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A & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 AN ANTHOLOGY OF NINETEENTH-CENTURY RUSSIAN FOR : A GUIDE TO PERFORMANCE

D. M. A. DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

by

Larry Wayne Fralick, Jr., B.M., M.M.

* * * * *

The Ohio State University 1995

Dissertation Committee: Approyed by

Karen Peeler C A dvisor Margarita Mazo School of Music

C. Patrick W oliver UMI Number: 9533919

Copyright 1995 by Fralick, Larry Wayne, Jr. All rights reserved.

UMI Microform 9533919 Copyright 1995, by UMI Company. All rights reserved.

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, MI 48103 ACKNOWLEDGMENTS

I wish to express my sincere appreciation to the following people for their support in this effort: Tym Rondomanski, for his assistance in translating the the Pushkin arias; Professor Eileen Davis, for helping me locate an IPA font; Amy Rosine, for acquiring scores through inter-library loan; my advisor, Dr. Karen Peeler, who has helped me "long-distance"; my aunt and uncle, Edwina and Jim Chaney, for supplying me with a place to stay as I wrote this document; and my parents, Anna and Larry for encouraging me throughout my college career. VITA

21 October 1963 ...... Bom - Kansas City, Missouri 1985...... B. M., Friends University, Wichita, Kansas

1988...... M. M., Kansas State University, Manhattan, Kansas

1990...... Ph. D., ABD, The Ohio State University, Columbus, Ohio

FIELD OF STUDY

Major Field: Music Studies in Vocal Music Education, Music History, Vocal Performance TABLE OF CONTENTS

ACKOWLEDGMENTS...... ii VITA ...... iii TABLE OF C O N T E N T S ...... iv RECITAL I ...... vi RECITAL I I ...... vii RECITAL I I I ...... viii RECITAL I V ...... x

CHAPTER PAGE I. INTRODUCTION ...... 1 II. RUSSIAN PHILOSOPHICAL AND SOCIAL DEVELOPMENT DURING THE GENESIS AND GROWTH OF RUSSIAN ...... 6

III. A HISTORY OF RUSSIAN OPERATIC DEVELOPMENTS THROUGH THE NINETEENTH CEN TU RY ...... 10

IV. A CATALOGUE OF THE NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR BY T Y P E ...... 27

V. ARIA TRANSLATIONS AND INFORMATION .... 43

APPENDICES

A. A Chronological List of the Nineteenth-Century Russian Arias for T e n o r...... 209

i v B. A List of Nineteenth-Century Russian .... 219

BIBLIOGRAPHY ...... 224

v RECITAL I

JR Fralick, tenor Jonathan Smith,

Friday, October 8,1993,8:00 p.m. Weigel Hall Auditorium

PROGRAM

Comfort Ye My People...Ev'ry Valley George Frederic Handel from Messiah (1685-1759)

All mein Gedanken Op. 21, No. 1 Allerseelen Op. 10, No. 8 (1864-1949) Wie sollten wir geheim sie halten Op. 19, No. 4 Standchen Op. 17, No. 2 Zueignung Op. 10, No. 1

II mio tesoro intanto Wolfgang Amadeus Mozart from Don Giovanni K. 527 (1756-1791)

INTERMISSION

Cinq melodies populaires hebraiques Maurice Ravel Chanson de la Mariee (1875-1937) La-bas, vers L'eglise Quel galant m'est comparable Chanson des cueilleuses de lentisques Tout gai!

CHpeHb Op. 21, No. 5 B t MOJiHaHbH homh TaRHOR Op. 4, No. 3 (1873-1943) O h* OTB-bMajiH Op. 21, No. 4 y M oero OKHa Op. 26, No. 10 HaBHo-nb, mor jip yrb Op. 4, No. 6 BeceHHHH BOflbi Op. 14, No. 11

vi RECITAL II

JR Fralick, tenor Patrick O'Donnell, piano Philip Baldwin, Dorothy Blankenship, violin Chi-Chuan Teng, Paolo Rabelo, violoncello

Wednesday, May 25,1994,6:00 p.m. Hughes Recital Hall

PROGRAM

Auf dem Wasser zu singen, D. 774 Franz Schubert (1797-1828) Du bist die Ruh, D. 776 Das Rosenband, D. 280 Ganymed, D. 544

Four Poems of Victor Hugo Franz Liszt (1811-1886) S'il est un charmant gazon Enfant, si j'^tais Roi Comment, disaient-ils Oh! quand je dors

INTERMISSION

On Wenlock Edge Ralph Vaughan Williams (1872-1958) On Wenlock Edge From Far, From Eve and Morning Is My Team Ploughing Oh, When I Was in Love with You Bredon Hill Clun RECITAL III

JR Fralick, tenor Patrick O'Donnell, piano

Friday, February 3,1995,8:00 p.m. Weigel Hall Auditorium

PROGRAM

Four Russian Songs (1882-1971) C ejie3eH b 3an-bBHafl IloflbnioflHafl CeKTaHTCKan Pastorale

W alking Charles Ives (1874-1954) The World's Highway There is a Lane The Side Show Serenity The Cage

Waldseligkeit Joseph Marx (1882-1964) Selige Nacht Ein goldenes Kettlein Hat dich die Liebe beriihrt

INTERMISSION

Genius Child Ricky Ian Gordon (b. 1956) Winter Moon Genius Child Kid in the Park viii To Be Somebody Troubled Woman Strange Hurt Prayer Border Line My People Joy RECITAL IV

JR Fralick, tenor Patrick O'Donnell, piano

Friday, April 28,1995,1:30 p.m. Weigel Hall Auditorium

NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR: AN INTRODUCTION TO A NEW REPERTOIRE A LECTURE RECITAL

Hto HaM MeTenb! Mikhail Ivanovich Glinka from A Life for the (1804-1857)

MHe Bee 3necb Ha naMHTb Alexander Sergeyevich Dargomizhsky npHBOflHT ObiJioe (1813-1869) from

3x! MepeBHK, HepeBHKL. Modest Petrovich Musorgsky 3aneM Tbi, c e p n u e , p b in aeu ib h cTOHeuib? (1839-1881) from Sorochintsi Fair

0 , mto MHe MaTb, h t o MHe OTeu! Pyotr Illyich Tchaikovsky from (1840-1893)

He cnecTb ajiM a30B Nikolay Andreyevich Rimsky-Korsakov b KaMeHHbix nemepax (1844-1908) from CHAPTER I INTRODUCTION

Due to cultural and linguistic differences as well as to the pre- perestroika political relations between and the West, the nineteenth- century Russian operatic repertoire is still virtually unknown in the United States. Gratefully, since the “detente" of the late 1980s, there is an increasing interest in the exchange of ideas between Russia and the West. Consequently, it is now time to become acquainted with the immense treasure of nineteenth-century opera that has remained undiscovered for so long.

Although study and discussion of the repertoire will be essential to this process, it is finally through performance that this unique and valuable repertoire will soon take its place in the Western musical canon. Only a few of the approximately eighty operas that comprise the Russian operatic repertoire from about 1800 to the 1917 revolution are familiar or even known in the United States.1 In the past, the lack of knowledge and exposure to the repertoire as well as the virtual inaccessibility of the music have been the primary results of the aforementioned political and social situations. A cursory review of opera reference books and records of opera productions in the United States will reveal how infrequently this repertoire is represented in accepted Western literature.

' A complete list of operas of this repertoire is included in Appendix B. 1 The Definitive Kobbe's Opera Book (which describes 319 operas, six of them by the rarely-performed contemporary ) records a mere sixteen nineteenth-century Russian operas.2 In addition to these, The Encyclopedia (which includes information on twenty-eight of Verdi's operas) mentions nine more operas of this period, cumulatively representing twenty-five operas, or approximately thirty percent of the repertoire.3 The most valuable reference work is the recent publication, The New Grove Dictionary of Opera, which includes information on nearly all of the extant Russian operas and all of the represented in this anthology. It is a four-volume scholarly work found primarily in libraries, however, and because of its referential organization, it can only serve readers who already know the repertory.

The few productions of these works is even more disappointing. According to the records of OPERA America, there have been approximately twenty-four nineteenth-century Russian operas produced in the United States as of 1994; this number includes concert performances and university productions as well as professional stagings. Russian operas account for an amazingly low two percent of the annual professional productions in this country. It is interesting to note thatEugene and

2 The Definitive Kobbe's Opera Book, ed., rev. and updated by The Earl of Harewood (New York: G. P. Putnam's Sons, 1987). Operas described are: Boris Godunov, , , , , , The Maid of Orleans, , Mazepa, , The Queen of Spades, Ruslan and Lyudmila, Sadko, , Sorochintsi Fair, . 3 David Hamilton, ed., The Metropolitan Opera Encyclopedia (New York: Simon and Schuster, 1987). Additional operas described are: Aleko, , The of the Invisible City of Kitezh and the Maiden Fevroniya, The Maid from Pskov, Mozart and Salieri, Rusalka, , The Tsar's Bride, Vakula the Smith. comprise more than half these productions.4 It is obvious that with the exception of a very few operas, this vast repertoire is unknown in the West. Although the Western operatic repertoire has this obvious lacuna, the familiarization with such a large oeuvre will indeed require a gradual process over time. One step in the familiarization with this repertoire is through performance of the arias from the operas. However, to facilitate the performance of these arias, the acquisition of the music is necessary, and this situation is made doubly difficult by the inaccessibility of the music.

If one limits the search of arias in this repertoire to the tenor voice, a surprisingly low number of tenor arias are mentioned in the most commonly consulted vocal catalogs. Sergius Kagen'sMusic for the Voice lists only three.5

Berton Coffin's five-volumeSinger's Repertoire records eight.6 The most recent of the three, Noni Espina'sRepertoire for the Solo Voice, also includes only three arias.7 (It must also be pointed out that many of the aria titles included in these catalogs confuse or mislead the reader by employing English, German or popular names for the arias.) In short, only eight arias of the fifty-one arias for tenor to be discussed in this document are referred to in frequently-used repertoire resource works.

4 OPERA America has record of productions of the following operas: Aleko, Boris Godunov, Eugene Onegin, Francesca da Rimini, The Golden Cockerel, Iolanta, Khovanshchina, The Legend of the Invisible City of Kitezh, A Life for the Tsar, The Maid of Orleans, The , Mazepa, The Miserly Knight, , The , Prince Igor, The Queen of Spades, Rusalka, Ruslan and Lyudmila, Sadko, Tsar Saltan, The Tsar's Bride. 5 Sergius Kagen, Music for the Voice, rev. ed. (Bloomington and London: Indiana University Press, 1968). Arias included are: "Lensky's Aria" from Eugene Onegin, "Song of Glorification," "Song of India" from Sadko. 6 Berton Coffin, Singer's Repertoire, ed., 2nd ed. vol. 3 (Metuchen, N ew Jersey: Scarecrow Press, 1960). Arias included are: "Romance of the Young Gypsy" from Aleko, "Lensky's Aria" from Eugene Onegin, "Levko's Song" from May Night, "Vladimir's " from Prince Igor, "Forgive me bright celestial vision" from The Queen of Spades, ""Forest Song," "Song of India" from Sadko, "Likov's Song" from The Tsar's Bride. 7 Noni Espina, Repertoire for the Solo Voice, vol. 2 (Metuchen, New Jersey: Scarecrow Press, 1977). Arias included are: "How far, how far," from Eugene Onegin, "Ah, w obist du?" from Prince Igor, "A Song of India" from Sadko. Fortunately, the number of arias actually available in print is encouragingly higher than the number of arias listed in the aforementioned repertoire references. Classical Vocal Music in Print: 1985 Supplement offers at least nine Russian tenor arias, more than doubling those cited in the popular vocal catalogs.8 However, most of these are Russian publications and extremely difficult to procure in the United States, and the titles used are just as confusing as those found in the vocal music catalogs! Therefore, it is clear that an annotated set of nineteenth-century Russian operatic aria anthologies, organized by , is necessary in order to achieve a wider performance of these works and the subsequent familiarization of the operatic public with the literature. This document is the first in a series of such operatic anthologies: the volume of arias for tenor. The anthology is designed as a thorough guide to performance of these arias, including the musical source, a word-by-word translation into English, a transliteration into the International Phonetic Alphabet (IPA), and explanations of each aria's place within the context of the opera. Appendix A of this document is a chronological list by composer of the fifty-one tenor arias used from this repertoire. Chapter IV is a catalog of these tenor arias, organized by style, including vocal range and vocal demands. Each aria is numbered for easy cross-reference within the document. Certainly much Russian music can be appreciated with relatively little reference to its background, but the operatic repertoire takes on added

“Gary S. Eslinger and F. Mark Daugherty, eds.Classical Vocal Music in Print, vol. 4s, 1985 Supplement (Philadelphia: Musicdata, 1986). Tenor arias available in print: "Dmitri's Monologue" from Boris Godunov, "Lensky's Aria" from Eugene Onegin, "Robert's Romance" from Iolanta, "A che mai nell'ombra" from The Maid from Pskov, "Andrey's Scene" from M azepa, "Vladimir's Cavatina" from Prince Igor, "Song of India" from Sadko, "Durch dem Wald" from The Snow Maiden, "Deutlich liegt vor mir" from The Tsar's Bride, "Arias and Scenes from Operas" by Cui and Dargomiizhsky (no contents listed). meaning when set in its Russian context. This understanding should not be

underestimated, as James Billington points out in The Icon and the Axe: An

Interpretive History of , "Some understanding of the national context of individual creative activity is more necessary in the case of Russia than of many other national cultures." 9 Therefore, let us briefly

discuss some of the social and philosophical issues of Russia that shaped the beginning and development of .

“James R. Billington,The Icon and the Axe: An Interpretive History of Russian Culture (New York: Vintage Books, 1966), ix. CHAPTER II

RUSSIAN PHILOSOPHICAL AND SOCIAL DEVELOPMENT DURING THE GENESIS AND GROWTH OF RUSSIAN OPERA

It is often said that Russia is the bridge between the East and the West, but such a bridge has the inherent difficulty of being isolated from the two lands it joins. In order to identify itself as a unique country, Russia has been long plagued by questions of its national character: What is Russian? What is the natural course of Russian development? How can Western influence be sorted from Russia's natural development? While it is not the purpose of this document to answer these socially important questions, it will provide a brief overview of Russian cultural activity during the time of Russian opera's inception and growth. Peter I, "The Great," who ruled 1689-1725, began the most serious reforms in Russian history by forcing the Russian people to adopt many European customs, methods, and philosophies, at times achieving these reforms through superficial and compulsory imitation. During the reign of Catherine II, "The Great," (1762-96) there was much more importation of European music and philosophy, and the imitation of Western music and art was at its height. Unfortunately, the rapidly accelerated attempts in Russia to meet the standards of Europe by means of imitation and assimilation did not necessarily result in comprehension of the traditions that produced them.

6 Because of the strong French influence during the reign of , like France, Russia also experienced an "Age of Enlightenment" in the last years of the eighteenth century. Since Russia's social structure was at the time similar to that of Europe, (where approximately ninety-eight percent of the population was peasants or serfs and a scant two percent of the population made up the aristocracy), the principals of "Liberty, Equality and Brotherhood" affected Russian thinkers as strongly as they did their European counterparts. The first generation of intellectuals within the aristocracy to study the philosophy of the Enlightenment and to question the political structure of Russia kept their ideas to themselves due to the overwhelming militaristic control of Tsar Nicolas I, who reigned 1825-55. A group of enlightened army officials, later known as the Decembrists, organized a demonstration in 1825 to voice some requests of the government. They wanted Russia to elect its leaders and to have a constitution for its people. Nicolas began his reign by publicly hanging the ringleaders of the Decembrists and by subsequently exiling more than one hundred of the remaining conspirators to . This set the tone for his tenure as tsar: the fear of dissent and the paranoia of insurrection. Any kind of questionable activity was headed off by his "Third Section," the military police. This atmosphere of fear kept free thinkers from openly expressing their concerns. This group of intellectuals, identified as the intelligentsia, included thoughtful members of the aristocracy and radical recruits from the raznochintsi, people from the professional, merchant and peasant classes allowed to advance in station. Although the degree of European influence had been an issue of debate since the reign of Peter the Great, it took on new facets during the first years of the nineteenth century. Two groups evolved with differing philosophies towards reform and modernization. The first group was the Slavophiles, who rejected (and to some extent feared) all European ideas, idealizing native Russian life as seen in the peasant commune. The second group was the

" Westernizers," who supported the reforms initiated by Peter I and wished to see Russia rise to equality with Europe. There was one important unifying belief of both Slavophiles and Westernizers: each defined Russia as unique from Europe, with a strong emphasis on Russia's national identity. An important contribution to Russian national consciousness and

historical thinking was the multi-volume The History of the Russian State by Nikolay Mikhailovich Karamzin (1766-1826) begun in 1818. An awareness of Russian history and nationalism was on the rise, and in 1856 Sergey

Mikhailovich Solovyov (1820-79) wroteThe from Earliest

Times to supersede Karamzin. Nationalism and history also became dominant subjects for literature and, understandably, dominant subjects for operas. Yet even history was controlled in part by the censors. A decree of

1837 forbade the portrayal of any on the stage.1 This was the primary reason many historical focused on pre-Romanov events in Russia.2

Despite powerful governmental censorship, great strides were made in the arts and in literature. The Russian novel reached new heights with the works of Alexander Sergeyevich Pushkin (1799-1837), Ivan Sergeyevich Turgenev (1818-83) and Alexander Nikolayevich Ostrovsky (1823-86). The

’ The Romanov Dynasty, which began with Michael Romanov, ruled Russia from 1613 to the revolution of 1917. 2 For instance, The Maid from Pskov is based on the reign of Ivan Vasilyevich "The Terrible" (1533-84), and Khovanshchitia is about the Church Schism of 1667 between the Old Believers and the reforms of Patriarch Nikon. 9 1860s and 70s saw many social changes under the reign of Alexander II, who ruled 1855-81, and a new generation of thinkers became seriously concerned with the suffering of the peasants and Russia's social development on a world-wide scale. After the emancipation of the serfs in 1861, many young activists known as "Populists" actively set out on a campaign called "b

Hapone" ("To the People") which was organized to educate the masses and to learn native customs. This younger generation of intellectuals strove to learn Russia's national identity amidst the realm of world social development. They believed that although the European nations were undergoing capitalism, Russia should, in lieu, learn from those mistakes and should move straight to their perceived next stage in social development, socialism. This sprout of socialism would grow into the ideas of communism on which the was later based. It was against this backdrop that opera had its beginnings in Russia. Radical changes in custom, Enlightenment philosophy, and a surge of nationalism all had their influence on the prevailing culture of this relatively young country that felt the need to define its character in terms of both European influences and native custom. As will be discussed in Chapter III, when Russian composers finally became established at the beginning of the nineteenth century, they were faced with creating a national Russian style that was more than court entertainment or folk activity yet could withstand comparison to European music. Although Russian opera cannot trace its beginnings as far back as 1600 (the date established for the beginnings of Western opera), it quickly grew into a genre of many styles and purposes that compares favorably with its monumental nineteenth-century European counterpart. CHAPTER III A HISTORY OF RUSSIAN OPERATIC DEVELOPMENTS THROUGH THE NINETEENTH CENTURY

Vocal music has been an integral part of Russian culture from ancient pagan ritual through the country's Christianization in 988 and beyond. Singing has always been a primary means of expression in Russia, as the often-quoted observation of Gogol states, "Show me a people who might have more songs." Because of this predilection for vocal music, it is not surprising that a genre like opera would be embraced in such a culture. After a period of imitation of the early imported French and forms,

Russian composers began to infuse the genre with national music styles and customs that reached its audiences on a profound level. Opera was first brought to Russia in the eighteenth century by three empresses: Anne (Anna Ioannovna, reigned 1730-40), Elizabeth (Yelizavera Petrovna, reigned 1741-6) and Catherine II "The Great," (Yekaterina, reigned 1762-96) in an attempt to further "modernize" Russia in the style of Peter's reforms. Music in the court was solely imported. Italian opera troupes were often brought to Russia, and in 1736 Anne sent for a permanent Italian opera troupe for residence at the court. The firstmaestro di capella at the St. Petersburg court was the German composer Hermann Friedrich Raupach (1728-78), and foreigners dominated this position and music at the court through 1804. Succeeding maestri di capella were notable Italian composers

10 11 like Francesco Araia (1735-59) (who wrote the first opera to a Russian text,

Cephalos and Procris, in 1755), Vincenzo Manfredini (1737-99), (1706-85), Tommaso Traetta (1727-79), Giovanni Paisiello (1740-1816), Giuseppe Sarti (1729-1802), (1749-1801) and Vicente Martin y Soler (1754-1806). Although held prominence as composers, was also a favorite of the court until the war of 1812. One of Catherine the Great's first acts as empress was to import a permanent French opera troupe in 1762. German were also popular with the aristocracy. Amidst the employment of foreign composers and the demand for French and Italian opera, eighteenth-century Russian composers had to be trained in Europe (as was the custom) and compose in the Italian style if they desired a court appointment. One of the first notable Russian composers was Dmitri Bortnyansky (1751-1825), who studied in Italy and wrote Italian operas there in the 1760s. He later returned to Russia and wrote French comic operas and arranged a considerable amount of Russian choral music. Outside the court, there were Russian composers who wrote operas in vaudeville style that resembled the German and utilized native folksong. Vasily Alexeyevich Pashkevich (cl742-97) composed operas in both of these styles. The composer with the most remarkable talent of the eighteenth century was

Yevstigney Fomin (1741-1800), whose Anyuta (1772) was the first opera written by a Russian composer to a Russian . Early in the reign of Alexander I (1801-25) the St. Petersburg public theaters were reorganized under a crown monopoly that lasted until 1862. There were four theaters established, each of which presented opera, ballet,

and plays in their respective languages and styles: a German theater, a French 12 theater, an Italian theater and a Russian Bol'shoy Kamenniy Teatr ("The Great

Stone Theater"). The French theater would become the favorite of the aristocracy. The Italian theater closed in 1807, replaced by a fledgling Russian company that used the theater until 1836, when, after an extremely successful run of Rossini'sSemiramide, the Russians were banished and an Imperial Italian theater was again established. Italian opera enjoyed its heyday in Russia from 1842 to 1862, and the productions at the new Imperial Italian theater in St. Petersburg were "unmatched anywhere for opulence and prestige."1 From the early years of the nineteenth century, the Bol'shoy Theater in was the center for Russian opera-vaudevilles, a form similar to the

German Singspiel and the French opera-vaudeville. The vaudevilles were written for the music theater and were most often situation comedies containing simple songs for actors to perform instead of trained singers. Although this genre was very popular until the end of the nineteenth century, it never gained the support that Italian opera enjoyed. The two most successful Russian composers of opera-vaudevilles were Alexander Alexandrovich Alyabiev (1787-1851), and the most significant operatic composer before Glinka, Alexey Nikolayevich Verstovsky (1799- 1862). Although he attempted a more romantic and serious style of operatic compositions later in his career, Verstovsky was most successful as an opera- vaudeville composer, and despite his efforts, even his later works were essentially opera-vaudevilles. For example, his romantic opera Askold's

Grave (1835) contains rather sophisticated music alongside the simple decorative songs and spoken dialogues used in vaudevilles, and in terms of

1 Richard Taruskin, "Russia, §: 18th century, 19th century,"The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 2 (London: Macmillan Press, 1992), 100. 13 longevity and number of performances, Askold’s Grave was the most popular opera of the nineteenth century.2 In addition to the fact that the public favored foreign opera, Russian composers were faced with other obstacles during the first half of the nineteenth century; they were paid less than their foreign competitors and could find professional training only outside Russia. This foreign musical training coupled with the strong desire to have their works performed naturally resulted in imitations of the popular Italian and French styles. However in 1836, a Russian opera at last appeared which would become the

touchstone for a Russian national style;A Life for the Tsar marked the beginning of a Russian national operatic style, and its composer, Mikhail Ivanovich Glinka (1804-57), became known as "the father of Russian music." Glinka had studied in Italy, where he befriended Bellini and Donizetti.

When he began composing A Life for the Tsar, Glinka incorporated the essence of both the Russian romance and the Russian folksong into the

Italian vocal style and French scenario. These nationalistic references in A

Life for the Tsar struck audiences on musical as well as sentimental levels. The opera became the standard for Russian opera for many years to follow, just as the Ninth Symphony of Beethoven was the symphonic standard in

Europe.

A Life for the Tsar (known as Ivan Susanin during the Soviet regime) was a departure from preceding Russian operas in many ways. It was the first through-composed opera to a Russian text on a national subject and the first Russian opera without spoken dialogues. The level of vocal virtuosity

required in A Life for the Tsar was far above that of previous Russian operas.

2 Richard Taruskin, "Verstovsky, Alexey Nikolayevich," The New Grove Dictionary of O pera,ed. Stanley Sadie, vol. 4 (London: Macmillan Press, 1992), 973. 14 Glinka also incorporated the use of leitmotifs, which was a new technique in Europe as well as in Russia, and developed a style that suited the , the continuous music, and the nature of the libretto.

Finally, A Life for the Tsar was a dramatic tragedy, inspiring Vladimir Fyordorovich Odoyevsky (1804-69) to call it a "new element in art" where "Russian melody...may be elevated to the level of tragedy."3 The style of this opera set the standard for in Russian music and libretto subject; it strongly influenced the works of Dargom'fzhsky and Musorgsky and became the prototype for the Russian national historic . A great surprise to the Russian opera world was the style of Glinka's second opera, Ruslan and Lyudmila (1842), performed exactly six years after

A Life for the Tsar. Ruslan and Lyudmila was almost a complete abandonment of the style of A Life for the Tsar; it had a weak and illogical libretto but music far more exquisite than that ofA Life for the Tsar. In it Glinka explored unusual harmonies including modality, Oriental music idioms, whole-tone scales, and coloristic chromaticism performed by a brilliantly orchestrated accompaniment. In addition, Ruslan and Lyudmila was neither historic nor dramatic in nature; it was a Russian folktale and strictly meant for entertainment. Since Ruslan was not well-received at its premiere, the opera's influence was not initially as overwhelming as that of

A Life for the Tsar. However, Ruslan and Lyudmila would eventually return to the public eye and, in juxtaposition with Glinka's first opera, would become the center of the greatest operatic debate of the nineteenth century. Glinka's two masterpieces established two paths for operatic composers, and these two styles grew and developed over the next decades. The first style

3 Richard Taruskin, "Glinka's Ambiguous Legacy and the Birth Pangs of Russian Opera," 19th Century Music i (1977-8), 143. 15 was the national historical drama, with its strong dramatic libretto and

recitative style that developed into works like Boris Godunov, The Power of

the Fiend, The Maid from Pskov and Khovanshchina. The second style was

the opera-bilina (or fantastic opera), with its loosely constructed libretto and exquisite music that blossomed into many of the works of Rimsky-Korsakov,

such as Kashchey the Deathless, Sadko, The Tale of Tsar Saltan and

Christmas Eve. After Glinka, Russian opera lay dormant for some time with the single exception of the works of Alexander Sergeyevich Dargomizhsky (1813-64). Even though his operas are all but forgotten today, they were the mainstay of the Russian repertory until the works of Tchaikovsky in the late nineteenth century. Dargomizhsky's first operas were also modeled on French and Italian styles, yet they exhibit some innovative effects that brought about a movement toward realism in opera. The most outstanding Russian opera of the 1850s was Dargomizhsky's early opus, Rusalka (1855), which displayed this innovation in the realm of

Russian realism; a sort of Russian , it preceded Bizet's Carmen, (hailed as one of the first European verismo operas) by more than a decade.

Though Rusalka was a fantastic story of water spirits and magic, Dargomizhsky concentrated on the emotions of its mundane humans, primarily a miller. The music contained free declamatory sections that were highly dramatic along with a melodious style based on Russian salon music. The melodious element later influenced Tchaikovsky, and the declamatory aspects were influential on Musorgsky and the nationalist group of composers known as thekuchka, the "The New Russian School," "The Russian Five," "," or "The Mighty Handful." 16 Despite the popularity ofRusalka, Dargomizhsky's final opera, The

Stone Guest (1869), is probably considered the most innovative and

influential Russian opera of the nineteenth century afterA Life for the Tsar. In an effort to represent the Russian language in music as realistically and dramatically as possible, Dargomizhsky set Pushkin's story verbatim. This

stlye of dialogue opera, or as Carl Dahlhaus calls it, was new to Russia as well as to Europe, where it did not surface until 1902 with Debussy's

Pelleas et Melisande* In its musical attempt to represent the contours and

tempos of speech,The Stone Guest was a giant step towards realism in Russian opera. The music was a heightened , or "melodic recitative" of romance-like vocal phrases against a figurative and harmonically regular accompaniment where Dargomizhsky focused on the individual words and

kept the meter of the music constant.5

Although The Stone Guest was written before Wagner's mature music dramas were performed in Russia, there are many parallels to Wagner's

operatic reforms:The Stone Guest is almost completely through-composed, is a realistic setting of the language, and is a literal setting of the play. Despite

these similarities in ideal, there are distinct differences; however, The Stone

Guest and its progeny sound nothing like Wagner's music, and the realists in Russia felt the emphasis of opera should be on the voice rather than on the orchestra. Finally, the means of realism was in the declamation of the text and not the story content of the opera.

As with many innovative works, The Stone Guest itself was not a successful opera, nor is it a part of the modem repertory. Instead, it planted

4 Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley and Los Angeles: University of California Press, 1989), 347. 5 Richard Taruskin, "Stone Guest, The," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 4 (London: Macmillan, 1992), 552. 17 the seeds of reform in Russian opera that grew throughout the twentieth century. But as composers learned, the declamatory style had to be employed in moderation without permeating an entire work; subsequentdialogue operas like The Marriage (1868), Mozart and Salieri (1897), The Noblewoman

Vera Sheloga (1898), A Feast in Time of Plague (1900) and The Miserly Knight (1905) remain largely unknown and are basically considered exercises in the style. During the mid-nineteenth century, as Dargomizhsky experienced a rise in prominence in the operatic world, the aforementioned debate over Glinka's legacy was begun by the two most famous Russian musical critics, Vladim ir Vasilyevich Stasov (1824-1906) and Alexander Nikolayevich Serov

(1820-71), who was also a notable composer. While both these critics agreed that the two works were unquestionable masterpieces of Russian opera, they disagreed on the merits of each opera. Their evaluations were based on four criteria they created for the genre: 1) the general poetic conception, 2) the choice of characters, 3) the plan and scenario, and 4) the quality of the music and the .6 A Life for the Tsar was more successful at numbers 1 and 3, but Ruslan and Lyudmila was more successful at numbers 2 and 4. The public press debate that ensued lasted from 1851 into the 1870s and presented the operatic world with a philosophical crisis inherent to the genre. While

Ruslan contained "the best possible music seemingly wedded to the worst possible libretto," A Life for the Tsar had a libretto of dramatic integrity and national interest set to rather conventional music.7 It is interesting to note that the important debate over the issue of "music versus drama" was introduced into Russian operatic philosophy within a quarter-of-a-century of

6Taruskin, "Glinka's Ambiguous Legacy," 151. 7 Ibid., 145. 18 the genre's inception, and composers were forced to face this issue. Two basic camps evolved from the Serov-Stasov debate: the "Ruslanists," or those who chose music over drama, and the national realist group, basically represented by the kuchka, who chose drama over music. The "Ruslanists" often utilized fairy-tale with a lot of pageantry with brilliant orchestration. On the other hand, the dramatists often chose librettos with strong dramatic development on a nationalistic subject set to music with little orchestral involvement. While the philosophy of opera was being developed, another critical issue in Russian music that arose was that of musical training. As mentioned before, Russian musicians were sent abroad to study, and because of the dominant taste for European music, Russian composers were neglected unless they composed in the European styles. In 1859 Anton Grigoryevich Rubinstein (1829-1894) founded the Russian Music Society, which instigated performances of Russian music in St. Petersburg and later in Moscow, in order to promote Russian music amidst this background of foreign dominance. Then, in 1862, in opposition to the amateurism of most Russian composers, he founded and directed the St. Petersburg Conservatory, which offered the first professional training for Russian composers inside their own country. Surprisingly, this important opportunity for composers was not valued by everyone. In 1856 Cesar Antonovich Cui (1835-1918) met Mily Alexandrovich Balakirev (1837-87), and the two started the aforementioned group of nationalist composers known as thekuchka. Alexander Porfiryevich Borodin (1833-87) and Modest Petrovich Musorgsky (1839-81) were soon associated with the group, which was later joined by Nikolay Andreyevich Rimsky- Korsakov (1844-1918). Thekuchka rallied around the accomplishments of

Dargomizhsky in The Stone Guest. They called themselves "The New Russian School" in opposition to conservatory training, which followed European models and taught European styles of music. They believed Russian composers did not require formal training and should learn from

Russian nationalist examples. As has been pointed out, the kuchka strove for nationalism and realism in their music. Therefore, the New Russian School and the Conservatory were akin to the Slavophiles and westernizers mentioned in Chapter II: both groups were interested in promoting Russian nationalism through music, but their opposing methods caused a great rift among musicians. One facet of the nationalism movement in Russia during the 1870s was known as pochvennichestvo, a term coined by Fyodor Mikhailovich

Dostoyevsky (1821-81) from the word pochva which means "soil" or "foundation." It was an attempt for artists to rediscover Russia's nationhood by getting in touch with their heritage primarily by going into the fields and studying the peasants . 8 The musical equivalent was the incorporation of Russian folksong and musical ritual into operas of a verismo nature, as characterized in the critic Serov's opera The Power of the Fiend (1871).

Serov described The Power of the Fiend as a "-dramatic picture of Russian life. " 9 The story is about a young man who feels constrained by his stern patriarchal family and wants to have an extra-marital affair. The Power of the Fiend represented much of what nationalism stood for at the time: a

“Richard Taruskin, "Pochvennichestvoon the Russian Operatic Stage: Serov and His ," Opera and Drama in Russia: As Preached and Practiced in the 1860s (Ann Arbor, Michigan: UMI Research Press, 1981), 81. 9 Richard Taruskin, "Drama Revealed Through Song: An Opera After Ostrovsky," Opera and Drama in Russia: As Preached and Practiced in the 1860s (Ann Arbor, Michigan: UMI Research Press, 1981), 141. 20 verismo story, and the incorporation of folksongs into the music. Its greatest shortcoming was the use of lyricism over the declamatory arioso style. In addition to his influence as a writer and critic, Serov's reputation as a composer rests with his utilization of everyday events in Russian peasant life, a through-composed musical score and arioso style; these elements were highly influential on Modest Petrovich Mussorgsky (1839-81), who would develop the ideals of the kuchka in the next decade. "Despite his brief career, weak training and failure to complete most of his works, he [Musorgsky] is regarded by many as the most talented and (posthumously) influential composer of the Russian national school," writes

Taruskin . 10 The culmination and subsequent decline of the nationalistic elements as preached by the kuchka was reached in Musorgsky's most enduring masterpiece, Boris Godunov (1869; revised 1872). For many years the various versions ofBoris Godunov were misunderstood in a complicated web of confused facts, but Taruskin's, "Musorgsky vs. Musorgsky: The

Versions ofBoris Godunov" has clarified those misunderstandings and provided insightful reasons behind Musorgsky's initial two versions of the opera.

The first version is essentially a dialogue opera, which was a fashionable product of the 1860s. Musorgsky's treatment of the style is different from that of Dargomizhsky's in that he paid attention to the rise and fall of speech patterns and not to the individual word. He also took into account the natural contour, pitch-level and tempo of the language which resulted in metric changes and complex rhythms (foreshadowing Stravinsky's treatment of Russian national music). The music is more recitative style

'“Richard Taruskin, "Musorgsky, Modest Petrovich," The New Grove Dictionary of Opera. ed. Stanley Sadie, vol. 3 (London: Macmillan, 1992), 530. 21 than lyric, and the orchestra accompanies as in recitative secco. Finally,

Musorgsky's 1869 version contained the most telling element of thedialogue

opera; two scenes were set verbatim from the Pushkin story.

