Bass Russian ABDRAZAKOV ILDAR POWER PLAYERS POWER

ORIGINAL DELOS DE 3456 ILDAR ABDRAZAKOV • POWER PLAYERS DIGITAL POWER PLAYERS Russian Arias for Bass ILDAR ABDRAZAKOV 1. Sergei Rachmaninov: Aleko – “Ves tabor spit” (All the camp is asleep) (6:19) 2. : Ruslan & Ludmila – “Farlaf’s Rondo” (3:34) 3. Glinka: Ruslan & Ludmila – “O pole, pole” (Oh, field, field) (11:47) 4. : – “Ne sna ne otdykha” (There’s no sleep, no repose) (7:38)

5. : – “Kak vo gorode bylo vo Kazani” (At Kazan, where long ago I fought) (2:11) 6. Anton Rubinstein: The Demon – “Na Vozdushnom Okeane” (In the ocean of the sky) (5:05) 7. Piotr Tchaikovsky: Eugene Onegin – “Liubvi vsem vozrasty pokorny” (Love has nothing to do with age) (5:37) 8. Tchaikovsky: Iolanthe – “Gospod moi, yesli greshin ya” (Oh Lord, have pity on me!) (4:31) 9. Glinka: A Life for the Tsar – “Chuyut pravdu” (They suspect the truth!) (5:56) 10. Sergei Prokofiev: War and Peace – “Velichavaya v solnechnykh luchakh” (Majestic, flashing in the sunshine) (4:31) 11. Nikolai Rimsky-Korsakov: Sadko – “Viking Song” (2:53) 12. Mussorgsky: Boris Godunov – “Coronation Scene” (8:18)

Total Time: 66:49

CONSTANTINE ORBELIAN, CONDUCTOR KAUNAS CITY SYMPHONY ORCHESTRA KAUNAS STATE CHOIR 2 The world-renowned basso Ildar Abdra- role – one of the most pivotal in Russian zakov first gained international acclaim music,” says Abdrazakov. In addition to – not in Russian music, as expected of Igor’s famous recitative and aria “Ni sna, a singer who was born and educated in ni otdykha…” the album includes virtu- Russia – but in Italian and French reper- ally all of the greatest hits of Russian bas- toire. His stunning victory at the Maria so repertoire. Callas International Television Competi- tion in Parma at the age of 24 led to his Mr. Abdrazakov first learned some of debut at as Count Rodolfo in these pieces while studying singing in Bellini’s La Sonnambula and numerous , his hometown, where he graduat- successful appearances in works by Mo- ed from Ufa State Institute of Arts. He zart, Donizetti, Rossini, Verdi, Berlioz, performed a few of the roles at the Bash- Bizet, Gounod, Offenbach, and Boito on kirian Opera and Ballet Theatre. But his major opera and concert stages around voice — silky, smooth, elegant and sexy the world. basso-cantabile, almost baritone in quali- ty – then sounded too young for Russian The forays into Russian repertoire were , which demand heavier and more surprisingly rare -- until now. While pre- mature basso timbre. paring to appear in the title role in a new production of Borodin’s Prince Igor at the Now at the age of 37, as his voice is gradu- , Abdrazakov began ally becoming deeper, darker and denser, working on his first exclusively Russian the singer is ready to tackle them, taking solo album, which coincidently is the first music lovers on an enchanted journey solo aria album of his career. through . He is doing this with the help of such an experienced In fact he wanted to present this album conductor as Constantine Orbelian, who as the companion to his first Prince Igor. is well known for his numerous collabo- “It will give people a chance to hear me rations with Dmitri Hvorostovsky, Renée in Russian operatic repertoire and to pre- Fleming, and Sondra pare for my interpretation of this major Radvanovsky to name just a few. 3 Russian opera is uniquely rich with great love stories – traditional territory – bass roles. The basso voice, associated but mostly with historical or fantastic plots with depth and power, was first cultivat- with didactic and heroic content, where ed in Russian church music, which huge- the personages are old and wise; or brave, ly influenced Russian operatic language. mighty and powerful; or tragic and noble; The country has produced many great or all of the above. The bass voice seemed basses, from Glinka’s contemporary Os- perfectly suited for that – as well as for sip Petrov to – and lat- purposes of comic relief, which is also an er, Reizen, Pirogov, Gmyria, and Mikhai- important feature of Russian opera. lov, to name a few. At this point of his flourishing career, Russian composers loved the bass voice two time Grammy-Award winner Ildar and often assigned leading roles to it, like Abdrazakov – the “… sensational bass… Susanin, Ruslan, Boris Godunov, and who has just about everything – impos- Prince Igor. There is no shortage of other ing sound, beautiful legato, oodles of fi- important and colorful bass roles. Boris nesse …” (TheIndependent ) is capable of Godunov has several: the title role, Pi- doing rich justice to all these aspects. men, Varlaam, Jesuit Rangoni and a few lesser ones. has two ma- Take for example Ruslan, the young pro- jor bass roles: Dosifey, the leader of the tagonist of Glinka’s second opera, Ruslan old believers, and the powerful, unruly and Ludmila (1842), based on Pushkin’s Prince Khovanski. Prince Igor demands tale. Losing his beloved Ludmila on their four differently colored bass voices, in- wedding night to the evil dwarf Cher- cluding the lead; and Rimsky-Korsakov’s nomor, he goes on a heroic journey to “Sadko” also has four. find and save her. In the scene “O, pole, pole…” he is at the very beginning of his It should be noted that Russian opera, perilous adventure. Looking at a silent which had a late start and rapid develop- battlefield, he contemplates the unknown ment (mostly during the 19th century), future, dreams about his girl and asks the was concerned not as much with romantic gods for a sword suitable for his mighty 4 hand. The mood of the scene shifts from with patriotic pride, anguish, grief and sadness and thoughtfulness to valor and fatherly love. A dark and pensive recita- resolve, which alternate with tenderness tive gives way to an expressive cantilena and longing. with remarkably long phrases.