But these practices were becoming passe by the end of the decade, therefore, Musorgsky used a simple amendment required by the censorship committee as an excuse to revise his opera more thoroughly in style. He had found that the recitative style seemed comic and simple, so he replaced the more dramatic moments with melodic arioso oftentimes at the expense of declamation. He also incorporated more formal design to the previously through-composed version of the opera to raise the drama to the level of a tragedy. Musorgsky then added a few numbers that were dramatically necessary and musically beautiful while he kept the overall dramatic structure and balance. Finally, the involvement of the orchestra was more prominent in the second version; it carried much of the melody during arioso and recitative sections. The second version ofBoris Godunov was an amalgamation of seemingly opposing styles that resulted in an evolution of the national historic drama~it had developed into a more melodic and orchestrally based genre where musical and dramatic elements were becoming more equal. Alexander Porfiryevich Borodin (1833-87) composed another opera which combined styles, Prince Igor (1887). It is in many ways a combination of the national historical drama and the bilina. The libretto is based on Russian history but is dramatically weak and contains magical elements. Meanwhile, its music is extraordinary—a colorful blend of lyricism, exoticism, and national elements. 22 Boris Godunov and Prince Igor were evolutionary works that came about in the 1870s and 1880s. The national historical drama had become the "grand historical costume drama" with a psychologically complex character against a protagonistic chorus with lyrical music as in the revised version of

The Maid form Pskov (1877), Khovanshchina (1880) and (1872). In contrast to the evolution of the serious historical drama was the peasant comedy based on Russian folklore. This was a path the bi'lina took that incorporated the realistic, verbatim, and declamatory elements leftover from the kuchka. Works in this style are Vakula the Smith (1874), The Fair at Sorochintsi (1881) and May Night (1879).11 There would be the creation of yet another operatic style in the hands of the greatest Russian composer of the nineteenth century, (1840-93). Tchaikovsky was one of the first graduates from the St. Petersburg Conservatory, and he incorporated European techniques with native Russian folksong and his unique gift for melody and lyricism into his music. Tchaikovsky was an operatic composer that focused on the emotions and conflicts of the characters despite the dramatic layout of the libretto; this was a characteristic of all his operas whether the story was a French (The Oprichnik), a novel in verse (Eugene Onegin), a supernatural thriller (The Queen of Spades), or even a comedy (Cherevichki). As David

Brown points out, "To touch movingly and with most tender sincerity the human condition was his greatest gift." 12 Indeed, if Tchaikovsky could not

"Richard Taruskin, "'Kuchkism' in Practice: Two Operas by Cesar Cui," Opera and Drama in Russia: As Preached and Practiced in the 1860s (Ann Arbor, Michigan: UMI Research Press, 1981), 340. '2 David Brown, Tchaikovsky: A Biographical and Critical Study, Volume 2, The Crisis Years (1874-1878) (London and New York: Norton, 1982), 176. 23 identify with the characters' emotions, he was not interested in composing the opera. Tchaikovsky is a composer of paradoxical reputation. There is complete unawareness of some of his masterpieces while others enjoy a "stale over-familiarity . " 13 His eight operas are often neglected for his ballets, but offer their listener some equally beautiful music and dramatic development. Tchaikovsky developed a new operatic type, the lyrical psychological symphonic drama, or simply the psychological drama, a genre which combines his excellent sense of stage drama, his extraordinary melodic gifts and his masterful treatment of the orchestra as a dramatic means. In addition to these elements, Tchaikovsky incorporated national music styles like the romance and folksong into his works when appropriate, resulting in his own sort of "realism."

The two operasEugene Onegin (1878) and The Queen of Spades (1890).

Eugene Onegin are Tchaikovsky's most remarkable psychological dramas.

Eugene Onegin is a novel set in verse much like The Stone Guest, but Tchaikovsky's musical approach is completely lyrical. Despite the lack of stage action, he composed the opera because he was drawn to the emotions and character development of its heroine, Tatyana. He voiced his concern that focus on emotion rather than dramatic action might not fare well with audiences: This opera will, of course, have no powerful dramatic movements but, on the other hand, the human sides of it will be interesting.... I think that a select few, hearing this music, will perhaps be touched by those feelings which excited me while I was writing it.... Therefore, those whose first requirement of an opera istheatrical action will be dissatisfied with it. However, those who are capable of searching within an opera for the musical reproduction of ordinary, simple,

13 Henry Zajaczkowski, Tchaikovsky's Musical Style (Ann Arbor: UMI Research Press, 1987), 140. 24 universal sensations far removed from high tragedy and theatricality can (I hope) find ultimate satisfaction in my opera." 14

Fortunately, the psychological drama was a success, and the genre took hold

with Eugene Onegin and later with The Queen of Spades. It is interesting to

note that in addition to Boris Godunov, another psychological drama of sorts,

Eugene Onegin and The Queen of Spades are the two Russian operas to gain popularity outside Russia. The final step in the development of nineteenth-century Russian opera was one taken by Andreyevich Rimsky-Korsakov (1844-1908),

who brought the bilina to its zenith. Also a graduate of the St. Petersburg

Conservatory, yet a member of the kuchka, Rimsky-Korsakov was able to combine the ideals of realism, nationalism, pageantry and orchestral brilliance into a style that exploited both western organizational techniques as well as those of native Russian folksong. Into this combination, Rimsky- Korsakov infused his own musical language of exotic, transparent orchestration and a variety of harmonies that is distinctly independent from all other composers.

Rimsky-Korsakov used the libretto as a source of musical ideas. In the bilina there are usually two types of characters: humans and magical beings. Taking his cue from Glinka, who used the whole-tone scale to represent a magical character in Ruslan and Lyudmila, Rimsky-Korsakov represented the magical characters in his operas with unusual harmonies and scales such as whole-tone scales, scales with a flattened seventh, scales of alternating whole tones and semitones (the Rimsky-Korsakov or ), tritones and coloristic chromaticism; in contrast, the human characters are identified with diatonic harmonies. He took the idea even further by representing exotic or

'4 Brown, The Crisis Years,177-8. 25 supernatural places with his unusual harmonies, yet represented the West (and Russia) with diatonic harmonies including Russian folk harmonies.

There are different types of biliniiby Rimsky-Korsakov, categorized by the nature of the libretto: the epic Russian poem, as represented by May

Night (1879), (1895), and Sadko (1896); the mythological , as represented by The Snow Maiden (1881), Christmas Eve (1895), and

Kashchey the Deathless (1902); and the satire, as represented by The Tale of

Tsar Saltan (1900), The Golden Cockerel (1907). In addition to his development of the bilina, Rimsky-Korsakov combined the genre with the historical drama in The Legend of the Invisible City of Kitezh and the

Maiden Fevroniya (1904), which infuses the historical events of the Tatar invasion with a fairy tale element.

The end of Rimsky-Korsakov's career coincides with the end of Russia's Cultural Golden Age. After the 1917 revolution, there were numerous changes in the ideology of art and music. Under the Soviet regime, music came under the close scrutiny of the government and had to abide by the unwritten and undetermined guidelines of "socialist realism." It is interesting to point out though, that despite changes in philosophy and musical language, Russian operas of this century are still based on many of the conventional genres: the national historical drama, the declamatory realistic folk drama, the bilina, or the psychological drama. In summary, Russian opera is a comparatively young genre, having originated only about two centuries ago. After a period of imitation of European models, there emerged a national style that took root in the works of Glinka, whose two differing masterpieces lead to a philosophical debate on the issue of "music versus drama." This debate resulted in a diversification of styles that were first represented by the national historical drama and the bilina. Then there was the creation of thedialogue opera by Dargomizhsky and the peasant comedy by members of the kuchka in response to a movement of realism. There was the creation of the lyrical symphonic psychological drama by Tchaikovsky and finally Rimsky-Korsakov achieved both the codification and the pinnacle of the bilina. Overall, nineteenth- century opera in Russia grew from a grafted foreign tradition into a vigorous, nationally-concerned art engaged with real issues in a new type of expression that incorporated native Russian styles of music. CHAPTER IV A CATALOG OF THE NINETEENTH-CENTURY RUSSIAN OPERATIC ARIAS FOR TENOR BY ARIA TYPE

To organize arias for accessibility, it is necessary to find a method in which to categorize them. As we have seen, there are various types of operas in the repertory under discussion; likewise, there also exist various types of tenor arias. These arias offer an interesting diversity in style, but can be basically organized into the following categories: lyric arias, compound arias, lyric narrative arias, and arias based on folksongs or in the folksong style. The term "Lyric Arias" designates tuneful arias that one would expect under such a heading. However, "Lyric" does not correspond to the use of the term in Western literature for a type of voice but rather to the musical style of the aria. In fact, all of these arias, with the exception of #50 (which requires a dramatic tenor voice) require a "lyric" or "light lyric" voice. Arias with , arioso sections, narrative sections or are those listed under "Compound Arias." "Narrative Arias" are primarily in arioso style. Finally, "Folksong Arias" are composed in the manner of a folksong, where a short motive is often repeated with some type of extension either by added melodic notes or elongated rhythms. In some cases the melody is simply repeated with a variation in the orchestral accompaniment. It is interesting that character roles are not always assigned narrative arias, as in traditional Western opera; therefore, "Character Arias" are listed after the larger heading

27 28 by style. The vocalism required for these arias is generally the same as that of contemporary European operatic arias. Since the early Russian composers were greatly influenced by Italian opera and, in many cases, studied in Italy, the arias composed before the middle of the century require the Italian vocalism employed at that time. To negotiate the extremely high and wide melodic intervals, Italian in the first half of the nineteenth century utilized or a very light falsetto mixed voice. As vocalism evolved after the middle of the nineteenth century with more use of the , the music written for tenors displayed a lower tessitura and did not include as many wide leaps into the high register. Since vocal music has played a long and integral part in Russian cultural history, a sort of opera existed for several years prior to 1800. This anthology, however, is not meant to be a definitive source of all Russian arias for tenor, but rather a collection of significant arias from the nineteenth century repertoire. In selecting the fifty-one arias included in this document, several criteria were used: 1 ) the availability of scores, 2 ) the musical potential as an excerpt, 3) the length and cohesion of the excerpt, and 3) performance appeal. The arias were chosen from all available scores: modern editions, collected works, and any original publications available through a national inter-library loan search. All arias the appear as set pieces in the score are included, and solo sections in through-composed works that are musically attractive and dramatically coherent have been excerpted. All operas in Appendix B are not represented here, since some operas do not have tenor roles, or in some cases, scores do not exist. The arias in this anthology do represent a great percentage of the tenor arias composed during the 29 nineteenth century and reveal a diverse array of almost unknown vocal music.

The fifty-one arias are listed here first by style and then chronologically. Other information pertinent to their performance is also included: the musical source and the corresponding page numbers of each aria, the title of the aria, its tempo marking and range, and a brief description of the vocal requirements. As mentioned earlier, each aria is assigned a number for ease of reference within this document; the arias are listed in chronological (numerical) order by composer in Appendix A.

LYRIC ARIAS

Alexey Nikolayevich Verstovsky (1799-1862) Askold's Grave Moscow: State Music Publishers ', 1963.

#1 Stemid's Aria (No. 2) “C Hen h HanneH" Andante sostenuto, pp. 23-25 Range: A3 to A4 A brief song ideal for younger because of its range and vocal demands.

#2 Torop's Second Song (No. 14) "Hyjjeca-To Bee, ax. He 3a MopeM" Larghetto, pp. 93-97 Range: G2 to A4 An opening florid section followed by a sustained high section.

’ focyxiapcTBeHHoe My3biKanbHoe H3flaTejibCTBo. Mikhail Ivanovich Glinka (1804-57) A Life for the Tsar Moscow: State Publishers2, 1980.

#6 Bogdan Sobinin's Aria (Act 4, Scene 2) “Hto HaM Meie.ribL.Tbi He nnaHb...B nyTb HaM nopa!" Allegro vivace...Adagio...Allegro vivace, pp. 284-91 Range: F2 to D-flat4 A very difficult high tessitura; requiring five sustained C4's

Alexander Sergeyevich Dargomizhsky (1813-69) The Stone Guest Moscow: State Music Publishers, 1932.

#13 Don Juan's Narrative (Act 4) "CMepTH! 0, n y d b yMpy cefm ac y BauiHX hot " Allegro, pp. 98-101 Range: F2 to A-flat4 Containing many short and syllabic phrases.

Modest Petrovich Musorgsky (1839-81) Boris Godunov Wiesbaden: Breitkopf & Hartel, 1990 (Musorgsky's revised version).

#19 The Simpleton's Song (Act 4, Scene 2) “ M-bCflifb -b.aeTb” Andantino, p. 249 (Breitkopf) Range: E2 to A4 A brief and simple aria.

#20 The Simpleton's Song (Act 4, Scene 4) “JleHTecb, neflTecb, cne3bi ropbKHfl” Andantino, p. 284 (Breitkopf) Range: E2 to A4 The music is the same as #19; only the text differs.

2 M3XiaTejibCTBo My3biKa. Pyotr Ilyich Tchaikovsky (1840-93) Eugene Onegin Melville, New York: Belwin Mills, 1969.

#23 Lensky's Arioso (No. 6) "51 JUo6 nio Bac" L'istesso tempo, pp. 51-54 Range: E2 to A4 A lyric aria with medium tessitura and phrases.

#24 Lensky's Aria (No. 17) “Kyaa, Kyua, Kyna Bbi yaajiHJiHCb" Andante quasi adagio, pp. 175-80 Range: D-sharp2 to A-flat4 Requires long sustained legato phrases in a middle tessitura.

Pyotr Ilyich Tchaikovsky (1840-93) Cherevichki Melville, New York: Belwin Mills Kalmus, n.d. (Collected Works)

#26 Vakula's Arioso (Act 1) "0 , MTO MHe MaTb, HTO MHe OTeu!" Moderato assai, pp. 81-83 Range: E2 to A4 Contains many sustained phrases with a high tessitura towards the end.

Pyotr Ilyich Tchaikovsky (1840-93) The Queen of Spades New York and London: G. Schirmer, n.d.

#30 Herman's Scene and Arioso (No. 2) “51 HMeHH ee He 3 Haio" Andante, pp. 20-25 Range: F2 to A4 Requires sustained legato phrasing. #31 Herman's Aria (No. 24) “H to H am a >KH3Hb?" Moderato con moto, pp. 278-81 Range: F2 to B-flat4; originally F-sharp2 to B4 with transposition F2 to A 4 Many sustained phrases with dramatic high notes. At the request of Nikolay Figner (1857-1918), who performed the role of Herman at the premiere, Tchaikovsky rewrote this aria a step lower. The transposed version, along with its transition, appears in the Schirmer piano-vocal edition.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Christmas Eve Leipzig: M. R Belaiev, n.d.

#38 Vakula's Song (Act 2) Tfl-b TbI, CHJia MOfl MOJIOfleUKafl?" Andante non troppo, pp. 112-15 Range: E-flat2 to A-flat4 (optional B-flat4) A simplistic melody ideal for younger singers.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Sadko Leningrad: State Publishers, 1975.

#41 The Indian Guest's Song (Scene 4) “He cHecTb aiiMa30B b KaMeHHbix nemepax" Andantino, pp. 236-9 Range: D2 to G3 An aria of limited range with a sustained and chromatic melody ideal for younger singers.

#43 Sadko's Song of Praise (Scene 6) "CHHee Mope rpo3HO, mnpoKo" Moderato, pp. 305-7 Range: F-sharp2 to A4 Requires a high and sustained tessitura; one of the most remarkable melodies of the repertory. 33 Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Tsar's Bride Melville, New York: Belwin Mills, 1982 (Collected Works)

#44 Likov's Aria "TyMa HeHacTHaa mhmo npoMManacn" Allegretto, pp. 237-43 Range: E2 to A4 Contains legato phrases; in a middle tessitura ideal for younger voices.

Sergey Vasilyevich Rakhmaninov (1873-1943) Aleko Moscow: State Publishers, 1976.

#51 The Young Gypsy's Romance "B3 rnflHH: non omaneHbiM cbohom" Allegretto, pp. 83-5 Range: G2 to B-flat4 An attempt at “gypsy" music, containing a few unsophisticated harmonies in arpeggiated chordal guise; the lyrical and rhythmically repetitive melody, harmony, and brevity of the aria echo “Amor ti vieta" from Giordano'sFedora.

LYRIC ARIAS FOR CHARACTER TENOR

Alexey Nikolayevich Verstovsky (1799-1862) Askold's Grave Moscow: State Music Publishers, 1963.

#5 Torop's Song (No. 32) “BeeT, BeeT BeiepoK" Allegretto, pp. 246-50 Range: C-sharp2 to B-flat4 A simplistic melody with some florid and arioso sections in a middle tessitura; ideal for younger singers. 34 Mikhail Ivanovich Glinka (1804-57) Ruslan and Lyudmila Moscow: State Publishers, 1979.

#7 The Bayan's Aria (Act 1 ) "E d b nycTbiHHbin Kpan, 6e30TpauHbin 6per" Moderato maestoso, pp. 32-5 Range: D2 to G3 A limited range and middle tessitura; appropriate for a younger singer.

Pyotr Ilyich Tchaikovsky (1840-93) Cherevichki Melville, New York: Belwin Mills Kalmus, n.d. (Collected Works)

#27 The School Teacher, Bursakov's Little Song (Act 2, Scene 1) “Ba6 a k 6ecy npHBH3ajiacb c OKaflHHbiM cono3Hanacb" Andantino con moto, pp. 145-6 Range: A3 to A4 A simple strophic melody.

COMPOUND ARIAS

Alexey Nikolayevich Verstovsky (1799-1862) Askold's Grave Moscow: State Music Publishers, 1963.

#4 Vseslav's Aria-Romance (No. 25) “BoTme! ycHiibfl Bee HanpacHbf Moderato, pp. 196-202 Range: D-sharp2 to B-flat4 An arioso section followed by lyric aria with long phrases encompassing a large range. Full of genuine despair, this is truly one of the most beautiful pieces of the repertory. It resembles the music of Mozart in its dramatic leaps, appoggiaturas and melodic style. 35 Mikhail Ivanovich Glinka (1804-57) Ruslan and Lyudmila Moscow: State Music Publishers, 1979.

#8 Finn's Ballad (Act 2, Scene 2) "JIio6e3Hbm cbm!" Allegro, pp. 119-30 Range: D2 to G3 Contains sections in recitative style with a high tessitura.

Alexander Sergeyevich Dargomizhsky (1813-69) Esmeralda Moscow: State Music Publishers, 1961.

#9 Phoebus's Aria (No. 14) “0, nio6oBb, He3eMHoe m y b c t b o !" Andante, pp. 238-49 Range: D-sharp2 to B-flat4 Italian-style scena ed aria with some sustained high notes and florid passages.

Alexander Sergeyevich Dargomizhsky (1813-69) The Triumph of Bacchus. Moscow: State Publishers, 1969.

#10 The First Greek Man's Aria "Ho BoeT 6 e p e r oTnaneHHbm" Allegro, pp. 74-86 Range: F-sharp2 to R4 A simple aria with some arioso passages.

Alexander Sergeyevich Dargomizhsky (1813-69) Rusalka Moscow: Mizgiz, 1949.

#11 The Prince's Cavatina (No. 16) “HeBOJibHO k 3t h m rpycTHbiM 6eperaM...MHe Bee 3jtecb" Allegro moderato...Andante, pp. 301-17 Range: E-flat2 to A-flat4 An Italian accompanied recitative and aria reminiscent of Donizetti. 36 Alexander Porfiryevich Borodin (1833-87) Prince Igor New York: Boosey and Hawkes, n.d.

#14 Vladimir Igorevich's Recitative and Cavatina (No. 11) "MeflJieHHo ueHb yracajib” Andante, pp. 150-5 Range: E-flat2 to B-flat4 Contains many legato phrases with demanding high tessitura; one of the most remarkable arias in the repertory.

Cesar Antonovich Cui (1835-1918) Leipzig, Rob. Seitz: C. G. Roder, n.d.

#15 Lesley's Song (Scene 3) “M3B0JibTe, h cnoio oxotho...Kto xoTejTb BeceriHTbCfl" Moderato assai...Allegro, pp. 121-130 Range: E-flat2 to A4 This setting of the scene, simple melody and choral refrain foreshadows Hoffman's opening aria inLes Contes d'Hoffmann.

Pyotr Ilyich Tchaikovsky (1840-93) Mazepa Melville, New York: Belwin Mills Kalmus, n.d. (Collected Works)

#25 Andrey's Scene and Aria (No. 16) "B 6 0 1 0 KpoBaBOM...H h npHiueji ciojia B3r\nHHyTb Ha Te MecTa...3necb hhh TeKJiH npenon CMacTJiHBon...O, ru e Tbi, ra e moh rojiySKa?" Allegro non troppo...Andante con moto...Larghetto...Molto piu mosso, quasi allegro, pp. 304-15 Range: E-sharp2 to A4 Very demanding, long scene with recitative, arioso and lyrical sections; dramatic high notes; composed as an optional decorative number to the opera. 37 Pyotr Ilyich Tchaikovsky (1840-93) Cherevichki Melville, New York: Belwin Mills Kalmus, n.d. (Collected Works)

#28 Vakula's Second Arioso (No. 12) "Bot y>Ke roxi npomen" Andante, pp. 160-64 Range: F2 to A-flat4 Contains some recitative sections.

Pyotr Ilyich Tchaikovsky (1840-93) Iolanta Melville, New York: Belwin Mills, n.d. (Collected Works)

#32 Count Vodemon's Romance (No. 6a) "He-r! Hapbi nacK Kpacbi MflTe>KHon...O, npwuH, cBeuibiR npH3paK" Andante quasi adagio...Allegro moderato, pp. 96-101 Range: D2 to B-flat4 An arioso section followed by aria with a high tessitura.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Sadko Leningrad: State Publishers, 1975.

#39 Sadko's Recitative and Aria (Scene 1) "Ka6bi 6biJia y MeHH 3onoTa Ka3Ha" Recitative Piu mosso, p. 44-50 Range: D2 to A4 A long scene with primarily syllabic phrases; contains colorful chromaticisms and a use of the octatonic scale reminiscent of Scheherazade.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Tale of Tsar Saltan Moscow: Muzika, 1988.

#46 Gvidon's Song (Act 4, Scene 1) "BeTep Ha Mope ryji«eT...EcjiH 6 3Han o h " Allegro...Moderato, pp. 187-91 Range: E-flat2 to A-flat4 Contains demanding long phrases. 38 Sergey Ivanovich Taneyev (1856-1915) Qresteya Moscow: State Publishers, 1970.

#50 Orest's Scene (Act 2, Scene 2) TepMHfl! BejiHKHH 6 or" Adagio, pp. 173-7 Range: D-sharp2 to G-sharp3 Contains recitative and aria sections with many sustained phrases; suitable for a dramatic tenor voice.

NARRATIVE ARIAS

Alexey Nikolayevich Verstovsky (1799-1862) Askold's Grave Moscow: State Music Publishers, 1963.

#3 Frelaf's Rondo (No. 16) "51- OpejiacJ), h cbiH rapanbfla" Allegro risoluto, pp. 106-10 Range: E2 to A4 A simplistic triadic melody primarily in a middle tessitura.

Alexander Sergeyevich Dargomizhsky (1813-69) The Stone Guest Moscow: State Music Publishers, 1932.

#12 Don Juan's Narrative (Act 2) "Bee k Jiym u eM y" Moderato, pp. 82-87 Range: E-flat2 to F-sharp3 An arioso-style aria with a middle tessitura.

Modest Petrovich Musorgsky (1839-81) Boris Godunov Wiesbaden: Breitkopf & Hartel, 1990 (Musorgsky's Revised version).

#16 Shchelkalov's Monologue (Prologue) "IlpaBocjiaBHbie, HeyMOJiHM’b 6oapHH-b!" Moderato, p. 16-17 (Breitkopf) Range: E-flat2 to E-flat3 A simplistic brief arioso with sustained phrases around the . #17 Shuisky's Monologue (Act 2) "B-b y rJIHH-b, BT> co6op-b" Andantino lamentoso, pp. 135-7 (Breitkopf) Range: E2 to A4 Contains short, syllabic phrases with a dramatic conclusion.

#18 Shuisky's Monologue (Act 4) "HaMej]HH...Bnt,UHbin, xononHbiM'b noTOMt o6nHBaflCb" Moderato...Allegro, pp. 216-19 (Breitkopf) Range: E-flat2 to A-flat4 Contains short, syllabic phrases with a dramatic conclusion. Modest Petrovich Musorgsky (1839-81) Khovanshchina Leningrad: State Publisher's, 1976.

#21 Prince Vasiliy Golitsin's Monologue (Act 2) “CBeT Mon, 6paTeu BaceHbKa" Andante , 125-34 Range: E2 to A4 A long aria with arioso sections.

NARRATIVE ARIAS FOR CHARACTER TENOR

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Christmas Eve Leipzig: M. P. Belaiev, n.d.

#37 The Devil's Arioso (Act 1, Scene 1) "06bman cTapbin" Allegro assai, pp. 5-11 Range: E2 to G3 Contains syllabic and disjunct phrases with some recitative sections.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Tale of Tsar Saltan Moscow: Muzika, 1988.

#45 The Old Grandfather's Aria (Act 1) “Bee MeflBexno tyt noKJiaHflJiHCH" Andante, pp. 73-75 Range: F-sharp2 to G3 Contains florid phrases; primarily in arioso style. 40 Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Kashchey the Deathless Melville, New York: Belwin Mills, 1979. (Collected Works)

#47 Kashchey's Arioso (Act 1) “IlpHpoflbi nocTHrHyia TaRHa” Moderato assai, pp. 34-36 Range: E-sharp2 to B-flat4 A chromatic and disjunct aria with many tritones.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Golden Cockerel Melville, New York: Belwin Mills, 1983. (Collected Works)

#48 The Astrologer's Narrative (Prologue) “ CjiaiBeH 6ynb, BejiHKHft uapb!” Moderato, pp. 32-36 Range: G2 to B4 Extremely high tessitura and chromatic phrases requiring a tenor- altino voice (counter-tenor).

#49 The Astrologer's Epilogue “ Dot MeM KOHMHJiaCfl CKa3Ka” Moderato assai, pp. 231-33 Range: F2 to C4 Extremely high tessitura and chromatic phrases that are broken up by rests; requires a tenor-altino voice (counter-tenor). 41 FOLKSONG ARIAS

Modest Petrovich Musorgsky (1839-81) Sorochintsi Fair New York, NY: Edwin F. Kalmus, n.d. (Collected Works)

#22 Gritsko's Aria (Act 1) "3x! MepeBHK, HepeBHK!...3aMeM Tbi, cepnue, pbinaeuib h CTOHeiUb?" Andante...Larghetto, pp. 53-57 Range: F-sharp2 to A-sharp4 A brief recitative followed by an aria of alternating wind solos and unaccompanied melismatic vocal phrases ad libitum with a high tessitura; the folksong model is the same one Stravinsky used for a theme fromThe Rite of Spring.

Pyotr Ilyich Tchaikovsky (1840-93) Cherevichki Melville, New York: Belwin Mills Kalmus, n.d. (Collected Works)

#29 Vakula's Second Arioso (Act 3, Scene 1) “CjlblWHT J1H, fleBHUa" Andante, pp. 258-61 Range: E2 to A4 A folksong beginning which develops into a dramatic melody indicative of Tchaikovsky's style; Taruskin finds this piece similar to Lensky's Aria . 3

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Maid from Pskov Leningrad: State Publisher's, 1981.

#33 Mikhail Andreyevich Tucha's Song (Act 1, Scene 1) “PacKyKynca Tbi, KyKyiueMKa" Adagio molto, p. 47 Range: F-sharp2 to G-sharp3 Extremely short; three similar verses with different accompaniments ideal for younger singers.

3 Richard Taruskin, "Cherevichki," The New Grove Opera Dictionary, ed. Stanley Sadie, vol. 1 (London: Macmillan, 1992), 832. 42 Nikolai Andreyevich Rimsky-Korsakov (1844-1908) May Night Melville, New York: Belwin Mills, 1981. (Collected Works)

#34 Levko's Song (No. 2) “ConHblUJKO HH3K0” Allegretto giocoso e scherzando, pp. 47-56 Range: D-sharp2 to A4 Contains sustained high notes; primarily in middle tessitura.

#35 Levko's Second Song (No. 13) “KaK THX0 ...CnH, Moa KpacaBHua...IlycTb Te6e npHrpe3HTca” Molto andante...Allegretto...Poco piu mosso, pp. 215-23 Range: E2 to A4 A long aria with an arioso section.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Snow Maiden Moscow: State Publishers, 1967.

#36 Tsar Berendey's Cavatina (Act 2) “Yxoxiht ueHb Becenbin" Adagio non troppo lento e cantabile, pp. 269-72 Range: F-sharp2 to G-sharp3 Contains sustained long phrases.

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) Sadko Leningrad: State Publisher's, 1975.

#40 Sadko's Slow Song (Scene2 ) “O r Tbi, TeMHaa aybpaBWKa!" Adagio, pp. 79-85 Range: E2 to G3, lyric A long aria with some recitative sections.

#42 Sadko's Aria (Scene 5) “T o r , apyjKHHa BepHaa, nonHaaajibHaa!" Andante non troppo, pp. 287-9 Range: G2 to A-flat4 A simplistic melody with an ascending octave leap and many syllabic phrases. CHAPTER V ARIA TRANSLATIONS AND BACKGROUND

In this chapter, each aria is listed alphabetically by composer. Following the background information on the given opera and aria, the Russian texts are printed in boldface type. Above the Russian text is its translation into the International Phonetic Alphabet (IPA); below the Russian text is a word-by- word translation into English. A poetic translation of each line appears in parentheses. If the composer denotes the title of an aria with "Aria," "Arioso," "Second Song," etc. in the score, the title is capitalized within this document; otherwise, the works are referred to as "aria" in lower case. In the case of differing musical sections, there are additional spaces between the texts for clarity. Optional words or phrases indicated in the musical texts are shown in brackets below the original text.

Because of the complex nature of any language, IPA styles often differ. As of this writing, no universally accepted system for transliterating Russian into IPA has been adapted; therefore, the style used in this document differs from the other two published methods. 1 The Russian language underwent some minor changes after the 1917 revolution. Although many musical sources use "modern" orthography, some still use the "old style" orthography, in which case the symbols [i>] and [-b] appear. For consistency between the texts

1 Rachmaninoff for Singers by Natalia Challis, and Russian Songs and Arias by Jean Piatak and Regina Avrashov. 43 44 and the musical sources listed, the Russian texts have not been altered from the scores.

Askold's Grave (1835) is a romantic opera in four acts and six scenes composed by Alexey Nikolayevich Verstovsky (1799-1862) set to a libretto by Mikhail Nikolayevich Zagoskin and based on his 1833 novel of the same name. The first performance was at the Moscow Bol'shoy Theater 16

September 1835. Askold's Grave was a favorite with the nineteenth-century audiences and is considered the most popular Russian opera of the century in terms of number of performances and longevity. It is the earliest in this collection and echoes the classical style in its harmonic and melodic structure. The action is set in tenth-century Kiev during the reign of Svyatoslav Igorevich. A Christian man's daughter, Nadezhda (), is betrothed to a pagan ruler's orphan ward, Vseslav (tenor), who is actually a descendant of Prince Askold. The lovers are often separated by the schemes of the evil Neizvestniy (), whose first diabolical deed is to have Nadezhda kidnapped. Vseslav rescues her with the aid of Toropka Golovan (tenor), a kindly minstrel. By the end of the opera, when the couple is about to give up hope and leap into the Dnepr river, Stemid (tenor), saves them with a pardon, and they live happily ever after .2

In his descriptive Aria (No. 2), "C Hen fl HanneH" ("With her I am found"), Stemid explains that he is not of Prince Askold's lineage. al,ek§si nikolaijevitf yerstofskii AneKcefl HHKOJianeBHH BepcTOBCKHft Alexey Nikolayevich Verstovsky

2 Richard Taruskin, "Askold's Grave," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 1 (London: Macmillan Press, 1992), 227-8. asko|dava magila ACKOJlbJJOBa MOTHJia Askold’s Grave

# 1 "C HeB h HaBlieH" ("With her I am found")

s ijei ja naiden C Hen h H aflueH . With her I am found.

at ra3 cjenja z^eg Ot P 0 )KfleHb« 3necb, About birth here, (Frommy birth,) na grudi majei ana Ha rpynH Moeft, oHa. on the bosom my, it. (she is in my bosom,)

majivo praisxa3 denja taina Moero npoHcxoiKfleHbfl TaBHa My parentage secret v rjei zaklutfina b Hen 3aKJiioHeHa. in its end. (The secret of my parentage is locked up in her. )

attavo zadumtfif ja paroju paroju OTToro 3 a ny mhhb h nopoio, nopoio, That is why thoughtful I at times, at times, (That is why at times I am in reverie,) Jto di/u m,eJtoi adnoi HTO flbiuiy MeMTOH OflHOfl: that I breathe a dream single: (that I breathe a single dream.)

budu vziskan ja ji/fo sudboju 6yay B3bICKaH fl euie cynbSoK) Will be exact I still by fate. (I will be called to account by fate.) 46 mi]s ana mijs ana jifjo MHe OHa, MHe 0 Ha e iu e , To me it is, to me it is still, jifjo atkrojet imja mat,sri radnoi eiue OTKpoeT hmh MaTepH p o j ih o b , still revealed the name of mother native, inya majeri radnoi hmh MaTepn p o u h o b . the name of mother native. (My own mother’s name still has not been revealed to me.)

Mid-way through Act 1, Scene 2, Torop, a minstrel, sings his Second

Song (No. 14),"Hyjjeca-To Bee, ax, He 3a MopeM," ("Ah, everything that is not from the sea is strange"), as an entertainment at the court of Svyatoslav.

#2 "Hviieca-TO bc 6 . ax. He 3a MODeM." ("Ah. everything that is not from the sea is strange") tfucjesata fyo ax tje za mofem Hyneca-To BC6, ax, He 3a MopeM, Is strange everything, ah, that is not from the sea, (Ah, everything that is not from the sea is strange,) fyo ije za mofem Bee He 3a MopeM, everything is not from the sea, (everything that is not from the sea.) fsjo na ijsi na rusi Bee Ha HeR, Ha PycH. everything is of it, of Russia.

Jiraka legla razbi 3 alaya UlnpoKa jierna, pa36e«ajiacfl, Widely it lies, flowing at top speed, (It is wide, flowing at top speed,) at stu4 enix rek o t cTyjaeHbix peK from the frozen river (from the frozen river) 47 da moga siijeva niagljadnava flO MOPH CHHero, HeorJiflflHoro, to the sea of blue, unseen. (to the unseen blue sea.)

e da Jto tam pro simje maga 3, na hto TaM n p o CHHHe MOPH. Ah, yes it is here to the blue sea. (Ah, yes, here at the blue sea.) jest tju4 esa pabli 3 £ E d b Myneca H n o6 nH)Ke There are miracles even closer! (There are even miracles closer at hand!) i vaf^e r;ad 3 m EX H BOBce pflflOMl 3x! And completely near Ah! (And close by! Ah!) tfem *le tfuda tfijesa HeM He nyno nyneca, What is not a miracle of miracles, ax do samix pjat kasa ax, nono caMbixcaMbix nm Koca. ah, down to one’s ankles her braid. (Ah, what is more miraculous than her braid that goes down to her ankles.)

a jifjo li tfucjesa tforni amuti glaza A euie jih nyneca- HepHbi OMyTbl rna3a. And still whether the miracles— the black whirlpool of her eyes. (And still another miracle, the black whirlpool of her eyes.) tjeti tfasu b,es tfudss HeT h nacy 6e3 nynec. There is no hour without a miracle. (There is no time without a miracle.) at tfu4 es b,egi xos f Ies Ot nynec 6erw XOTb B n e c . To the miracle runs to want in the forest. (I want to run to this miracle in the forest.) 48 jest, takis tfu4esa stanut dibam valasa E d b TaKHe M yaeca- CTaHy t Hbi6oM Bonoca. There are such miracles-- stand on end your hair. (In the forest, there would be such miracles as would make my hair stand on end.) do utra b ja psl rityata ex Ho yipa 6 h nen, pe6flTa, 3 x , Until morning would I sing, the children, ah, (Ah, I would sing until morning, and the children...) prikusifc jazik para ex npHKycHTb H3biK nopal 3x! bite my tongue now! Ah! (Ah! I will say no more!)

Frelaf is Svyatoslav's sycophant who kidnaps Nadezhda. Before carrying out the awful deed, he boasts of his strength and lineage in his

Rondo (No. 16), "H-^penat}), a cbiH Tapajibna" ("I am Frelaf, the son of

Garald").

#3 "fl--. A CblH rapanbja" ("I am Frelaf. the son of Garald"! ja frilaf ja sin garajda O penaij), a CbiH T apajibua, I am Frelaf, I am the son of Garald, (I am Frelaf, the son of Garald,) vnux ruajda ja i pravnuk ingelota BHy K Pyanbfla, A H npaBHyK H H ren o the grandson of Ruald, I am also the great-grandson of Ingelot! (the grandson of Ruald and also the great-grandson of Ingelot!) da gcje on tot Ha ru e OH, TOT, And where is he, that, (And where is one, who) kto v r^t so mnoi pacm,el ravryat;sa KTO B PAJ3 CO MHOR nocM en paBHATbCA! who in line with me will dare to equal! (who would dare to rival me!) 49 galavoi ja kl,anu§ T ojioB on h KJiHHycb, A leader I swear, (I swear I am a leader,)

Jto v a j krjjaz maladoi za minja HTO Barn KHH3b MOUOUOfl 3a MeHfl, that your prince young before me, (and that your young prince)

za moi m,etj f^jo addast 3 a Mon M en see o T u a d ! by my sword everything will hand over! (will hand over everything to me by my sword!) on i tak pragadal pragadal Oh h TaK nporanan, nporauan, He will also miscalculate, miscalculate, (He will also miscalculate)

Jto frilaf fje v dru3 ins jivo do six por hto $pena<|> He b upyatH H e e r o n o chx nop! that Frelaf is not in the military unit of his up to now! (that I have not been in his military unit up to now!)

ja frilaf ja sin gara^da H-- $pena4>, h CbiH r a p a j i b u a , I am Frelaf, I am the son o f Garald, (I am Frelaf, the son of Garald,) vnux ruajda ja i pravnuk ingelota BHyk P y a n b fla , a h npaBHyK H H ren oT a! the*•— o'™------grandson — of - —Ruald, I am also the great-grandson o*''*** j of Ingelot! (the grandson of Ruald and also the great-grandson of Ingelot!)

nu g4e vam durrjam H y r n e BaM, n y p h h m , Well then where are you, fools, (Well, then, where are you, fools,) zna£ jiffo kakof kakof Ja 3HaTb eiu e KaKOB, KaKOB f l! to know still what it is, that I am! (who know what I am!) 50 voin sm,elii ja voin xrabrii Ja B o h h cM en b in h ! B o h h x p a 6 p b iH h ! A warrior bold am I! A warrior brave am I! (I am a bold warrior! I am a brave warrior!)

da Ho mije z4eg H a HTO MHe 3 n e c b , Indeed what to me is here,

da ja na vas plivat, xat,el na fl Ha B ac n u e B a T b x o T e n ! indeed I to you to ignore want! (Indeed, what you have here, I want to spit on!)

da ja fsigda svaje va^mu H a fl B c e r jia C Boe B 0 3 b M y And I always my own take (I always take what I want)

V Ijubix krajax B JlK)6bIX K paflx in any region! (in any land!)

ja frilaf ja sin garal,da H-- $pejia4>, a CbiH r a p a n b j i a , I am Frelaf, I am the son o f Garald, (I am Frelaf, the son of Garald,) vnux ruajda ja i pravnuk ingelota B H y k Pyanbfla, h h npaBHyx HHrenoTa! the grandson of Ruald, lam also the great-grandson of Ingelot! (the grandson of Ruald and also the great-grandson of Ingelot!)

moi rot moi rot Mon pon, m ob pon My origin, my family sto let svaim m,et/om praslavjen CTO J16T CBOHM MeHOM fipOCJiaB JieH ! for one hundred years its swords have been famous! (The swords of my family have been famous for a century!) i ska3u ja tib^E tie xvaia? H cica x cy fl Te6e He XBanflCb, And say I to you not to brag, (And I say to you, not to brag,)

Jto takix kak frilaf HTO TflKHX, KaK $pena4>, that such, as Frelaf, (that this is who I am,)

mala jest; udajtsof na zimjs Ma.no ecrb yjianbuoB Ha 3eMJie! not many there are bold on the land! (No one else is as bold in this land!) bila ras EbiJio pa3, There will be a time, (There will be a time,) fto priJlo§ kakto mrje adnamu HTO npH iunocb KaKTO MHe OflHOMy when a new one day to me a single tsjelii 4eil prastajat, uenbin neHb npocTOHTb light of day will remain (when I will be the only one to remain) protif sotni vravof npOTHB COTHH BparoB. against the hundreds of enemies. (against hundreds of enemies.) cjeti anin ja stajal HeHb OHHH fl CTOflJl, The day them I will stand, (I will stand against them)

[staju] [staju] [CTOIO] [CTOIO]... [I will stand] [I will stand...]