One of Ludmila’s potential suitors – and In some ways, the hero of Borodin’s unfin- therefore Ruslan’s rival – is the coward, ished Prince Igor (the composer worked Farlaff. Glinka, who lived in Italy and on it for about 20 years until his death in studied the bel canto style at the time of 1887) is a close relative to Glinka’s noble Donizetti and Rossini, writes for him a characters. The opera was based on one typical basso-buffo aria in rondo form. of the earliest masterpieces of Russian lit- Hoping for an easy victory (after receiv- erature: the 12th century epic “The Word ing a promise of help from the sorceress on the Regiment of Igor” (Slovo o polku Naina), Farlaff jumps from paralyzing Igoreve), about an ill-fated military cam- fear into a fast and breathless blur of paign initiated by the Russian prince Igor words and notes. against the nomadic tribe of Polovtsy. Captured by the enemy, Igor thinks of his Glinka’s earlier opera, A Life for the Tsar shameful defeat, his wife and homeland, (1834-36) – proclaimed the first Russian and cries out passionately for freedom. national opera because of its patriot- ic plot – was based on actual historical Though Abdrazakov had not yet per- events, and offers much musical sophis- formed it on stage at the time of this re- tication. This opera has another bass pro- cording, he definitely had his eyes on the tagonist, , a simple peasant, great role of Boris Godunov (from Mus- who sacrifices his life to save the young sorgsky’s historical opera of the same ti- Russian tsar. His farewell aria is sung tle, 1872-74). The aria “Skorbit dusha…” in the darkness of an impassable win- marks the beginning of the tsar’s reign. It ter forest, where he has led the enemy’s begins with dark premonitions, changes vanguard. It is a portrait of a man facing into prayer and finally becomes a call for inevitable death; a meditation, suffused celebration. 5 Nothing could be farther from this rec- and educator, Rubinstein possessed a itative-like dramatic scene than the fero- solid compositional technique and great cious folk-dance-like song of the vagrant melodic talent. He had studied in Berlin drunkard Varlaam, the very embodi- with Siegfried Dehn (also Glinka’s teach- ment of the wild, mighty and dangerous er 12 years earlier) and been influenced side of the Russian soul. “Kak vo gorode by Schumann and Mendelssohn. Both bylo vo Kazani” tells the dramatic story qualities are apparent in The Demon’s of Ivan the Terrible’s victory over the ta- Aria, an impressive musical portrait of tars in their own city of Kazan. the lonely and mysterious hero wander- ing in the cold heavens and searching One of the most famous scenes of for human love. The part was written for Rimsky-Korsakov’s epic fantasy “Sad- bass-baritone, and is often performed by ko” (1894-96) takes place on the mar- baritones. ket square of the ancient Russian city of Novgorod, where foreign guests offer Piotr Tchaikovsky, the most famous of their merchandise and sing about their Rubinstein’s students, inherited and sur- native lands. The Song of Variag Guest passed his teacher’s lyrical talent, in par- powerfully captures the severity and ticular when it comes to bass roles. The grandeur of the northern sea and land characters Prince Gremin in Eugene (ancient Russians often identified variags Onegin (1879) and King Rene in Iolan- as people from behind the Baltic sea). ta (1892) are elderly, noble, thoughtful, even philosophical, and deeply affected Anton Rubinstein’s The Demon (1871 by love. Gremin’s aria exudes stabili- – based on the popular romantic poem ty and contentment, overflowing with by Lermontov) is the most famous work heartfelt praise for his wife: a touching of the composer’s prolific career, which portrait of the woman who brought him includes 20 operas, six symphonies, five new life and happiness. King Rene’s aria piano concertos and many other works (a favorite of Abdrazakov’s from child- that are largely forgotten today. Al- hood) is different: an anxious plea to though better known as a great pianist God to save his blind daughter. In both 6 arias Tchaikovsky achieves a remarkable part of the 67-year old Field Marshal Ku- synthesis of speech-like declamation and tuzov in the operatic interpretation of cantilena. He is not concerned, however, Tolstoy’s War and Peace should be writ- with the singer’s comfort, which makes ten for a bass. In the 10th scene of this the performer’s task especially difficult. gigantic opera (1942-1953) Kutuzov, the commander-in-chief of Russian Army, was considered a faces the most important and difficult musical heir to Tchaikovsky (he studied decision of his career: to leave with former Tchaikovsky pupils, Taneev to the French army in hope of saving the and Arensky) and followed in his foot- Russian army and eventually winning the steps in both opera and the romance war. The music, which recycles the theme (Russian art songs). The opera Aleko written by Prokofiev for Eisenstein’s film (1892), after Pushkin’s romantic poem Ivan the Terrible, is a potent combination The Gypsies, was Rachmaninoff’s gradua- of soulfulness and drama; it is heroic, yet tion piece at the Moscow conservatory. It beautiful. The aria was to become one of received the highest possible grade from the most popular moments of the opera. Tchaikovsky, who headed the exam com- Its theme reappears in the chorus’s majes- mittee. The opera was later reworked, tic hymn-like conclusion. and became a staple in Russian opera houses. Aleko leaves society for the sim- – Maya Pritsker plicity and spontaneity of life among the gypsies, falls in love with Zemfira, and is devastated by her change of heart. His ca- vatina (The Whole Camp Sleeps) is more 1. Rachmaninov: Aleko like a dramatic scene where the protag- Aleko’s cavatina: Ves tabor spit onist meditates on his life and fate in the darkness of the night, not unlike Ivan Su- Vyes’ tabor spit. Luna nad nim sanin and Prince Igor in their arias. Polnochnoy krasotoyu blyeshchet. Shto zh serdtse byednoye trepeshchet? Sergei Prokofiev had no doubts that the Kakoyu grust’yu ya tomim? 