(Jeij drugoi ja stajal aeHb npyroH h CTOflJl... the day others I will stand... (and I will stand against them on other days...) 52 gjaq i m,e§ats prajol rjiHHb, h Mecflu n poiu eji! Look out, and the month will arrive! (Look out, for that time will arrive!)

ja frilaf ja sin garaj,da H-- $pena4>, a cbiH Tapanbua, I am Frelaf, I am the son of Garald, (I am Frelaf, the son of Garald,)

vnux ruajda ja i pravnuk ingelota BHy k Pyajibna, a h npaBHyK HHrenoia! the grandson of Ruald, lam also the great-grandson of Ingelot! (the grandson of Ruald and also the great-grandson of Ingelot!)

ja tsjsli got bi mok stajal, a uejibiH rofl 6bi Mor CTOflTb, I the whole year will want to stand, (I would stand for a whole year,) plati lif 4e«igi miaTH JIHUIb UeHbTH! and pay still the money! (and still money is paid me!) vot ja kakof B ot a KaKOB! Here I what is! (I am everything there is to be!)

After Nadezhda has been abducted, Vseslav sings his Aria-Romance

(No. 25), "Boriue! YcHJibH Bee HanpacHbi" ("Everything is in vain, has become futile!").

#4 "Bo-riiie! YcHJibfl Bee HanpacHbi" ("Everything is in vain, has become futile!") vatfje usilja fsjo naprasni BoTiue! YcHflbfl Bee HanpacHbi. In vain! Became stronger everything futile. (Everything is in vain, has become futile.) mrje Jastja IJEt f su4b,E majei MHe CHacTbfl HeT b cyn b 6e MOeR To me happiness is not in my. (Happiness is not in my destiny.)

ji/Jo ftfira mn,e mir bil praznik Elite BHepa MHe MHP 6 bin npa3flH H K , Yet yesterday to me the world was a holiday, (Yet yesterday the world was a holiday to me.)

ftfira ji/Jo fstrit/alsja s rjei BHepa eiue BCTpenancH c Hen, yesterday yet I met with her, (Yesterday I met with her,) ji/Jo ftfira blagie zyezdi eiue BHepa 6narne 3 B e 3 flb I yet yesterday good in the stars (Yesterday was good; it was in the stars.)

sijali jei i mrje vasjet CHHJIH efl H MHe Bocjien... shown to her and to me after... (Everything was shown to us...) i f?[jo pramt/ala§ f?jo ijszla H B ee npoMHanocb, B ee HCHC3JIO! And everything raced by, everything vanished! (But then everything flew by and vanished!) f plenu ana moi jasnii syet B n n e H y OHa, MOR RCHblR CBeT, In captivity she is, my clear light, (She is being held captive, my light!) a b,es nijo mije Jastja IJEt A 6 e 3 H e e MHe CHaCTbfl H eT . And without her to me happiness is not. (And there is no happiness without her.)

Jto vlasj H to B JiaC T b, What is power,

Jto kief mrje b,es milai HTO Kh c b MHe 6 e 3 MHJIOR, that Kiev me without my sweetheart. (What is the might in ruling Kiev to me without my sweetheart.) /to da3 e 3 izij kagda fie s tjci mto na»e «H3Hb, Koraa He c Hen ?. that even life, when I am not with her?... (what is life, when I am without her?...)

uvi asko£dava magila YBbi, AcKonbflOBa MorHJia,-- Alas, Askold’s grave,— (Alas, here at Askold’s grave.)

magilai stala ti m a je i MOrHHOB CTaJia Tbi Moenl grave become you mine! (You will become my grave!)

rje pal sra3 en pal ja bisslavna He nan cpa*eH,--nan a 6eccnaBH O . Did not fall in battle,— fell I without glory. (I did not fall in battle; I fell without glory.)

nidolak srok ub,st taska Henonor cpoK, y6beT TocKa... For a while, kill melancholy... (For some time, melancholy has been killing me...) i kosti brinnie fsislava H kocth bpeHHbie BcecnaBa And bones are perishable o f Vseslav (And Vseslav’s perishable bones) zarojet tfu3 daja ruka 3apoeT Hy»naH pyKa, to bury foreign hands. (are buried by foreign hands.) ix yuga zani^et sugrobsm Hx Bbiora 3aHeceT cyrpo6oM , They a snowstorm become covered with snowdrifts, (They are covered by snowdrifts from a snowstorm,)

IjezmoJvnii sijsk zaparajit 6e3MOJiBHbiR CHer 3anopouiHT, the silent snow covers lightly, (covered lightly by the silent snow,) i j,udi dobris surova praidut minja h nioflH nobpbie cypoBo nponnyT MeHfl, and the people good sternly will pass on to me. (and the good people will sternly pass on to me) praidut tavo kto Z{Je§ j,e3 it npofljiyT Toro, kto 3necb ne«HT.. will pass on this, who here is situated, (will pass on this, when I am here a coffin...)

1 nat maim pustmmm grobam H Han MOHM nycTbiHHbiM rpo6oM And above my desert coffin (And above my desert coffin)

nikto i trizni rje syerfit HHKTO H TpH3HbI He CBepiUHT, no one also the funeral feast will not carry out, (no one will have a funeral feast.)

fy o |,es da j,es krugam drimutfii Bee n ec fla nec KpyroM npeMyHHR, Everything the forest yes the forest all around is dense, (The dense forest is all around,)

krugam tfu3 aja starana KpyroM Hy»aH cTopoHa... all around the foreign land... (all around this foreign land...)

i §ertt:§e at Jjubvi gatjutfei h cepflue ot jiio6 bh ropioH en and my heart from love burning (And my heart is burning with love.) izbavit yerna sm,er£ adna H36aBHT, BepHO, CMepTb OflHa. save from, faithfully, to die alone. (Save me, faithful heart, from dying alone...)

sm,ert, adna sm,8rt, adna sm,£rt, adna CMepTb onHa... CMepTb ojjHa... CMepTb ouHa!... To die alone... To die alone... To die alone! (from dying alone!)

Torop's Song (No. 32),"BeeT, BeeT BeTepoK, npo6Hpancb no necKy

("The breeze blows, and makes its way through the forest"), is performed to divert the attention of Svyatoslav's retinue while Vseslav steals into the palace to rescue Nadezhda. 56 # 5 "Beet. BeeT BeTeDOK. npo6HDaHCb no necKV" ("The breeze blows, and makes its way through the forest") yejat yejat vit,erok BeeT, BeeT e e T e p o K , Blows, blows the breeze, (The breeze blows;) probiraja? po lisku npobHpancb no n e cicy , to make its way through the forest, (It makes its way throught the forest.) po kustajkam on Jumit n o Ky CTOMKaM o h ui y m h t , through the branches it makes noise, (It makes noise as it goes through the branches.) po listofkam Jelestit no JIHCTOHKaM menecTHT, through the leaves it rustles, (It rustles through the leaves,) on po trafl$£ o h no TpaBKe, it through the grasses, (and through the grasses.) po murafl§e piriparxivajst Cno MypaBKe nepenapxHBaeT. through the meadow it flutters... (It flutters through the meadow...) ax to zapajet on praxladaju Ax! To 3 a n a w e T o h npoxjianoK), Ah! This plowing it in coolness, (Ah! It will then plow with coolness.) to zasvif/st salayem TO 3aCBHUieT COJlOBbeMl that call like the nightingale! (It calls like the nightingale!) on ni?8t k divitse yestajku O h H ec e T K neBHue BeCTOMKy It carries to the damsel the news (It carries the news to the damsel) at sird,efnava drufka OT cepneHHoro ApyiKKa,-- from his sincere heart friend, — (from a friend, the sincere heart of a friend.) on jsi JeptJet na uxa oh e fl iu e n n e T Ha y x o , it to her whispers in her ear, (It whispers into her ear...)

Jeptfet Jei na uxa iu e r m e T e n Ha y x o : whispers to her in her ear: (It whispers into her ear:) t,aj"ka iajka bila malatsu "THiKKO, THJKKO 6bIJIO M O J io flu y , “Painful, painful will be the youth, (“It will be difficult for you to ignore him,) da 9

As mentioned earlier, the vocal style of A Life for the Tsar is very strongly influenced by Italian opera, and Sobinin's aria displays typical Italianate characteristics: melismatic passages, virtuosic demands and a high range. In fact, it is musically and dramatically similar to Tonio's aria in

Donizetti's La fille du regiment in that it also contains a heroic melody with many high C's, and it is sung to motivate his friends to embark on a rescue of the hero. Because of its difficulty, this aria is often cut from performances.

mixail ivanavitf glinka MHXattJl HBaHOBHM rnHHKa Mikhail Ivanovich Glinka

3 iztj za tsarja JK.H3Hb 3a uapn A Life for the Tsar 59

#6 "Hto HaM MeTenb!" ("What is a blizzard to us!")

/to nam mijsJ Hto HaM MeTenb! What to us a blizzard! (What is a blizzard to us!) slamit; n,e mogut nas m yuga ni sn,ega CnoMHTb He MoryT Hac hh Bbiora, hh CHera! Defeat not able us neither a blizzard nor snows! (Neither blizzard nor snows can defeat us!) nai^jom mi sjet vraga HaoneM MbI cjien Bpara! Let us find we the trail of the enemy! (Let us find the trail o f the enemy!)

/to nam sijega Hto HaM cH era! What to us are snows! (What are snows to us!) darogu mi nai^jom H opory Mbi HaflneM, The way we will find, (We will find the way,) atso at muk spayom spasjom oTua ot MyK cnaceM, cnaceM! father from pangs we will save, we will save! (We will save our father from sorrows! We will save him!)

u nas§erttsa sakoji Cepnua y Hac COKOJIbH, Hearts have we of falcons, (We have hearts of falcons;) atvage v nix razdoje oTBare b hhx p a3 u o jib e, there is courage in their freedom, (there is courage in their freedom.) vragof mi primjom f kojja BparoB Mbi npHMeM b KOJlbH, The enemies we will take in stockades, (We will take the enemies in stockades,) svajo va^mjom CBOe B03bMeM! ourselves we shall prevail! (We ouselves shall prevail!) za ru§ v boi pai^jom mi 3a Pycb b 6on nonneM Mbi, For Russia into battle will go we, (We will go into battle for Russia.) v bar;b,E mi niujomni b 6opb6e Mbi HeyeMHbi in the struggle we are indefatigable (We are indefatigable in the struggle,) i fsjo svajo va^mjom mi H Bee CBOe B03bMeM Mbi I and in all ourselves shall prevail we! (and we ourselves shall prevail!) va^mjom svajo va^mjom Bo3bMeMl CBoe B03bM6M! We shall! Ourselves we shall prevail! (We ourselves shall prevail!) vraga zaicjjom atsa spasjom Bpara 3anneM, oTua cnaceM! The enemy we will stop, father we will save! (We will stop the enemy! We will save our father!)

ti tje plat; libjodufka Tbi He nnanb, JieSejiyiiiKa, You do not cry, little swan, (Do not cry, my little swan;) sljos ije |ei rut/om cne3 He nen pynbeM! tears do not in a rivulet pour out! (do not pour out tears in a rivulet!) mi titje atsa padnova vinyom Mu Te6e oma poflHoro BepHeMI We to you father your own will bring back! (We will bring back your father!) 61 atsa mi spayom O m a Mbi cnaceM ! Father we will save! (We will save our father!)

radast vnov virryotsja V dom padnoi PaAocT BHOBb BepHeTCH B AOM poA H on. Joy once again will return to home our. (Once again joy will return to our home.)

mi drugna bucjem 315 adnoi simjoi Mbi ApyacHO 6yneM JKHTb OAHOH ceM ben! We amicably (together) will live as one family! (We will live together amicably as one family!)

Jast;e jasnim sonifkam CnacTbe h c h u m COJlHbllUKOM, Happiness like a serene little sun, (Like a serene little sun, happiness) systlim ys/nim dnjom dom radnoi vaicjjot CBeTJIbIM BeiUHHM AHfcM B AOM pOAHOft BOHAeT. a bright like day into home our will come. (will come into our home like a bright day.)

namljubov blisjjot ljubov nam blistjot JlK)6 0 Bb HaM 6necTeT, JlK)60Bb HaM 6necTeTl Love for us will shine, love for us will shine! (Love will shine for us!) pragjanit ljubov svifleja IIporAflHeT AK>6oBb, cBeTJiee, Will appear love, brighter, (Love will appear brighter) tfem yefnija sontss blisiyot neM BeuiHee conHue, SnecHeTl than the springtime sun, will shine! (than the springtime sun!)

f put, nam para B nyTb HaM n o p a l On the way for us to be it is time! (It is time for us to be on our way!) ni/to ije slomit nas Hhmto He CJIOMHT Hac, Nothing will not defeat us, (Nothing will defeat us,) m yuga ni sniga hh Bbiora, hh CHera! neither blizzard, nor snows! (neither blizzard nor snows!) nai^jom mi s|et vraga HaflxieM Mbi cnen B p a r a ! W ill find we the trail of the enemy! (We will find the trail o f the enemy!) f put; nam para B nyTb HaM nopal On the way for us to be it is time! (It is time for us to be on our way!) vlacjejet sm,elim box B naneeT CMenbiM 6or, Could control a daring man God, (God could control a daring man,) asilim mi vraga dast box ochjihm Mbi Bpara, nacT 6or! will overpower we the enemy, if wills God! (and if He wills it, we will overpower the enemy!) at,ets ije znajet straxa O ieu He 3HaeT d p a x a . Father does not know fear. (Our father does not know fear.)

V du/e jivo atvaga B nyuie ero oTBara, In soul his there is courage, (There is courage in his soul.) no on v rukax ljaxa HO OH B pynax y Jiflxa I But he is in the hands of the Poles! (But he is in the hands of the Poles!) naicjjom atsa spa^jom jlVO HanueM oma! CnaceM ero! We will find father! We will save him! (We will find him! We will save him!) 63 kaznij vragof dal 3 ni mt Ka3HHTb BparoB flOJIJKHbl Mbi I To slay the enemies must we! (We must slay the enemies!) za ru§ v boi i

Glinka's second opera, Ruslan and Lyudmila (1842), has also become one of the most enduring operas of the repertoire. An opera in five acts to a libretto by V. F. Shirkov and K. A. Bakhturin after Pushkin, Ruslan and

Lyudmila was first performed 9 December 1842 in St. Petersburg, exactly four years after the premiere of A Life for the Tsar. Although its libretto is nonsensical, the music is extraordinary. (It is interesting to point out that Glinka composed much of the music before ever seeing the text, therefore leading the literary firgure and critic Vladimir Odoyevsky (1804-69) to suspect it was originally conceived as a stage tableau or oratorio.3) Nonetheless, as has been noted,Ruslan and Lyudmila is an important step in the development of Russian opera, since it is the first operatic masterpiece to be based on a fantastic story, to imitate Russian national instruments, to utilize oriental music idioms and to incorporate

3 David Brown, : A Biographical and Critical Study (London, New York and Toronto: , 1974), 92. 64 unusual harmonies like the whole-tone scale. The opera opens with a celebration sponsored by Svetozar (bass), the Grand Duke of Kiev, in honor of his daughter's suitors. The Bayan (tenor) is a Russian who entertains at the court, singing "EcTb nycTbiHHbin Kpan,

6e30TpaflHbiH 6 per" ("There is a wilderness, a cheerless shore"). He accompanies himself on thegusli, a native Russian stringed instrument, imitated in the orchestra by the unison arpeggios of the piano and harp.

ruslan i jjudmila PycnaH h JIiojjMHJia Ruslan and Lyudmila

#7 "EcTb nvcrbiHHbifl KDafl. 6e30TDajHbiB 6per" ("There is a wilderness, a cheerless shore") jest; pustinnii krai tjezatradnii bt;sk Edb nycTbiHHbin Kpan, 6e30TpajiHbiB 6per, There is a wilderness, a cheerless shore, (There is a wilderness, a cheerless shore) tam na polnatfi dal,eko TaM Ha nojiHOMH flajieko. Out there in the north far away. (out there in the North far away.) sontse Jetnija na dalini tam CojiHue neTHee Ha flOJlHHbl TaM The sun summer in the valleys out there skvo? tuman gladit b,es lutfei cKB03b TyMaH rjiflflHT 6e3 JiyHen. through the fog appears without rays. (Out there the summer sun appears through the fog without rays in the valleys.) no yeka praidut Ho BeKa n p ofln yT , But the ages will pass on, (But the ages will pass on,) 65 i na l^sdnii krai dojja divnaja nizai^jot h Ha 6enHbin Kpan jjojih nHBHan HH3oHnei! and on the poor land a share glorious will descend! (and a glorious share will descend on the poor land!)

tam mladoi piyets f slavu rodini TaM MJianon neB eu b cnaBy p 0 H H bl There a young singer in praise o f the homeland

na zlatix strunax zapajot Ha 3JiaTbIX d p y H a x 3 a n o e T on golden strings will sing (There, a young singer will sing in praise of the homeland and play on golden strings)

i jjudmilu nam s jijo vitja^em H JIJOflMHJiy HaM c ee BHTH3ei and Lyudmila for us with her heroes

at zabyenija saxranit OT 3a6BeHHH COXpaHHT. from oblivion preserve. (and preserve for us Lyudmila and her heroes from oblivion.)

no nidolok srok na zimj,e pevtsu Ho Henonor CPOK Ha 3eMJie n e B u y , But it is not a long time on earth for a poet. (But a poet is not on earth for a long time...)

no nidolok srok na zimje HO Heuojior CPOK Ha 3eMJie. but it is not a long time on earth. (is not on earth for long.) fSjE bissm,Ertnije v n,ebisax Bee 6eccMepTHbie b H e 6 e c a x . All immortals are in the heavens. (All immortals are in the heavens.)

In Act 2, Scene 2 Ruslan () visits Finn (tenor), a friendly magician, to learn where Lyudmila (soprano) is being held by the evil sorceress Naina (mezzo-soprano). Finn tells Ruslan of Naina's past in his

Ballad (No. 5), "Ho6 po nowaJioBaTb, Mon cbiH!" ("Welcome, my son!"). The aria has been a favorite of audience's ever since the opera's premiere, and 66 Montagu Montagu-Nathan, the author of Masters of Russian Music: Glinka,

calls it "the choicest music in the opera." 4

#8 "Ho6 po nomaJiOBaTb. MOH c m h !" ("Welcome, my son!")

dabro pa3 dlavat; moi sin Ho6po noiKanoBaTb, Mon CblH ! Welcome, my son! (Welcome, my son!)

ja nakaijsts da3 dalsja dnja 51, HaKOHeu, flOHcnancH aha, I, have at last, lived to see, (I have at last lived to see)

davno pridvidinnava mnaju uaBHo npejiBHfleHHoro MHOK) ! long ago foresaw that I! (what 1 forsaw long ago!)

mi vm^estjS svicjeni sucjbaju Mbi BMecTe cBezteHbi cynb 6 oJO. We together have been brought by fate. (We have been brought together by fate.) uznai ruslan tvoi askarbijej, y3Han, PycnaH: tboh OCKOp6HTejIb- Know, Ruslan: your mocker— (Ruslan, know who your mocker is—) valjcbnik strajnii tjcrnamor BOJlLUebHUK CTpaUIHbin HepHOMop. the sorcerer the terrible Chernomor. (it is the terrible sorcerer Chemomor.) jiJT° nit/si v jivo abijej, E m e HHHen b ero oftHTenb Yet no one has in his lair r*e pranikal danije vzor He npoHHKan noHbiHe B 3 0 p . has not penetrated to this day a look. (To this day no one’s gaze has yet penetrated his lair.)

4 Montagu Montagu-Nathan,Masters of Russian Music: Glinka (New York: Duffield and Company, 1917), 72. V nijo tt fstupif B Hee TbI BCTynHuib, Into it you will enter. (You will enter it,)

1 zlatjei pacjet at ruki tvajei H 3jiofleH na.neT OT pyKH TBOeH. and the villan will fall at hands your. (and the villan will fall at your hands.)

Jjutjeznii sin JIio6e3Hbin CblH ! Gracious son! (Gracious son!)

us ja zabil y « a 3a6bin Already I have forgotten (I have already forgotten)

atfizni daj,rjsi ugtjumii krai OTHH3HbI nanbH en yrpioMbiB Kpai the fatherland distant gloomy land. (the distant, gloomy fatherland.)

prirodnii finn V dalinax npHpoaHbin 4>hhh, B nojiH Hax, Native Finn, in the valleys,

nam adnim izyesnix HaM OHHHM H3B6CTHbIX, to ourselves alone are well-known, (I am well-known amongst those valleys,)

gaojal ja stada akr;8snix rOHHJl n cTajio cen OKpeCTHI Drove I the herd for villages local. (I drove the herd for the local villagers.)

no 3*5 v atradnai tijiiie H o MfHTb B OTpaflHOB THUIHHe But to live in the pleasing silence

dano nidolga bila mrje jiaHo H e a o n ro 6bino m h e . given not long was to me. (But I was not given to live in the pleasing silence for long.) 68 tagda bli? naj£vo sijenja T o r n a 6jIH3b Harnero ceneH bfl Then close to our village (Then, close to our village,)

naina tsv;et ujedirjenja HaHHa, LiBeT yenHHeHbH, Naina, flower o f solitude, (Naina, a flower of solitude,) grim,ela divnai krasatoi rpeMena hhbhor KpacoTOR. rang out with amazing beauty. (rang out with amazing beauty.) ja divu fsti;stil 51 fleBy BCTpeTHJi... I the maiden greeted... (1 greeted the maiden...) rakaboi za vzor mrje plam,ei} bil nagradai poKOBon, 3a B30p, MHe nnaMeHb 6bin H a r p a n o n , fatal, from a glance, to me the blaze was a reward. (from one fatal glance, the blaze was a reward to me,) i ja ljubov uznal dujoi h a Jiio6oBb y3Han jjyiuoR and 1 love knew with my soul (and 1 knew I loved with my soul) s jijo nib,ssnaju atradai c ee He6ecHoio oTpajjon, with its heavenly pleasing, (with love’s heavenly pleasure,) s jijo mutjisejnai taskoi c ee MyMHTejibHon to ck o r. with its agonizing boredom, (and with its agonizing melancholy.) umtjala? gada palavina YMHajiacb rona nonoBHHa; Sped by a year half; (Half a year sped by;) ja t££pitam atkrilsja J£i skazal fl c TpeneTOM OTKpblHCfl en, CKa3an: 1 with trembling opened up to her, said: (Trembling, I opened up to her and said:) ljublju tilya naina JlK>6nio Te6flt H a H H a !' “I love you, Naina!” (“I love you, Naina!”)

no ropkai gor;esti majei Ho p o 6 koh ropecTH Moen But the shy misfortunes mv (But my shyness was a misfortune;)

naina s gordast,u vnimala H aH H a C ropflOCTbK) b h h m a ji a , Naina with arrogance heeded, (Naina heeded with arrogance,)

lij prijESti svoi Jjubja jiHiiib npenecTH CBOH nio6 fl, only the charms of her loving, (and the charms of her loving.)

i ravnadufna atvitjala h paBHoayiUHO OTBenana: and with indifference answered: (With indifference, she answered:) pastux ja ije ljublju tibja "IlacTyx, a He jiio6 jiio Te6n! “Shepherd, I do not love you!” (“Shepherd, I do not love you!”) i f§jo mrje dika mratjna stala H BCe MHe UHKO, MpaHHO dajio And all for me wild, gloomy became: (And everything became wild and gloomy.) radnaja kujja t,eij dubof poj3Ha« Kyma, TeHb uy6oB, my own tent, in the shade of the oaks. (Neither my tent, in the shade of the oaks,) vi§ igri pastuxaf Becenbi wrpbi naciyxoB, the merry games o f the shepherds, (nor the merry games of the shepherds...) nijto taski rje utijala HHHTO TOCKH He yT H iu an o ! nothing my sadness not consoled! (nothing consoled my sadness!) 70 ja vizval srpclix ribakof H Bbi3Ban cMejibix pbi6aKOB I called the bold fisherman (I called the bold fisherman) iskat, apasnast,£i zlata HCKaTb onacHocTen H 3Jiaia. to search for danger and for gold. (to search for danger and for gold.) mi 1st pot zvuk bulata MbI fleCHTb JieT non 3By K 6ynaTa We for ten years in the sound of damask steel (of swords) (We fought for ten years in the sound of clashing swords) bagrili? kroviju vragof 6arpnnHCb KPOBHK) BparoB. shone red with the blood o f the enemies. (that shone red with the blood o f our enemies.) sbilisja pilkijs 3elanja C6biJiHCH ribinKHe xenaHbfl, It had been realized the ardent desires, (I realized that the ardent desires) sbili? davnijnije m,ejti c6bi;iHCb naBHHLUHHe m e m t bi: came true the ancient dreams: (of the ancient dreams had come true.) minuta slatkova svidaja MHHyTa cnauKoro cBHnaHbH, the moment o f sweet meeting, (The moment I realized this,) i d|a minja blisnula u m n n n MeHfl 6iiecHyna t bi! and for me flashed across my mind you! (you flashed across my mind!) k nagam krasavitsi nadrpennoi K HoraM KpacaBHUbi HauMeHHon To the feet of the beauty arrogant (To the feet o f the arrogant beauty) pripes ja n^Et/ akravavj,ennii npHHec h Men oKpoBaBJieHHbin, brought I a sword bloodstained, (I brought my bloodstained sword,) karalli zlata 1 3smjuk Kopannbi, 3 naTO H weMMyr. of coral, gold and pearl. (of coral, gold and pearl.)

PCel niju strastju upojennn npefl Heio, CTpaCTbK) ynoeHHbiR, In front o f her, with passion intoxicated, (In front of her, with intoxicated passion,) tjezmolvnim rajem akru3cnnii 6e3MOJIBHbIM poeM OKpyiKeHHbiB the silent by a throng surrounded (surrounded by a silent throng) jijo , zavislivix padruk ee 3 aBHCTJiHBbix n o flp y r, of her envious female friends, (of her jealous friends,) stajal ja pjennikam paslufnim CTOHJ1 fl n JieHHHKOM nocjiyuiHbiM. stood I a prisoner obedient. (I stood her obedient prisoner.) no cjeva skrila? at minja Ho jjeBa CKpbinacb OT MeHH, But the maiden hid from me, (But the maiden hid from me,) pramolvja s vidam raznadujnim npOMOJIBfl C BHUOM paBHonyiiiHbiM: saying with a look of indifference: (saying, with a look of indifference:) geroi ja i}e ljubjju tibja Tepon, h He jho6 jik> Te6 fl!" “Hero, I do not love you!” (“Hero, I do not love you!”) kt/cmu rasskazivat, moi sin K neMy paccKa 3 biBaTb, MOR CblH, What is the point of telling, my son, (What is the point of telling you, my son,) tjcvo piriskazat, pet sili nero nepecKa3 aTb HeT CHHbl ? Something to tell it there is not the strength? (That which I do not have the strength to tell?) ax i tiger; adin Ax! H T enepb, OflHH, Ah! And now, alone, (Ah! And now, alone,)

adin dujoi usnuf OJJHH, n yuion ycHyB, alone. my spirit having fallen asleep. (my spirit having fallen asleep,)

dvirjax magili B JIBepHX MOrHJlbl, in the doorway o f the grave, (in the doorway of the grave,) ja pamgju got;es$ i paroi h noMHto ropecT b, h nopon, 1 remember the sorrow, and at times, (I remember the sorrow, and at times,) kak o minuffem misj raditsja KaK O MHHyBUieM MblCJIb pOflHTCfl, as in the past the idea was born, (as in the past, when I first thought about it,) po barad,£ majei sidoi no 6opoj3e MoeH cenon in the beard my white-haired sj,eza ja3olaja katitsja cne3a TflHcenaH KaTHTcn. tears painful flowed. (the painful tears flowed into my white-haired beard.) no slujai v rodige majei Ho cnyiuafl b poflHHe Moen, But hearken in homeland my, (But hearken, in my homeland,) mi5du pustinnix ribar;ei MejKny nycTbiHHbix p bi 6 a p e n, among forsaken fishermen. (among the forsaken fishermen,) nauka divnaja taitsja HayKa jjHBHan TaHTCfl. the knowledge marvelous hides. (the marvelous knowledge hides.) pot krovam vctjnai tijini n o n KPOBOM BeHHOB THIIIHHbl, Under cover of eternal silence, (Under the cover of eternal silence,) sridi lisof v glufi dajekai cpeflH necoB b rjiyuiH flaneKoH, among the trees in the wilderness far away. (among the trees in the wilderness far away,)

3ivut sidijs kolduni jKHByT ceflbie k o ji n y h bi. lives gray-haired sorcerers, (there lives a gray-haired sorceress.) i §erttss cjevi ja 3£stokai H c e p a u e neBbi fl «eCTOKOB And the heart of the maiden 1 cruel re/ilsja tjarami privjet; peum ncH MapaMH npHBneM b, decided to by the (magical) charms win. (And I decided to win the heart of the cruel maiden by magical charms...) ljubov valj'epsvami za3 £tf HK)6oBb BonuiebcTBaMH 3a«enb. love by magical charms to ignite. (to win her by magical charms.) prajli nividimijs godi IIpOIIIJlH HeBHflHMbie ronbi, Passed the invisible years, (The invisible years passed,) nastal davno 3£lannii mik HacTaji flaBHO wenaHHbiB m h t , came the long awaited moment, (and the long awaited moment came.) i syetlai misliju pastik H CBeTJIOH MbICJIHK) nOCTHr and a bright idea comprehended (And in a moment of lucidity, I comprehended) ja tainu strajnuju prirodi a TaHHy CTpauiHyio npHpojibi. I the secret terrible of nature, (nature’s terrible secret.) 74 v rpejtax hacje3di maladoi B Memax HafleiKflbi Mojiojion, In dreams of hope young. (In the young dreams o f hope,) v vastorge pilkova 3 elanja b BocTopre nbinKoro wenaHbft, in the ecstasy o f ardent desires, (in the ecstasy o f ardent desires,) tvorju paspefna zaklinanja zavu duxaf TBopio nocneiUHO 3aKJiHHaHbfl, 30By nyxoB I create hastily the incantation, I call up spirits. (I hastily create the incantation and call up spirits.) vo t,m,e nat/noi BO TbMe HOMHOB In the darkness of night (In the darkness o f night) strila pramtfala§ gramavaja dpejia npoMHanacb rpoMaBaa, the arrow raced by thundering, (the thundering arrow raced by;) val/cbnii vixor; pocjnjal voi BOJimebHbin BHXOpb nojiHfln b o b . the magical whirlwind raised a wail. (the magical whirlwind wailed.) i vdruk sidit psredo mnoi H Bflpyr CHUHT nepeno mhob And suddenly sits in front o f me (And suddenly, sitting in front o f me) staru/ka dt;axlaja CTapyiuKa apaxnafl, is an old woman decrepit, (is a decrepit old woman,) sidaja s garbom s t^asut/d galavoi ceflafl, c rop6oM, c TpHcynen rOJIOBOH, white-haired, with a hump, with a shaking head, (white-haired, with a shaking head and a hump,) pitfajnai yetxosti kartina nenanbHOB BeixocTH KapTHHa. a sad o f old age picture... (a sad picture of old age...) ax vijaz, to bila naina AX, BHTfl3 b, TO 6 biJia H aH H a! Ah, hero, that was Naina! (Ah. hero, it was Naina!) ja U3asnulsja i maltfal H yacacHyncH H MOJlHa JI, I was horrified and kept quiet, (Horrified, I kept quiet.) i vdruk zaplakal zakritjal h Bjipyr 3annaKan, 3 aicpHMaji: and suddenly I began to cry, 1 began to scream: (And suddenly, I began to scream:) vazm o 3 na \ ax naina tili "Bo3Mo« ho Jib? Ax! HaHHa, TbI JIH?. “Can it be?” Ah, Naina, is it you?.. (“Can it be? Ah, Naina, is it you?...) naina gcje tvaja krasa HaHHa, rue tboh Kpaca ? Naina, where is your beauty? (Naina, where is your beauty?) ska3 i U3 £li nibisa tibja Ck 3 )KH, yxcenH He6 eca Te6 n Tell (me), really heaven you (Tell me, how in heaven) tak strajna izm,enili TaK CTpaiUHO H3MeHHJlH? this way terribly changed?” (your beauty was so terribly changed to this?”)

UVl moi sin YBbl, moh CblH ! Alas, my son! (Alas, my son!) fyo kaldastvo fpalijs svirfila^ Bee KonnoBCTBo B n o jiH e CBepiUHJIOCb, all the magic completely has turned out, (All the magic has turned out unhappily,) po nijastju ko mij£ pilala no HecHacTbio: KO MHe n b in an o unhappily: (has made) to me burn novai strastju moj£ sidoje ba3£svo HOBOR CTpaCTblO Moe cenoe 6 o«ecTBo! with new passion my white-haired idol! (My gray-haired idol has made me bum with new passion!) ja ubi3al fl y 6 e » a n ; I escaped; (I escaped;) no gijsvam yetfna HO, THeBOMTHeBOM B e H H 0 but, anger has always been (but anger has always been) s t;ex por prisjeduja minja c Tex nop n p e c n e n y n M e H H , since then pursuing me, (pursuing me since,) dufoju tjernai zlo Ijubja nyrnoK) nepH on 3 Jio m oS n , with soul black evil loving, (with a black, evil-loving soul,) pilaja m/Jei^em biskan.etj'na nbinan MineHbeM becKOHeHHo, burning with revenge endlessly, (endlessly burning with revenge.) kaldunja staraja kan,ejna KOJinyHbH d a p a fl, KOHeHHO, the sorceress old, finally, (Finally, the old sorceress,) vazrjenavidit i tibja B03HeHaBHflHT H Te6n. developed a hatred also for you. (also developed a hatred for you.) 77 no ti ruslan Ho Tbi, P ycnaH , But you.jw . Ruslan, (But you, Ruslan,)

naini zlobnai ije straji§ HaHHbi 3no6Hon He CTpaiHHCb ! Naina malicious do not be afraid of! (do not be afraid of the malicious Naina!)

s nacj£3dai viroju viyolai idi na fSjo C Hafle)Kflofl, eepoK) Becejion HUH Ha Bee, With hope. faith merry I am going for it all. (With hope and faith, I am going for it all.)

pe univai He yH biBan! not to be discouraged! (Do not be discouraged!)

fpit;et mitjom i gruc^ju sm,elai Bnepen, mchom H rpynbio cM en o n Onward, with swords and with chest daring (Onward, with swords and a daring chest,)

svoi put, na polnatj cBon nyTb na nOJIHOHb, your way to the north, (on your way to the North,)

svoi put, na polnatf probivai cboh nyTb Ha nOJIHOHb n p o b H B a n ! your way to the north make your way (make your way to the North!)

Italian opera also had a strong influence on Alexander Sergeyevich Dargomi'zhsky (1813-69); Rossini's operas were performed frequently in St. Petersburg, and the Italian company was the favorite of the public for many years. The premiere of his first opera, Esmeralda (1841), was detained for five years because of the censors and the subsequent banishment of the Russian opera company in favor of the Italian company in St. Petersburg. Needless to 78 say, Dargomi'zhsky became intolerant of Italian opera.

Esmeralda is an opera in four acts to a libretto by the composer and two

of his assistants, after Hugo's libretto based on his novelNotre-Damc dc

Paris. It was first performed at the Moscow Bol'shoy 5 December 1847.

Written while Dargomi'zhsky was still emulating the Italian style, Esmeralda

contains much beautiful music in the manner akin to Bellini, Donizetti and Rossini.

The secondary love interest in Esmeralda involves Phoebus of

Shapoter (tenor) and Fleur de Lis (soprano), and his Aria (No. 14) "0, mo6oBb, He3eMHoe mybctbo!" ("O, love, unearthly feeling!") is a love song about her.

aleksandr sergejevitj dargamijskii AjieKcaHflp CepreeBHH flaprOMbDKCKHR Alexander Sergeyevich Dargomi'zhsky esmirajda EcMepanbjja Esmeralda

#9 "0 . JlK)6oBb. He3eMH0e m ybctbo!" ("O. love, unearthly feeling!") o ljubov nizimnoje tfustva 0, JiioboBb, He3eMHoe nyBCTBO! O, love, unearthly feeling! (O love, unearthly feeling!) dye dufi v dufu slit, adnu flBe nyuiH b ay iu y cnHTb ou H y! Two souls in perfect harmony combine as one! (Two souls combine as one in perfect harmony!) abladat, krasaju cJev* milai 06najiaTb Kpacoio neBbi mhjioo, To have the beauty of a maiden sweet, (To have the beauty of a sweet maiden,) 79 bit vlastilinam 6bITb BJiacTe J1HH0M To be absolute master (To be absolute master) i bit, rabam bH vlastilinam H 6bITb pa6oM, 6bITb BJiaCTeJIHHOM, and to be slave, to be master, (and to be a slave.) bit, vlastilinam 1 rabam 6bITb BJiaCTeJIHHOM H pa6oM ! to be master and slave! (To be master and a slave!) vlacjst, jijo dufoi BnajjeTb ee ny iuon To own her soul! (To own her soul!) via #5 jijo krasai B nan eT b ee K p a c o n , To own her beauty, (To own her beauty!)

1Z ust jijo bla3snstva ispivat, H3 ycT ee 6na»eHCTBo HcnHBaTb! from mouth her bliss to drink up! (To drink up bliss from her mouth!) i sljos rosu v at/ax prikrasnai H cne3 pocy b onax n p e K p a c H o n and the tears o f dew in her eyes wonderful (And the dewy tears from her wonderful eyes) pat^dujem asujat, nouenyeM ocyuiaTb! we kiss to dry! (we dry by kissing!)

jjubov nas prizivajet JI K)6oBb Hac npH3biBaeT Love us calls upon (Love calls upon us) 80 na slatkii t/ustvam glas Ha cnanKHB MyBCTBaM rn a c , upon the sweet feeling voice. (with a sweet, loving voice.) pust, sjerttse atvit/ajet nycTb cepnue OTBeMaeT- let the heart answ er- (Let the heart answer—) nam 315 adin lif ras HaM MCHTb OflHH JIHIUb p a 3 ! to us to live is one only time! (We only have one chance to live!)

Jto f tom /to P0 Sj,£ umgom Hto B TOM, MTO nocne yMpeM ? What is there, that after we die? (What is there after we die?) sto Jet za za mik atdajom CTO JieT 3a MHT o m a e M A hundred years for a moment we will give (We will give a hundred years for a moment) i yet/nas$ fyu za tfas H BeHHOCTb BCK) 3 a Mac! and eternity all for an hour! (and all eternity for an hour!)

/top ysk praysst, s atradai Hto6 BeK npoBecTb c oTpanoH, In order to a lifetime to trade with pleasure, (In order to trade a lifetime with pleasure,)

/top yeselo pra3it, mto6 Beceno npo»HTb, In order merrily to live, (In order to live merrily,) adno nam tol,ka noda onHo HaM TOJibKO Haflo: one thing we only need: (we need only one thing:) urnet um,£t; ljubit i pif yMeTb, yMeTb mobHTb h nHTb! to know how, to know how to love and to drink! (to know how to love and drink!)

Dargomizhsky's The Triumph of Bacchus (1848) was first imagined as a ballet but then expanded into an opera-ballet in one act to a libretto by the composer after Pushkin. It was first performed at the Moscow Bol'shoy on 11

January 1867 and consists of only four characters, two Greek men (tenor and bass) and two Greek women (soprano and mezzo-soprano), who sing while much of the action takes place in dance.

The First Greek Man's Aria, "Ho BoeT 6eper OTHaneHHbin" ("They wage war on the remote shore") is about a frenzied dance in praise of

B acchus.

tar5sstva vokxa TopxecTBO BaKxa The Triumph of Bacchus

#10 "Ho BoeT 6 e p e r OTnaJieHHbiB" ("They wage war on the remote shore") no vojat bitjsk attaljonnii Ho B O d 6eper oTflaneHHbin, But they wage war the shore remote, (They wage war on the remote shore.) via si raskinuf po plitjam BJiacbi pacKHHy b no nn enaM , hair spreads out over shoulders, (Their hair is spread out over their shoulders.) vintfanni groztjem abna3jonni BeHMaHHbi rpo3flbeM, o6Ha»eHHbi, ceremony members cluster, naked, (Naked, the ceremony members cluster.) bigut bigut vakxanki 6eryT, SeryT BaKxaHKH, They run, they run the Bacchus worshipers, (The Bacchus worshipers run.)

bigut vakxanki po garam 6eryT BaKxaHKH no ropaM! they run the Bacchus worshipers through the mountains! (They run through the mountains!)

zvonkie krusa? m,e/ IX pirstami THMnaHbi 3BOHKHe, KpyHcacb Me* HX nepcTaM H , The timpani are ringing, spinning between their fingers. (The timpani are ringing, spinning between their fingers.) grimjat i ftatjat IX U3 asmm galasam rpeMHT H BTOPHT HX yxcacHbiM ronocaM. ringing out and echoing are their terrible voices. (Their terrible voices are ringing out and echoing.) pramtfalsja litjat svivajutsja rukami npOMHaJIHCfl, JieTHTl CBHBaiOTCfl pyicaMH, Raced by, they fly! Throwing up their arms. (They fly and race by! Throwing up their arms,) voljebnai pl,askai taptfut luk Bonine6HoH nnflCKon TonnyT n y r , (by their) magical dance they trample the meadow. (they trample the meadow with their magical dance.) i mladast, pilkaja tolpani h MnanocTb nbiJiKan TonnaMH and youth firey crowds (And the young firey crowds) stikajctsja vakruk CTeKaeTCH B oxpyr! congregate around! (congregate around!) svivajutsja rukami CBHBaiOTCfl pyxaM H, Rolling up their arms, (Rolling up their arms,) valjcb n ai pj,askai taptjut luk BonuieSHoH nnflCKOH TonnyT Jiy r! (by their) magical dance they trample the meadow! (they trample the meadow with their magical dance!) 83 i mladast, pilkaja tolpami stikajstsja H MJiaaocTb nbiJiKafl TOJinaMH cTeKaeTCfl, And youth firey crowds congregate, (And the young firey crowds congregate.)

stikajstsja vakruk CTeKaeTCH BOKpyr! congregate around! (They congregate around!)

pajut psistabijs 4EV* IloiOT HeHCTOBbie fleBbl, Sing furiously the virgins, (The virgins sing furiously)

ix sladastrasnis napsvi hx cjiaaocTpacTHbie h a n e b bi their sensual melodies (their sensual melodies.)

f §srttsa vlivajut 3 ar ljuvbi b cepaua b JiHBaioT neap jik>6b h , into their hearts flows the fever o f love. (The fever of love flows into their hearts.)

vlivajut 3 ar jjubvi B JIHBaiOT )Kap jik>6b h ! flows the fever of love! (The fever of love flows!)

pajut psistabis cjsvi IlOIOT HeHCTOBbie fl e b bi, Sing furiously the virgins, (The virgins sing furiously)

IX sladastrasnis napsvi HX cnanocTpacTHbie h a n e b bi their sensual melodies (their sensual melodies.)

f Ssrttsa vlivajut 3°r ljuvbi b cepaua b JiHBaioT xcap JI10 6 B H , into their hearts flows the fever o f love, (The fever of love flows into their hearts.) ix Berci di/at va 3 dil,eijem Hx nepcH flbiuiaT BOMcnejieHbeM, Their hands breathe lust. (Their hands and fingers breathe with lust.) 84 ix otfi HX OHH, in their eyes, (In their eyes)

palnis tjezumstvam i tamj,8rjem nojiHbie 6e3yMCTBOM h TOMJieHbeM, is complete madness and suffering, (is complete madness and suffering.)

skazali skazali Jastie lovi CKa3anH, cKa3anH: CHacTHe hobh ! They say, they say: the happiness catch! (They say: catch the happiness!)

ix vdaxnab,snnie dvijsnja Hx BflOXHOBeHHbie J]BH)KeHbfl Their inspired movements (At first, their inspired movements) spirva izabra3 ajut nam cnepBa H3o6paHcaK)T HaM at first represent to us (represent to us) stidlivasi; milava smja$£tya CTblflJIHBOCTb MHJIOrO CMHTeHbH, the bashfulness of sweet confusion, (the bashfulness of sweet confusion.)

3 ilarj£ ropkaje a tam iKenaHbe po6Koe, a TaM, the desire timid, there is. (There is timid desire;) a tam vastork 1 4erzast, nasla3 cj£nja a TaM BOCTOpr H flep30CTb HacjiaiKfleHbfl! there is the ecstasy and impudence of pleasures! (there are the ecstasy and impudence of pleasures!)

Dargom'izhsky's most enduring opera is Rusalkn (1855). Although it contains many of the Italian elements heard in Esmeralda, the opera also incorporates characteristics that later influenced the kuchka, such as free 85 forms and declamatory arioso. Dargomi'zhsky claimed that he did not want to

write "tunes to tickle his listeners' ears...[but instead]...I want sound directly to

express the word, I want truth."5 Nonetheless, the opera has been a success

since its premiere and has never left the Russian repertoire.

Rusalka is an opera in four acts based on the poem by Pushkin and was

first performed at the Circus Theater in St. Petersburg 4 May 1856. The story is

about a Kievian Prince (tenor), a Miller (bass), and the Miller's daughter

Natasha (soprano). After being seduced and then abandoned by the Prince,

Natasha throws herself into the Dnepr river and becomes the queen of the

river nymphs, or rusalkii. Over the course of the opera she lures her

tormentor to his doom.

Natasha attempts to ruin the Prince's happiness in a number of

instances, the most successful being her ghostly appearance at his wedding

celebration in Act 2. At the opening of Act 3, Scene 2, he is despondent and

goes to the river, as if drawn there by an unknown force. It is there he sings

his Cavatina (No. 16), "HeBOJibHo k othm rpycTHbiM 6eperaM...MHe e c e s ite c b Ha naMHTb npHBOUHT 6binoe" ("Instinctively to these sad shores...Everything here brings back memories to me").

rusalka PycaflKa Rusalka

#11 "HeBOJibHo k bthm rpycTHbiM 6eperaM...MHe Bee 3jecb Ha naMHTb nDHBOHHT 6blJloe" ("Instinctively to these sad shores... Everything here brings back memories to me")

5 Richard Taruskin, "Dargomizhsky, Alexander Sergeyevich," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 1 (London: Macmillan, 1992), 1081. 86 nivolna k ctim grusnim bcrigam HeBonbHO k sthm rpycTHbiM 6eperaM Instinctively to these sad shores (Instinctively to these sad shores) minja vlitjet niyedamaja sila MeHH BJieneT HeBeaoMan CHJia; to me burst into unknown strength; (an unknown strength bursts into me.) znakomie pitjajnijc m,£Sta 3HaKOMbie, nenanbHbie MecTa! familiar, sad place! (This familiar, sad place!) ja uznaju akt;esnij£ pridm,£ti vot fl y3Haio oKpecTHbie npenMeTbi: BOT, I know the neighboring features: here. (I know this place.) vot m,£j,nitsa ana uj rasvalila§ b o t MenbHHiia; OHa y>K pa3Ba jiHnacb, here is the mill; it is already ruined, (Here is the mill; it is already in ruins.) visjolii Jum kaj,es J!J° umolknul Becenbin uiyM Konec ee yMOJiKHyn, the merry noise of the wheel it falls silent. (The merry noise of the wheel has fallen silent.) ax vidna um,£r i starik Ax, bhuho, yMep h CTapH K ! Ah, is visible, died also an old man! (Ah. it is obvious that the old man has died!) dotj bednuju aplakival on dolga iioMb 6eflHyio onnaKHBan OH n o n r o ! The daughter poor mourned the loss of him for a long time! (The poor daughter mourned his loss for a long time!) a vot i dup zayetmi A BOT H J3y 6 3aBeTHblH ! And here is also the oak fondest! (And here is the fond old oak!) zcje§ zcje§ ana abnjaf minja 3aecb, 3necb OHa, o6 hhb M e H H , Here, here she, embraced me. (It is here, where she embraced me...) 87 panikla i umolkla n oH H K n a h yMOJiKJia! drooped and hung silently! (where she drooped and silently hung!)

mpe fsjo zcjes MHe Bee 3flecb To me everything here (Everything here)

na pamjat, privodit biloje Ha naMflTb npHBOjjHT 6 bi ji o e by memory brings the past (brings back memories to me)

i junasti krasnai privoJnijE dni H IOHOCTH KpaCHOH npHBonbHbie JIHH. and youth beautiful the free days. (of the beautiful free days of my youth.)

zcje^ pamnju nikagda minja fstritjala 3jjecb, noMHio, HeKoraa MeHH B C T p e n a n a Here. I remember, at one time I encountered (I remember that once I encountered here)

svabodnava svabodnaja jjubov CBobonHoro cBo6oHa« JI K> 6 0 B b ! freely free love! (the liberation of free love!) z4e§ ^erttss fpErviE bla3 £nstva uznala 3jjecb cepflue BnepBbie 6na»eHCTBo y 3 H a n o . Here my heart for the first time bliss came to know. (It is here that for the first time my heart came to know bliss.)

uvj tje nadolga nam Jast,£ dana YBbi, He Hanonro HaM c n a c T b e jja H O ! Alas. not for a long time us happiness (Alas, we are not given happiness for a long time!) prajli nivazbratna dni radast,ei systlix IIpollinH HeB03BpaTH0 flHH p a j j o c i e f l c b e T JI bi X , Passed by the irretrievable days of golden light, (The golden lucid days have passed forever;) ta^olajE g°ce na ^ErttSE liglo THJKenoe rope Ha c e p j iu e n e r j i o ! heavily grief on the heart lies! (grief lies heavily on my heart!)

n,e sam li ljezurn,ets ja j'ast.E utratil He caM jih, 6e3yMeu, a CMacTbe yTpaTH ji ! Was it not myself, madman, I happiness lost! (I myself, a madman, have lost happiness!) a bila tak blizka vazmc>3 na ano A 6bino TaK 6 jih3Ko, bo3Moikho OHO ! And just about to thus nearby. possibly it! (And it was just about here that I had it!)

mn,e fsjo z 6 0 B b ! freely free love! (the liberation o f free love!) vot z c je s V Etai ro/jE B ot 3 n e c b , B 3T0fl p om e, It is here, in this grove, (It is here, in this grove,) 89 Jaslivii Jjuboyju CMaCTJIHBbiB nio6oBbio, happy love, (in happy love.)

zaboti i got;e i fyo zabival ja 3a6oTbi h rope, h Bee 3a6biBan h. the concern and grief, also everything forgot I. (I forgot the concern and grief, and everything.)

mqe hyo z4 e§ MHe Bee 3jjecb To me everything here (Everything here)

na pamjat, privodit biloje Ha naMHTb npHBo jiht 6biJioe by memory brings the past (brings back memories to me) i junasti krasnai privol,nie dni H IOHOCTH KpaCHOft npHBOJIbHbie fl H H. and youth beautiful the free days. (of the beautiful free days of my youth.)

The Stone Guest (1869) is an opera in four acts set directly to Pushkin's verse tragedy based on the tales of Don Juan. Dargomizhsky performed portions of the opera for many of his friends as he completed them, and often Musorgsky sang the role of Leporello, and the composer sang the role of Don

Juan. The first complete public performance ofThe Stone Guest was at the Mariinsky Theater in St. Petersburg 16 February 1872. Dargomizhsky died before he finished the opera, so it was completed by Cui and orchestrated by Rimsky-Korsakov.

Although The Stone Guest was never a success at the theater, it was influential in its style and has been a subject of much discussion. As stated earlier, it is the first dialogue opera, with a complete and unaltered setting of the verse. Dargomizhsky, in his attempt for realism, developed a style of 90 dramatic arioso (or "melodic recitative" as Cui called it), in The Stone Client.

Rosa Newmarch writes, "In The Stone Guest the singers employ that melon, or mezzo-recitativo, which is neither melody nor speech, but the connecting link between the two." It is also not a "" but a through- composed opera; however, there are some solo sections that could be excerpted.

The story of The Stone Guest differs from that of Mozart'sDon

Giovanni in the opening scenario; Don Juan (tenor) has been exiled for killing the Commander (bass) and Donna Anna (soprano) is the surviving widow, rather than daughter. The Don is bored in exile and returns to Spain where, upon seeing the beautiful Donna Anna, he falls immediately in love.

The succeeding events and denouem ent are similar to those of the Da Ponte libretto.

The Don sings two pieces that may be considered arias. The first, "Bee k JiyMiueMy" ("Everything is changed for the better"), is sung after glimpsing

Donna Anna. He obviously does not recognize anything but her beauty at this point, a fact which contributes to a humorous revelation later in the story.

kam,ennii gost, KaMeHHbin rocrb The Stone Guest

#12 "Bee K JiVHltieMV" ("Everything is changed for the better") fsjo k lutjemu Bee k JiyHUieMy: Everything for the better (is changed): (Everything is changed for the better.)

' Rosa Newmarch, The Russian Opera (London: Herbert Jenkins, 1914), 132. 91 nitjajanna ubif don karlosa HenaflHHo y6HB H oh Kapnoca, By chance I killed . (I killed Don Carlos by chance.)

atjejnikam smicenim ja skrilsja z4e§ OTLLienbHHKOM CMHpeHbIM H CKpblJICfl 3 fle c b - (like a) hermit humble I hid liere— (1 hid like a humble hermit here—) i V13U fsjakii H BH>Ky BCHKHR neHb and watched all sorts o f days

maju pri|esnuju vdavu mok ) npejiecTHyio BjioBy my charming widow (and watched my charming widow for many days.) i J9U mi}e ka3 £tsja zamitjsn H eio, MHe Ka»eTCH, 3aMeneH. and she. to me it seems. noticed. (And it seems to me that she noticed.) do six por tfinili§ mi druk s drugam n o c h x nop HHHHJIHCb Mbi n p y r c flpyroM; Up to now stood on ceremony we each with other; (Up to now we stood on ceremony with each other,) no sivodnja pujusja v razgavori s pei HO ceroflHH nyuiycH b pa3TOBOpbI c Hen. but today start out in conversation with her. (but I started a conversation with her today.) para Ilopa! It is time! (It is time!)

s tfevo natfnu C nero h a h h y ? With what will 1 begin? (With what will I begin?) 92 acrnelus jli pet "OcMejiiocb"... H JIH HeT: “Dare"... or not: (“Dare I..." or not:)

sipora ba /to v galavu pnctjot ',CeHbopa,,... Ba, MTO B ron oB y npHjjeT, “Seiiora"... Well, what in my head com es. (“Senora..." Well, what comes into my head.)

to i natjnu b,es pridugatavjenii to h HanHy, 6e3 npenyroTOBJieHHB, that and I begin, without preparation in advance, (With that I begin, without any advanced preparation.)

impravizataram ljubovnai pesm HMnp0BH33T0p0M JIK>6 0 BH0 H n e c H H ! like a love song: (like an improvised love song!”)

para bi jei prijexat, Ilopa 6bi en npwexaTb. It is time for her to arrive. (It is time for her to arrive.)

lies nijo ja dumaju skutjajet komandar Ee3 Hee, h jiyMaio, cKyHaeT KOMaHJ]Op Without her, I will be. a bored commander. (Without her, I will be a bored commander.)

kakim on z4e§ pritstaf !jon ispolinam KaKHM oh 3flecb npefldaB neH HCnOJIHHO What kind he here to present flax of giant! (I am a kind of giant here, with flowers!)

kakije pletfi KaKHe nneHH! what shoulders! (What shoulders!)

fto za gerkul,es Hto 3a repKyjiec! Those of Hercules! (Those of Hercules!) a sam pakoinik A caM, nOKOHHHK, And himself, the deceased. (And the dead man)

mal bil i JJelumin Man 6 b iJ i h m e JiyrneH; small was and wrinkled skin; (was small and wrinkly.)

zcje? staf na tsipatjki 3flecb, CTaB Ha U bi n O H K H here. standing on tiptoes (Here, standing on tiptoes,)

pe mok bi ruku He mot 6bi py Ky not able he would hand (he would not have been able to)

on nasudo svajivo on nasudo datjanut, no CBoero oh Hocy flOTHHyTb up to one's he to stretch. (reach my nose with his stretched hand.)

kagda za ex kutjalam mi sa/lis Korna 3a 3c KypbHJioM Mbi COUIJlHCb, When behind Eskuryalom we came together, (When we met behind Eskuylom,)

natknulsja mpe na Jpagu on i zam,er HaTKHyncH MHe Ha rnnary oh h 3aMep, encountered me by the sword he and died. (he encountered me and died by the sword,)

kak na bulaflje strikaza KaK Ha 6yjiaBKe CTpeK03a: as on the pin of a darning needle: (as on the pin of a darning needle:)

a bil on gort i sm,el A 6bin oh ropn H CMeJl, But was he proud and bold. (But he was proud and bold,) i dux im,el surovn h uyx HMen cy pOBblH. and his spirit had been stern. (and his spirit had been stern.) 94 ax vot ana Ax! bot OHa. Ah! Here she is. (Ah! Here she is.)

Don Juan's second aria, "CMepTH! 0, nycTb yMpy c e n n a c y Bam ttx h ot" ("Deaths! Oh, let me die right now at your feet"), is sung at the graveyard prior to his famous encounter with the Commander's statue.

# 1 3 "CMeDTH! 0 . nvcTb vmdv ceflMac v BauiHx h o t " ("Deaths! Oh. let me die right now at your feet") sm.erti CMepTH! Deaths! (Deaths!) o PusS umru seitjas u vajix nok 0 , nycTb yMpy cennac y BaiUHX hot, Oh. let die right now to your legs. (Oh, let me die now at your feet.) pust, Ijednii prax moi IlycTb 6eflHbiH npax MOB Let poor dust my (Let my poor dust)

7.d(e§ 3£ paxaranjat 3flecb ace nOXOpOHHT, here is burried. (be hurried here...)

»je padj,e prax a milava dja vas He nojine npaxa MHnoro flJIH Bac, not near the remains dear of you. (not near your dear remains,) pe tut pe blizka daje g4e nibud He Tyt , He 6jih3k o , nane rn e HH6 ynb, not here, not nearby, father somewhere, (not here, not near your father.) 95 tam u dvit;ei u samava paroga TaM, y flBepen, y caMoro n o p o ra , There. in the doorwav. at the very threshold. (There, in the doorway, at the very threshold.)

.Pop kamnja majivo magli kasnutsja vi hto 6 K3MHH Moero MOrJIH KOCHyTbCH B bi so that stone my could touch you (so that you could touch my tombstone)

lexkaju nagoi ili at}£5ai nencoK) Horon hjih oneiKnon, liuht foot or clothing. (light of foot, and with light clothing.)

kagda sjuda na etat gordii grop Korna ciona, Ha stot ropabin rpo6 when here. at this proud coffin (When you ane here, at this proud coffin.)

praiejste kudri naklaijjat, i plakaj, npottneie KyapH HaK JlOHHTb H n jiaKaTb! walk the curls lean and cry! (lean your head over and cry!)

Alexander Porfiryevich Borodin (1833-87) was a chemist by profession

whose reputation as an opera composer was earned only after his death. He

wrote only one stage work, which was left incomplete at his death and none

of which was performed during his lifetime. Despite these rather

inauspicious circumstances, that one opera, Prince Igor, has enjoyed a

successful performance life and is widely known because of its exotic

Polovtsian Dances. Prince Igor is an opera in a prologue and four acts to a

libretto by Borodin after a play by Stasov. Borodin composed the opera in two periods, the first from 1869 to 1870, and the second from 1874 to 1887.

Rimsky-Korsakov and Alexander Konstantinovich Glazunov (1865-1936) completed the opera in 1888, and it was first performed in St. Petersburg on 4

November 1890. 96 Prince Igor was composed in the same vein as Ruslan and Lyudmila,

eschewing a dramatically intact libretto and stage action for magnificent

music that is full of colorfully contrasting national styles. The story takes

place in 1185 in the town of Putivl, a Polovtsian camp. Although they are

asked to remain in Putivl because of an evil omen, Igor (baritone) and his son

Vladimir (tenor) set out to pursue a Tartar tribe, the Polovtsi. The two heroes

are captured by the Tartar leader, Konchak (bass), and Vladimir later falls in

love with his captor's daughter, Konchakovna ().

Vladim ir's Recitative and Cavatina (No. 11) "MextneHHO neHb

yraca;vb" ("Slowly the day has faded"), dated 1878, was one of the first

numbers composed. Vladimir sings it to Konchakovna while being held

prisoner at the Polovtsian camp.

aleksandr parfigevitf baradin AneKcaHjip IIop(J)HpbeBHH E o p o h h h Alexander Porfiryevich Borodin

knjaz, igot;, KHH3b Hropb Prince Igor

#14 "MenjieHHO iieHb vracajn /' ("Slowly the day has faded")

m,edlinna cjerj ugasal, MenneHHo neHb yracan-b, Slowly the day has faded, (Slowly the day has faded;)

sontse za Jesom zadilo§ COJIHLie 3a JI-bCOMb canHJiocb, the sun behind the woods has set, (the sun has set behind the woods.) zori vit/ernija m,£rkli 3opH BenepHifl MepKJiH, the glow of the evening has grown dim, (The glow of evening has grown dim;) notf nadvigala§ na ?£rnlju HOMb HaflBHranacb Ha 3eMJtK>, night has approached on the earth, (night has approached the earth.)

t,eni natjnija t/ornim pakrovam T-bHH HOHHblH MepHblM’b nOKpOBOM’b the shades of night with a black cloak (With a black cloak, the shades of night)

step zastilali d erib 3 acTHJiajiH. the steppe have covered. (have covered the steppe.) tjoplaja jipjnaja not/ TenJian tojKHan HOHb! Warm is the southern night! (Warm is the southern night!) grjozi jjubvi navivaja Tpe3bi jho 6 bh HaBtBan, Visions of love are blowing (as in a storm), (As in a storm, visions of love are blowing,) razlivaja pegu f krovi pa3iiHBafl H-bry bt> k p o b h , and overflowing bliss in the blood, (and overflowing bliss is in my blood.) zavjot k svidapju 30Bei"b KT> CB H It 3 H b tO . calls to a meeting. (Bliss calls us to a meeting.)

3djoJ li ti minja maja milaja 3

atzavi^ na zof ljubvi OT30BHCb Ha 30B"b JIK) 6 B H! Respond to the call of love! (Quickly respond to the call of love!)

ax skoral, skorali Ja uviju tibja Axi>, CKOpOJIb, CKOpOJIH fl yBH«y Te6n! All. quickly. how long until will see you! (Ah! How long until I will see you!)

ti pridi TbI npH flH ! vou come: (Come to me quickly!)

sko^ci skoi^ei na zof ljubvi atzavi§ CKOp-bH, CKOp-bH, Ha 30Bb jho Bbh 0T30BHCb! quickly. quickly. to the call of love respond! (Respond to the call of love!)

lspomni ja f tasl^e gru4 gari$ BcnoMHH: H BT> TOCK*, rpyflb ropHTT>, Remember: I yearn. my breast is burning. (Remember, I yearn, my breast burns.)

ja 5 du strasna 5 du ja tibja H » u y , CTpaCTHO JKfly h Te6fl, I wait, passionately wait I for you, (1 wait passionately for you,) ljubvi tvajei jho 6 bh TBoen! love for your! (for your love!) bolj£ 3 izni Ja ljubjju tibja BoJlbUJe JKH3HH H nio6nio Te6fl! More than life 1 love you! (1 love vou more than life!)

J'toJ' ti HiedliJ druk moi Htom i. TbI MeflJIHLlIb, xipyr-b MOB? Why do you tarry, friend my 1 (Why do you tarry, my friend?) 99 fstan pridi ko mt)£ BCTaHb, npHUH KO MHt. Get up, come to me. (Get up and come to me.)

niboisja f§e davna zasnuli He6 oncfl, B e t UaBHO 3acHyjiH Do not be afraid, everyone long ago fell asleep. (Do not be afraid; everyone fell asleep long ago.) krugam fsjo kr;spka spij KpyroMi» Bee Kptnico cnnTi, around all soundly sleeps, (All around everything sleeps soundly;) fsjo mirna tixa spit, BCe MHPHO, THXO CnHTt. all peacefully, quietly sleep, (everything is peaceful and sleeps quietly.)

ax g4e ti gcje Ax! Tail Tbi, rut? Ah! Where are you, where? (Ah! Where are you?) atzavi§ na zof ljubvi 0T30BHCb Ha 30BT, JIK) 6 bh! Respond to the call of love! (Respond to the call of love!) ax da3 du^ li Ax-b! now nycb jih , Ah! will wait, (Ah! 1 will wait,) da3 du§ ja laski i}£3 nai tvajei uo)Kuycb a nacKH HtwHon TBOeH! will wait I for caress tender your! (1 will wait for your tender caress!) ti pridi skorjei na zof ljubvi atzavig Tbi npHUH, cKoptn Ha sobt* jik> 6 bh OT30 BH Cb ! you com e, quickly to the call of love respond to! (Come quickly! Respond to the call of love!) TOO pridi pot krovam tjomnai notfi IlpHflH noflfc KpOBOM’b TeMHOH HOHH, Come under the shelter of the dark night. (Come under the shelter of night,)

kagda i |es 1 vodi spjai Kor.ua h Ji-bct H BOflbl cn httj, while the forest and! waters sleep. (while the forest and waters

kagda lij zyjozdi rjeba otji Korna jiHiiib 3 B *b 3 U bi, He6a 0 H H , when only the stars. of heaven the eyes, (when only the stars, the eyes of heaven,)

adni na nas s taboi 9!a

Cesar Antonovich Cui (1835-1918) is an ironic figure of Russian opera.

He was a member of the kuchkn and was another composer with strong

Russian nationalist convictions, despite the fact that he was of French and

Lithuanian decent. Cui strove for an "ideal union of word and music" in his operas, yet Taruskin harshly points out that his fifteen operas are basically the same in approach and style, calling it "a dilute compound of Schumann and

Auber...[with] structures petty and schematic...[and] character portrayal banal 101 and shadow . " 7

William Ratcliff (1868) is Cui's most notable opera, and the first of the kuchkist operas to be performed. At that time, the kuchka was concerned with realism idealized in recitative declamation and formlessness instead of lyricism and organization. Frequently in much of the music ofW illiam

Ratcliff, recitative often gives way to arioso, and there are indeed set numbers.

Therefore, in style, it is perhaps a step backwards from The Stone Guest, but it was another interpretation of realism ideals and contains some truly masterful music.

William Ratcliff is an opera in three acts set to a libretto by Cui after the ballad of (1797-1856); it was first performed in St. Petersburg at the Mariinsky Theater on 14 February 1869. Set in seventeenth-century

Northern Scotland, William Ratcliff contains an action-packed story which includes seven murders, one case of insanity, and one duel to the accompaniment of lightning and screams. (In comparison toW illiam

Ratcliff, Lucia cii Lammermoor and appear rather tame.) Lesley (tenor) is a perfunctory character to the story and was not a part of Heine's original narrative. In Scene 3, he sings his Song"Il3BOJibTe, H cnoio oxotho...Kto x o se r b BecejiHTbca, >KH3Hbio HacjiauHTbCfl" ("Allow me, I gladly sing...Who wants to have fun, to take pleasure in life") as an amusement to cheer his friends amidst the tragic and gruesome events which permeate the story.

tsezar antonavitf kui Ue3 ap A h to h o b h m Kyfl Cesar Antonovich Cui

7 Richard Taruskin, "Cui, Cesar Antonovich," The New Grow Dictionary of Opera, ed. Stanley Sadie, vol. 1 (London: Macmillan, 1992), 1024. 102 vijjam ratklif BHJlbflM PaTKJIH4> William Ratcliff

#15 "IfoBOJibTe. h cnoio oxotho...Ktc xoneTb BecenHTbCH. MCH3HbK) HacnaHHTbCfl" ("Allow me. I gladly sing...Who wants to have fun, to take pleasure in life")

izvojte ja spaju axotna H3BOJibTe, h cnoio OXOTHO, Allow me, I sing gladly, (Allow me, I gladly sing,)

no tojka s t,em uslovijcm HO TO JlbKO Cb TbMb ycnoBHeMb: but only on this condition: (but only on this condition:)

[top drusna xoram, HT0 6 b flpyJKHO, XOpOMb, in order that together, in chorus, (that together, in chorus,)

vi mpe patjanuli druzja Bbl MHt nOflTHHyjIH apy3bfl. you to me stay close friends. (we all stay close friends.) ta pesp katoruju spaju vam Ta n-bCHb, KOTopyio cnoio BaMb, This song, which I will sing to you, (This song, which 1 will sing to you,) f sib,e sa^ei^it, mudrasti 3 it,eiskai Bb ce6b conepiKHTb My UPOCTH JKHTeHCKOH in itself is contained the wisdoms worldly yes; ekstrakt, Becb 3KCTpaKTb, whole extract, (contains our wisdom of the world...) fsju kvintcs^entyu najei filacofii BCK) KBHHT3CCeHIibK) HaiUeH HH, all the quintessence o f our philosophy, (all the quintessence of our philosophy,) fsci Sisni ko4 eks Been JKH3HH KOfleKCt. all o f life the code. (the code o f all life.) s rjsi sabarazuja§ mi vcsela Ct Hen co6opa3yncb, MbI Becejio, With it being formed, we are gay. (With the code being formed, we are gay. mi pripivajutji prai^jom tot pust, MbI npHn-bBaioHH nponneM ’b TOT”b nyTb, we live in clover to walk this way. (And are called to walk the same path)

Jto lij paeti da gluptsi HTO JIH III b n03TbI, na rnynubi, that only poets, and fools. (as only poets and fools,) i mrafnim i unilim nazivajut H MpaHHblM'b, H yHbiJibiMt Ha3bIBaK)Tt. and the gloomy, and the downcast are called. (and the gloomy and the downcast.) fnimanie dru^ja Ja natjinaju BHHMaHHe npy3bfl! H H a H H h a 10 . Attention friends! 1 begin. (Attention my friends! I begin.)

kto xotjct visijstsja 5 jztyu nasladit,sja KtO XOHeTT> BecejiHTbCH, »H3HbK) HacnajiHTbCfl, Who wants to have fun. life to take pleasure in. (Who wants to have fun, to take pleasure in life,) tot dol3 en 3*5 kak ja TOT”b flOIDKeHt IKHTb KaKi> H. they must live as I, (they must live as 1.) s utra do poztjei notfi PH vodku Ct> y ip a no no3flHeH HOMH nHTb b o nk y From morning to late night drink (They must drink vodka from morning to late night) 104 ,|4o Jesl motji MTO ecTb MOMH, that is power. (with all their might.)

VOl logika maja vot logika m a ja BOTt JiorHKa MOH, BOTt jiorHKa MOH ! lie re is logic my, here is logic my! (Here is my logic!)

vino dajst nam sili Bhho xiaeTt HaMt c h n bi, Wine gives us the strength. (Wine gives us the strength)

uxa^ivat, za milai yxa>KHBaTb 3a MHJIOB, to care to dear ones. (to care for our dear ones,)

i sartfe 1 rie3 rjei rje3 i]ei H jKapnt H H-bJKHliH, HUJKH-bB, also the hot and the tender, the tender. (and also to care for the ardent and the tender,) da i kracotki sami na h KpacoTKH ca M H and also the pretty girls themselves (and also for pretty girls.) kagda najyutsja s nami K oraa HaribioTCH C-b H a M H , while they drink with us. (When they drink with us,) stanoyjatsja mild milei milei CTaHOBflTCH MHJIIjH , MHJIUH, MMJI-hH. Become sweeter, sweeter, sweeter. (they become sweeter and sweeter. stanovitsja mile kracotki CTaHOBHTCfl MHJie KpacOTKH. Become a sweet pretty girls. (They become sweet pretty girls.) kagda napjutsja kracotki s nami Korna HanbioTCfl KpaCOTKH C-b H a M H When get drunk pretty girls with us (When pretty girls get drunk with us...) kagda najijutsja stanovjatsja milei Korna HanbioTCH cTaHOBHTcn MHJI-bR. when get drunk become more sweet. (when they get drunk, they become more sweet.)

stanovjatsja milei milei CTaHOBHTCH MH Jllsfl, MHJllsR! Become sweeter, sweeter! (They become sweeter and sweeter!)

kagda zaxlopnuf dyeri Koraa 3axnonHyBT>, UBepH, When slams shut, the door, (When the door slams shut,)

v abjat,ax rjeknai m,eri BT> 0 6 'bflTbflX’b HbKHOR M epH, in the embraces of a certain Mary, (and 1 am in the embrace of a certain Mary,)

ja tjsrpaju ljubov Ja tferpaju ljuboy a Mepnaio JlK)60Bb, fl Mepnaio J110 6 0 B b . I draw on love, draw on love. (I draw on love.)