7 Ya byez zabot, byez sozhalen’ya Zemfira nyevyerna! Vyedu kochuyushchiye dni. Zemfira nyevyerna! Prezryev okovï prosveshchen’ya, Moya Zemfira okhladyela! Ya volyen tak zhe, kak oni. Ya zhil, nye priznavaya vlasti All the camp is asleep. Sud’bï kovarnoy i slepoy. The moon’s midnight beauty No, Bozhe, kak igrayut strasti Shines overhead. Moyey poslushnoyu dushoy! Why does my wretched heart tremble? Zemfira! Kak ona lyubila! What sadness do I suffer? Kak nyezhno priklonyas’ ko mnye Without care, regretting nothing, V pustïnoy tishinye chasï I spend my days as a wandering nomad. Nochnïye provodila! I scorn the shackles of civilization; Kak chasto milïm lepetan’yem, Like them, I am free. Upoitel’nïm lobzan’yem I have never acknowledged Zadumchivost’ moyu v minutu The authority Razognat’ umyela! Of a blind and treacherous fate. Ya pomnyu: s nyegoy, polnoy strasti But, my God, how the passions Sheptala mnye ona togda: Play with my faithful soul! “Lyublyu tebya! V tvoyey ya vlasti! Zemfira! How she loved me! Tvoya, Aleko, navsegda!” She came to me with such tenderness I vsyo togda ya zabïval, Alone in the silence, Kogda recham yeyo vnimal And passed there the hours of the night! I, kak byezumnïy, tseloval yeyo How often – with her sweet banter Charuyushchiye ochi, And enchanting kisses – Cos chudnïkh pryad’? She was quickly able Temnyeye nochi? To banish my melancholy! Usta Zemfirï ... I remember how, A ona, vsya nyegoy, strast’yu polna, With sensual passion, Pril’nuv ko mnye, v glaza glyadyela... She would whisper to me, I shto zh? I shto zh? “I love you! You have me in your power! 8 I am forever yours, Aleko!” Ludmila, naprasno ty plachesh I stonesh, And, as I heard her words, I milova sertsu naprasno ty zhdiosh: She brought me forgetfulness Ni vopli, ni sliozy – nishto ne pomozhet! As if possessed, I kissed her Smirishsya pred vlastiu Nainy, knizhna! Enchanting eyes, Blizok uzh chas torzhestva maevo: And her wondrous locks, Nenavisnyi sopernik uydiot daleko ot Darker even than the night – nas! And Zemfira’s lips, Vitiaz, naprasno ty ishchesh knizhnu, Whilst she, full of sensual passion, Do niyo ne dopustit volshebnitsy vlast Clung to me, gazing into my eyes... tebya! But what now? Ruslan, zabud ty o Ludmile! What has happened? Ludmila, zhenikha zabud! Zemfira is untrue! Pri mysli obladat knizhnoi Zemfira is unfaithful! Sertse radost oshchushchaet My Zemfira has become I zaranee vkushaet Cold towards me! Sladost mesti i liubvi. Blizok uzh chas torzhestva maevo: Nenavisnyi sopernik uydiot daleko ot nas! 2. Glinka: Ruslan and Ludmila Vitiaz, naprasno ty ishchesh knizhnu, Farlaf’s Rondo Do niyo ne dopustit volshebnitsy vlast tebya! O radost! Ya znal, ya chustvoval zarane, V zabotakh, trevoge, dosade i grusti Shto mne lish suzhdeno svershit stol Skitaisya po svety, moi khrabryi sopernik! slavnyi podvik! Beisya s vragami, vlezai na tverdyni! Blizok uzh chas torzhestva maevo: Ne trudias i ne zabotias Nenavisnyi sopernik uydiot daleko ot Ya namerenii dostignu, nas! V zamke dedov ozhidaya Vitiaz, naprasno ty ishchesh knizhnu, Poveleniya Nainy. Do niyo ne dopustit volshebnitsy vlast Nedaliok zhelannyi den, tebya! Den vostorga i liubvi! 9 Ludmila, naprasno ty plachesh I stonesh, Blizok chas torzhestva maevo: I milova sertsu naprasno ty zhdiosh: Nenavisnyi sopernik uydiot daleko ot Ni vopli, ni sliozy – nishto ne pomozhet! nas, Smirishsya pred vlastyu Nainy, knizhna! Nenavisnyi sopernik uydiot daleko, Blizok uzh chas torzhestva maevo: daleko ot nas, Nenavisnyi sopernik uydiot daleko ot Uydiot daleko, daleko ot nas! nas! Vitiaz, naprasno ty ishchesh knizhnu, Oh, joy! Somehow I felt, I sensed Do niyo ne dopustit volshebnitsy vlast That it was my destiny to perform tebya! This glorious deed! V zabotakh, trevoge, dosade i grusti The hour of my victory draws nigh; Skitaisya po svety, moi khrabryi soper- My hated rival nik! Will meet his doom far from home, Beisya s vragami, vlezai na tverdyni! Leaving no trace. V trevoge, dosade i grusti Knight, you seek your princess in vain, Skitaisya po svety, moi khrabryi soper- For a witch’s spells nik! Will never bring you to her. Beisya s vragami, vlezai na tverdyni! Ludmila, your weeping and laments are Ne trudias i ne zabotias for naught, Ya namerenii dostignu, You await in vain he whom your heart V zamke dedov ozhidaya has chosen. Poveleniya Nainy, Neither sighs nor tears will avail you, Poveleniya Nainy. For you must submit to the will of Naina! Blizok chas torzhestva maevo! The hour of my victory is nigh; Blizok chas torzhestva maevo: My detested rival will perish far from Nenavisnyi sopernik uydiot daleko ot home, nas, Leaving no trace. Nenavisnyi sopernik uydiot daleko, Knight, in vain you seek your princess daleko ot nas! For a witch’s spells Blizok chas torzhestva maevo! Will never bring you to her. 10 Ruslan, forget Ludmila; Kto na tebe so slavoi pal? Ludmila, forget your chosen one. Chyi nebo slyshalo molitvi? My heart fills with joy Zachem zhe, pole, smolklo ty At the thought of possessing her; I poroslo travois zabvenia?... It relishes the prospect of sweet revenge, Vremyon ot vechnoi temnoty, And of delightful love. Byt mozhet, nyet I mne spasenia! The hour of my victory is coming soon! Vremyon ot vechnoi temnoty, Ah, accursed rival, wander across the land Byt mozhet, nyet I mne spasenia! In the grip of despair, disappointment Byt mozhet, na kholme nemom and torment. Postavyat tikhii grob Ruslanov, You may struggle against your enemies; I struny gromkie Bayanov And besiege fortresses. Ne budut govorit o nyom. But I will remain safely in the castle No dobryi mech I shchit mne nuzhen: Of my forbears, awaiting Naina’s com- Na trudnyi put ya bezoruzhen, mands, I pal moi kon, ditya voiny, I will triumph effortlessly! I shchit, I mech pazdrobleny. The long-awaited day is near, the day of Dai, Perun, bulatnyi mech mne po ruke, joy and love. Bogatyrskyi, zakalyonnyi v bitvakh Ludmila, your weeping and laments are mech, in vain, etc. V rokovuyu buriu gromom skovannyi! Shob vragam v glaza on grozoi blistal, Shtob ikh uzhas gnal s polya ratnova, 3. Glinka: Ruslan and Ludmila Shtob vragam on grozoi blistal! Ruslan’s aria and cabaletta: O pole, O Ludmila, Lel sulil nam radost; pole Sertse verit, shto proidyot nenastie, Shto smigchonnyi rok otdast mne O, pole, pole, I liubov tvaiu, I laski, Kto tebya useyal myortvymi kostyami? I useyet zhizn mayu tsvetami. Chei borzyi kon tebya toptal Nyet, nedolgo likovat vragu! V poslednii chas krovavoi bitvy? Dai, Perun, bulatnyi mech mne po ruke, 11 Bogatyrskyi, zakalyonnyi v bitvakh mech, Oh, field, field! V rokovuyu buriu gromom skovannyi! Who has strewn these bones across you? Shob vragam v glaza on grozoi blistal, Whose steed has trampled you Shtob ikh uzhas gnal s polya ratnova! At the battle’s end? Kak letuchyi