,1a ^ 3 u i^ei vo vlasti Becb y Hen bo BJiaCTH, I am completely in her power, (I am completely in her power. i plamja 3 gutfei strasti h nnaMH wryMen CTpacTH, and the llames o f burning passion, (and the llames of burning passion.) maju valnujet krof MOK) bo JiHy eTT> K P 0 B b , my agitates blood. (My blood agitates.) do samavo rasyeta Ho caMaro pa3CB*Ta, To the very dawn. (To the very dawn,) 106 Ja PJU bla3 enstva eta h nbio 6na>KeHCTBO 3T0, I drink bliss this. (I drink this bliss.)

i mij£ druzja drusya H B tp b T e MH* n p y 3bH, H p y 3b H ! and believe me friends. Friends! (And believe me, friends!)

kto xotjst vi:§riit,sja Kto x o M e T t BecenHTbcn, Who wants to have fun. (Who wants to have fun,)

.ftop 5iznju nasladij,sja HTOb-b )KH3HbK) HacjiaflHTbCH, in order to life to sweeten. (to sweeten life,) tot dol3in 3H kak ,ia TOTT> JJOJUKeH’b JKHTb KaK-b a they must live as I, (they must live as 1,) kak ja kak ja KaKT> fl, KaKt fl ! as I, as I! (as I!) kto nasladit;sja 5 istyu xotjst Kto HacnajiHTbCfl >KH3Hbto xoMen>, Who sweeten life wants to, (Who wants to sweeten life...) kto xotjst 3 *styu nasladijsja KTO XOMeTT? «H3HbK> HaCJiaHHTbCH, who wants to life sweeten, (who wants to sweeten life,) tot dol3 sn 315 TOT-b JlOniKeH-b )KHTb, they must live, (they must live...) dol3sn 3tt, kak Ja HOJlMCeHT> HCHTb KaKT> a ! must live as 1! (thev must live as I!) 107 The fact that most of the operas composed by Modest Petrovich

Musorgsky (1839-81) were left incomplete seems insignificant when compared

to their innovative techniques, masterful music and popularity on the stage.

This is especially the case with his masterpiece Boris Godunov (1869; revised

1872). Boris Godunov was first composed at a time when the national

historical drama and the declamatory style of Dargomi'zhsky's The Stone

Guest were most revered. When the censors rejected the opera because it had

no female lead character, Musorgsky took that opportunity to revise the entire

opera, "updating" much of the recitative-like sections with lyrical phrasing to

add a more serious tone. The opera was later re-arranged twice by Rimsky-

Korsakov (1896; 1908) to conventionalize it for public acceptance. A

knowledge of the different versions is important to this anthology because

three of the excerpts included here were either re-arranged or appear in

different places in the drama. Despite the confusion caused by the various

versions and the careless scholarship surrounding them for many years,

Boris Godunov illw always remain in the repertoire as a masterpiece, since despite the mutated productions by some opera companies, the music and drama continues to move audiences.

There are four tenors in Boris Godunov, and the lead lyric role of

Dmitri contains some of the most notable music in the opera. The three remaining roles are "" parts, but each of them contains attractive music that can be performed independently.

The story of Boris Godunov focuses on the political intrigue and guilty conscience of Tsar Boris Godunov (bass) during his brief reign from 1598 to

1605. The of the Duma is Shchelkalov, who addresses the

"congress" with the Prologue in a monologue, "IlpaBOCJiaBHbie, 108

H eymojihmi. 6oflpHHt!" ("Orthodox members, implacable !"). He

explains that Boris has declined the throne, despite the wishes of the people

and the Duma.

madjest petravitf mussarskii MoflecT IleTpOBHU MyccoprcKHH Modest Petrovich Musorgsky

baris gadunof EopHC Toflyhob Boris Godunov

#16 "nDaBOCJiaBHbie. HeVMOJlHMT. 6oflDHH'b!" ("Orthodox members, implacable bovars!") pravaslavnie niumalim bajarin IlpaBocjiaBHbie, Hey mo jihmT} 6 o h p h h t >! Orthodox members, implacable boyars! (Orthodox members [Russian people], implacable boyars!)

na skobnii zof Ha cicobHbin 30BTs To the shackling call (To the shackling call) bajarskai dumi patriarxa BOHPCKOH XlyMbi H Ilaipiapxa, o f the Boyar Duma and Patriarch, (of the Boyar Duma and the Patriarch,) i sli/at, qe xat;el o troije tsarskam h cnbimaTb He xoT tjn , o TpoH-b UapCKOM-b. and listen do not want to about the throne o f the tsar. (and those who do not want to hear about the tsar’s throne.) pit/a], na rusi newajib Ha Pycw... The sorrow for Russia... (The sorrow of Russia...) pitjal, b,es isxodnaja pravaslavnie n en a n b 6e3i> HcxoziHafl, n p a B o cn a B H b ie! is a sorrow without a way out, orthodox members! (is a sorrow without end, orthodox members!) 109 stonet, zimlja v zlom tjespravi CTOHeTb 3eM JIH Bb 3J10Mb 6e3npaBbH, Groans the earth from the evil of untruth. (The earth groans from the evil of untruth.)

ko xospadu sil pripadit,£ Ko r ocnoay chjii> npHnajiHTe, To good Lord for strength let us press close, (Let your power fall down before the Lord,)

da nispajljot on skorbnai rusi utijspe jja HHcnouineTt Oht> ckop6 hoh PycH yT-biueHbe. let bring Him mournful Russia comfort... (that he will send mournful Russia comfort...)

i azarit nib^ssnim syetam H 03apHT"b He6eCHbIMb CB’bTOM’b and light up with heavenly light (and lighten with heavenly light) barisa ustalii dux Bopwca ycTajibiH flyxb!... upon Boris’s tired spirit!... (Boris's tired soull!...)

The guilt Boris feels throughout the opera is based on an unconfirmed rumor that he had ordered the murder of the true successor to the throne, the boy Dmitri, so that he might become ruler himself. At the end of Act 2,

Prince Shuisky recalls his visit to the corpse of the boy to Boris in the monologue "Bb YrjiHM-b, Bb co6opt>" ("At , in the cathedral"). As he progresses, Boris becomes more agitated and finally breaks down and sings what is commonly called the "Clock Scene."

The key and arrangement of Shuisky's monologue depend on the version of the opera being performed. In Musorgsky's 1874 revision, the aria begins in F-sharp major. In Rimsky-Korsakov's version it begins in G major.

These two are an elaboration of the original 1869 version, which is shorter and has a different accompaniment. #17 "B-b yrnHM-fa. BT> CoSoD-h" (" At Uglich. in the cathedral")

v uglitje f sabots Bt> yrJlHM1>t BT> C06op-b, At Uglich, in the cathedral, (At Uglich, in the cathedral,)

P££t narodam pjat, sli/kam dpsi npejn> HaponoM'b nHTb CJlHlilKOM’b flHen in front of the people five and more days (in front of the people, for five days and more)

ja trup mladintsa navifjal a Tpyrrb MJianeHua HaB-biuaji’b. I the corpse of the youngster visited. (I visited the corpse of the youngster.)

vakruk njivo BoK pyri Hero Around him (Around him)

trinatsat, t,d lijala TpHHajmaTb T-bJTb ne)Ka.no, thirteen little bodies were lying, (were lying thirteen little bodies,) abizabra3ennix f krovi o6e3o6pa«eHHbixb, bt> KPOBH, disfigured, in blood, (bloody, disfigured,) v laxmotjanix Bt JlOXMOTbflHblX'b! in tatters! (in tatters!)

1 po mm uj H no h h m i . yac-b And by him already (And already on him) tjcnie zam,etna prastupala TJl-bHHe 3aM-bTHO npocTynano! the decaying became visible! (the decay was visible!) Ill no 4£tskii lik tsar^vitfa bil svit,el Ho .n-bTUKHH HHRt uapeBHna 6bui cB-bTent, But the child’s face of the young tsar-to-be was lit up, (But the face of the young tsar-to-be was lit up.)

tfist i ja5ea MHCTTa H HCeHT>. shining and ashy. (shinning and ashy.) glubokaja strafnaja zijala rana rny6oKafl, CTpauiHan 3HHJia paHa! The deep, horrible gaping wound! (The deep, horrible, gaping wound!) a na ustax jivo niparojnix A Ha ydaxi. ero HenopoHHbixt But on lips his innocent (But on his innocent lips) ulipka tjudnaja igrala ynbi6xa HyflHan Hrpana. a smile marvelous played, (was a marvelous smile.) kazalosja svajei on Ka3anocH CBOeH O H Ta It seemed as if himself he (It seemed as if he) kalib,ej,l$£ spakoina spit KOJibi6ejibK* CnOKOHHO c n n n , in a cradle peacefully was sleeping, (was sleeping peacefully in a cradle,) slo^iffi ruki v pravai CJIOJKHBLLIH pyKH H BT> npaBofl well-formed hands and in his right (and in his well-formed right hand) kr;epka /af igru/ku cjetskuju Kp-hriKo cMcaBi. HrpyuiKy fl-bTCKyiO. firmly clenched the toy of a child. (was firmly clenched the toy of a child.) 112 The scenario of Act 4 was changed with nearly every revision of Boris

Godunov. Regardless of the version, there is a monologue for Shuisky and

one or two songs for the Simpleton. When the Duma convenes to discuss

the relevance of the Pretender, Shuisky enters and relates his meeting with

the tsar in his m onologue "HaMenHH, yxoflH o n . rocyuapfl" ("The other

day, I was leaving the sovereign"). This monologue culminates in the arrival

of Boris.

#18 "HaMeilHH. vxojfl OT-b rocvnaDfl" ("The other day. I was leaving the sovereign")

nam,£dni uxadja at gasudarja HaMeziHH, yxojifl ott> ro c y n a p fl, The other day, I was leaving the sovereign, (The other day, I was leaving the sovereign,)

skarbja f^em §£rtt,s£m Ckop6h Bc-bMt c e p n u e M i, With sorrows all of the heart, (grieving with all my heart,)

rcKjeja o dufs tsa^evai pan-bH o iiyiu-h u a p e B o n , for the sake of the soul of the tsar, (being concerned about the tsar’s soul,)

ja f /Jolatfku slujaina zagnul fl bt> menoMKy... cnynaHHo... 3arHyn,b. I in the crack of the door... by chance ... I saw. (I looked through a crack of the door and saw...)

o Jto uvicjel Ja bajar;£ 0 , MTO, yBHfl*jn> fl, 6oflpe! O. what. caught sight of 1, boyars! (O. what 1 saw, boyars!) bjednii xalodnim patom ablivaja§ BlI-bJIHblH, XOHOflHblMt nOTOMl, 06 j]HBaHCb, Pale. with cold sweat covered. (Pale, and covered with a cold sweat,) 113 dra^a fsjstn t,dam npoMta BC’bMt T tnoM t, trembling was his whole body, (his whole body trembling,)

nisvjazna barmatja kakija to slava tjudnija HeCBH3HO 6opMOHa KaKifl TO CJTOBa m y n h bi ft incoherently mumbling some word the strange. (incoherently mumbling some strange word.)

gpevna atjami syerkaja TH-bBHO 0H3MH CBepKafi. Angrily with eyes glaring. (with eyes glaring angrily.)

kakoi to mukai tainai tirzaja§ KaKOH TO MyKOR TaflHOR Tep3aflCb, Some kind of from torments secret suffering. (Suffering from some kind of tormenting secret,)

stradalits gasudat; tamilsja CTpananeut rocyaapb TOMHJICH. The suffering sovereign languished. (the suffering sovereign languished.

vdruk pasiijel Bflpyn> nocHH-bJTb, Suddenly he turned livid, (Suddenly, he turned livid,) glaza ustavil v ugal rjia3a ycTaBHJi'b BT> yrojTb, eyes stayed into the corner. (eves frozen in the corner,) i stro/na stitya 1 tfuraja^ H CTpaiUHO CTeHfl H nypaflcb, and terribly groaned and motioned me away from him. (and he groaned terribly and motioned something away from him.) k tsa^evitfu pagip/smu vzivaja Kt> uapeBHHy norH6iueMy B 3 bi B a fl, To the tsarevich murdered appealing, (Appealing to the murdered tsarevich,) prizrak jivo b,esil,na adgaryoja npH3paKi> ero 6e3CHHbHO OTroHflfl: ghost his tried to drive away: (trying to drive the ghost away:) 114 t fur tjur Jeptal tfur diya Hypt.! Hypt! uienTajrb... Hypt, ahth ! Getaway! Getaway! he whispered... Getaway, child! (Get away he whispered...get away, child!)

The role of the Simpleton ("The Fool" or "Yurodivy") is always memorable because of the character's dramatic impact and his late appearance in the opera. Depending on the version used, he may sing his aria once or twice; therefore, the texts of both are included. It should be noted that

"Simpleton" is an inadequate translation, since the "Yuradovii" were people touched by God and revered even though considered crazy.

The Simpleton's first appearance is with some children outside St.

Basil's Cathedral. After they tease him, he sings a prophetic and allegorical prayer for Russia, "MbCHLfb t-ueTt,. KOTeHOKt n/iaMerb" ("The moonlight is passing, a kitten is crying"). Again, depending on the production, this short aria m ay be sung to Boris as he passes.

#19 "M-bCHtPb -bfleT-b, KOTeHOK-b nnaHeTt." ("The m oonlight is passing, a kitten is crying") mesials ji^jot katjonak platjet MbCHUt -bfleTTs, KOTeHOKTj nnaneTt. The moonlight is passing, a kitten is crying. (The moonlight is passing; a kitten is crying.) jurodivii fstavai bagu pamali§ja lOponHBbin BCTaBan, Eory noMOJiHCA, Crazy one (Simpleton) get up, to God pray, (Get up, crazy simpleton, and pray to God.) xristu paklanhya xristas box naf X p w d y noKJioHHCA. XpHCToct 6on> Hauit, To Christ give regards. Christ is God our, (Give praise to Christ. Christ is our God.) 115 budit. vidro budit rpesats ByneTt Beapo, EyueT’b M-bCHiTb, There will be buckets, there will be the moon. (There will be buckets and the moon.)

budit vidro m,esats EyneTb Beapo... Mi>cHin>... There will be buckets... moon... (there will be buckets and the moon...)

Some versions of Boris Godunov close with a reappearance of the

Simpleton singing the aria "JleflTecb, neOTecb, cne3bi ropbKHfl" ("Flow,

flow, bitter tears"). The music is exactly the same as in aria #19, only the text

differs.

#20 "JleflTecb, Jiemecb. cne3bi roDbKHh" ("Flow, flow, bitter tears")

ieseij sijozi gotkija Jiemecb, JieBTecb, cne3b! ropbKHH, Flow, flow, tears bitter, (Flow, bitter tears;) platf platj" du/a pravaslavnaja nnanb, ruianb, nyrna npaBocnaBHaa. cry. cry, the souls of the Orthodox members. (the souls of the Orthodox people cry.) skora vrak pri^jot i nastanit t,ma Cicopo Bpan, npnijeT-b h HacTaHeTt TbMa, Soon the enemy will come and will come darkness, (Soon a darkness and an enemy will come,) t,£min t,emnaja nipragljadnaja TeMeHi> TeMHafl HenpornflHHaH. a darkness dismal impenetrable. (a dismal, impenetrable darkness.) gor;£ goi;£ rusi Tope, rope Pycw, Grief, grieving Russia, (Russia is grieving;) 116 platf platJ russkii (jut nJiaMb, nnaMb py cckhh jnon-b, cry. cry Russian people. (the Russian people cry.) galodnii yut rojioflHbiH niofl’b! starving people! (the starving people!)

Musorgsky's Khovanshchina (1880) is also a historical drama, concerning the conflict between the Regent (representing the government's religious reforms of the early seventeenth century) and the Old Believers (those who rejected the reforms). Left unfinished by Musorgsky,

Khovanshchina is an opera in five acts to a libretto by Stasov and was completed and orchestrated by Rimsky-Korsakov. It was first performed 21 February 1886 in St. Petersburg.

Act 2 opens in the apartment of Prince Vasiliy Golotsin (tenor). He once loved the tsarevna and reads a letter from her in his monologue"CBeT

Mon, 6paieu BaceHbKa!" ("Hello my light, my brother Vasenka!"). Her words are full of love, but his conscience tells him not to trust her.

xavanjfina XoBaHUjHHa Khovanshchina

#21 "Cbct Mofl. 6p a T eu BaceHbKa. 3HDaBCTBVfl!" ("Hello mv light, my brother vasenka!") syet moi brcgets vaserjka “CBeT Mon, 6p aT eu B aceH bK a, “Light my, brother Vasenka, (“Hello, my light, my brother Vasenka,) 117 strasvui batjufka moi 3j3paBCTByn, 6aTioiiiKa MOD! hello. father my! (hello, my father!)

a mi)8 n,e YEritsja radast, maja A MHe He BepHTCH, paaocTb MOfl, I cannot believe it, gladness my. (1 cannot believe it. my joy,)

syr.t atfei maix Jtobi svi4etsja CBeT OHen MOHX, H T 0 6 bi CBHJieTbCH. light of eyes my, that 1 will sec (you) again. (light of my eyes, that I will see you again.)

yelik bi 4et) tot bil BenHK 6bi ueHb TOT 6 bin, Great would be day that will be, (That day will be great,)

kaejda ti^ja syeta majivo Korna Te6fl, CBeTa Moero, when you, world my, (when you, my world,)

v abjatijax uvicjela B o6 t>hthhx y B H n e n a ! in an embrace I will see! (I will embrace you!)

brila B£fa iz vazvi 3 enska Bpena neiua... H3 Bo3flBH)KeHCKa... 1 wandered on foot... from \bzdvizhensk... (1 wandered on foot... from Vozdvizhensk. ..) tojka atpiski at bajar TojlbKO OTnHCKH OT 6o«p Onlv non-commital answers from the boyar: (With only non-commital answers from the boyars) i at titya H OT Te6fl. and from you... (and from you...”) ne pomngu kak vzajla tfla idutfj He noMHio Kan B3oiiiJia: MJia, h n y h h ." I do not remember how I entered: I was reading, while walking. (I do not remember how 1 entered: “1 was reading, while walking.") tsat;svna v zabotax tjagasnix UapeBHa, b 3a6oiax TflrOCTHblX The tsarevna. in concerns burdening (The tsarevna, in burdening concerns) o blags gasudat;ei mladix o 6 nare rocynapefl MJianbix, about the good of the sovereigns young, (about the good of the young sovereigns.) stra sti kiputjei pt;sdana cTpacTH KHnywen npenaHa, the passions seething full of. (was given over to seething passion.) msft,s o minuffsm MeMTe o MHHyBLUeM the dreams about the past naslajtd^hi fsjojasna addajstsja Hac^aiKfleHbH BcenacHo OTnaeTca... the pleasure all of the time devoted to... (I have to give up the pleasurable dreams of the past that 1 was previously devoted to...) ysrit, li kl,atvE 3enJX*ni BepHTb J1H KJlflTBe 7K e H m H H bi Can I believe an oath of a woman (can I believe an oath of a woman) vlastaljubivai i sifnai BJiacTontobHBoPi h CHJIbHOB ?. powerloving and strong?... (so powerloving and strong?...)

ysfnajs samrjs^s vo f§sm fsigda BeMHoe coMHeHbe, bo BceM, Bcerxia!, I have Eternal doubt, in everything, always!... ("I have Eternal doubt, in everything, always!...) iu:t ne paddamsja Ja HeT, He nooaM CH H No. will not give into (No. I will not give into)

abmanu rpsfb pustoi o6MaHy Membi nycTon, the deception of a dream empty. (the deception of an empty dream.)

adu^ajufjix minutnix tiasla3d,eni* OflypHIOlUHX MHHyTHbIX HacJiawfleHHn, of befuddled momentary pleasures. (of befuddled momentary pleasures.)

vam kapefna Yerju Ja axotna BaM, KOHeHHO, Bepio H OXOTHO, 111 VOll. of course. have faith willingly. (In you. of course. I willingly have faith.)

no s vami astaro^nast, nadabna HO C B3MH OCTOpOJKHOCTb Haao6Ha, but with you caution I must have. (but I must have caution with you.)

pe to kak ras v nimilast, a tarn He to Kax pa3 b HeMHJIOCTb... a TaM. but once in disfavor... and there. polavu napratj" roHOBy HanpoHb!.. head completely!... (for once in disfavor, there, one can lose their head!...)

usiaro5 na gstman kpaz OcTOpO>KHO, reTMaH K H H 3 b . Be careful, mighty is the prince. (Be careful, the prince is mighty.”)

ba pi§mo at matu/ki kpagini Ba! II HCbMO OT M3Ty UIKH K H H TH H H! Well! The letter from the mother of the princess! (Well! Here is the letter from the mother of the princess!) 120 skatfut pasli s kaznoju knasepetskai CKaMy t nociibi c Ka3Hoto KHHHteHeuKon Go down after with the execution of the princess (The ambassadors go down with the condemned princess.)

dja slavi patomka velikix slavnix ptrdkaf J3 JIH CJiaBbl nOTOMKa BeilHKHX, CJiaBHbIX npeflKOB. To the glory of the descendant of great, glorious ancestors. (To the glory of the great descendant, the glorious ancestors.) dj,a d,£l baifix baljije d,erigi nadabni fljiH fle.n 6ojibiiiHX 6ojibiiiHe jjeHbTH HajioSHbi. To do great deeds money is necessary. (Money is necessary to do great deeds.)

tt syet moi sam yedajef "Tbl, CBeT MOH, caM B e^ aeuib , “You. light my, yourself know. (“You, my light, yourself know, ) kakof ti mtje nadaboen KaKOB Tbl MHe Hajjo6eH, how you 1 need. (how I love you,) daro^e du/i majei gcefnai .nopoxte jayniH MOeB rpewHon. more precious than soul my sinful. (you are more precious than my sinful soul.) cjerjisja tfistoti dufevnai i ticjesnai nep>KHCH HHCTOTbl nyuieBHon h TeaecHofl; Retain the purity emotional and bodily; (Retain your emotional and bodily purity;) sam znajsj kak to bogu jjubo caM 3Haeuib, KaK... to. 6ory nio6o. you know, how much... by God loved... (you know how much... you are loved by God..

Jto eta pridznaminavape Jto j, H to 3TO? npefl3HaMeHOBaHbe, mto nb?... What is it? An omen, some kind of?... (What is it? Some kind of omen?...) 121 grazit rifsnije sud,b» majei HeM rp03HT peiueHHe cyflb6bi Moefi? With what can I threaten the decision of destiny mv? (With what can I change my destiny?) tfornijg dumi du/u pitajut HepHbie flyMbi ay my ribiTaioT; Black thoughts my soul torment; (Black thoughts torment my soul.) bessifni mi pastignut, tainu BeccHnbHbi Mbi nocTHrHyTb t a R h y ; Weak we comprehend the mystery; (Weak, we comprehend the mystery;) nijto^jna vlast, nijtojen razum HHMTOjKHa BnacTb, HHMTO)KeH pa3yM, meaningless power. meaningless reason... (power is meaningless, reason is meaningless...)

dirsisja Jistati dujevnai i tijesnai "HepiKHCH HHCTOTbl nymeBHon h TenecHon... “Retain the purity emotional and bodily... (“Retain your emotional and bodily purity...) to bogu ljubo To 6ory jik>6 o...‘' That by God loved...” (That you are loved by God...”)

The Fair nt Sorochintsi was also left incomplete by Musorgsky at his death. There have since been four completed versions, all by different composers, dated 1913, 1916, 1923 and 1932. It is an opera in three acts to a libretto by the composer and Arseny Golenshchev-Kutuzov after the story by

Gogol. It was first performed at the Free Theater in Moscow on 8 October

1913. The story takes place in the Ukrainian village of Velikiye Sorochintsi', where a young peasant lad, Gritsko (tenor), and his lover, Parasya (soprano), 122 endure many ordeals in order to be happily married.

Near the end of Act 1, a marital union between Gritsko and Parasya is

forbidden by her step-mother. Disconsolate, Gritsko sings the recitative and

aria "3x! HepeBHK, HepeBHK!...3aueM Tbl, cepuue. pbiuaetiib n

CTOHenib?" ("Eh! Cherevik, Cherevik!...Why do you sob and groan, my

heart?")

saratfinskaja jarmarka CopoHHHCKan JipMapKa Sorochintsi Fair

#22 "3x! HepeBHK. HepeBHK!..,3aMeM Tbi. cepuue. Dbinaeiiib h CTO He mb?" ("Eh! Cherevik. Cherevik!...Why do you sob and groan, my heart?")

ex tjExivik tjsrivik 3x! HepeBHK, HepeBHHKl Eli! Cherevik, Cherevik! (Eh! Cherevik, Cherevik!) bud ja tsaram yelikim Byflb H UapOM BeJIHKHM, Were I the tsar great, (Were I the great tsar,)

Ja bi pervn piriyejal f§ex durrjei H 6bi nepBbiH nepeBeman Bcex aypHen, I would first weigh again everything badly. (I would first weigh everything that is bad,) fto pazvajajut sidlat, sibja babam m o no3 Bon«K)T ceflJiaTb ce6 « 6 a6 aM. that you allow to saddle yourself with a woman. (that you allow yourself to saddle with a woman.)

zatfem ti ^mtse ridajEf i ston,ef 3aHeM Tbi, cepnue, pbinaeuub h cTOHeuib? Why (do) you, heart, sob and groan? (Why do you sob and groan, my heart?) 123 tfEm ja magu tibja bsdnajr HeM h Mory Te6« yTeuiHTb, 6eflHoe ? That I may you console. poor one? (How can 1 console you. my poor one?)

razye )Em Jto n,e sud,ba Pa3Be TeM, MTO He c y n b 6 a Perhaps it is. that not destiny

nam s taboi Jaslivim hit, HaM c T0 6 0 H CHaCTJIHBbIM 6bITb, us with together happy to be.

da f Jas£i S»S na B CMaCTbH )KHTb , indeed in happiness lives. (Perhaps it is not our destiny to be happy together.) umolkni ^srttse ^srttse b,sdnajE Ymojikhh, cepnue, cepnue 6eflH oe! Fall silent, heart, heart, poor! (Be quiet, my heart, my poor heart !) gore taska astavt,E minja Tope, TOCKa ocTaBbTe MeHfl; Grief, melancholy retains me; (Leave me alone, grief.) jjErttSE molit cepaue mojiht, my heart begs, (My heart begs...)

.^srttse prosit tol,ka Jjubvi parasi cepnue npocHT TOJibKO uk >6bh IlapacH, my heart asks only for the love of Parasya. (my heart asks only for the love of Parasya.) paranja ax paraya riapacfl, ax, Ilapacfl, Parasya, ah, Parasya, (Ah. Parasya,) ti maja galupka ti maja panat/ka Tbl, MOH rony6K a, Tbl, MOfl naH O H K a! you. my dove, you, my lady! (you are my dove, my lady!) 124 slaja xivra nas zagubit 3jia« X h b p h Hac 3 a r y 6 H T . Evil Khivra us ruins. (Evil Khivra ruins us.) scmsE mojs peruse prosit Cepzme Moe, cepnue npOCHT, Heart my. my heart asks, v ec I tol,ka jjubvi parasi Bejib, TOJibKO jiio6 bh ITapacH. vou know. only for the love of Parasva. (You know, my heart asks only for the love of Parasya.) j'tof ti ^erttss ridajsj i stopef H tojk Tbi, cepnue, pbiaaewb h CTOHeiUb ? What is with you, my heart, sob and (What is with you. my heart, why do you sob and groan?) ifem ja magu tibja bednaje HeM h Mory Te6« yTeuiHTb, 6enHoe ? How I may you console, poor one? (How may 1 console you, my poor one?)

Pyotr Ilyich Tchaikovsky's (1840-93) gift for melody, orchestral drama and baletnost', (the essence of ballet music), have made him Russia's most popular composer both inside and outside of the country. His eight operas are ov ershadowed by his symphonies, ballets and , yet they contain music of equal beauty and drama. Tchaikovsky was always a dramatic lyricist, concentrating on the emotions of his characters. This resulted in the development of the lyrical psychological drama, his contribution to Russian opera; all of this during a period when his contemporaries were primarily concerned with dramatic realism and declamation of the Russian language.

Eugene Onegin (1878) was Tchaikovsky's first psychological drama, described by the composer as "lyrical scenes in three acts." The libretto is by the composer and K. S. Shilovsky, almost verbatim, based on the novel in verse by Pushkin. Eugene Onegin was first performed at the Imperial College

of Music by students in Moscow on 29 March 1879.

The action takes place in the eighteenth century on a country estate and

in St. Petersburg. In Act 1, Scene 1 the four main characters are introduced:

Tatvana (soprano), Olga (), Onegin (baritone) and Lensky (tenor).

Tatyana, Olga and Lensky are characters motivated by emotion, in contrast to

the reserved character of Onegin. As soon as Lensky and Olga are alone, the

young man sings his first Arioso (No. 6), Jitobnio Bac, Onbra" ("I love

you, Olga"), an outpouring of his feelings for Olga, the object of his affection.

pptr m tfikofskii ITeip H JIbHM HafJKOBCKHH Peter Ilyich Tchaikovsky jevgenii anjegin EBreHfi OHerHH Eugene Onegin

#23 "fl jik>6 jik> Bac. O nbra" ("I love vou. Olea") ja Jjubjju vas ja Ijubjju vas °lga H jho 6 jik ) BacT>, h jiio6 jik > Bacb, O nbra, I love you, I love you. Olga, (1 love you. Olga.) kak adna bizumnaja dufa paeta KaK-b onHa 6e3yMHaa nyuia no3T a its only the mad soul of a poet (its only the mad soul of a poet)

.ji.fj'o jjubit asu34ena eme JlK>6HTb o c y w u e H a . still loves condemnation. (still loves condemnation.) fsigda vizeje adno m,e/tatje Bcerfla, Be3flt OflHO M en T aH te, Always, everywhere is only the daydream, (Always, everywhere, is only one dream,) 126 ad no privitfnaje 5daps OflHO npHBblHHOe « e n a H b e , the one habitual desire, (the one constant desire,)

adna privitjnaja pitfal oflHa npHBbiHHaa n e n a n b ! the one habitual sadness! (the one constant sadness!) ja otrak biS taboi plirjennii H OTPOKTj 6 bn"b T0 6 0 H nfl-bHeHHblH I a boy was your prisoner, (As a boy, I was your prisoner,) sirejstfnix muk jtfjo pe znav cep.neHHbix’b My KX> eme He 3HaB,bl the heartfelt pangs are still not known. (when heartfelt pangs are still not known.) ja bil svi^esej u mijennii H tblJl’b CBHfltTeflb y MHJieHHblH I was a witness to the sweetness (I was a witness to the sweetness) tvaix mlacjsntjeskix zabaf tbohxtj MflafleHHecKHXt 3a6aB-b! of your infantile amusement! (of your childish amusement!) f t,eni xranit,£inai dubravii B-b TtHH XpaHHTeflbHOfl A y 6 p a b bi In the shadow guardian of the oak forest (In the shadow of the protecting oak forest) ja razcjdal, tvoi zabavi ax a paafl-bflflfl-b tboh 3a6aBbi, ax-b! I shared your amusements, ah! (I shared your amusements, ah!)

ja Uubliu tibja ja ijublju tibja a jik>6 J1K) Te6 fl, H JI106 flio T e 6 fl, 1 love you, 1 love you, (I love you,) 127 kak adna duj"a pacta tojka ljubis KaKt oflHa ayiiia noaTa TOJibKO nK)6HT-b; as only the soul of a poet only loves: (as only the mad soul of a poet loves.)

ti adna v maix njejtanjax Tbl OflHa B-b MOHXT> MeMTaHbflXT>, you are the one in my dreams, (You are the one in my dreams.)

u adna moje 5 elan,s Tbl OflHO MOe JKenaHbe, you arc the one of my desires. (You are the one of my desires.) ti mrje radast, 1 stradan,e Tbl MHt paflOCTb H CTpajiaHbe, you are to me joy and suffering. (You are joy and suffering to me.) ja ljubjju tibja h jik >6jiio Te6fl, I love you, (1 love you.)

Ja ljubyu tibja 1 nikagda nijto fl jik >6jiio Te6fl H HHKorjja HHMTO, love you and never anything else. (I love you and nothing else.) ni axlajdajuffaja daj, hh oxjiajKuaiomafl nanb, not the cooling distance, (Neither the cooling distance,) ni tfas razluki hh nacb pa3nyKH, not the hour separated, (the hour of separation,) m vi^elja Jum ije atceztjat, duji hh Becejibfl iiiyMt He OTpe3BflTb jiyiiiH, not gaiety’s clamor can not to sober up the soul. (nor gaiety’s clamor, can sober my soul,) sargr;etai cjestyEnnim ljubvi agqem COrp-bTOH H-bBCTBeHHblM jik >6bh OTHeM’b! the warm virginal love aflame! (like warm virginal love aflame!) 12 ja jjubju tibja H jik>6;uo TeSfi! I love you! (I love you!)

Lensky's Aria (No. 17), "Kyua, Kyua, Kyua Bbi yuajiHJinc?" ("Where

have you gone to?") is performed at the end of Act 2, Scene 2. Onegin has

provoked his friend Lensky into a duel, which the latter will certainly lose.

Early that morning at the sight of the upcoming duel, Lensky recollects his

life and his love for Olga in this splendid and moving aria, the most popular

of the repertoire.

#24 "Kvna. Kvna. KViia Bbi vnajiHJiHc?" ("Where have you gone to?")

kuda kuda kuda VI udalili§ Kyua, Kyua, Kyna Bbi yaanHJiHCb Where. where, where have you withdrawn to (Where have you gone to) vesm majei slatije dni BeCHbl Moen 3JiaTbie HHH ? of spring my golden days? (golden days of my youth?)

,ft° 4*^ gradufjii mi)£ gatovij H to JieHb rpaayiuifi MH-b rOTOBHTTj ? What is the day coming coming for me preparing? (What is the coming day preparing for me?)

J1VO moi vzor na naprasna lovis Ero moh B30p*b Ha HanpacHo JlOBHTt; It my glance for in vain tries to catch; (Mv glance tries to catch it in vain.) v glubokai t,m,£ taitsja on BT> rn y 60K0H TbMb TaHTCH 0 HT>! In the profound darkness is lurking it! (It is lurking in the profound darkness!) net nu3 di praf sut bi zakon H-bT-b Hyxtflbi; n p a B t c y a 6bi 3aKOHTs! No need; true judgement is the law! (No need; true judgement is the law!)

paduli ja stt;eloi pranzjonmi naayjiH a cip*.non npOH3eHHblB, Will fall I straight as an arrow pierced. (Will I fall, as if pierced by an arrow,)

il mima prajetit ana HJlt MHMO npojieTHT’b oHa, or past will fly it. (or will it fly past me.)

f§.j° blaga Bee 6 jiaro: It is all for the good: (It is all for the good.) bejenija i sna prixodit t/as apt;ediljonnii h cHa npnxonHTi> nac-b onpen-bJieHHbiB! vigil and sleep come a time certain! (Vigil and sleep come at their certain time!) blagasloyen i 4E1 zabot EnarocjioBeH’b h neHb 3a6oTi>, Blessed is also the day of anxiety, (Blessed is the day of anxiety;) blagasloyen i t,mi prixot 6jiaroc^oBeHT> h TbMbi n p h x o xi t ! blessed is also darkness (blessed also is the coming darkness!)

blisrjj ot za utra lutj 4ennits* BnecHeTTj 3a yipa nynb a e h h h u bi Shines from morning the beam of day (The beam of day shines in the morning,) i zaigrajet jarkii 4£H> h 3aHrpaeTt npKin jieHb, and begins to play the brilliant day, (and the brilliant day begins to play.) 130 a ja bi|,mo5 £t a a, 6biTb MoaceTt... but I, perhaps... (Blit perhaps 1...)

ja grabnitsi saidu h rpo6HHUbi co n n y I of the tomb may descend

f tainistyennuju §sn, BT, TaHHHCTBeHHyiO C-bHb! in the secret canopy! (I may descend to the secret canopy of the tomb!)

i pamjat, junava pasta H naMHTb lOHaro n o aia And the memory of a young poet (And the memory of a young poet)

paglotit m,edj,ennaja Jsta norjioTHTt MexineHHafl JleTa, is devoured slowly by the Lethe, (will be slowly devoured by the River Lethe.) zabuejst mir minja no ti ti ti ti 3 a6 yneTi> Mipi> MeHH, ho Tbi!...Tbi! Tbi!...Tbi!. will forget the world me, but you!... you! you!...you!. (The world will forget me, but you!...)

skajd pridjoj li cjeva krasati CnaiKH, npwneuib h h , fl-bBa KpaCOTbl, Say it. will you come, maiden of beauty, (Say that you will come, beautiful maiden.) sjezu pralit, nat ranrjei urnai cne3y nponHTb Haat paHHefl y p H 0 H a tear to be shed must on the early urn (A tear must be shed on my urn.) i dumat, on minja ijubil h nyMaTb: oht. MeHH jik> 6 h j ii>! and think: he me loved! (And think; he loved me!) on mns jedinai pasvjatil OHt MHt eflHHOR nOCBHTH Jit He me singly devoted (He devoted to me singly)

rassyet pitjalnii 3 izni burnai paccB’bT'b neMaJibHbin >kh 3hh SypHon! the daybreak of his sad life stormy! (the daybreak of his sad and stormy life!)

ax ol,ga ja tibja Jjubil Axt, Onbra, n Te6a moGHn-b, Ah. Olga, I you loved. (Ah. Olga, .)

tibc jedinai pasvjatil Te6i> ejJHHOR nOCBHTHn’b to you singly I was devoted (I devoted singly to you)

razyst pitfajnii 3 izni burnai pacB'bT’b nenanbHbiR hch3hh GypHon, the daybreak of my sad life stormy, (the daybreak of my sad and stormy life.)

ax olga ja tibja ljubil ax-b, Onbra, n Te6n nioGHn’b! all. Olga, I you loved! (Ah. Olga, I loved you!)

^ercjetjrjii druk 3 elannii druk CepneMHbiR n p y r t, )KenaHHbin npyr-b, Heartfelt friend, desirable friend, (Mv heart's beloved, desired one.

pridi pridi 3 slannii druk npHUH, npwnH! xcenaHHbin npyn>, come, come! desirable friend. (come to me! Desired one,) pridi ja tvai supruk npHAH, n tb o r c y n p y r t, come, I am your husband, (come to me. I am your husband.) pridi pridi npHnH, npHnH! come, come! (Come to me!) 132 ja 3du tibja Sdannii druk Te6fl, w ejiaH H bin npyrt. 1 wait for you. desirable friend. (I wail for you. desired one.) pridi pndi ja tvai supruk npHflH, npHBH, H TBOH c y n p y r -b ! Come. come, I am your husband! (Come. I am your husband!) kuda kuda kuda vi udalili? Kyua, Kyfla, Ky,na Bbi y n a n H n H C b , Where, where. where have you withdrawn to. (Where have you gone to,) slatije. dni slatije dni majei yesni 3JiaTbie jihh, 3JiaTbie flHH Moen BecHbi! golden days. golden days of my spring! (golden days of my youth!)

Mazepa (1883) is an opera in three acts to a libretto by Victor Burenin with revisions by the composer. It was first performed at the Moscow Bol'shoy on 3 February 1884. Based on Mazepa, a genuine seventeenth- century political traitor, the opera is about the wrongdoings of the title character. Mazepa (baritone) is in love with Mariya (soprano), the daughter of his friend Vasily Kochubey (baritone). He uses his political power to force Kochubey into promising her to him in marriage. Kochubey seeks revenge by denouncing Mazepa as a conspirator against the tsar. Not believing Kochubey's accusation, the tsar has him tortured and condemned. Andrey (tenor) is a character created by Tchaikovsky, presumably to add the emotional impact of a love interest. Andrey, who is also in love with

Mariya, sings his Scene and Aria (No. 16) "B 6oto KpoBaBOM...H a npmueji ctoua B3rjiflHyTb Ha Te MecTa...3,necb hhh tckjih wpenon cHacTUHBon...O, r;ie Tbi. rue moh ronybKa?” “(In the bloody battle...And I arrived here to glance at these places...The days flowed happily here...Oh, where are you, my dove") in Act 1, Scene 1 before Mariya is promised to Mazepa. Andrey later makes an attempt on Mazepa's life and is mortally wounded.

mazepa M a 3 e n a Mazepa

#25 "B 6oro KDOBaBOM...H h nPHwen cioiia B3rjiHHVTb Ha Te MecTa...3iiecb jhh tckjih MPeiion cMacTJTHBon...O. m e Tbi. rue moh ronvSKa?" "(In the bloody battle...And I arrived here to glance at these places...The days flowed happily here...Oh. where are you, my dove") f baju krovavam B 60K) KpOBaBOM, In the battle bloody, (In the bloody battle,) na poje tfssti iskal ja fsjudu tibja Ha none necTH HCKan h Bciony Te6 fl, on the field of honor looked I everywhere for you. (on the field of honor I looked everywhere for you.) mazepa titya slacjei Ma3ena, Te6n 3jionen! , for you villan! (Mazepa, you villan!) o jesli p 0, ecJiH 6 t)h. if were to (Oh. if only) tolka titya ja fstr;etil TOJibKO Te6H H BCTpeTHJl, only you 1 greet. (I were to meet you.) 134 klanusja sabfei KJiHHycH c a 6 n en , swear on my saber, (I swear on my saber,)

paycrgnut f praxc le3al bi ti noBeprHyT b npaxe neMcan 6 bl Tbl ! reduce to dust situated would you! (I would reduce you to dust!)

no s polja bitvi bijal izin,cnnik Ho c nojia 6 HTBbi beiKaji H3MeHHHK, Blit from the field battle escaped the betrayer. (But the betrayer escaped from the battle field;)

^elannai m,esyu ne jKejiaHHOH MeCTblO He desirable revenge did not

usladila^ maja dufa ycjianHJiacb m o h nyuua. delight my soul. (the desired revenge did not delight my soul.) f baju krovavam pdaja m,estju B 60 to KpoBaBOM, nbinan M e CTb K), In battle’s shelter. in the ardor of revenge. (In the shelter of battle, in the ardor of revenge,) iskal ja fsjudu titya mazepa HCKaJi h Bciofly T e6 fl, Ma3ena, searched for I everywhere for you, Mazeppa, (I searched everywhere for you, Mazepa,) tibja slaciei T e6 H, 3JioneH! lor you, villan! (for you, villan!)

i ja prij'ol sjuda H h npHiuen ciofla And 1 arrived here (And I arrived here) vzlanut na t,e mesta B3rnHHyTb Ha Te MecTa, to glance at these places. (to look at these places,)

gde s cjetsva Ja rae c fleTCTBa a where from the child (where from childhood I)

s mariei milai rr^e fti i radasti cjelil c MapHen mhjiob M em u H paflOCTH flejiH Ji, with Maria sweet dreams and joy shared. (shared sweet dreams and joy with Maria.)

(Jde ja Ijubil gcje sjjozi lit rue a jho6hji, rue cne3bi nan where I loved, where tears I shed (Where I loved, where I shed tears)

o rjei zagubjennai galupl^e o Hen, 3ary6neHHon rony6Ke, about her, my ruined sweetheart. (over her, mv ruined sweetheart,) i o svajom pagipjem Jas^e H 0 CBOeM norH6meM cnacTbe! and about our dead happiness! (and about our dead happiness!)

zd.es; dni t,elki tfridai Jastlivai 3flecb UHH TeK JIH Hpeaon CM a CT JIH BOfl, Here the days flowed turn happy, (The days flowed happily here.) zde.'j angel krasatoi sijal 3iiecb aHreJi KpacoTon cHfln, here the angel beautiful shone. (Here the beautiful angel shone.) zcjeij ja ljubil i 3 dal 3necb h nio6Hn h CMaCTbH wnan... here 1 loved and happiness waited for. (1 loved here and waited for happiness...) na f^jo prajlo kak dim ifesla Ho Bee npornno, KaK hum HCHe3no, Blit everything has past, like smoke vanished. (Blit everything has passed, vanished like smoke;)

asiratel pusttnnii dom OCHpOTeJI nyCTblHHblR flOM, was orphaned desert home. (our home is now alone and empty.) i tijina i mrak krugam H THIIIHHa, H MpaK KpyroM. both silence, and gloom all around. (and silence and gloom are all around...) o gcje ti gcje maja galupka 0, rue Tbi, rue, MOH ronySKa, Oh. where are you, where, my dove. (Oh, where are you, my dove;) xot, !,£nju j,sxkaju javi? xoTb TeHbio nerKoio HBHCb, though shade light appear. (appear, my light!) ulipkai p ^ p e i ulibni^ yjibi6Kon npeacHen ynbi6HHCb, smile the former smile, (Smile with your former smile!) i f ^erttse mi}£ vdoxni nacjesdu h b cepflue MHe BflOXHH Hafle«ny! and in the heart to me the breath of hope! (And breathe hope into my heart!)

ax g4e ti gtje ti g

o pust, pri^jot kapets 5 clannii 0, nycTb npHfleT KOHeu >KeflaHHbin, Oh. let it come to an end wished for. (Oh. I wish it would all end.)

o srn,ert, o druk O CMepTb, 0 flpyr. oh death. oh friend. (Oh death, my friend,)

tak dolga sdannii TaK flOJITO JKflaHHblH, like long ago awaited, (like 1 awaited for long ago,)

dai mpc zabyepc i pakoi zian MHe 3a6BeHbe h noKon, give me oblivion and peace, (give me oblivion and peace.) dai mpc zabyepc i pakoi flan MHe 3a6BeHbe n noKon! Ciive me obilivion and peace! (Give me oblivion and peace!)

Chcrcvichki (1885) was originally Vakula the Smith (1874), but Tchaikovsky later revised it so extensively that he gave it a new title. Cherevichki are high-heeled, narrow-toed holiday boots for women, a fact which has led to some mistranslated titles like The Slippers, The Golden

Slippers, The Empress's Shoes, and The Little Shoes. Yet another title for the opera has been Oxanna's Caprices. This same story was also set by Rimsky-

Korsakov as Christmas Eve, and thus the librettos are quite similar. (See arias 138 #37 and #38)

Chcrcvichki is Tchaikovsky's sole , often referred to as a

"comic-fantastic" opera in four acts to a libretto by , Nikolay

Chavev and the composer after the story by Pushkin. It was first performed at

the M oscow Bol'shoy on 19 January 1887.

The story unfolds in a Ukrainian village and in St. Petersburg at the

end of the eighteenth century. The Devil (baritone) is angry with Vakula

(tenor) because the latter has portrayed him in a humorous and degrading

manner in a painting. In revenge, the Devil endeavors to keep Vakula from

a meeting with his sweetheart, Oxana (soprano). After numerous mishaps

throughout the course of the opera, Vakula ultimately fetches the

chcrcvichki of the tsaritsa for Oxana as a token of his love for her.

Following Oxana's aria near the end of Act 1, Vakula enters. She

ignores his flirting and is rude to him, finally asking him whether the

rumors about his mother being a witch are true. Vakula answers with his

glorious Arioso, "0, h to MHe MaTb, h to MHe OTeu!" ("Oh, what are a mother

and a father to me!").

tj’erivitfki HepeBMHKH Chcrcvichki

#26 "0. HTO MHe Matb. HTO MHe OTeu!" (“Oh. what are a mother and a father to me!")

o Jto mrj£ maf Jto m,le atets 0 , HTO MHe MaTb, HTO MHe OTeu! Oh. what to me a mother, what to me a father! (Oh. what are a mother and a father to me!) 139 ti dl,a minja atets i mat Tbi nnn MeHH oTeu h MaTb, You arc to me a father and a mother. (Yon are a father and a mother.)

i fsyo H B e e , and everything. (and everything)

.fto jest, prikrasnava na sy£t,e MTO eCTb npeKpacHoro Ha C B e i e ! that is excellent in the world! (that is dear in my life!)

pust, pazayjot minja sam tseir; IlycTb no30BeT MeHH caM uapb, If were to call me himself the tsar. (If the tsar himself should call me.

pust, atje/Jajet mpe addat, paltsarstva n y c T b o S e m a e T MHe o m a T b noJiuapcTBa, i!I he were to promise to me to give half his kingdom. ( if he were to promise to give me half of his kingdom. kuznitsu pastavit iz zolata K y3H H U y nOCTaBHT H3 3 0 J I0 T a a smithy will be made out of gold. (a smithy made of gold,) is siribra dva molata H3 c e p e 6 p a J3Ba MOJIOTa, out of silver two hammers. (two silver hammers.) is samatsyeta pnka3£t zcjElat, nakavaj,nju H3 caMoiiBeia npHKaweT cnejiaTb HaKOBa JlbHK)! out of semiprecious stones command to make an anvil! (and an anvil be made from precious stones!) a ja tagda ska3 u tsagu A h Toraa CKa^y uapio: And I then would say to the tsar: (I would then say to the tsar:) tsargasudat; mrjr nitfrvo ne nada uapb- rocynapb! MHe HHMero He H anoi tsar-sovereign! Tome nothing not need! ("Great tsar! I do not need anything!) tsar gasudar; Uapb-rocyaapb! Tsar-sovereign! (Great tsar!)

mru: nitfevo na syete nada MHe HHMero Ha cBeie He Hano, To me nothing in the world not need! (I do not need anything on earth!) m nr nitfevo nada MHe HHMero He Hajjo, to me nothing not need. (I do not need anything.) m zolata ni siribra HH 30JI0Ta, HH c e p e 6 p a , neither gold. nor silver. (neither cold nor silver,) ni daragova samatsyeta hh jiopororo caM ouB eT a- nor expensive scmiprecious stones- (nor expensive precious stones— dai mije dai mi)£ dai mije andu aksanu n an MHe, nan MHe, nan MHe ojiHy OKcaHy, give me. give me. give me only Oksana. (Just give me my Oksana,) mpr nitjevo ije nada MHe HHMero He Hajio, to me nothing not need, (1 do not need anything.) dai mijE adnu aksanu adnu aksanu nan MHe oflHy OKcaHy, OflHy OKcaHy! give me only Oksana, only Oksana! (Just give me my Oksana!”) 141 In Act 2, Scene 1, Solokha and the Devil return to her hut after stealing

the moon. Bursakov, The Schoolteacher (tenor) comes for an amorous visit

and sings his Little Song, "5a6a k 6 e c y npiiBH3ajiacb c o k a ft h h bi m

conosHajiacb" ("There was once a woman who consorted with the devil"),

which he has written for Solokha.

#27 "E a6a k 6ecv nDHBfl3ajiacb c PKaflHHbiM conosHajiach' ("There was once a woman who consorted with the devil")

baba k b,esu prnyazalaij Ba6a k 6ecy npHBH3ajiacb, Woman to an evil spirit becomes. s akajannim sapaznala§ c oKaaHHbiM cono 3 H an acb . with the damned one was acquainted. (There was once a woman who consorted with the devil.) napusti malit, v duju gt;exovnuju “HanycTH,” mojiht, “b ayiiiy rpexoBHyto, “Let me in,” pray, “in your soul o f sin, (“Let me into your sinful soul,” she asked.) sataninskuju jazvu ljubovnuju CaTaHHHCKyK) H3By JIK>6oBHyK>!” the satanic cursed lover!” (“Let in this cursed lover!”) dobi;e hes atvit/al “Ho6 p el”-- 6ec OTBenan, “Good!”— the devil answered, (“Good!” answered the devil,) pr;ama cj£la nat/al npHMo neno H anan. directly the matter began, (and lie began the matter directly.) 142 ax ljuSe mtje VO gt;exax pagt;azajuju Ox, jiioTe MHe BO rp ex a x norpH3aiouiy, Oh, fierce is me in sins is bogged down. (Oh, woe is me, bogged down by my sins.) ax gore mrj£ tfjstna titya saloxa ox, rope MHe, TiueTHo Te6fl, Conoxa, oh, the misfortune of me, in vain to you, Solokha, (Oh, misfortune is mine, calling you in vain Solocha,) na pir/sstva Jjubvi prizivajuju Ha riHpiiiecTBo jho6bh, npH3biBaK>my! to the sumptuous feast of love, calling to! (to the sumptuous feast of love!)

sla kak maja staruxa 3na KaK moh C T apyxa, Evil like my old woman, (My old woman is as wicked as the devil;)

.fto ni ska3 ej Jezit V uxa HTO HH CKaMeiiib, ne3eT B y xo! that not said, climbs into the ear (she can scarcely understand anything you tell her!) kak papala darit kalatujkami Kax nonano napHT KonoTyuiKaMH, In a hit or miss fashion gives a wooden hammer, kat/ergoi skavradoi i padujkami KOMeproH, cKOBponoH h nonyuiKaMH. a fire poker, a frying pan or cushions. (Whatever she finds, she hits me with: with a hammer, a poker, a frying pan or cushions.) ja smirjennii moltfu atyetfat, ije xat/u 51, cMHpeHHbifl, MOJiny, OTBenaTb He xony. I, am humble, am silent, to answer do not I want. (I am humble and silent and do not want to answer!)

Bursakov is followed by two more suitors, and Solokha hides each one in a different sack as the next arrives. By the end of the act, she has suitors hidden in three different sacks. Vakula enters and decides to take the sacks outside. As he tries to lift the sacks, Vakula bemoans the fact that Oxana has shunned him and sings his Arioso (No. 12), "Bot ywe roa npoiuen" ("A

year has already passed").

#28 "Bot V)Ke rou npomejl" ("A year has already passed")

vot 113 e got pra/ol 1 snova Bot yme rou npoiuen H CHOBa Here is already a year lias gone by and (A year has already passed, and once again)

zavut minja kaljadavat, 30BYT MeHfl KonnnoBaTb, they call me to go around caroling. (they call me to go caroling. a mpe i dom radnoi fie mil a MHe H ROM p o n H o n He MHJl! but to me home native not dear! (But I am not happy even in my own home!) strast, izyela issoxnu Ja CTpacTb H3Bena, h c c o x h y fl My passion is spent, shall shrink away I (My passion is spent; I shall become as low) kak padkalodnaja zmija KaK nonKononHaa 3 M e n ! as a snake in the grass! (as a snake in the grass!) taska sa§£t minja taska TocKa coceT MeHH, TocKa! My melancholy drains me, melancholy! (My grief is draining me!) na /to paxo/ ja stal Ha h t o noxoMt fl cTaji? But what to resemble I have become? (And what have become?) m,e/ki i t,e jidva padiyat, magu MeuiKH, h Te euBa noUHflTb M o r y ! The bags, and these hardly to lift up can I! (I can hardly lift up these bags!) 144 davna li gnul ja pataki flaBHo jih rHyn h n h Ta k h , Long ago bent I five copeks. (Was it long ago I could bend copek pieces)

davna | padkovi mok lamat, flaBHo nb noflKOBbi m o t JioMaTb, long ago horseshoes I was able to break, (and was able to break horseshoes.)

par;atkam bil taki zdaraf nopflflKOM 6bIJl TaKH 3 xt o p 0B .. rather was I so healthy... (1 was so heathly...) i Jto 3 E H h t o we? And what else? (And what now?) s uglem dvux mijkof c yrneM JJByx M e LU K 0 B With coal the two bags

«ic f silax dysr; pravalotj He B CHJiaX jlBepb npoBOJioMb! 1 am not able the door to push open! (I am not able to take two bags of coal out the door!) padpjat, ix na spinu pevmoff IIOflHflTb HX Ha CriHHy HeBMOHb! To pick up them on my back I do not have the strength! (1 do not have the strength to pick them up on my back!)

ax mpe apastil i dom radimii Ax, MHe onocTbin h flOM pOflHMblH, Alt, to me became hateful and home my own house. (Ah, mv own house has become hateful to me.) lu ffs b umir;et, tjem tak stradat, jiymije 6 yMepeTb neM Ta k cTpaaaTb! still 1 would rather die instead o f this way to suffer! ( It would be better to die than to suffer this w ay!) 145 dsn cjerjskoi tamjju? P IleHb- aeHbCKon TOMJIIOCb H, All day long languish I, (I languish all day long;)

notfu sna pet HOMblO CHa HeT, night I sleep not, (at night I cannot sleep.) strast, izyela issoxnu Ja dp acT b H3Bena, hccoxhy f l ! mv passion is spent, drained ami! (My passion is spent; I am drained!)

Jto 3£ ti sa^ej" minja krutjina taska Hto me Tbt coceuib mcha , KpyMHHa, TOCKa, Why do you drain me, sorrow. melancholy. (Why do you drain me, my grief, my sorrow?)

.ftof ti padkalodnaja zmija sujij §erttse mtojk Tbi, nojiKonoflHafl 3Mefl cyuiHiub cepflUe, what is with you, you snake in the grass dry up my heart. (What is with you, you snake in the grass that drains my heart) atrafjajsf du/u oTpaBjifleiiib nyiny! poison my soul! (and poisons my soul?)

pet tfort va^mi HeT, HOPT B03bMH! No. the devil take you! (No, the devil take you!) u f zaxatfu i Vm 3axoMy h Already I will carry (I will carry) trittsat, put pravalatju TpHnuaTb nyn npoBOJiony! thirty poods drag through! (them even if they weigh half a ton!) 146 da vot ji JJo adin mifok fla BOT eme OflHH MeiUOK Yes here is still only the sack

s saboju V ruku zaxvatfu C co6 ok > B pyny 3axBany, with my in hand capture. (I will take that one too.) tut svoi strum,ent ja pala5il Ty T CBOH CTPYM6HT fl nOJlOJKHJI, in here my forging tools I must have placed. (I must have placed my forging tools in this one.) s bogam sila prigaditsja C 6oroM l Cmia npHrojjHTCfl! With God! The strength be useful! (Good God! I have still got my strength!) mama staranitsja MaMo! CTopoHHCfl! Mother! stand aside! (Mother! Stand aside!)

After another disastrous encounter with Oxana, Vakula decides to throw himself into the Dnepr river. He arrives at the river at the beginning of Act 3, Scene 1 and sings his Second Arioso, the Song "CjibiLUHT h h , neBima. cepnue TBoe" ("Do you listen, maiden, with your heart").

#29 "CflbiWHT J1H. neBHLia. cepiiue TBoe" ("Do you listen, maiden, with your heart") sli fit li (Jevitsa §£rttSE tvajs CflbiuiHT jih, fleBHua, cepuue TBoe Do you listen, maiden, with heart your (Do you listen, maiden, with your heart)

Jjutaje garjujka gore maje nioToe ropioiiiKo, rope Moe? bitter grief, misfortune my? (to my bitter grief, my misfortune?) 147 spits ja J galupka tibjs x°S vo sn,e Chhtca jib, ronybKa, Te6 e XOTb BO CHe, Sleeping, sweetheart. you as though in a dream. (Does my sweetheart even dream)

kak ja tamjjusja kak Ja tamjjusja KaK fl TOMJIIOCfl, KaK fl TOMJIIOCfl, how I suffer, how I suffer. (of how I suffer)

cjarju kak v agije ropio, KaK b OTHe ? with grief, as if in a fire? (with grief, as if in a fire?)

m otJ'i b o js d u fa prapadai M o h h HeT 6 ojie, nyma npona jian! I have no more strength. my soul disappears! (I have no more strength; my soul is taken!)

.'jsrttsE diffina aksana p ra j/a i p ra jja i Cepaue flHBHHHO, OKcaHa, npoman, n p o m a R! Your heart is maiden. Oksana. farewell. farewell! (Your maiden heart, Oksana, farewell!)

starii gusjar pesnjudumku spajot CTapbin ryenflp necHionyMKy cnoeT, The old gusli player the song will sing. (The old gusli player will sing the song, po radnoi pat)esj£t no YKpaHHe pojiHofl noHeceT; Through Ukranian native it will carry; (It will resound through the Ukraine;) ska.^et kak 3arka tibja Ja yubii cKameT, KaK JKapKO Te6n fl JI10 6 H J1, it will say, how passionately you I loved. (it will say how much 1 loved you.) kak za jjubov svaju KaK 3a JlK)6 0 Bb CBOK), how for the love o f you, (How, for the love of you,) 148 kak za ljubov svaju ja duju zgubil KaK 3a JlK)60Bb CBOK) fl flyiuy cry 6 h ji ! how for the love o f you I my soul ruined! (how. for (he love of you, my soul was ruined!)

In his opera The Queen of Spades (1890), Tchaikovsky carried the psychological drama a step further by combining emotion and the supernatural. It is an opera in three acts to a libretto by the composer's brother, Modest Ilyich (1850-1916), with assistance from the composer. It was first performed 19 December 1890 at the Mariinsky Theater in St. Petersburg. The action is set in eighteenth-century St. Petersburg. Herman (tenor), is an arrogant man of will and superstition. He becomes obsessed with learning the mysterious secret of winning at a card game from a notorious Countess (contralto) through her ward Liza (soprano). Herman first pursues Liza out of love, but as the story progresses, he only wants to learn the secret of the three cards and gain a fortune, all of which leads to his demise.

Act 1, Scene 2 culminates with Herman's Arioso (No. 2) "Ha,k Lienii

TBepnoio Horon...H h m e h m ee He 3Haio h He Mory y3HaTb" ("Indeed, I go to my goal with trepidation...I do not know her name and I do not want to know"). In it, he tells his friends that he is in love with a woman whose name is unknown to him. The pathetic melody is based on a motive associated with Herman throughout the opera.

pikavaja dama nuKOBan aaMa O f Spades the Queen #30 "Ila. k uejiH TBepnoio Horofl...fl HMeHH ee He 3Haio h He Mory Y3HaTb" ("Indeed. I go to my goal with trepidation...! do not know her name and I do not want to know")

da k tgeli tyjordaju nagoi Ha, K iie n H TBepflOK) HOTOH Yes. to the target with heavy leg (Indeed, I go to my goal with trepidation.)

itti kak PC£34e magu ja HTTH KaK npejKae He Mory H, go as before not can I. (I cannot go as before;)

,ia scim rje znaju .fto so mnoi fl caM He 3Haio, MTO CO MHOH, 1 m yself do not know. what is with me. (1 do not know what is with me.) ja pat,et;alsja nigoduju na slabast. fl noTepflJicfl, Heroayio Ha cnabocTb, I am lost. idignant for weakness, ( I am lost, indignant with my weakness,) no vladit, saboi rje f silax bo|Je HO BJianeTb co6on He B CHJiaX 6onbiue... but to control myself I am not able to anymore... (but I am not able to control myself anymore...) ja ijubjju ljubjju fl jho6 jik>! jik>6 jiio ! I love! 1 love! (1 love! I am in love! )

ja jijo tje znaju fl HMeHH ee He 3Haio I the name of her do not know (I do not know her name,) i n,e magu uznat, h He Mory y3HaTb, and do not want to know, (and I do not want to know.) 150 zemnim nazbarjem tje 3elaja .Ill0 nazvat, 3 e m h bi m Ha3BaHbeM He m enaa ee Ha3BaTb! of the earth names are not desirable her to call! (There are not earthly names desirable to call her!) sravijsnja fsjo piribiraja CpaBHeHbH Bee nepebnpafl, A comparison of everyone is gone through. (I have compared every one) pe znaju s l$sm sravnit, He 3Haio c KeM CpaBHHTb. do not I know with whom to compare... (and do not know with whom she compares...) ljubov maju bla3 snstva raja JIK)6 0 Bb MOK) 6iiaKeHCTBO p a n love my is the bliss of paradise (My love is like the bliss of paradise;) xat;el bi ysk xranit, xoTeJi 6bi BeK XpaHHTb ! I would like a century to keep! (I would like to preserve it for eternity!) no misj t;evmvaja Jt° Wu drugamu abladat, Ho MblCJIb peBHHBaH, HTO eio npyroM y o6n an aT b , But the thought jealous, that her another to have. (But the jealous thought, that she would be with another,) kagda Ja sj,st nogi K o m a fl CJiefl HOTH when 1 the footprints h0 sn^eju j£i t§elavat, He CMeio efl u e n o B a T b , do not dare o f her to kiss. (when I dare not even kiss her footprints,) tomit minja i strast, zimnuju TOMHT MeHfl h CTpacTb 3eM Hy exhausted me and passion earthly naprasna ja xatj"u HanpacHo n xon y y h h Tb, in vain I want to soothe, (exhausts me, and I want to soothe in vain my earthly passion,) 151 i f§jo xatju tagda abtjjat, h Bee xoMy Tor^a o6HHTb, and then to embrace, (and I want to embrace everything.) i fsjo xatfu maju syatuju tagda abnjat, h Bee xony mok) cBHTyio T o m a 06HHTb! and everything 1 want my sacred then to embrace! (Then I want to completely embrace the one I worship!) ja im,£ni jijo znaju fl HMeHH ee He 3 H a 10 I the name of her do not know (1 do not know her name,) i n,e xatfu uznat, h He xony y3HaTb! and do not want to know! (and 1 do not want to know it!)

o pet uvi 0 HeT, yBbi! Oh no, alas! (Oh no. alas!) ana znatna OHa 3HaTHa She is a noble (She is a noble)

1 mpe prinadjesa^ ije nicest h MHe npHHaune>KaTb He MoiKeT! and to me to belong to not can! (and can never belong to me!) vot Jto minja mutit i glo3£t B ot h t o MeHH My t h t h rnoiKeT! This is what me clouds and gnaws! (This is what clouds and gnaws at my heart!

ti minja He znajej Tbi MeHH He 3Haeuib! You me do not know! (You do not know me!) net mrjc ju° ne razljubit, HeT, MHe ee He pa3JlK)6HTb! No. me her not to ccasc to love! (No, I can never stop loving her!)

ax tomskii ti «ie panimajef Ax, T omckhh ! Tbi He noHHMaeuib! Ah. Tomsky! You do not understand! (Ah. Tomsky! You do not understand !)

,la to|ka mox spakoina 3»S fl TO JIbKO mot CnOKOPJHO JKHTb , 1 only could calmly live. (I could only live calmly) paka vo mije dremali strasti noKa BO MHe ApeManH CTpaCTH lor now in me are sleeping passions, (while my passions were sleeping,) tagda ja mox vla^es saboi Tor^a h Mor BJiajjeTb co6oH; then I would control myself; (then I would control myself;) tipcr; kagda du/a vo vlasti Tenepb, Korna nyma BO BJiaCTH now. when the sou 1 is in the power (hut now, my soul is in the power) adnoi me/U prajjai pakoi prajja pakoi o^ hoh MeMTbi, npoman, noKon, npoman, nOKOH, of a single dream, farewell, peace, farewell, peace. (of a single dream. Farewell, peace,) atravjen slovna apjaryon OipaBneH, cjiobho onbHHeH, Poisoned, like intoxicated, (I am poisoned, as if I were drunk.) ja bol,en bol,en ja vjubljon h 6ojieH, 6oneH, a BJiiobjieH! 1 ant sick, sick, 1 am in love! 153 At the end of Act 3, Herman's obsession with the supernatural secret of the cards has rendered him out of control of his own desires. Liza has committed suicide, and he has lost all of his money and honor in a card game in which he tried to use the secret of the cards. Realizing that he is a victim of the supernatural power of the cards, he sings the aria (No. 24) "Hto Ham a

■/Kiimib? M rpa!" ("W hat is ou r life? A gam e!").

#31 "Hto Hama W H 3H b? Hrpa!" ("What is our life? A game!") fto nafa 3izp igra Hto Hauia wn3Hb? H rpa! Wlial is our life? A game! (What is our life? A game!) dobra i slo adni rn,e/d Ho6pO H 3 JIO OflHH Me M Tbi ! Good and evil arc only dreams! (Good and evil are only dreams!) irut tJTstnast, skazki d[a babja Tpyu, HecTHOcTb— ck33kh n n n 6 a6 b « ! Labor, honesty— tales for wives! (Labor and honesty are old wives's tales!) kto praf kto Jastlif z4e§ druzja Kto npaB, kto cMacTJiHB 3flecb, n p y 3 b fl? Who is right, who is happy here, friends? (Who is right, who is happy here, my friends?) sivodnja ti a zaftra ja CeronHH Tbi, a 3aBTpa h ! Today you, but tomorrow 1! (Today you, but tomorrow. I!) tak bro§t,e 3£ bat;bu TaK 6pocbTe we 6opb6y, So stop already the struggle, (So stop the struggle;) lavite mik udatfi uoBHTe mht yjjaMH! catch the moment o f success! (catch the moment of success!) pust niudaljmk platfet IlycTb Hey^aHHHK nnaneT, Let the unsuccessful one cry. (Let the loser cry.) kjanja kJ,anja svaju sucjbu KHflHH, kjihhh cbok) cy iib 6y! swearing. swearing at his own fate! (swearing at his own fate!)

.('to yerna sm^rt, adna H to B epH O ? CM epTb o j 3 H a ! What is faith? Death only! (What is faith? Only death!) kak b,erik matja sujsti KaK 6 e p e r MOpfl c y e T b i, As the shore of the sea of vanity. num fsjom prib,e3i;j£ adna HaM BCeM n p n 6 e)KHme onHa is to us everyone a refuge only. (Like the shore of the sea. death is refuge to us all.) kto 3 jei mijei is nas dru^ja Kto )K e n MHneH H3 H ac, n p y 3 Who is it sweet to us, friends' (Who is it sweet to, my friends?) sivodnja ti a zaftra ja CerouHH Tbi, a 3aBTpa a! Today you, but tomorrow I! (Today you. but tommorrow, me!) tak bro§t,e 38 bar;bu TaK SpocbTe we 6 opb6 y, So stop already the struggle, (So stop the struggle;) lavitr mik udatfi noBHTe mht yaaMH! catch the moment of success! (catch the moment of success!)

pust niudalfnik platfet nycTb HeyjjaMHHK nnaMeT, Let the unsuccessful one cry. (Let the loser cry,)

kjapja svaju sucjbu KJiHHfl c b o k ) cyflbby! swearing at his own fate! (swearing at his own fate!)

Tchaikovsky's last opera, Iolanta (1891), is in one act, written as a

companion piece for Rachmaninov's Alcko. The libretto is by Modest

Tchaikovsky, after Henrik Hertz's play Kong Rene’s Datter ("King Rene's

Daughter"). It was first performed in St. Petersburg at the Mariinsky Theater 6

December 1892.

Set in the fifteenth century in the mountains of southern France,

Iolanta tells the story of a blind princess, Iolanta (soprano), who falls in love

with a Burgundian Knight, Count Vodemon (tenor), and miraculously gains her sight. Vodemon sings his Romance (No. 6 a) "HeT! Hapbi JiacK Kpacbi mhtokhoh MHe HHMero He roBopflT...O , npn^H . CBeTJibiH npti3paK hctomhhk jik>6 b h " ("No! The kind charms of rebellious beauty mean nothing to me...Oh, come, bright angel, spring source of love") after he meets

Iolanta in the garden outside her castle.

ialanta M o n a m a Iolanta 15b #32 "HeT! HaPbi nacK Kpacbi MflTe«Hon MHe HHMero He roBODHT...O. nPHUH. cBembia nDH3DaK hctomhhk jiio6bh" ("No! The kind charms of rebellious beauty mean nothing to me...Oh. come, bright angel, spring source of love") pet tfari lask krasi m^ssnai Hei! Hapbi nacK Kpacbi MHTeKHOB No! The charms kind of beauty rebellious (No! The kind charms of rebellious beauty) mhE nitfevo gavatjat MHe HHMero He TOBOPHT, to me nothing do not mean. (mean nothing to me.) vo m i}s •je budit strasti rjejnai BO MHe He 6 ynH T CTpaCTH H e )K H 0 H in me are not awakened the passions tender priziva k ijege tomnii vzgjjat npH3biBa k Here TOMHblH B3rJIHfl... urge to bliss the languid glance... net pagru3ena f pakoi p olnatjnii HeT! norpyweHa b noKOH nonHOHHbin, No! Submersion in rest midnight. (No! Submersed in a nocturnal slumber,) jjubov vo mijE m,ejtaja spit nioboBb bo MHe, MeHTaa, cn h t. .. the love in me is dreaming, sleeping, (the love in me is dreaming, sleeping...) jei spitsja angel niparotjnii Eh c h h tc h aHreji HenopoMHbiH, It is dreaming of an angel innocent, ( It is dreaming o f an innocent angel,) nibesnii krotkii t/udnii vit He6eCHblH KPOTKHH, MyflHblH BHfl... of a heavenly meek wonderful sight... (of a meek, wonderful and heavenly sight...) 15 oblik destyennai bogini velitjavai krasati 06.TIHK HeBCTBeHHOH 6 0 THHH, Be JIHMaBOH KpaCOTbl, A vision of a virginal goddess. of a majestic beauty. (A vision of a virginal goddess of majestic beauty.)

[syctlava sijarjja oblik divnai] [CBeTJIOrO CHHHbfl, 0 6 JIHK J3HBHOH] [light glow, look marvelous] (a bright glow, a marvelous glance) s vzoram polnim blagastini C B30P0M nOHHblM 6jiarocTbiHH, with a look of complete serenity. (with a look of complete serenity,)

[s likam] [abajarya] [c J1HKOM] [obaaH bfl] [with the face] [charm] (with a completely charming face) xiruvimskai dabroti XepyBHMCKOH flObpOTbl. cherubic goodness... (of cherubic goodness...) i tjucjssnai [H My JjeCHOH] and miraculous (and miraculous goodness) gost, §el,£nja ni^emnova rocTb ceneHbfl He3eMHoro, A guest o f a world unearthly, (A szuest from another world,) sn,ega Y£jn,eva sY£tl,ei cHera BeuiHero cBeuien, snow than spring brighter, (brighter than spring snow,) tfi/Je landija [esnava MHiue naHUbima necHoro, purer than the lily o f the valley flattering, (purer than the beautiful lily of the valley,) ti.fe lilin pa|,ei THiue jihjihh n o ;ie n ~ quicter than the lilies o f the field s- (quieter than the lilies of the field s-)

[kraje] [Kparne] [more beautiful than] (more beautiful than the lilies o f the fields-)

vot t/evo ja 3du i 3 a3du b o t Hero h )Kfly h Htaaoiy! this is for what I wait and thirst! (this is what I wait and thirst for!)

pridi systlii prizrak istotjnik jjubvi 0, npHflH, cBeuibin npH3paK, HCTOHHHK jiio6 b h , Oh. come, bright ghost, spring source o f love. (Oh. come, bright ghost, spring source of love.)

[angel] [aHren,] [angel,] (angel.)

serttsa tainijs strum sargei a3tvi cep a u a TaflHbie CTpyHbl corpen, OHHBH ! o f the heart the secret strings are warmed. brought back to life! (You warm the secret strings of my heart back to life!)

is za tajufjik tutj azari syetlii lutj H 3-- 3a TawmHK Tyn 03apH, CBeTJlblH Jiyn, From behind hiding the clouds lit up, the bright beam, (Light up with a bright beam from behind the clouds;)

sumrak pilkai duji o speji spe/i cyMpaK nbinKOH nyuiH, o, cneiiiH, c n e u iH ! The semidarkness of an ardent soul, oh, hasten. hasten! (light up the semidarkness o f my ardent soul. Oh, hasten!) 159 o pridi systlii prizrak 0, npHflH, CBeTJlblH npH3paK, Oil. come, bright ghost, (Oh. come, bright ghost.)

[angel] [aHreji,] [angel,] (angel.)

5du tibja 3du tibja xcay Te6fl, iKfly Te6fl! I wait for you, wait for you! (I wait for you!) ax istamilo? $ertts£ Ax! HCTOMHJIOCb cepnue, Ah! Exhausted is my heart, (Ah! My heart is exhausted.)

5du ja 3du ja paspsji p a sp e/i wuy fl, iKfly a , nocneuiH, n o c n e u iH ! wait I, wait I, hasten, hasten! (I wait. Hasten!) o pridi pridi 0, npHflH, o, npH flH ! Oh. come, oh, come! (Oil come to me!)