prakh ya rasseyu ikh! And who died honorably? Bashni mednye – ne zashchita im. Whose prayers did heaven answer? Pomogi, Perun, porazit vragov! Oh, field! Why are you now silent? Chary strashnye ne smutiat, ne smutiat Why does the grass of forgetfulness now menya. cover you? Dai, Perun, bulatnyi mech mne po ruke, Perhaps eternal darkness will also claim Bogatyrskyi, zakalyonnyi v bitvakh mech, me. V rokovuyu buriu gromom skovannyi! Perhaps, on some quiet hill, Shob vragam v glaza on grozoi blistal, Someone quietly digs Ruslan’s grave; Shtob ikh uzhas gnal s polya ratnova, Perhaps the bards’ harp-strings O Ludmila, Lel sulil mne radost; Will never resound to his name. Sertse verit, shto proidyot nenastie, For I need a sure sword and shield. Shto smigchonnyi rok otdast mne For along danger’s path, I liubov tvaiu, I laski, I have lost my weapons. I useyet zhizn mayu tsvetami. My trusty charger, raised in combat, has Nyet, nedolgo likovat vragu! perished. Tshchetno volshebnaya sila My sword and shield are shattered. Tuchi sdvigaet nan as; Grant me, Perun, a sword made to my Mozhet, uzh blizok, Ludmila, measure; Sladkyi svidaniya chas! A champion’s sword, tempered in battle’s V sertse, liubimom toboyu, fury, Mesta ne dam ya toske. A sword that will, like lightning, Vsio sokrushu predo mnoyu, Flash in the eyes of my enemy; Lish by mne mech, po ruke! So that the mere sight of it Will drive him from the battlefield! Oh, Ludmila! Lel has promised me victory; 12 There is no doubt in my heart Mayu pobedu nad vragom, That the forces of evil will be van- I brannoi slavy goresnyi konets, quished; Pogrom,i ranu, i moi plen, That benevolent fate will return I gibel vsekh maikh polkov, Your love and caresses to me; Chesno za rodinu golovu slozhifshikh. That flowers will festoon my days. Pogiblo vsio: i chest maya, i slava, No, the enemy’s rejoicing will not last! Pozorom stal ya zemli rodnoi: Grant me, Perun, a sword made to my Plen, postydnyi plen! measure; Vot udel otnyne moi, A champion’s sword, tempered battle’s fury, Da mysl, shto vse vinyat menya. A sword that will, like lightning, O daite, daite mne svabodu! Flash in the eyes of my enemy; Ya moi pazor sumeyu iskupit. So that the mere sight of it Spasu ya chest svayu i slavu, Will drive him from the battlefield! Ya Rus ot nedruga spasu. Help me, Perun, to defeat my enemies. Ty odna, golubka lada, Like ashes I will scatter them. Ty odna vinit ne stanesh, A bronze fortress will not protect them. Sertsem chutkim vsio paimyosh ty, No spells can hold back my arm. Vsio ty mne prostish. V teremu tvayom vysokom V dal glaza ty progliadela, 4. Borodin: Prince Igor Druga zhdiosh ty dni i nochi, Prince Igor’s aria: Ne sna ne Gorka sliozy liosh! otdykha Uzheli den za dniom Vlachit v plenu besplodno Ni sna, ni otdykha izmuchennoi dushe, I znat, shto vrak terzayet Rus? Mne noch ne shlyot otrady I zabvenya, Vrak – liutyi bars! Vsio proshloe ya vnov perezhivayu Stonet Rus v kogtiakh maguchikh, Odin v tishi nochei: I v tom vinit ona menya. I bozhia znamenya ugrozu, O daite, daite mne svabodu! I brannoi slavy pir vesyolyi, Ya svoi pazor sumeyu iskupit. 13 Ya Rus ot nedruga spasu! My dove, my gentle wife, Ni sna, ni otdykha izmuchenoi dushe, You alone do not blame me, Mne noch ne shliot nadezhdy na spasenie: For your adoring heart Lish proshloe ya vnov perezhivayu Understands and forgives. Odin v tishi nochei. You see far from your palace heights; I net iskhoda mne! You wait, with wounded eyes Okh, tiashko, tiashko mne! Dripping tears, day and night. Tiashko soznanie bessilia maevo! Must I endure my existence Day after day, as a captive – knowing There’s no sleep, no repose That Russia’s enemies torment her? For my tortured soul. An enemy without mercy; in its grip, Even the night Russia struggles, and blames me! Brings no peace or comfort, Oh, just grant me my freedom, And alone, in night’s silence, And I will sweep my shame away; I relive the past. I will save our Russia from the enemy. Heaven’s warning, There’s no sleep, no repose At my joyful feast of vanity; For my tortured soul. But then, the bitter disaster: Even the night brings no peace or comfort, I am wounded and a prisoner; And alone, in endless night’s silence, My army is destroyed, I relive the past. Fallen, with honor, for our country. I suffer helplessly, Oh Lord – I suffer, My own honor and glory are gone; Knowing that I can do nothing! I am now my nation’s curse. Captivity, wretched captivity, Is now my fate! 5. Mussorgsky: Boris Godunov And, to think, that all now blame me. Varlaam’s aria: Kak vo gorode Oh, just grant me my freedom, bylo vo Kazani And I will sweep my shame away; I will regain all glory and honor, Kak vo gorode bylo, vo Kazani. I will deliver our Russia! Groznyi tsar piroval da veselilsya. 14 On tatarei bil neshchadno, There he ravaged the Tatar horde, Shtop im bylo nipavadno Sparing no man, leaving no maid un- Vdol po Rusi guliat. touched. Tsar podkhodom podkhodil Russia then knew glorious days! Da pod Kazan-gorodok; Ivan, drawing ever closer On podkopy podkapal Around Kazan’s walls, Da pod Kazanku pod reku. Thrust his mines ever further Kak tatare-ti po gorodu pokhazhivaiut, Beneath the city’s gates. Na tsaria Ivana-ti poglyadivaiut The Tatars there watched our distant Zli tatarove! camp, Groznyi tsar- ot zakruchinilsya, Their eyes ever fixed upon our merciless On pavesil golovushku na pravoe plecho. Tsar. Uzh kak stal tsar pushkarei szyvat, Tatars sly and savage! Pushkarei vsio zazhigalshchikov, Tsar Ivan, dark and brooding, Zazhigalshchikov! Bent his head over his right shoulder, Zadymilasya svechka vosku yarova, Thus he gave his men the order, Podkhodil molodoi pushkar - ot k boch Before he made an end to it. echke. The fusiliers held their fuses ready – A I s porokhom-to bochka zakruzhilasya. Steady, fusiliers! Oi, po podkopam pokatilasya, With their tapes of purest wax, burning Da i grokhnula. bright, Zavopili, zagaldeli zli tatarove, They take their stand by the powder Blagim matom zalivalisya. barrels; Poleglo tatarovei tma-tmushchaya, Soon the barrels are rolling fast. Poleglo ikh sorok tysiachei da tri tysia- Ho! Make the lines sure and stout, chi. Then set the train afire! Tak-to vo gorode bylo vo Kazani… E! The vicious Tatar horde yelled aloud; By my soul, how their cries tore the air. At Kazan, where long ago I fought, The despised enemy lay Strewn every- Tsar Ivan and his lieutenants sat feasting. where. 