3du titya systlii angel pridi pridi )Kny Te6 fl, cBeuibiH aHreji, npHflH, npHhh! 1 wait for you, bright angel. come. come! (I wait for you, bright angel. Come to me!)

The fifteen operas composed by Nikolai Andreyevich Rimsky- Korsakov (1844-1908) constitute the single greatest individual contribution towards establishing the genre in Russia; most remain in the Russian repertoire today. Because of his operatic output and his creation of performing editions of masterpieces like The Stone Guest, Boris Godunov,

Khovnnshchina and Prince Igor, Rimsky-Korsakov is considered to have 160 made the greatest contribution to the Russian operatic stage in many ways.

Most of his operas are through-composed, which makes extracting arias a challenge; the wealth of music indeed justifies that effort. As was shown in Chapter IV, most of Rimsky-Korsakov's arias are composed in a Russian folksong manner, in an attempt of nationalist realism. At the age of seventeen, Rimsky-Korsakov befriended ,

who encouraged his talented and introduced him to the kuchka. It was their ideal of realism that the young composer strove to realize in his first opera,

The Maid from Pskov, which in turn he dedicated to the group. This first version, composed 1868-72 was indeed in the declamatory dialogue opera style. It is interesting to note that Rimsky-Korsakov later retreated from that style when he revised the opera in 1876-7, much in the same way Musorgsky

(his roommate at the time) revised Boris Godunov. The composer made two more revisions ofThe Maid from Pskov, in 1891-2 and in 1898, the latter becoming the standard version.

The Maid from Pskov is an opera in three acts to a libretto by the composer. The original version was first performed at the Mariinsky Theater in St. Petersburg 1 January 1873; the revised (standard) version had its premiere at the Moscow BoTshoy Theater 10 October 1901. The story is set in 1570 during the Novgorod campaign of (bass). After the bloody demolition of Novgorod, Ivan marched towards the city of Pskov but for some reason spared it from destruction. The playwright Lev Alexandrovich Mey created a sentimental reason for sparing Pskov. When Ivan arrives in the city, he is begged by a young woman, Olga (soprano), to have mercy on the people of Pskov. He recognizes her as his illegitimate daughter conceived during a romantic tryst with a woman in 161 Pskov seventeen years earlier.

Mikhail Tucha (tenor) and Olga are sweethearts. In Act 1, Scene 1, he courts her with the song "PacKyKyncfl Tbi, KyKyiueMKa" ("Sing 'cuckoo' you, little cuckoo").

nikalai andfjejevitj rimskii korsakaf HHKOJian AHflpeeBHH PHMCKHfl-KopcaKOB Nikolay Andreyevich Rimsky-Korsakov pskavitjanka IICKOBHTHHKa The Pskovian Maid

#33 "PaCKVKVflCfl Tbi. KVKVLueHKa" ("Sing'cuckoo'you, little cuckoo") raskukuisja ti kukufefka PacKyicyncfl Tbi, KyKyuieMKa, Sing “cuckoo” you, little cuckoo, (Sing “cuckoo,” little cuckoo,) vo tjomnam baru BO T6MHOM 6 o p y , in the dark pine forest, (in the dark pine forest,) vo tjomnam baru dubrovujkc BO TeMHOM 6opy ny6poByuiKe in the dark pine forest oak forest. (in the dark pine and oak forest.) pafitai ti dobru malattsu jivo gadi IIOCHHTaH Tbi flo6 py MOJIOflUy ero ronbi, Consider you good young man his years, (You should consider, you cuckoo, the years,) jivo gadi bistalannije ero rojibi 6 ecTanaHHbie. his years luckless. (my luckless years.) 162 dolga 1, budu takta majapjja flonro nb 6yny TaKTo MaflTbCH, For a long time I have this toiled. (1 have toiled for a long time,) gatjuifi sjezi glatajutfi ropioHH cjie3bi rnoTaioHH, hot tears swallowed, (and swallowed my hot tears,) pro bisdolit^s gadajutji npo 6e3uonbHue rajiaioMH. for my empty fortune. (for my empty fortune.)

May Night (1879) is an example of Rimsky-Korsakov's continued incorporation of folklore and realism into his operas. With this opera, his music began to take on a more formal and arioso style instead of the fading declamatory style. May Night is a light-hearted opera in three acts to a libretto by the composer after Gogol's story. It was first performed in St. Petersburg at the Mariinsky Theater on 9 January 1880. Set in a Ukrainian village, the story revolves around a set of pranks played by various villagers and how they interfere with the courtship of Levko (tenor), a young Cossack, and Hanna

(mezzo-soprano).

At the opening of the opera, following a chorus of young village people, Levko enters and serenades Hanna with his Song (No. 2),

"ConHbiLUKO HH3KO, B ew ep y>K 6jih3K o" (“T he su n is low , e v e n in g approaches"). He accompanies himself on a gusli, imitated by the piano and harp in the orchestra.

maiskaja notj MancKan Hovb May Night 163 #34 "CoilHblWKO HH3KO. BeMeD V)K 6JIH3KO" ("The sun is low- evening is already close") sonifka nizka y£tfEr uj blizka CoJlHblLLIKO HH3K0, BeMep 6 J1H 3 K O . The sun is low, is already close. (The sun is low, evening approaches.) viidi Sercje/ka maje xoj na mik BblHflH, cepneMKo Moe, XOTb Ha M H r . Come out, heart my. if you like for a moment. (If you like, come out, my sweetheart, for a moment.) spi f ili viiti galja n,e xotfe.f CnwiiJb, hjih BbiHTH, rajiH, He xoH euib: Sleep, or come, Galya, do not want to: (Galya does not want to sleep or come out.) kto b tje uvicjel baijsja ti znat, Kto 6 He yBHjjeji, 6oHiubCfi Tbi, 3HaTb? Who you did not see, afraid of you, to know? (Who is it you do not want to see you? Who are you afraid to know?) ili na xalot galja H jih Ha XOJIOfl, rajiH , Or to be cold, Galya. (Who are you cold to, Galya?) n,e xotJXf b,£lajc litjka svaje pakazat, He xoHeuib 6ejioe jihhko CBoe noKa3aTb? not do you want white face yours to show? (Why do you not want your white face to show?) o pe baisja 0 , He &0RCH! Oh. do not fear! (Oh. do not fear!) zd,e§ adni yetfs:r tix i 5°pel tak 3 necb OUHH MbI Benep THX H Tenen TaK. Here alone we the Evening quiet and warm is so. (Here the evening is so quiet and warm.) jesli i praidjot kto svitkai prikroju Echh >k nponneT KTO, CBHTKOH n p H K p 0 K) , When walks in who. the scoll I close tightly, (Whoever walks by, I will roll close to you,) 164 i t}e uvidit s taboi nas nikto H He y BH JIHT c To6on Hac h h k to . and not catch sight of and vou we nohodv. (and no one will see us.) jesli J xoladam payejat Ecjih jk xonoflOM noBeeT, If the cold begins to blow. (If the cold wind begins to blow,) k ^srttsu ja tibjo prismu k cepzmy h tc6 h n p h >km y . to my heart 1 you will press. (I will press you to my heart.) b,dije no/ki Japkai prikroju BeJlbie H02KKH uianKOH n p H k p o to The white rim of the hat I close tightly (I will hold you close under the white rim o f my hat) i pat^elujem sorgeju tibjo h noue/iyeM corpeio Te6«, and kiss warmly you. (and kiss you warmly,) a ripka §er4 ejka a5ir;£jje A ... P b i6 Ka, cepfleHKo! Oatepejibe! Ah... Fisherman, sincere! The necklace! (Ah... The sincere fisherman! The necklace!) vigljani vigljani galja na mik BbirJIHHH, BbirJIHHH, TajiH, Ha mht! Look out, look out. Galya, for the moment! (Look out for the moment, Galya!) tieluju putfku v akojka pracjerj Eenyio nyHKy b okoiuko nponeHb! The white beam through the window passed! (When the white moonbeam passes through your window!)

Levko pines for Hanna in his second Song (No. 13), "Kan thxo, Kan npoxnaflHO Ty t" ("How quiet it is, how cool it is here"). This aria opens Act

3 , set at the banks of the lake where the river nymphs, or nmalkii, liv e . 165 #35 "KaK THXO. KaK nPOXJiailHO TVT" ("How quiet it is. how cool it is here")

kak tixa kak praxladna tut KaK t h x o , KaK npoxjia^HO Ty t , How quiet it is, how cool it is here. (How quiet it is, how cool it is here,)

kak iskritsja krasiva prut KaK HCKPHTCH KpacHBo npyjj! how sparkles the beautiful pond! (how the beautiful pond sparkles!)

kak sladak zapax topajei Kax cjianoK 3anax TonojieH! How sweetly the smell of the poplars! (How sweet the poplars smell!)

f§jo spit Bee cnHT, Everything sleeps, (Everything sleeps;)

pe spit lijf solayei He CnHT JIHLUb conoBeH! does not sleep only the nightingale! (only the nightingale is awake!)

i gromka gromka pesnja razvajstsja H rpoMKO, rpoMKO necHfl pa3BaeTCH. And loudly, loudly the song is dispersed. (And the song is loudly sung out.)

kak tixa tixa list lie Jelaxpetsja Kax thxo, thxo: JIHCT He uienoxHeTCH, How quietly, quietly: a leaf is not stirring, (How quiet it is; not a leaf is stirring,

a m,£sjatsa sijape Jetsja a Mecflua cHHHbe JibeTCH... and the moon glow is pouring out... (and the moonbeams are glowing...) ax Jto to spitsja gal,e milai Ax! hto3to chhtch Tane MHnon ? Ah! something is appearing in dreams of Galya sweet? (Ah! Is something appearing in the dreams of sweet Galya?) i pamnit li vo sne 0 Lef ke H riOMHHT JIH BO cHe 0 JleBKe ? And remember whether in the snow about Levko? (Does she remember Levko in the snow?)

spi maja krasavitsa slatka spi CriH, moh KpacaBHua, cna/iKo c n H ! Sleep, my beauty, sweet sleep! (Sleep, my beauty; sleep sweetly!) radastnii syetlii son na titya SjEti PanocTHbin, CBeuibiH coh Ha Te6 « c ji e th ! Joyful, bright son to you fly away! (The bright boy hurries joyfully to you!) dumajefli g^szijli oba mpe ZIyMaeiiib nn, rpe3Hiiib jih 060 m h e ? Do you think, do you dream about me? (Do you dream about me?) ja 3 cjei} i notjepku mislju 0 tibje fl >k neHb h HoneHbKy Mbicnio o T e 6 e ! I the day and night think about VO u! (I think about you day and night!)

pust, titys prigr;£zitsja slatkii slatkii son IlycTb Te6e npHrpe3HTCH cnanKHH, cjianKHfl c o h : Let you appear in my dreams sweet, sweet son: (Let the sweet boy appear in your dreams;) daljufka Jastlivaja so milim dru/kam nojuoiuKa cMacTnHBaa co m hji h m npyacKOM. fate happy with dear friends, (happy is her fate with her dear friends.) spitsja pust, CriHTCfl nycTb, Take a drink let, (Drink in what you know)

Jto fm,£S$e 3izp s taboi MTO BMeCTe )KH3Hb c To6on, which instead of the life with you, (about my life with you,) 167 maja krasavitsa syetluju yccJem o mohMOH K.)acaBHua, CBeTnyio BeneM. about my beauty, light you know. (about my beautiful one, my light.)

Rimsky-Korsakov's third opera, The Snozv Maiden (1881; cl895), was another step in the cultivation of folk ritual into opera.The Snozv Maiden is a "springtime tale" with a prologue and four acts, set nearly verbatim, after the springtime fairy-tale by A. N. Ostrovsky. It was first performed at the St. Petersburg Mariinsky Theater 29 January 1882. Rimsky-Korsakov always considered The Snozv Maiden his best opera. Act 2 takes place at the court of Tsar Berendey (tenor). Just before the beautiful Snow Maiden enters, he sings his Cavatina, "Y x o h h t H eH b

BecejibiH" ("The day cheerfully leaves").

spegurotfka CH erypoH K a The Snow Maiden

#36 "Y xoiiht neHb BeceJlblH" ("Leaves the day cheerfully") uxodit visjolii Y xohht neHb BecejibiH , Leaves the day cheerfully, (The day cheerfully ends;) lutji zari vitjerijei blidrjejut dagarajut JiyHH 3 apH B enepH eH SnenHeioT, XioropaioT; the rays o f the glow o f evening turn pale, bum out; (the evening’s glow turns pale and burns out.) praxladnije patjomki tseljajutsja za sutja ripoxnanHbie noTeMKH uenjinioTCH 3 a cyH bfl, The cool darkness clings to the branches, (The cool darkness clings to the branches,) 168 i skora skora not/ka H CKOPO, CKOPO HOMKa and soon, soon the night (and soon, the night) v rasjajjimsja (ecu b pocfliueMCH Jiecy in the dew-drenched woods (in the dew-drenched woods) s virjinami dir;ef visokix staijet vroyeq c BepuiHHaMH itepeB bhcokhx CTaHeT b po b e h b with the summits of the trees high will stand on level, (will stand level with the summits of the high trees.) k Jatram para itti nam K uiaTpaM nopa htth HaM, To the large tents it is time to go for us, (It is time for us to go to our large tents;) f krugu gasjei visjolix akontfit, stat 4sn, b Kpyry rocTefl Becenbix oKOHHHTb dtot ueHb; in the circle of guests merry to end this day; (this day ends in the circle of merry guests,) i bodra fstr;£tit, novii H 6ojipO BCTpeTHTb HOBblR. and cheerfully greet the new day. (and we cheerfully greet the new day.)

jijjo adna zabava skamaroxi Eme oflHa 3a6aBa: ckom opoxh; Still there is more amusement: the clowns; (There is still more amusement: the clowns;) kuvirkaije^ lamait,e§ duraki KyBbipKaHTecb, noMaBTecb, aypaKH! to somersault, to joke, the fools! (they somersault and joke around, the fools!) a tam uj" na praj’jan.g JeJ pngo3ii A TaM yiK, Ha npomaHbe, Jlenb npHTOlKHH, And then, by forgiveness, Lei comely, (And then, by grace, the beautiful Lei) 169 ftobcisrj zakontjit, Besnju nam prapoi MTo6aeHb 3aK0 HMHTb, necHio HaM nponon. In order to finish, a song for us sing. (will sing a song for us to close the day.)

After his fourth opera, Christmas Eve (1895), Rimsky-Korsakov

concentrated on works for the stage. Christmas Eve is a four-act "carol-come-

to-life" with a libretto by the composer based on the same story by Gogol that

Tchaikovsky used for Vakula the Smith and subsequently Chcrcvichki (S ee

arias #27, #28 and #29). It is of interest to compare the essence of each

composer's setting of the story. Rimsky-Korsakov focused on the caroling

scenes and mysterious aspects whereas Tchaikovsky brought out the

emotions of the characters in a lyrical expressive manner. Prokofiev later

claimed that the two operas put together would be a superb creation.s

Christmas Eve was first performed at the Mariinsky Theater in St.

Petersburg 28 November 1895. In it, Rimsky-Korsakov experimented with

the unusual harmonies he later utilized extensively for supernatural

characters. A comparison of the music for the Devil to the music of Vakula

reveals his step toward representation of characters with different harmonic

language. The Devil's arioso (#37) is full of tritones and chromaticism while

Vakula's music is more diatonic in nature.

At the opening of Act 1, Scene 1, it is Christmas Eve in the Ukrainian

village of Dikanka. The Devil (tenor) and the witch Solokha (alto) converse

from a couple of rooftops. He complains about the lack of respect he is paid by humans in his Arioso, "06bmaR CTapbiR monti no3a6bmn" ("People have

forgotten the old custom").

"Philip Tavlor, Gogolian Interludes (London and Wellingborough: Collets, 1984), i. 170 not r p irjet rajejsstrsm HOMb n e p e u Po>KfleCTpOM The Night Before Christmas

#37 "Q6bmafl cTaDbin JIIOXIH n03a6blJTH" ("People have forgotten the old custom") abitfai starii Jjudi pazabili OBbinan dapbin jhouh no3a6biJiH; The custom old the people have forgotten; (People have forgotten the old custom,)

satape bajatsja ugajda^ Bee ca T a H * 6 ohtch yroiKjiaTb, everyone Satan is afraid to please. (when everyone was afraid and wanted to please Satan.) pajut kajjatki a pe znajut sami IloiOT-b KOJ1HHKH, a He 3HaK)T-b C3MH, They sing Christmas carols, but do not know themselves, (They sing Christmas carols, but do not know) pro Jto pajut npo HTO nOIOTTs. about what they are singing. (what they arc singing about.) pet ploxi ploxi vrirpena H tn, ruioxH, nnoxH BpeMeHa! No. these are bad, bad times! (Indeed, these are very bad times!) srpejutsja not b,esami CMblOTCH Hafll 6*caMH. They laugh at evil spirits. (They laugh at evil spirits.)

vot vakula tvoi ssn Bott> Baicyna, tbor CbIHT>, Take Vakula, your son, (Take Vakula, vour son,) kuzpets i 3ivapi§ets va 3nu Ky3Hein> h xcHBonHceipb BaXtHblR, the blacksmith and painter important, (the important blacksmith and painter.; 171 ox tie jjubjju jivo o x t, He Jiio6 nio ero! Oh, I do not love him! (Oh, I do not like him!) nam,cdni ncism,ex namajeval f pritvore HaMenHH HacM’bX’b HaManeBant BT> npHTBOp-b, The other day in jest he painted in pretense. (They other day, in jest, he painted a picture) butta tj'orta paj,£njami 6ymo HopTa non-bHbHMH that the devil logs (of the devil) i prutjami gatyojut H npyTbHMH rOHfllOT’b. and sticks was chasing. (chasing logs and sticks.)

ja krjcpka nasalit, jemu pakljalsja fl Kp-bnKO HacojiHTb eMy nOKJIflJICH. I firmly to injure him vowed. (I vowed firmly to get revenge.) sivodnja tjub ^jakam zvan na kuyu CeroflHH Hy6i» flbflKOMt 3BaH-b Ha Ky Tbio; Today Chub the deacon has been invited on a binge; (Today, the deacon Chub, has been invited on a drinking binge,) krasavitsa aksana jivo dotjka KpacaBHua OiccaHa, ero aoMKa, the beautiful Oksana, his daughter, (while the beautiful Oksana, his daughter,) astaiietsja adna v attsofskai xat,£ OCTaHeTCH OflHa otuobckoh XaTb will stay alone in her father’s hut (will stay at home alone) i V gosti k pei H B"b TOCTH K”b Hen and as a guest to her pridjot, tvoi sin vakula npHfleTb TBOR CblHt BaKyna. will come your son Vakula. (and your son Vakula will go visit her.)

adna H S not/ astalasja po syctu O flH a JIHUIb HOHb ocTanacfl no CB-bTy A single only a night to stay in the world

Jatat,sja mpe ut/a lju4ei gr;exam inaTaTbCH MHt, yna mojieR rptxaMi.. to roam about me, teaching the people to sin. (I have only one night left to roam about and teach people to sin.) s av^epem C-b OBceHeM'b, By Ovsen, (By Ovsen) kaljadoju sont§£ krasna raditsja vnov KOJIHJIOIO ConHUe KpaCHO pOflHTCH BHOBb. and Kolyada the Sun beautiful is born (and Kolyada, the sun will rise beautifully once again.) i vot ja /to zadumal H BOTT> a HTO 3aHyMam>: And here 1 this have planned: (And this is what I have planned...) paka na to maja jess vlass i volja noKa Ha TO MOH ecTb BJiacTb H BOJlfl, w'hile on this my are power and freedom (While I still have my power and freedom,)

ja m,£sats ukradu nastapet Serriei) H M'bCHU’b yKpaay, HacTaHeTi. TeMeHb, 1 the moon will steal, when comes the darkness. (I will steal the moon, and then darkness will come.) astapetsja sic|et na pE/ke kfub odaHeTCH cHjatTb Ha neHK-b Mybt, will remains to sit on the stove Chub, (Chub will therefore stay home on his stove couch,)

Ovsen and Kolyada are Slavonic mythological dieties. 173 i t}e bivaj; vakuj,s u aksani h He 6biBaTb BaKyn-b y OKcaHbi. and not to be Vakula with Oksana. (and Vakula will not be able to visit Oksana.)

As described earlier, Act 2 opens with various men coming to

Solokha's hut to court her. She hides each one in a different sack as the next arrives. By the end of the act, she has suitors hidden in three different sacks.

Vakula enters and decides to straighten the place up by taking the sacks outside, singing the aria 'Tub Tbi, CHJia moh MononeuKafl?" ("Where are you, strength, my good boy?") as he tries to lift the sacks.

# 3 8 'T n-h Tbi. CHJia moh MOJicmeUKafl?" ("Where are you, strength, my good bov?") gcje ti sila maja malacjetskaja Tflb Tbi, CHJia MOH MOJIOflemcaH ? Where are you, strength my good boy? (Where are you strngth, my good boy?) bila Jei ni patfom stal, 3£l£Za kavat, Ebino eH HH nOH0MT> CTanb, )Kenb3o KOBaTb It was it not much become, iron steel to forge. (It was nothing for me to forge iron steel.) ni patfom bila jei HH noHeMi> 6biJio eH not much was it for strength a a 3el molat padnjat; Tflacenb mojiott, tiouh h Tb. a heavy hammer to lift up. (It was nothing for me to lift a heavy hammer.) izyela titya cj£vitsja krasa H3Bena Tebfl nbBHHbH Kpaca, Led my strength away you maiden beautiful, (That beautiful maiden has taken my strength way) 174 ot.fi systlija tjornaja kosa OMH CBtTJlblfl, MepHafl KOCa with eyes bright, and black braids (with her bright eyes and black braids.) padkasila grust, taska zmeja IIojiKocHna rpycTb TocKa 3m* h Knocked off feet sadness melancholy snake. (Melancholy has laid you low as a snake.) issufila 4EVitsa dufa H3cyiuHJia n-bBHija jiyiiia. Dried up by the little girl my soul. (The girl has dried up my soul.) jesli po cjsffitl2 soxnut, bucjej- ti kuzrjets E c jih no jitBMMH-b coxHyTb 6 yjjeiiib Tbi, K y3H eL n >, If for a girl grow thin will you, blacksmith. (Because of this girl, blacksmith, you wither) kak kavij, trava Kaifb KOBbinb TpaBa. as a blade o f grass. (like a blade of grass.) sagpsfsja zgirjeJ malacjets corHeuibcn, crHHeuib M o n o f l e m . will bend, disappear good boy. (Good boy, you will bend and disappear.) bro§ o tjei svai ti dumi Epocb O Hen CBOH Tbi n y M b i Throw out of her your you thoughts (Get her out of your thoughts) i zabu(| jjuboy h 3 a 6 y f lb J110 6 0 B b , and forget love, (and forget love.) skora sila vazvratitsja CKOPO CHJia B03BpaTHTCH, soon your strength will return. (Soon your strength will return,) bu4ej" malot vnov 6 yneinb Mojioflt BHOBb. and you will be young once again, (and you will be young once again.) 175 pazabucj svaju qsvtjinu pinstaq tu3iS rio3a6yflb cbok ) fl-bBMHHy, nepecTaHb Ty »HTb. Forget your girl, stop grieving. (Forget the girl, and stop your grieving.) titye s 3inkai ije vazit,sja Te6* C-b JKHHKOR He B03HTbCfl, You with women do not troubles, (You do not have problems with women.) v vojnai vol,£ 315 B t BOJlbHOn BOJIt MCHTb. in freedom will I live. (1 will live by my own freedom.)

pet baba Jto li Ja H-bT-b 6 a 6 a h t o JIH H ? No a woman that am i? (Am I an old woman?) n,e dam smijapya ja nat saboju nikamu He naM-b CM-bHTbCfl H HaiFb C0 6 0 1 0 HHKOMy; Not a woman will ..... laugh I over m yself no one; (I will not allow m yself to be laughed at.) xot, 4 esj a 5 takix mijkof XOTb JieCHTb TaKHXT> M-bWKOB'b, if there were ten such sacks, (If there were ten such sacks,) ja f§je ix padnimu fl BC-b HX*b n o n H H M y . I all o f them would lift up. (I would lift them all up.) goi ti sila maja sila goi Ton, Tbi CHJia, MOH CHJia! t o h ! Hey, you strength, my strength! Hey! (Hey, you, my strength!)

Sadko (1896) is an opera-bilina in three or five acts—depending on the grouping of the seven scenes (1-2/3-4/5-6-7 or 1/2-3/4/5-6/7) with a libretto by 176 the composer and Stasov based on the folk tale "Sadko the Rich Trader." It was first performed in Moscow at the Solodovnikov Theater on 26 December

1897.

Sadko, a twelfth-century seafaring trader of Novgorod, was a real historical figure, and the opera story incorporates some events of his legacy.

O rig in a lly a gusli player who sang for the nobility, he later became a merchant, angering the elite guild of merchants in Novgorod. By playing his gusli, Sadko gains the support of the Sea King, who in turn gives him a golden fish and one of his daughters in marriage. There is a fascinating parallel to the Orpheus legend in the story of Sadko: the title character is a singer who can soften even the toughest hearts with his music, thus winning the favor of a deity.

In Scene 1, the merchant guild of Novgorod is gathered. When asked to sing, Sadko declines. Instead, he insults them with his bold Recitative and

A ria, "Ka6 bi 6 biJia MeHfl 3onoTa Ka3Ha" ("If only I had a treasure of gold").

satka C a n K o Sadko

#39 "Ka6bl 6biJia MeHfl 30Jl0Ta Ka3Ha"("If only I had a treasure of gold") kabi bila minja zolata kazna Ka6bi 6biJia MeHfl 30Ji0Ta Ka3Ha, If only were to me of gold a treasure, (If only I had a golden treasure.) kabi bila drujnufka xrabraja Ka6bi 6biJia jjpyxcHyiuica xpa6pafl, If only were an amicable woman brave, (If only I had an amicable woman,) 177 ja pe sicjd bi sidqem v novegarod,£ H He cHjjeji 6bl CHflHeM B HoBeropojje, I not sat would have what I saw in Novgorod. (I would not sit for what saw in Novgorod.)

qe stal bi 315 po starifje po pojlii^e He ciaji 6bi )KHTb no CTapHHe, no noiujiHHe, Not I become would to live the old way, according to custom. (I would not have begun to live the old way, according to custom;) he piroval bi 4e h 1 not; He nwpoBan 6 bl n eH b H HOHb, Not to feast would I day and night. (I would not feast all day and night.) n,e bra3nitfal He 6 pa)KHHHaJi, 1 would not revel, (1 would not revel and carouse.) a na slatu kaznu svaju pavikupil A Ha 3JiaTy Ka3Hy cbokj noBbiKynHJi And the golden treasure my own would I buy (And I would buy my own golden treasure) jap fsjo tavari vaji novsgarod,£ 516 Bee TOBapbi BauiH HoBroponcKe. 1 all the merchandise yours of Novgorod. (of all your merchandise in Novgorod.) ja snarjadil bi trittsat, 1 jsdni karabl, H cHapnnHJi 6 bi TpHnuaTb H eflH H K opa6nb, 1 equip would thirty and one ships, (I would equip thirty-one ships;) tavari krasnie ja panagru3ival ToBapbi KpacHbie h noHarpyjKHBan. The merchandise of beauty I would load up. (1 would load up all the merchandise of Novgorod.) uj koli rje dal nam xaspo4 baljoi rjeki Y jk kojih He jian HaM rocnojib 6ojibiuoH peKH, Already if not gave us the Lord the great river, (Did not the Lord give us the great river,) 178 da zakazal pul na moi;e varjafkaje fla 3axa3an nyTb Ha Mope BapajKCKoe, Indeed ordered the route to the sea Varangian, (to act as a route to the Varangian Sea?)

paplil jap po oziru noruibiJi h6 no HnbMeHb 0 3 e p y , Sail I on Ilmen lake. (I would sail on Ilmen Lake,) provalak karabli ja volakam IIpoBonoK Kopa 6 n n n BOJIOKOM, The wire ships I to the place o f port. (the great ships to each place of port) i prajol po yelikim t;£kam H npouieji no bcjihkhm petcaM And go by on the great rivers (and travel the great rivers.) jap ko sit^emu morju daj,ekamu fl6 KO CHHeMy MOPK) a a n e K O M y . I would to the blue sea distant. (I would sail the distant blue sea.)

probigali b moi busi karabli Ilpo6eranH 6 MOH 6 y cbi- Kopa6 jiH, Run by would my beads— the ships. (My beaded ships would go by,) abjesali b mora mora sinije 06-be3»anH 6 M op a, Mopa CH H h e . Go around would the sea, the sea blue. (would go around the blue sea.) paguljal bi f stranax ja nislixannix IlorynflJi 6 bl B d p a H a x fl HecjibixaHHbix, Stroll would in the countries I unheard of, (I would stroll in unknown countries;) 179 nasmatrelsja b tfud,es ja nividannix HacMOTpencfl 6 nynec a HeBHflaHHbIX See a lot would the miracles I extraordinary. (I would see a lot of extraordinary miracles.)

nakupil bi ja tam skatna Semtjuga HaKynHJi 6bi fl TaM cxaTHa xceMny ra, Buy would I there many pearls. (I would buy many pearls there...) samatsyetnix kami^ei daragoi kamki CaMOUBeTHbIX KaMHen, noporofl KaMKH. Semiprecious stones. an expensive damask. (precious stones and an expensive damask.) na bi/Jotnu kaznu V novsgarocje Ha 6eccMeTHy Ka3Hy B HoBeropone By the countless treasure in Novgorod (With the immense treasure of Novgorod) panastroil bi ja tssrkysi bo3iix IlOHaCTpOHn 6bl fl uepKBen 60MHHX Build would I churches to God (I would build churches to God.) jap pavizolatil krssti makavitsi zolatam 516 noBbi3onoTHJi KpecTbi, MaKOBHUbI 30JI0T0M; 1 would gild with gold crosses, cupolas of gold; (I would gild their crosses and cupolas with gold;) usadil bi ikoni Ja ycaUHJI 6bl HKOHbl H Cover with would icons I (1 would cover the icons) semtjugam da karpeiyami )KeMMyroM na KaMeHbflMH, , and stones, (with pearls and precious stones.) ISO daragimi bi f§jo samatsvstnimi flopOTHMH 6bl BCe, CaMOUBeTHblMH. Expensive would be all, semiprecious stones. (Everything would be made of expensive precious stones.) po daj,£kim marjam po razdojju ^emli Ilo na jieKHM MopuM, no pa3jjojibio 3 e m ji h , From the distant sea, to the open freedom of the earth. (From the distant sea, to the open freedom of the earth,) pronislasja bi slava navgaroda npoHecnacfl 6bi cnaBa HoBropona. Bring to would glory of Novgorod. (that would bring glory to Novgorod.) a i vi bi tagda gosti znatnie A H Bbl 6bi Torna, TOCTH 3HaTHbie, And you would then, guests noble. za to vo pojas mpe paklonilisja 3 a t o bo none MHe nOKJIOHHJIHCH. For this in the bell to me bow. (And for this you would bow low to me.)

Scene 2 is set on the shore of Lake Ilmen, where Sadko roams in despair. As he sings his Slow Song, "On Tbi, TeMHan ny6paByLUKa!" ("Oh, dark oak forest!"), he witnesses a flock of white swans that turn into lovely maidens, all daughters of Okean-More, the Sea King (bass). He eventually marries one of them.

#40 "On Tbi. TeMHaa 11 vbDaBVillKa!" ("Oh. dark oak forest!") oi ti yomnaja dubravujka On Tbi, TeMHan n y b p a B y u iK a ! Oh you, dark oak forest! (Oh, dark oak forest!) rasstupis dai mne daro^enku PaccTynHCb, nan MHe jjopo>KeHbKy. Open a way, give me the way. (Make a way. show me a way!) skvo^ tuman slezu garjutjuju CKB03b TyMaH, cne3y ropioMyio, Through the fog, a tear I fuel. (Through the fog, I begin to cry;)

,ia vi 3u systa t}dava He BH)Ky C B e ia 6enoro I can not see light white. (I cannot see any light.) fskolixnisja ti trast,der;£va BCKOJIblXHHCH Tbi, TpOCTbflepeBO, Get stirred up you, wooden cane forest, (Get stirred up, wooden forest.) razbudika ijmepozira Pa36yjjHKa HjibMeHb03epo! Awaken Ilmen lake! (Awake, Ilmen lake!) jjucjjam stali U3 pe nadabni JIioflHM cTanH yat He Haao6Hbi For the people became no longer the need (For the people no longer need) moi gu^ki jaraf/ati M oh rycenbKH apoBHaTbi. My gusli spring. (to hear my gusli.) slujai ti valna zibutjaja Cjiyman Tbi, BO JIHa 3 bi 6 y h a h ! Listen you. waves shifting! (Listen, rolling waves!) ti razdol,it§£ Jirokaje Tbi, pa3HOJibHiie iUHpoKoe! You. vast space wide! (Listen you, the vast open space!) 1S2 pro maju li utfasj gor;kuju IIpO MOK) JIH ynacTb ropbKyio, To my fate bitter. (to my bitter fate...) da pro dumuj'ku zaystnuju Ha npo flyMyuiKy 3 a B e T H y io Indeed about thoughts inner. (to my inner thoughts.)

aj i fpravdu satka vi uslijali Anb h BnpaBjiy CajiKa Bbi y cjibiuianH ? Or and really Sadko you were heard? (Or have you already heard about Sadko?) fskalibaiisja volni sinijs BcKone6 ajiHCH bojihh ch h h e. Wave to and fro waves blue. (Roll and thunder blue waves.) zajum^sla trast,dir;£va 3amyMejio TpocTbnepeBo. Begin to sound wooden cane forest. (Begin to sound, wooden cane forest.) i pliyst stada j,£b,ecj£i H nnbiBeT cTano Jie6 ej3eH. And swim s herd o f swans. (And there swims a herd of swans.)

tfuda tfudajs divnajs Hyno nyflHoe, hhbo n h b h o e ! The miracle wonderful, a wonder marvelous! (The wonderful miracle, a marvelous wonder!) to pe |eb,edi tjelije To He Jie6ejiH 6enbie, They are not swans white, (But they are not white swans,) 183 a krasavitsi tjudnijc a Kpaca6HUbi MyflHbie. but beautiful women wonderful. (but are marvelously beautiful women.)

Towards the end of Scene 4, Sadko prepares to sail abroad and asks an assemblage of foreign traders at Lake Ilmen to describe their homelands to help him navigate his trip. Each guest does so in an aria. The Indian Guest

(tenor) describes the exotic beauty and riches of India in his Song "He cnecTh anMa30B b KaMeHbix nemepax" ("The diamonds in our stone caverns cannot be counted").

#41 "He cHecTb a;iMa30B b KaMeHbix nemepax" ("The diamonds in our stone caverns cannot be counted") pe Jest, almazaf f kam,Enix pijerax He cnecTb ajiMa30B b KaMeHbix nemepax, Can not be counted the diamonds in of stone caverns. (The diamonds in our stone caverns cannot be counted.) ne Jest, 3emtJu3En He cnecTb «eM Hy«eH Can not be counted the pearls v mot;e palucjsnnsm b Mope nonyneHHOM, in the sea midday, (The pearls in the midday sea cannot be counted.) dalekai indii tfud,£§ flaneKOH H hjihh n y n e c b . Distant India is miraculous. (Distant India is miraculous.) 1K4 jest na tjoplam more E d b Ha TennoM Mope There is by the warm sea (There, by the warm sea) tjudnii kam,sn jaxant HynHbin KaMeHb hxoht; a wonderful stone ruby; (is a wonderful ruby stone.) na tom kamr}E finiks Ha tom KaMHe hhhkc, In this stone Phoenix, (In this stone is the Phoenix;) ptitsa s likam dsvi IlTHUa C JIHKOM fleBbl is a bird with the face of a maiden (it is a bird with the face o f a maiden.) raiskijc fsjo pesni slatka raspivajet PaHcKHe Bee necHH CjiauKO pacneBaeT, Heavenly all songs Sweetly sing loudly, (She sings heavenly songs sweetly and loudly.) pcrja raspuskajst mot;E zakrivajst riepbH pacnycKaeT, M ope 3aKpbiBaeT. The feathers open up. The sea covers. (Her feathers open up and cover the sea.) kto tu ptitsu slijit fy o pazabivajet

Kto Ty n T H uy CJlblUIHT, Bee no3 a6 biBaeT. Whoever this bird hears. everything completely forgets. (Whoever hears this bird, completely forgets everything.)