15 We blew forty thousand Tatars Iz-za gory tikhonko vstanet To hell, on that glorious day! I na tebya ulibkoi vzglianet,- Long ago, when I fought at Kazan – Ho! K tibe ya stanu priletat! Gostit ya budu do dennitsy, I na shelkovye resnitsy 6. Rubinstein: The Demon Sny zolotye navevat. Demon’s aria: Na Vozdushnom Okeane In the ocean of the sky, With neither rudder nor sails. Na Vozdushnom Okeane The stars’ harmonious choirs Bez rulia I bez vetril, Drift gently in the mist. Tikho plavaiut v tuname Mysterious flocks of fleecy sheep Khori stroinye svetil; Traverse heaven’s endless fields, Sred polei neobazrimykh Leaving no trail. V nebe khodiat bez sleda The moment of meeting, Oblakov niulovimykh Like the moment of parting, Voloknistye stada. Bring them neither joy nor sadness. Chas razluki, chas svidaniya They neither yearn for the future, Im ni radost, ni pichal; Nor rue the past. Im v griadushchem net zhelanya, Think of them in days of grief and pain; Im proshedsheva ne zhal. Forget everything earthly – V den tomitelnyi neshchastya Like them, be serene. Ty o nikh lish vspominai; And as soon as night’s darkness covers Bud k zemnomy nez uchastya, The Caucasus’s peaks with its veil, I bespechna, kak oni. As soon as the world is calmed – Lish tolko noch svaim pakrovom As if a magic word has stilled it – Verkhi Kavkaza osenit, I will pay you a visit; Lish tolko mir, volshebnym slovom I will stay by you till dawn, Zavorozhyonnyi, zamolchit; And upon your closed eyes, Lish tolko mesyats zolotoi I will scatter dreams of gold. 16 7. Tchaikovsky: Eugene Onegin V nebe chistom, Gremin’s aria: Liubvi vsem I mne yavliaetsa vsegda vozrasty pokorny V siyanie angela, V siyanie angela luchistom!... Liubvi vsem vozrasty pokorny, Liubvi vse vozrasty pokorny, Eio paryvi blagatvorny Eio paryvi blagatvorny I unoshe v rastsvete let I unoshe v rastsvete let Edva uvidevshemu svet Edva uvidevshemu svet I zakalennamu sudboi I zakalennamu sudboi Baitsu s sedou golovoi. Baitsu s sedou golovoi. Onegin, ya skryvat ne stanu Onegin, ya skryvat ne stanu Bezumno ya liublu Tatianu! Bezumno ya liublu Tatianu! Tosklivo zhizn maya tekla… Tosklivo zhizn maya tekla… Ana yavilas I zazhgla Ana yavilas I zazhgla Kak solntsa luch sredi nenastya, Kak solntsa luch sredi nenastya, Mne zhizn, I molodost, I zhizn, i molodost, Da, molodost I shchastie. Da, molodost i shchastie. Sredi lukavykh, malodushnykh, I zhizn, i molodost, i shchastie. Shalnykh, balovannykh detei, Zladeev i smeshnykh i skushnykh, Love has nothing to do with age, Tupikh, priviaschivykh sudei, Its passionate joys bless both Sredi koketok bogomolnykh, Those in youth’s bloom, Sredi khlopiev dobrovolnykh, Still unwise in ways of the world; Sredi vsednevnykh modnykh stsen, Also the grey-headed warrior Uchtivykh, laskovykh izmen Guided by experience! Sredi kholodnykh prigovorov Onegin, I won’t hide from you Zhestokoserdnoi suety, That I love Tatyana insanely! Sredi dosadnoi pustoty My existence was a dreary routine; Raschotov, dum i razgovorov, - But she appeared and brightened it Ana blistaet kak zvezda vo mrake nochi, Like a sunbeam out of a stormy sky, 17 Bringing me new life and youth: Indeed, youth and joy! Indeed, youth and happiness! Love, youth and happiness! Among such foolish, mean-spirited, Spoiled and deceitful children; Those silly and dim-witted scoundrels – 8. Tchaikovsky: Iolanthe Stupid and reckless judges; King Rene’s aria: Gospod moi, Among the self-righteous coquettes yesli greshin ya And slavish sycophants; Amid friendly, but faddish hypocrites Shto skazhet on? And courteous, smiling faithlessness; Kakoi obet proiznesyot yevo nauka? Amid the cold condemnation Uvidit Iolanta svet, il suzhdena mne Of hard-hearted vanity; vechno muka… Amid the irritating emptiness Znat doch mayu, obyatoi tmoyu?... Of scheming thought and discourse … O Bozhe, szhalsya nado mnoyu! She illuminates night’s darkest hour Gospod moi, yesli greshin ya, Like stars in a clear, clean sky; Za shto stradaet angel chistyi? To me, she always appears Za shto poverg iz-za menya With the glowing halo of an angel! Vo tmu Ty vzor iyo luchistyi? Love has nothing to do with age, Podai mne radosnuyu vest, Its passionate joys bless both Utesh nadezhdoi istselenya! Those in youth’s bloom, Ya za niyo gotov prinest Still unwise in ways of the world; Koronu, vlast, moi vladenya… Also the grey-headed warrior Lishi menya vsevo – pokoya, shchastya. Guided by experience! Ya vsio smirenno preterplu, Onegin, I won’t hide from you Za vsio Tebya blagoslovliu! That I love Tatyana insanely! Smotri, gotov vo prakhe past ya, My existence was a dreary routine; Vsevo lishitsya, vsio otdat, But she appeared and brightened it No tolko dai mne ne vidat Like a sunbeam out of a stormy sky, Mayo ditya, obyatim tmoyu! Bringing me new life and youth: O Bozhe, szhalsya nado mnoi, 18 Pered Toboi gotov vo prakhe past ya, 9. Glinka: A Life for the Tsar O Bozhe, Bozhe moi, szhalsya, Susanin’s aria: “Chuyut pravdu” Szhalsya nado mnoyu! Chuyut pravdu! What will he tell me? Smert blizka! What will science decide? Mne ne strashna ona… Will Iolanthe ever see again? Svoi dolg ispolnil ya… Or is it my fate to suffer forever Primi moi prakh, mat-zemlya. Knowing my daughter Ty vzaidyosh, maya zarya! Languishes in darkness? Nad mirom svet prolyosh, Oh Lord, have pity on me! Pasledniyi ras vzaidyosh, Lord, if I have sinned, Luchom privetnym garya. Why must an innocent angel pay the Gospod, v nuzhde maei price? Ty ne ostav menya. Why have you quenched Gorka maya sudba! Iolanthe’s glowing gaze Tyazhka maya pechal! With eternal darkness? Zakralas v grud toska, Offer me the welcome hope for a cure. Legla na sertse skorb… For that, I’ll gladly give up everything: Mne tyashko umirat, My crown, my scepter, my entire kingdom. No dolg moi chist I svyat… Take it all: even my peace and happiness; Ty vzaidi,vzaidi zarya! I will humbly accept it all, Nad mirom svet prolei, And bless you for it! Vzgliani na Rus mayu, See, I am ready to renounce everything; Luchom yiyo ty sogrei! To turn myself into dust, Moi chas nastal! If only to know that my daughter Moi smertnyi chas! Is freed from her sentence of darkness. Dai sily mne, My Lord, take pity on me; Rodnaya mat maya zemlya! I will gladly fall into dust before you – V paslednii raz dai sily mne! Have mercy on me, oh Lord! Moi chas nastal! 19 Primi moi prakh, zemlya! 10. Prokofiev: War and Peace Moi chas nastal! Kutuzov’s aria: Velichavaya v Primi moi prakh, zemlya! solnichnih luchax.

They suspect the truth! Velichavaya, v solnechnykh luchakh Come swiftly, Dawn, Mater russkikh gorodov, And let me know Ty raskinulas pered nami, Moskva! That my Tsar is secure! Uzhli blizitsya skorbnyi, tyazhkii chas, When you break, dawn – Voisko russkoe dolzhno My last dawn – Ot svyashchennykh sten bez boyov I will see your light otoiti? And I will know Derznul kovarnyi vrag That my time has come. Vstupit na nashu zemliu Lord, don’t abandon me I skoro on vosplachet. In my time of travail. Liubov k otechestvu, How callous is my destiny! I khrabrost voiska, Dreadful despair I molitvy nashi Fills my soul, Nam dadut pobedu. And seizes my heart. Potvorstvovat Rossia ne privykla, How awful to die V boyakh svobodu otstoit narod. Under such torment. Otechestvu my vernyom spokoistvie, When you break, dawn – I mir drugim narodam. My last dawn – V belokamennoi matushke-Moskve I will see your light Ne vozmozhet vrag vo vek And I will know Podchinit sertsa khrabrykh, volnykh That my time has come. ludei. Strengthen me Vsia useitsa Russkaya zemlya At the hour of my doom; Nepriyatelya kostmi, Lord, strengthen me Pobedit vraga In this terrible moment! Nash velikyi narod! 20 Majestic, flashing in the sunshine, O skaly groznye drobyatsa s ryovom The mother of Russian cities, volny You stretch before us, Moscow! I, s beloi penoyu krutias, begut nazad. Are sad, hard times coming? No tviordo serye utiosy vynosyat voln Will the Russian army abandon napor These sacred walls without a fight? Nad morem stoya. A sinister enemy has invaded our Ot skal tekh kamenykh u nas, varyagov, country, kosti, But he will soon regret it. Ot toi volny morskoi v nas krov-ruda The love we bear for our native land, poshla. Our troops’ bravery, A mysli tainy ot tumanov, And our prayers will win us the victory. My v more radilis umryom na more. Russia does not pander to its foes; Mechi bulatny, strely ostry u variagov, Our people will fight to defend their Nanosyat smert oni bez promakha freedom. vragu. They will restore calm living to our Otvazhny liudi stran polnochnykh, Fatherland Velik ikh Odin-bokh, ugriumo more. And bring peace to other nations. Amid the white stones of mother Moscow, Thundering waves break against loom- The enemy can never conquer ing cliffs, The hearts of our valiant, free people. Then roll back in foamy white swirls. All of Russia will be strewn But the rocks never give way With the bones of our enemy; To the waves’ assault, Our great nation will vanquish the foe! Still standing high above the sea. We Vikings’ bones are like those rocks; Our blood is like those ocean waves, 11. Rimsky-Korsakov: Sadko And our minds, like the mists, are Viking Song: Pesnya mysterious. Voryazskovo gostya We are born at sea, and we die at sea! Vikings’ swords pierce like sharp arrow- 21 heads, Uzh i kak na Rusi tsaryu Borisu, slava! Bringing certain death to the foe. Slava! Brave are the men from the midnight lands … Zhivi i zdravstvuy! Tsar nash batyushka, Their god, Odin, is great … their sea is dark. Tsar zdravstvui! Tsar nash batyushka, batyushka tsar!

12. Mussorgsky: Boris Godunov Tsar ty batyushka nash, zhivi i zdravst- Coronation scene, with Boris’s vuite! aria: Skorbit dusha Raduisya, lyud! Raduisya, veselisya, (Editor’s note: The solo and ensemble lyud! roles of Prince Shuyski and the Boyars are sung in this performance by multiple Pravoslavni lyud! Velichai tsarya Borisa voices from the chorus) i slav!

PRINCE SHUYSKI: BOYARS: Da zdravstvuet Tsar Boris Feodorovich! Da zdravstvuet tsar Boris Feodorovich! CROWD: CROWD: Zhivi i zdravstvui, tsar nash batyushka! Slava! Slava! Slava! SHUYSKI: Tsar ty batyushka nash! Slavte! Tsar ty batyushka nash! CROWD: Tsar yi nash! Uzh kak na nebe solntsu krasnomu slava, slava! BOYARS: Da zdravstvuet tsar Boris Feodorovich! 22 CROWD: CROWD: Da zdravstvuet! Slava! Slava! Slava! Uzh kak na nebe solntsu krasnomu Zhivi zdravstvui, slava, slava! Tsar nash batyushka! Uzh kak na Rusi tsariu Borisu slava, slava tsariu, Uzh kak na nebe solnytsku krasnomu slava, slava! Slava! Slava! Slava! Slava! Uzh i slava na Rusi tsariu Borisu, slava! BORIS: Slava i mnogaya leta! Skorbit dusha! Kakoi-to strakh nevolnyi Slava! Slava! Slava! Zloveshchim pridchus- tviem skaval mne sertse. PRINCE SHUISKY: O pravednik, o moi otets derzhavnyi! Vozzri s nebes na sliozy vernykh slug Long live our Tsar Boris Feodorovich! I nisposhli ty mne sviashchennoe CROWD: Na vlast blagoslovenie: Long life to our sovereign, Tsar of Russia! Da budu blag i praveden, kak ty; Da k slave pravlu svoi narod… SHUISKY: Tiper poklonimsya Hail him! Pochiyushchim vlastitelyam Rusii. A tam szyvat narod na pir, CROWD: Vsekh, ot bayar do nishchevo sleptsa, Like the Sun in the heavens, Vsem volnyi vhot, Supreme in its radiance, Vse – gosti dorogie! Our Tsar Boris now reigns In glory over Russia! 23 Long live our sovereign! Now let us go to kneel in prayer Tsar, our guardian! At the tombs of Russia’s kings. O people, give voice to your joy! Then shall all the people feast, Faithful Christian people! Yes, every man from noble down to serf. Let us all now hail Boris, our Tsar, There will be room for everyone; And rejoice! All will be my honored guests.

BOYARS: CROWD: All hail to thee, Tsar Boris Feodorovich! Glory! Glory! Glory! Long life to our sovereign, CROWD: Tsar of Russia! Honor and glory to you, our father! All hail to thee! As the sun shines supreme in heaven, Boris now reigns in glory Boris now reigns over Russia in glory, Over Russia! And long may he prosper! Glory! Glory! Glory! Glory! Glory! BORIS: Sadness afflicts my soul! Ildar Abdrazakov [ahb-drah-ZAH-koff] Against my will, has quickly established himself as one of Strange tremblings and evil forebodings opera’s most sought-after basses. Since Afflict my spirit! making his La Scala debut in 2001 at only O you, my noble father – O saint long 25, the Russian singer has become a main- dead – stay at leading houses worldwide, including You see from Heaven your faithful New York’s Metropolitan Opera, the Vi- servant’s tears! enna State Opera, and Munich’s Bavarian Look down upon me; send your blessing State Opera. His powerful yet refined voice From on high upon my kingdom. coupled with his compelling stage presence May I be as true and merciful as you, have prompted critics to shower him with Deserving of my peoples’ praise. rave reviews. Also an active concert artist, 24 he has performed at London’s BBC Proms Grammy Awards). In addition, Abdraza- and at Carnegie Hall, as well as with leading kov teams up with tenor Ramón Vargas international orchestras, including the Chi- for a recital program at Paris’s Théâtre des cago Symphony and . Champs-Élysées. Abdrazakov launched his 2013-14 season with his staged role debut as the epony- Since making his Met debut in 2004 in mous anti-hero of Boito’s , in under , Ab- which he opened the San Francisco Op- drazakov has appeared there regularly: era’s new season. Upcoming highlights in 2008-09 he headlined a new produc- also include headlining Borodin’s Prince tion of Verdi’s , and in 2011-12 he Igor, in the Met’s first new production of made his role debuts as King Henry VIII the opera since 1917; undertaking the in the Met’s season-opening production four villains in Offenbach’s Les contes of Donizetti’s and as Dosi- d’Hoffmann at the Vienna State Opera; fei in Mussorgsky’s Khovanshchina. At and singing Banquo in Verdi’s La Scala, he joined Muti in concert for alongside Anna Netrebko, Simon Keen- the reopening of the theater in 2004-05, lyside, and Joseph Calleja at the Munich and that same season he sang Moses in Opera Festival. On the concert stage, a production of Rossini’s Moses and Pha- the new season sees Abdrazakov join raoh that was recorded and released on the London Symphony Orchestra under CD and DVD. It was in the same role – for Berlioz’s La damna- in a new production led by Muti – that tion de and Roméo et Juliette in the Russian bass made his Salzburg Fes- London and Paris; take part in Berlioz’s tival debut in 2009, a role that he has also Missa solemnis with and sung with the Italian maestro in Rome. the Vienna Philharmonic; and reunite Abdrazakov first appeared at London’s with Muti at the Chicago Symphony to in 2009, performing celebrate the Verdi bicentennial with a Verdi’s in concert with Antonio reprise of the Italian composer’s Requiem Pappano, and he has since returned there (the bass’s 2010 live recording of the work to sing Don Basilio in Rossini’s Barber of with Muti and the CSO garnered two Seville. 25 The title role in In addition to his Grammy Award-win- was the vehicle for Abdrazakov’s 1998 ning recording of Verdi’s Requiem with house debut at St. Petersburg’s Mariinsky Muti in Chicago, Abdrazakov has recorded Theatre. Among his other signature roles unpublished arias by Rossini with Chailly are both the title character and Leporel- in Milan for Decca and Cherubini’s Mass lo in Mozart’s Don Giovanni; Méphis- with Muti in Munich for EMI Classics. For tophélès in Gounod’s Faust and Berlioz’s Chandos, he has recorded Shostakovich’s ; Oroveso in Bel- Suite on Verses of Michelangelo and Rach- lini’s ; Selim in Rossini’s Turk in maninoff’s , both with Italy, and Assur in his . The Noseda and the BBC Philharmonic. The Russian bass is noted for Verdi roles in- bass’s DVD releases include from cluding Walter in and the Bilbao, Norma from Parma, and Lucia di title character in Oberto, as well as Attila Lammermoor from the Met. Marking the and Banquo. Verdi bicentennial, May 2013 saw Abdra- zakov’s star turn in the title role of Attila Abdrazakov has appeared with virtually immortalized on the Mariinsky label’s first every major opera company in the Unit- DVD/Blu-ray release. ed States and Europe. In addition to those already mentioned, he has graced the Born in 1976 in the city of Ufa, then the major stages in Barcelona, Madrid, Par- capital of the Soviet republic of Bashkiria, is, San Francisco, Washington DC, and Ildar Abdrazakov traces his lineage back Los Angeles. On the concert stage, he has to Genghis Kahn. The son of artists, his given recitals in Russia, Italy, Japan, and mother was a painter and his father was a the United States, and performed with director. Childhood acting experience in major orchestras in Chicago, Vienna, his father’s stage and film productions in- Leipzig, Munich, Rotterdam, Paris, Milan, spired him to pursue a career in the arts. and Rome. Other noted conductors with On graduating from the Ufa State Insti- whom he has collaborated are Valery Ger- tute of Arts, he joined the Bashkirian Op- giev, , Bernard de Bil- era and Ballet Theatre. In the late 1990s, ly, , and . he won a string of prestigious interna- 26 tional vocal competitions: the Moscow rope, UK, Japan, Korea, and other music Grand Prix named after Irina Arkhipova capitals throughout the world. as well as the Glinka, Rimsky-Korsakov, and Obraztsova competitions. His 2000 Orbelian’s appointment in 1991 as Music win at the Maria Callas Competition in Director of the Moscow Chamber Or- Parma thrust him into the international chestra was a breakthrough event: he is spotlight and led to his debut at La Scala the first American ever to become music the following year. director of an ensemble in Russia. This “American in Moscow” is well known as www.ildarabdrazakov.com a tireless champion of Russian-Ameri- www.facebook.com/abdrazakov can cultural exchange and international twitter.com/ildarabdrazakov ambassadorship through his worldwide tours. In January 2004, President Putin awarded Orbelian the coveted title “Hon- “Constantine Orbelian stands astride ored Artist of Russia,” a title never before two great societies, and finds and pro- bestowed on a non-Russian citizen. In motes synergistic harmony from the best May 2010, Orbelian led the opening Cer- of each.” (Fanfare) For over 20 years the emonial Concert for the Cultural Olym- brilliant American pianist /conductor pics in Sochi, Russia — the first event set- has been a central figure in Russia’s musi- ting the stage for Russia’s hosting of the cal life — as Music Director of the Mos- Olympic Games in 2014. cow Chamber Orchestra and the Philhar- monia of Russia, and as frequent guest “Orbelian has star quality, and his or- conductor with other illustrious Russian chestra plays with passion and precision,” orchestras. In 2013 he also became Chief The Audio Critic wrote of his acclaimed Conductor of the Kaunas City Symphony series of over 30 recordings on Delos. Orchestra. He tours with American stars Among his recent concert and televised in Russian and European music centers, appearances are collaborations with and with Russian stars in North Amer- stars Renée Fleming and Dmitri Hvoros- ican music centers, and extends these tovsky, and with Van Cliburn in Cliburn’s splendid collaborations to tours in Eu- 27 sentimental return to Moscow, the great Born in San Francisco to Russian and Ar- pianist’s last performance. Opera News menian emigré parents, Constantine Or- calls Orbelian “the singer’s dream collab- belian made his debut as a piano prodigy orator,” and commented that he conducts with the San Francisco Symphony at the vocal repertoire “with the sensitivity of age of 11. After graduating from Juilliard a lieder pianist.” Orbelian’s frequent col- in New York, he embarked on a career as laborations with Hvorostovsky include a piano virtuoso that included appear- repertoire from their Delos recordings ances with major symphony orchestras “Where Are You, My Brothers?” and throughout the U.S., U.K., Europe, and “Moscow Nights,” featured on many Russia. His recording of the Khachaturi- tours and telecasts. On several occasions an piano concerto with conductor Neeme he has conducted historic live telecasts Järvi won “Best Concerto Recording of from Moscow’s , the latest of the Year” award in the United Kingdom. which took place on June 19, 2013, with Hvorostovsky and Anna Netrebko. From his 1995 performance at the 50th Anniversary Celebrations of the Unit- Recently Orbelian has turned to film to ed Nations in San Francisco, to his 2004 create more of his unique American/Rus- performance at the U.S. State Depart- sian collaborations. His first film produc- ment commemorating 70 years of diplo- tion, “Renée Fleming and Dmitri Hvo- matic relations between Washington and rostovsky: An Odyssey in St. Petersburg,” Moscow, and a repeat State Department was filmed in St. Petersburg’s most glori- appearance in 2007, all with the Moscow ous palaces, and stars Renée Fleming and Chamber Orchestra, Orbelian continues Dmitri Hvorostovsky in opera scenes and to use his artistic eminence in the cause of arias. The film is in some ways a culmina- international goodwill. He and his orches- tion of Orbelian’s efforts in St. Petersburg, tras also participate in cultural enrich- since he is founder and Music Director of ment programs for young people, both in the annual Palaces of St. Petersburg In- Russia and the U.S. In 2001 Orbelian was ternational Music Festival. awarded the Ellis Island Medal of Honor, an award given to immigrants, or children 28 of immigrants, who have made outstand- The orchestra also appeared at the ing contributions to the United States. opera contest show Arc of Triumph for two years on Lithuanian National The Kaunas City Symphony Orchestra Television. Among the group’s prominent grew from the Kaunas Chamber Orche- highlights in the 2012/2013 season are stra, which was founded in 1988 and since its collaboration with famous baritone 2000 has been managed by Algimantas Dmitri Hvorostovsky and Maestro Treikauskas. Its previous principal con- Orbelian, as well as its appearance at the ductors were Pavel Berman, Modestas Murten Classics festival in Switzerland Pitrenas and Imants Resnis; the position under the baton of Kaspar Zehnder. now belongs to American maestro Con- The orchestra’s discography includes stantine Orbelian. several CDs. A number of recent projects were recorded for Delos with several of The Kaunas City Symphony Orchestra today’s most famous voices, conducted gives concerts at home in Lithuania by Maestro Orbelian. In addition to the and abroad – including Latvia, Estonia, present album, tenor Lawrence Brownlee Norway, Switzerland, Germany, Finland, stars in a Delos March 2014 release and Italy. It appears regularly at various showcasing some of the most demanding international festivals, presents special bel canto repertoire (DE 3455). There concert projects and gives theme- is also a new recording of Giuseppe oriented concerts. Many famous Verdi’s starring Dmitri Lithuanian as well as foreign soloists Hvorostovsky, and and conductors have collaborated with Stefano Secco (DE 3457). The latter will the orchestra – which organizes and be released in September 2014. appears in around 50 concerts per year. A highly versatile ensemble, the orchestra The Kaunas State Choir (KSC) has specializes in various genres of classical been directed by professor Petras Bingelis and contemporary music, including – a recipient of the Lithuanian National crossover projects with such groups as Award – ever since its founding in 1969. The Scorpions, Smokie, and the Electric Light Orchestra, to name a few. 29 Since then, the Choir has performed graphic reach continues to expand. The more than 150 major classical vocal-in- choir has delivered concerts in many of strumental works ranging from the Mid- the world’s most famous concert ven- dle Ages to modern times. Following ues – to include the Academy of Saint Lithuania’s restoration of independence Cecilia in Rome, Notre Dame Cathedral – and particularly after the choir be- in Paris, and the Great Hall of Moscow gan its collaboration with the legendary – as well as the opera houses of Warsaw, 20th-Century violinist and conductor Sir Cairo and other capitals. The ensemble’s Yehudi Menuhin – the choir’s concert life excellent reputation has prompted invita- became extremely active and purposeful. tions to perform with many of the finest The European press once referred to the symphony orchestras: The State Sym- KSC as “…the greatest musical discovery phony Orchestra of the Russian Feder- of the year.” The choir also collaborated ation, the Moscow and closely with the distinguished German Philharmonic Orchestras, the Orchestra pianist and conductor Justus Frantz. The of Paris, and the Philharmonia of the Na- KSC also developed an especially mean- tions – among others. Together with the ingful creative friendship with master latter orchestra, the KSC took part in a cellist and conductor Mstislav Rostropo- gala concert celebrating the UNESCO vich, who had a very high opinion of the decision to include the manuscript of choir’s professional mastery – calling it Beethoven’s Symphony No. 9 in the cata- one of the finest musical ensembles he logue of documentary heritage, Memory had worked with anywhere in the world. of the World. The choir is a regular par- At the turn of the century, the choir be- ticipant in events and concerts celebrat- came closely associated with the Polish ing the national holidays of Lithuania as composer Krzysztof Penderecki and his well as other festive occasions. The choir music. often performs in honor of distinguished visitors to Lithuania. Such occasions in- The KSC has given more than 3000 per- clude Pope John Paul II’s apostolic visit formances, both in Lithuania and abroad; and the opening ceremony of the Palace often far beyond its borders, and its geo- of the Grand Dukes of Lithuania, where 30 the choir sang for the gathering of mon- ny No. 9, Schubert’s Masses in C and archs and political leaders of nations A-flat (under Menuhin), V. Artiomov’s across Europe. Requiem, and Mahler’s “Resurrection” Symphony (No. 2). Their opera record- The choir’s discography is broad and ings include Mozart’s The Magic Flute diverse, to include Handel’s Messiah, and Verdi’s Otello. Haydn’s Creation, Beethoven’s Sympho-

Executive Producer: Carol Rosenberger Producer: Vilius Keras Balance and Recording Engineer: Vilius Keras Recording Engineer and Editing: Aleksandra Suchova Text Transliterations: Marina Ter-Mikaelian Booklet Editor: Lindsay Koob Art Design/Layout: Lonnie Kunkel Recorded at Kaunas Philharmonic May 9-13, 2013 (Kaunas, Lithuania) Equipment: Neumann, Schoeps and DPA microphones; Mogami cables; RME pre-amplifiers and A/D converters; Sequoia workstation; Dynaudio AIR loudspeakers; Sennheiser headphones.

© 2013 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 31

More often than not, Russian operas are about the power of sound, a ringing tone that reaches from Vladivostok to Moscow. Correspond- ingly, Russian operas afford a number of plum roles to basses and bass-baritones, offering them characters that wield either explicit or subtle control over their fellow characters and the plots at hand. With this album, Ildar Abdrazakov explores not only the dynamics of the Russian sound, but also the dynamics of power in iconic characters who find themselves commanding armies, condemning humanity, or reigning from the throne, and how such power weighs on their hearts, minds, and souls.

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