Scene 5 is Sadko's adventurous voyage. He sings to his crew the Aria

'T o n , apy>KHHa BepHaa, nonHawaabHaa!" ("Hail, faithful military retinue!"). #42 'Tofl. npvMHHa BeDHaa. nonHaMajibHafl!" ("Hail, faithful military retinue!") goi dri)3ina yernaja padnatjajnaja Ton, xipyiKHHa BepHaa, n o ah a m a n b h a a ! Hail. military retinue faithful, subordinate! (Hail, faithful milary retinue!) po mrje dobru malattsu slaja sm,ert; prijla Ilo MHe, ao6py M onoauy 3aaa CMepTb npH iiina To me, good youth evi to die has arrived. (Evil death has arrived to me, good youth! gusli moi zvantjati prirj£sit,£ mn,£ ryCJIH MOH 3BOHMaTbI npHHecHTe MHe Gusli my ringing bring to me (Bring to me my ringing gusli) da spustit,£ sxacjenku siribrjanuju Ha cnycTHTe cxoaeHKy cepebpaHy to. Yes release the likeness silver. (and release your silver sounds.) dosku vi dubobuju bro^^e na vodu HocKy Bbi ay6oByio 6pocbTe Ha B oay, A board you oak throw into the water, (And throw an oak board into the water,) a i sami v navgarot varotfait;£sja A h caMH b HoBropon BOpOMaHTeCH. And you yourself to Novgorod get going. (and you get going back to Novgorod.)

ti prosti dru3injka padnatjaj,naja Tbi npocTH, flpy«HHUJKa nouHaHajibHafi, You forgive, beloved retinue subordinate. (Forgive, my beloved men.) vi ska 3i|£ malattsi maladoi 3£n,£ Bbi CKaiKHTe, MOJlOflUbl, Mojiojjon aceHe: You said, young one, young wife: (You said, young one to your wife:) 186 budet volja bosija k pei yernusja ja EyneT BOJTH 6 o)khh, K Hefl BepHycH n Is it will o f God, to her will return I; (Be it God's will, I will return to her.) fstt^etimsja uvidimsja da abnim,emsja BcTpeTHMCH, yBHjjHMCH, na ObHHMeMCH. We will meet together, see each other, indeed embrace. (We will meet together: see each other and embrace.) jeslix po mtje malattsu Ecjihjk no MHe Mojionny Wheras in me the fine fellow nirje sm,ert, prijla HbiHe CMepTb npHUIJia, now death has arrived, (And now death has come to me.) lixam bi pe pamnila vinavatava JIhxom 6bi He noMHHJia BHHOBaTOTO. Misfortunes would not be remembered guilty. (Do not remember my guilty misfortunes.)

Scen e 6 o f Sadko takes place at the Okean-More's palace on the ocean floor. The Sea King is angry because Sadko has not paid tribute to him for aiding in his seafaring successes. Sadko softens his heart by singing his beautiful Song of Praise, "CHHee Mope rpo3Ho, tUHpoKo" (“The blue sea is menacing and wide").

#43 "CHHee M ope rD03H0. IUHDOKO" (“The blue sea is menacing and wide") sipeja more grozna Jirako CHHee Mope rpo3HO, uihpoko, The blue sea is menacing, wide, (The blue sea is meancing and wide.) 187 dno sitya morja t,£mna glubako Hho chha Mopn TeMHo, rjiy6oKo. The bottom of the blue sea is dark, deep. (The bottom o f the sea is dark and deep.) tjszna moraskaja kto titya sm,srit Ee3flHa MopcKan kto Te6« CMepHT? The abyss of the sea who you can measure? (Who can measure the abyss of the sea?) t,erim prazratfen t,srim lazat;ef TepeM npo3paqeH, TepeM Jia3opeB, Tower transparent, tower sky-blue. (A transparent kingdom, a sky-blue kingdom.) kto tibjo strail kto valadika Kto Te6a ctpohji , kto BOJIOflblKa ? Who you built, who is master? (Who built you? Who is your master?) tsarsva morskaje yelikaje UapcTBO MopcKoe BenHKoe The power of the sea is great! (The kingdom of the sea is great!)

slayen grozin tsai; morskai CnaBeH, rpo3eH Llapb MopcKoR, Be glorified, threatening Tsar Morsky, (Glory to the great Tsar Okean-More,) so tsaritsei vadjanitssi Co IlapHuen BojiHHHuen, And \fodyan, (and to Queen Vodyanitsa,) so tsai;Evnai volxavai maladoi Co IlapeBHon BonxoBon Monouon! And Prince \blchov the Young! (and to the young Prince Volchov!) 188 na n,eb,e sontsc f t,£rim,£ sontsE Ha He6e conHue, b TepeMe conHue; In heaven is the sun. in the tower is the sun; (The sun is in heaven; your kingdom is the sun.) na n,sb,s m,£sats f iErirpE m,esats Ha He6e Mecau, b TepeMe Mecau; In heaven the moon, in the tower the moon; (The moon is in heaven; your kingdom is the moon.) na n,ebJ£ zyjozdi f t,£rim,£ zyjozdi Ha He6e 3Be3flbi, b TepeMe 3Be3flbi; In heaven are the stars, in the tower are the stars; (The stars are in heaven; your kingdom is the stars.) na tisb,£ zori f t,£rim,E zori Ha He6e 3opH, b TepeMe 3opH; In heaven is the dawn, in the tower is the dawn; (The dawn is in heaven; your kingdom is the dawn.) na n,eb,e grozi f t,£rirn,£ grozi Ha He6e rpo3bi, b TepeMe rpo3bi; In heaven are storms, in the tower are storms; (The storms are in heaven; your kingdom is the storms.) fsja krasota pad^e^esnaja B c h KpacoTa noflHe6ecHafl! All o f the beautiful heavens! (All the beautiful heavens!)

The Tsar's Bride (1898) stands apart from Rimsky-Korsakov's other operas because it is almost entirely in the style of the Russian romance. It is an opera in four acts with a libretto by Ilya Fyodorovich Tyumenev. The

Tsar's Bride was first performed 22 October 1899 at the Solodovnikov Theater in Moscow. The story is set in 1572 at Ivan the Terrible's personal headquarters; it is a fictional tragedy based on the supposed third marriage of

Tsar Ivan to a commoner named Marfa Sobakina. Taruskin describes it as "A 189 lurid compound of jealousy, murder, potions and madness." " Two young lovers, Marfa (soprano) and Ivan Sergeyevich Li'kov (tenor), are caught up in this intrigue which eventually causes their deaths.

In Act 3, there is a brief period of time when Li'kov believes he and

Marfa are safe from harm. It is here he sings his Aria "Tyua HeHacTHan mhmo npoMwajiacfl" (" clouds have passed"). This piece was composed and inserted at the request of the first Li'kov, Anton

Vladislovovich Sekar-Kozhansky (1863-1952), after the opera's first performance.

tsarskaja niyesta IlapcKan HeBecTa The Tsar’s Bride

#44 "Tvna HeHacTHan mhmo npoMHaJiacfl" ("The storm clouds have passed") tutja ninastnaja mima pramtjalasja TyMa H eH acT H afl MHMO npoMHanacH, The storm cloud inclement by has passed. (The storm clouds have passed;) sonijka snova nat nami vza/lo COJIHblLLIKO CHOBa Han H3MH B30LLI.no the sunlight once again over us will rise. (once again the sunlight will rise over us.) mi}£ vazvratili tibja ninagljadnaja MHe B03BpaTHJiH Te6fl, HeHarnflflHafl, I have returned back to you, beloved, (I have returned back to you, my beloved.)

111 Richard Taruskin, "Tsar's Bride, The," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 4 (London: Macmillan, 1992), 832. 190 dolja JJastlivaja snova nas 3

mima pramtfalasja tut/a ninastnaja M hmo npoMHanacn Tyna HeHacTHafl, By passed the storm cloud inclement. (The storm clouds have passed;) 191 sonijka snova nat nami vzaflo COJIHbllUKO CHOBa Han H3MH B30I1IJ10. the sunlight once again over us will rise. (once again the sunlight will rise over us.)

Stasov asked Rimsky-Korsakov to write The Tale of Tsar Saltan, of his

Son the Renoivned and Mighty Bogatir Prince Guidon Saltanovich, and of the Szvan Princess (1900) as a contribution to the Pushkin centenary of 1899.

The opera marked the composer's return to the opera-bilina. In it he used a short fanfare to get the audience's attention at the beginning and end of each act, a framing device which became a hallmark of his fairy-tale operas. The characters are strictly for fun; there is no realism whatsoever, however, there is an abundant use of national music. As Taruskin points out, Rimsky-

Korsakov incorporates all types of common musical genres: children's songs, domestic lullabies, urban ditties, jingles of carnival barkers, and even peepshow operators. 11 With its references to threes, princes and other fantastic elements, The Tale of Tsar Saltan is a clear predecessor of The Love of Three Oranges.

The Tale of Tsar Saltan is an opera with a prologue and four acts to a libretto by Vladimir Andreyevich Belsky based on Pushkin's version of the folktale. It was first performed in Moscow at the Solodovnikov Theater on 21

October 1900. The story is about Prince Gvidon (tenor) and the magical events that happen to him during his search for his father, Tsar Saltan (bass).

In Act 1 Tsaritsa Militrisa (soprano) is anxious for an audience with the

Tsar. The Old Grandfather, or Storyteller (tenor), tries to divert her anguish

"Richard Taruskin, "Tale of Tsar Saltan, The," The New Grove Dictionary of Opera, d. e Stanley Sadie, vol. 4 (London: Macmillan, 1992), 636. 192 w ith a story, "Bee MeflBeuio TyT n ok ji a h ji M ch " ("Everyone here worshipped the bear").

skazka o saltat^E CKa3Ka o Ilape CajiTaHe, The Tale of Tsar Saltan, o sigs jivo slavnam o cbiHe ero CJia B H 0 M o f son his the reknowned i bagatit;£ kryazs gvidorjs saltanavitjs h SoraTbipe KHH3e fBHHOHe CanTaHOBHMe and the Great Bogatir Prince Guidon Saltanovich i o prikrasnai tsarievns letjedi h o npeKpacHOB UapeBHe JlebenH and about the Beautiful Princess Swan

#45 "Bee MejBemo tv t noKJiaHHJiHCH" ("Everyone here worshiped the bear") fsje midysdju tut paklanjalisja Bee MeflBenio TyT noKnaHHJiHCH. Everyone the bear here worshipped. (Everyone here worshiped the bear.) gavarit midyscj sam platjstsja T o b o p h t MejtBeflb, caM nnaneTCH: Says the bear, to himself cries: (The bear says to himself, crying:) rassudit,£ vi maju abidu gockuju paccyfiHTe Bbl MOtO obHny ropbKyio! settle the dispute you o f my offense bitter! (you. settle your bitter dispute!) bil u minja lapat; starii parvanii Ebin y MeHfl nanoTb cTapbin, nopBaHbin, There was to me a bark sandals old, torn, (1 had some old torn sandals made o f bark.) 193 mnoga Jet J,e3al nikamu pe nadobnii mhoto JieT jieiKan hhkomy He Hafl06 HblH, many years they lay to no one not needed. (For many years they were not needed by anyone.) prijetali gusi ^erije npHJieTaiiH rycw cepbie, Hew here geese gray, (Then some gray geese flew here,) rajjipali lapat, razcjsrgali pacmHnanH JianoTb, pa3neprajiH, split the sandals, tear them up, (and they tore up the sandals) po tjistu pojju parazyejali no MHCTy nojno nopa3Be«JiH. along the open field scatter. (and scattered them in the open field.) kak stirpet, abidu gor;kuju KaK cTepneTb o 6 u a y ropbKyio, Mow tolerate the offense bitter, (How can I tolerate the bitter offense?) tfem ut,efit, malacjEtskajs weM yTeuiHTb cepnue Mojionemcoe? with what to console the heart good fellow? (How do I console my heart, good fellow?) me paiti li nam na ptits voinai H e nORTH JIM HaM Ha nTHU BOHHOM ? Does not go whether to us by bird of war? (Shouldn’t we wage war on the birds?)

The Matchmaker, Barbarikha (contralto), has told Gvidon of a beautiful princess. In Act 4, Scene 1, Gvidon cannot sleep because he is haunted by visions of the princess, and he sings "Beiep Ha Mope ryjinei h Kopa6jiHK rtonroHfleT" ("The wind on the sea lifts up and steers the ship"). 194

#46 "Beiep Ha Mope rvnneT h K O Pa6 jiHK n o n r o H H e T " ("The wind on the sea lifts up and steers the ship") yetit; na more guljajet BeTep Ha M ope ryjifleT The wind on the sea lifts up (The wind on the sea lifts up) i karaplik padgajojet H KOpaBjlHK nonroH H eT ; and the ship steers; (the ship and steers it;) on bi3it sibje v valnax OH 6e>KHT c e 6 e B BO JIHaX it runs itself in the waves (the ship runs on the waves,) na razdutix parusax Ha pa3j]yTbix n a p y c a x . on its overblown sails. (on its overblown sails.) gosti ?emli abjez3dli T OCTH 3eMJlH o6-be3»anK, The guests lands travel through, (The guests travel through lands) sabaljami targavali c o 6 o jih m h T oproB ann, the sables to trade, (to trade the sables.) a tiper; im vijol srok a Tenepb hm Bbimen CPOK, and now it comes a period o f time (And now comes the time) jedut pgama na vastok ejjyT npHMO Ha BOCTOK, going straight due east, (they are going due east,) mima astGva bujana MHMO OCTpOBa By HHa, past the island Buyan, (past the island of Buyan,)

k tsarsvu slavnava saltana k uapcTBy cnaBHoro CanTaHa. to the kingdom of the wonderful Saltan. (to the kingdom of the wonderful Saltan.) dobpi put, vam xospada Ho6pbin nyTb BaM, r o c n o n a ! Good journey to you, good heavens! (Good journey, God be with you!) kak prijsdetjE tuda po mopu KaK npwefleTe Tyjja, no M O p 10 , As arrive there, by the sea. (When you arrive there, by the sea,) po akijanu k slavnamu tsarju saltanu no OKHHHy k cnaBHOMy napio CajiTan by the ocean to the wonderful tsar Saltan; (bv ocean, to the wonderful Tsar Saltan,) at minja jsmu paklon ot MeHH eMy noKJioH. from me to him my regards, (give him my regards.)

jesli b znal on Ecjih 6 3Han o h , If I knew him, (If I only knew him,) kak gvidon t§elii 4Eri KaK r bhuoh uejibin neHb, as Gvidon the whole day, (as I know Gvidon.) 196 dufoi pitfajnii nyujon nenanbHbiH, my soul is sad, (My soul is sad every day.) ijjst vzoram b^erik dajnii HiueT B3opoM 6eper n a n b h bi n, search glance at the shore distant, (I search at the distant shore,) no 3ilannaja strand pe prirpetna ho wenaHHaH cTpaHa He n pH m e th a, hut my beloved country is not to be perceived. (hut 1 do not see my beloved country.) pe vidna He BHflHa. is not to be seen. (It is not to be seen.) pctu motfi §ertt§£ prosit Heiy MOHH, cepflue npOCHT, I am not able, the heart to ask, (1 am not able to ask my heart) tak i tjanit j unosit TaK H THHeT H yHOCHT, thus pulls and carries away, (how it pulls and carries away,) tak i manit Iona vot TaK H M3HHT JIOHO BOfl. thus beckons the bosom of the waters, (how it beckons the bosom of the waters.)

J'to 3 £ lebid pe pliyet H to m .e Jlebejib He njibiBeT? What swan does not swim? (Which swan does not swim?) 197 Kashchey the Deathless (1902) is an opera-parable in one act (three continuous scenes) to a libretto by the composer and his daughter Sofiya. It was first performed at the Solodovnikov Theater in Moscow on 12 December

1902. Rimsky-Korsakov had recently seen Wagner's Siegfried and wanted to write an opera about evil magic. Kashchey (tenor) is an evil sorcerer who holds the Princess Unearthly-Beauty (soprano) captive until she is rescued by

Prince Ivan (baritone).

In Act 1, Kashchey boasts of his power and conquest in the monologue

"npitpoubi nocTHTHyTa TaflHa" ("Nature comprehends the secret").

kajjei bissm,srtnii Kamen deccMeprHbiR Kashchey immortal

#47 "IlDHPOlibi nocTHTHVTa TaflHa" ("Nature comprehends the secret") prirodi pastignuta taina n p h p o u bi nocT H T H yT a TaflHa: Nature comprehends the secret: (Nature knows the secret:) mnoi naitjen bissm,ertija dar; mhoh HaHfleH 6eccMepTHH nap, I will find of immortality the gift, (I will find the gift o f immortality,) i f sljozku kaJTebni zapgatal h b cne3Ky KameBHbi 3anp«Taji and in the tears o f Kashchey are concealed (and are concealed in the tears o f Kashchey.) ja sn^ert, svaju silaju s tjai; fl CMepTb CBOK) CCHJIOK) Map. I death ownown strength s of charms. (I have the powerful charms of death.) sirdetfka prikrasnai jsstoka CepneMKo npeKpacHoR acecTOKo, Heart wonderful cruelly. (My heart is wonderfully cruel,) praidut za gadami gada nponnyT 3a roaaMH rona, pass from years and years. (it has grown that way over the years.) sJezci s JiJ° glas praljotsja c.rie3a C ee r jia 3 He nponioeTCH tears from her eye arc not giving way; (Tears from her eye will not be given away;) v rjei spt;atana sm,srt, nafsigda b HeH cnpflTaHa CMepTb HaBceraa. in her craziness death is forever. (in her misery death is forever.) fsisij,ni ljubvi jijo tjari BcecHHbHbi jho6 bh ee Hapbi, All-powerful love is her charm. (An all-powerful love is her charm,) i f tsarstye valjsbnai psi h b uapcTBe BOJiuiebHOM y Hen and in a kingdom magical of hers (and she has a magical kingdom.) pagibla U3 vitjazei mnoga norH6 no y>K BHTjneR mhoto, killed already beaten a lot, (Many have already been killed,) iskafelei sm,erti majei HCKaieneR cMepTH Moen! seeker of deaths my! (who seek my death!) 199 The Golden Cockerel (1907) is the only one of Rimsky-Korsakov's

fifteen operas that has gained popularity outside Russia. This popularity

began in and London, where Sergei Pavlovich Dyagilev (1872-1929)

mounted the first lavish productions of the opera. (For that reason, it is even

more commonly known by its French title Le coq d'orl) As Taruskin points

out, "It is unpleasantly ironic that of all Rimsky-Korsakov's operas, only the

last, a trifling parody based on Pushkin's mock folktale The Golden Cockerel

should be a repertory item in the West."12 The opera is a "cartoonish

mockery" of authority, which held up its production by the censors; it was

never performed completely during Rimsky-Korsakov's lifetime.

The Golden Cockerel is a dramatized fable in a prologue, three acts and an epilogue to a libretto by Belsky after Pushkin's version of the folktale. It was first performed at the Solodovnikov Theater in Moscow on 24 September

1909. The Astrologer (tenor-altino) acts as the opera's narrator; he sings to the audience at the beginning and end of the opera. Rimsky-Korsakov also uses a sort of leit- effect for the character, since the high voice required for the role is akin to the sound of a (as in the fanfares of The Tale of Tsar

Saltan), and the Astrologer is always accompanied by the .13

In the Prologue, the Astrologer appears before the curtain and informs the audience that he is about to conjure up a cautionary tale in his m o n o lo g u e "CjiaBeH 6yj3b, BeJiHKHR uapb!" ("Praise to the great tsar!").

This monologue employs a descending chromatic scale similar to that of the

Indian Guest's Song in Sadko.

12 Richard Taruskin, "Rimsky-Korsakov, Nikolay," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 3 (London: Macmillan, 1992), 1337. r1 Richard Taruskin, "Golden Cockerel, The," The New Grove Dictionary of Opera, ed. Stanley Sadie, vol. 2 (London: Macmillan, 1992), 475. zolatai pitujok 3 ojiotor n e r y u io K The Golden Cockerel

#48 "CjiaBeH 6 y jb . BeJlHKHfl uapb!” ("Praise to the great tsar!") slayen bud tsaC CnaBeH 6yab, Be jihkhr u ap b ! Praise be, great tsar! (Praise to the great tsar!) znal minja at,£ts tvoi fstar; 3Hau MeHH OTeu tbor BCTapb, Knew me father your in the old days, (Your father knew me in the old days,) no s taboi mi «ie znokomi H o c T060 R MbI He 3 H a K 0 M bl But with you we not familiar... (but I do not know you...) dolgam yernasti vlikom ii HonroM BepHOCTH BJieKOMbltt Duty loyalty led by i naslijan Jto dadon H HacjibimaH, mto HOUOH and listened to, what Dodon (Led by my loyal duty, I listen to how the great Dodon) pa|£rjal v zabotax son noTepflJi b 3a6oTax coh, Rubbed in worries of the son, (worries about his son.) v dai; priiyos tity e ja ptitsu B .nap npHHec Te6 e h nTHuy, In the gift brought to you I a bird, (1 brought you a bird as a gift.) posadi jijo na spitsu riocaflH ee Ha cnHuy: Sits it on the spoke: (It sits on the spoke of the wheel.) pitufok moi zolatai IleTyillOK MOB 30J10T 0H The cockerel my golden (My golden cockerel) bucjet yernii storaj tvoi ByneT BepHbin ctopoik tbob. Will be faithful guard your. (will be your faithful guard.) koj krugam f§jo bucjet mirna Konb KpyroM Bee 6 yaeT mhpho, As soon as all around everything will be peaceful, (As soon as everything is peaceful,) tak sicjet, on bucjet smirna TaK CHfleTb oh 6 yaeT cmhpho; As sitting he will be still; (as soon as everything is as still as he sits.) no HJ tfu$ so stopani Ho JIHllIb HyTb CO CTOpOHbl But still hardly on the other hand (But still on the other hand,) osidat, tibjc voini 0«HflaTb Te6 e B O n H b l, Expect you the warriors, (you expect the warriors) ij nab,sga sili brannai M nb H a6 era cHJibi 6 p a H H 0 R, Or the raid the force abusive, (or the horrible force of a raid,) ij drugoi b£di ni3dannai

Mnb apyroH 6 eflb i HencjiaHHofl, Or other troubles unexpected, (or other unexpected troubles.) 202 v mik tagda moi pitujok B mht T orxia moh neiyiuoK In that very moment my cockerel (In that very moment, my cockerel,) pripadim,et gtjebijak IlpHnojjbiMeT rpe 6 eu iO K , Exulted crest, (with its exulted crest,) kak s prasonkaf fstripinjotsja KaK c npocoHKOB BCTpeneHeicn, As on awakened suddenly will ruffle its feathers, (he ruffles his feathers, as if awakened suddenly.) i f to m,£sta atjenjotsja H b to MecTO o6epHeTCH, And at this place will turn around, (and will turn around,) zakritjit kirikuku 3aKpHHHT: "KHpHKyKy! And cry out: “Kiriccuckoo! (and will cry out: “Cuckoo!) bir;£gi:§ bu4 natjeku Beperncb, 6yjjb HaMeKy!" Watch out be on your guard!” (Watch out, be on your guard!”)

The Epilogue is a short song featuring the Astrologer in front of the curtain, "Bot MeM KOHMHnacfl CKa3Ka" ("This is how the fairy-tale ended").

#49 "Bot MeM KOHHHJiacfl CKa3Ka" ("This is how the fairy-tale ended") vot tfem kontjilasja skazka Bot neM KOHHHnacfl CKa3Ka. Here is that that ended the story. (This is how the fairy-tale ended.) 203 no kravavaja razvjaska

Ho KpoBaBan pa 3 BH 3 K a, But the bloody outcome, (But the bloody outcome) skoj, ni tjagasta ana C K onb hh THrocTHa oHa, How is not painful it. (is not to be painful to you.) volnavat, vas n,e dol 3na BonHOBaTb Bac He nojiMCHa. To agitate you not must. (Nor must it not agitate you.) razye ja HJ da tsaritsa Pa3Be ft JlHIlIb fla uapnua Perhaps I only indeed the tsaritsa (Perhaps only I and the queen) bili z4e§ 3*vije litsa EbuiH 3jiecb MfHBbie jiHua, Formerly here lived a person, (formerly lived here as real people.) astaj,nie bt;et m.ej'ta OcTanbHbie- - 6pen, Mema, The rest-- delusion, daydream, (The rest of them were only delusion, a daydream,) prizrak blednii pustata IIpH3paK SneflHbiB, nycTOTa... A ghost pale, emptiness... (pale ghosts, empty apparitions...)

Oresteya (1894) is a musical trilogy in three parts to a libretto by Alexey

Alexeyevich Venkstern after Aeschylus. Although Taneyev's only opera did not effect the course of Russian operatic development, it is an interesting interpretation of European late romantic music. First performed at the 204 Mariinsky Theater in St. Petersburg on 17 October 1895, Oresteyn is a pageant of compressed drama, with each of the tragedies of the trilogy making up an act. The title character has many impressive moments in the opera, but the continuous nature of the opera makes it very difficult to extract a complete aria. However, his aria 'TepMHfl! BenHKHH 6or, xpaHHTe;ib CTpaHHHKOB"

("Hermes! Great God of travelers"), which opens Act 2, Scene 2, contains some nice musical moments, all based on the leitmotive associated with Orest.

sergei ivanavitf tatjsjaf C ep reft HBaHOBHH TaHeeB Sergey Ivanovich Taneyev aresteja OpecreR The Oresteya

#50 'TepMHfl! BejiHKHB 6or. xpaHmejib CTpaHHHKOB" ("Hermes! Great God of travelers") germii yclikii box xranit,El strannikaf TepMHHl BejiHKHfl 6or, xpaHHTeiib CTpaHHHKOB, Hermes! Great god, keeper of travelers. (Hermes! Great god of travelers!) xvala tibje xvala tibjc XBana Te6e, XBana Te6e! I boast to you, boast to you! (I boast to you; I boast to you!) a k o n tjen dolgii put, Okohmch AOJirHH nyTb; Was finished long ago the road; (The road was finished long ago.) 203 s tjufbini ja prijol v radim ii krai c My»:6HHbi h n pw men b pOflHMbin k p a n from foreign lands I have arrived in my own country (I have arrived in my own country from foreign lands) sverjit, syjafjennii dolk at/Jepja cBepmHTb cBflmeHHbiR nonr OTMIUeHbfl. to make a trip is a sacred duty of vengeance. (to make a sacred trip in duty of vengeance.)

vot tfsrtogi p^Etkaf Bot HepTorn npenKOB. Here are the palaces o f my ancestors. (Here are the palaces o f my ancestors.) a vot A BOT And here is (And here is) i xolm magil,nii ubitava atsa h xoJ im MorHJibHbifl y6HToro oTua! also the hill grave of my murdered father! (also the gravesight of my murdered father!)

at,ets 0 OTeu, Oh father. (Oh. father,) pe ridal ja not trupam tvaim He pbinan H Han TpynoM TBOHM, did not sob 1 over dead body your. (I did not sob over your dead body;) pe m noju pasl,ednjaja potft-st, He MHOK) nocjieaHHH nonecTb did not I the last honor velikamu praxu bila vazdana BenHKOMy npaxy 6 bin a B03jjaHa, vour great remains will be rendered, (I did not render the last honor to your great remains.) 206 ne ja gel pcari pag^ebajnii He h nen naaH norpebajibHbin. did not I sing the paean funeral service. (I did not sing the paean at your funeral service.) prim i3£ dper; moju poznjuju dan, ripiiMH me Tenepb moio nosjjHioK) naHb, Receive now my late tribute. (Receive now my late tribute,) znak glubokai sinovqei pitjali 3HaK rjiy6oKoR cbiHOBHen nenajiH : the sign profound filial (the profound sign of filial mourning.) na magilu tvaju ja ridaja Ha MOTHJiy TBOK) H, p bi a a h , at grave your am I, sobbing. (I am sobbing at your grave,) kladu golavi majsi sr;£zannn lokan K Jian y c ronoBbi Moen cpe3aHHbin JIOKOH. the treasure of head my cut curls of hair. (and I place a lock of my hair from my head.)

Opera may occupy a very small place in the many-faceted career of

Sergey Vasilievich Rakhmaninov (1873-1943), but there was a brief period around the turn of the century when composing for the stage was his primary focus. He was conductor of a company soon after graduation from the Moscow Conservatory and later of the Moscow Bol'shoy Opera

(1904-06); he also was a close friend and collaborator with the famous bass

Fyodor Ivanovich Shalyapin (1873-1938). Although Rackmaninov's three completed operas contain notable music, they are one-act operas, have weak librettos and are best suited for student of amateur productions; these shortcomings have kept them from claiming a place in the repertory. 207 A leko (1892) was Rackmaninov's graduation piece from the Moscow

Conservatory. Although it was immediately awarded a production

(eventually with Tchaikovsky's Iolanta) and Shalyapin's performances of the title role helped to keep the opera in the repertoire for a while, it is all but forgotten now. Alcko contains music of both declamatory and lyrical styles, but it is unfortunately "uneventful," according to Rosa Newmarch. 14

Aleko (baritone or bass) is in love with Zemfira (soprano), who secretly has an affair with a Young Gypsy (tenor). Being true to the verismo style in which the libretto was written, Aleko kills the lovers in a rage when he learns of Zemfira's unfaithfulness.

The Young Gypsy sings his beautiful romance to Zemfira in a moment of passion.

sergei vasijjevitf raxmaninaf Cepren BacHJibeBHH PaXMaHHHOB Sergey Vasilyevich Rakhmaninov aj,eka Ajibeico Aleko

#51 /7B3rjiflHH: n o n OTnaneHHbiM cbohom" ("Look: in the distant heavens") vzgljani pot attajjonnim svadom B3rnHHH: non oTnaneHHbiM cb o h o m Look: in the distant heavens (Look, in the distant heavens) gujjajet vojnaja luna ryjineT BOJibHafl nyHa; it takes a walk the free moon; (the moon freely takes a walk.)

,J Newmarch, The Russian Opera, 373. 208

na fsju prirodu mimaxodam Ha bck ) n p H p o a y mhmoxoaom in all nature in passing (And to everything that passes) ravna sijatje ljot ana paBHo cHHHbe JibeT oHa, even radiance pours she. (nature pours radiance.)

kto v t]sb,s m,ssta jei uka38t K to b He6e MecTO eH y K a iK eT , Who in heaven the place for her commands. (Who commands a place in heaven for her,) pramolvja tarn astan ovi§ npoMOJiBH: TaM OCTaHOBHCb! uttering: there stop! (uttering: stop there!) kto ^erttsu junai cJ£Vi ska3£t Kto cepfluy K>Hon neBbi CKaweT: Who to the heart of a young maiden will say: (Who will say to the heart o f a young maiden:) jjubi adno i}e izm,eni5 jik>6 h OflHO, He H3MeHHCb! loved one, do not changed! (Do not change, loved one!) A P PE N D IX A

A CHRONOLOGICAL LIST OF NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR

Alexey Nikolayevich Verstovsky (1799-1862) Askold's Grave Moscow: State Music Publishers 1,1963.

#1 Stemid's Aria (No. 2) "C Hen n HanzteH" Andante sostenuto, pp. 23-25 Range: A3 to A4

#2 Torop's Second Song (No. 14) "Hyneca-To Bee, ax, He 3a MopeM Larghetto, pp. 93-97 Range: G2 to A4

#3 Frelaf's Rondo (No. 16) “fl-pena(}), n cbrn Tapanbna" Allegro risoluto, pp. 106-10 Range: E2 to A4

#4 Vseslav's Aria-Romance (No. 25) "BoTLiie! YcnnbH Bee HanpacHbi" Moderato, pp. 196-202 Range: D-sharp2 to B-flat4

#5 Torop's Song (No. 32) “BeeT, BeeT BeTepoK" Allegretto, pp. 246-50 Range: C-sharp2 to B-flat4

’ rocyaapcTBeHHoe My3biKajibHoe H3aaTeabCTBo. 209 M ikhail Ivanovich Glinka (1804-57) A Life for the Tsar Moscow: State Publishers : , 1980.

#6 Bogdan Sobinin's Aria (Act 4, Scene 2) “Hto HaM MeTenbL.Tbi He nnaHb...B nyTb HaM nopa! Allegro vivace...Adagio...Allegro vivace, pp. 284-91 Range: F2 to D-flat4

Ruslan and Lyudmila Moscow: State Publishers, 1979.

#7 The Bayan's Aria (Act 1) "EcTb nycTbiHHbin Kpan, 6e30TpanHbin 6per" Moderato maestoso, pp. 32-5 Range: D2 to G3

#8 Finn's Ballad (Act 2, Scene 2) ''JIio6e3Hbin cbiH!" Allegro, pp. 119-30 Range: D2 to G3

Alexander Sergeyevich Dargomizhsky (1813-69) Esmeralda Moscow: State Music Publishers, 1961.

#9 Phoebus's Aria (No. 14) "0, JHO60 Bb, He3eMHOe MyBCTBo!" Andante, pp. 238-49 Range: D-sharp2 to B-flat4

The Triumph of Bacchus. Moscow: State Publishers, 1969

#10 The First Greek Man's Aria "Ho BoeT 6 e p e r oTjiajieHHbm" Allegro, pp. 74-86 Range: F-sharp2 to B4

2 ll3flaienbCTBo My3biKa 211 Rusnlkn Moscow: Mi'zgiz, 1949.

#11 The Prince's Cavatina (No. 16) “HeBOJibHo k 3THM rpycTHbiM 6eperaM...MHe Bee 3necb Ha naMHTb npHBouHT 6biJioe" Allegro moderato...Andante, pp. 301-17 Range: E-flat2 to A-flat4

The Stone Guest Moscow: State Music Publishers, 1932.

#12 Don Juan's Narrative (Act 2) "Bee k Jiym ueM y" Moderato, pp. 82-87 Range: E-flat9 to F-sharp3

#13 Don Juan's Narrative (Act 4) "CMepTH! 0 , nycTb yMpy cennac y Bamux h o t " Allegro, pp. 98-101 Range: to A-flat4

Alexander Porfiryevich Borodin (1833-87) Prince Igor New York: Boosey and Hawkes, n.d.

#14 Vladimir Igorevich's Recitative and Cavatina (No. 11) "Meu^eHHo nenb yracanb" Andante, pp. 150-5 Range: E-flat2 to B-flat4

Cesar Antonovich Cui (1835-1918) William Ratklif Leipzig, Rob. Seitz: C.G. Roder, n.d.

#15 Lesley's Song (Scene 3) “M3BOJibTe, a cnojo o x o t h o ...Kto xoiejii. BecejiHTbcn" Moderato assai...Allegro, pp. 121-130 Range: E-flat2 to A 4 212 Modest Petrovich Musorgsky (1839-81) Boris Godunov Wiesbaden: Breitkopf & Hartel, 1990, Musorgsky's revised version

#16 Shchelkalov's Monologue (Prologue) TIpaBocnaBHbie, HeyMOJiHMt. OoflpHH'b!" Moderato, p. 16-17 Range: E-flat2 to E-flat^

#17 Shuisky's Monologue (Act 2) " B t YrjlHM-b. BT> c o 6 o p iT Andantino lamentoso, pp. 135-7 Range: E2 to A 4

#18 Shuisky's Monologue (Act 4) HaMeflHH...Bn-bflHbin, xononHbiMt noTOMt o6nnBaflCb" Moderato...Allegro, pp. 216-19 Range: E-flat2 to A-flat4

#19 The Simpleton's Song (Act 4, Scene 2) “ M-bcaij-b •bueT’b” Andantino, p. 249 Range: E2 to A4

#20 The Simpleton's Song (Act 4, Scene 4) “JleHTecb, JieRTecb, c.ne3bi ropbKHfl” Andantino, p. 284 Range: E-> to A4

Khov anshchina Leningrad: State Publishers, 1976.

#21 Prince Vasiliy Golitsin's Monologue (Act 2) "CBeT Mon, bpaTeu BaceHbKa" Andante cantabile, 125-34 Range: E9 to A4 21 Sorochintsi" Fair Now York: Edwin F. Kalmus, n.d. (Complete Works, Vol. 5)

#22 Gritsko's Aria (Act 1) "3x! HepeBHK, MepeBHKl. ,.3aMeM Tbi. cepnue, pbutaenib n CTOHeUJb?" Andante...Larghetto, pp. 53-57 Range: F-sharp2 to A-sharp4

Pyotr Ilyich Tchaikovsky (1840-93) Eugene Onegin Melville, New York: Belwin Mills, 1969.

#23 Lensky's Arioso (No. 6) "51 jho6jiio Bac" L'istesso tempo, pp. 51-54 Range: E2 to A4

#24 Lensky's Aria (No. 17) “Kyma, Kyjaa, Kyua Bbi yuanHJiHCb" Andante quasi adagio, pp. 175-80 Range: D-sharp2 to A-flat4

Mazepa Melville, New York: Belwin Mills Kalmus, n.d.

#25 Anurey's Scene and Aria (No. 16) B 6010 KpoBaBOM...M h npHiueji cio,na B3rjiHHyTb Ha Te MecTa...3j]ecb qhm Tenjih wpenon cMacTJiHBon...O, rj]e Tbi, rue moh ronyBKa?" Allegro non troppo...Andante con moto...Larghetto...Molto piu mosso, quasi allegro, pp. 304-15 Range: E-sharp2 to A4

Cherevichki Melville, New York: Belwin Mills Kalmus, n.d.

#26 Vakula's Arioso (Act 1) "0, HTO MHe MaTb, HTO MHe oTeu!" Moderato assai, pp. 81-83 Range: E2 to A4 214 #27 The School Teacher, Bursakov's Little Song (Act 2, Scene 1) "Ea6a k 6ecy npHBH3anacb c oKaaHHbiM cono3Hajiacb" Andantino con moto, pp. 145-6 Range: A3 to A4

#28 Vakula's Arioso (No. 12) "Bot y>Ke ron npoineji h cHOBa" Andante, pp. 160-64 Range: F2 to A-flat4

#29 Vakula's Second Arioso (Act 3, Scene 1) ClIblLLJHT J1H, HeBHUa" Andante, pp. 258-61 Range: E2 to A4

The Queen of Spades New York and London: G. Schirmer, n.d.

#30 Herman's Scene and Arioso (No. 2) "Ha. k uejiH TBepuoK)...H HMeHH ee He 3HaK) h He Mory y3HaTb” Andante, pp. 20-25 Range: F2 to A4

#31 Herman's Aria (No. 24) “HtO Hailia >KH3Hb ? Moderato con moto, pp. 278-81 Range: F? to B-flat4; originally F-sharp2 to B4 with transposition F-, to a ;

Iolanta Melville, New York: Belwin Mills, n.d.

#32 Count Vodemon's Romance (No. 6a) "He-r! Hapbi JiacK Kpacbi MHTe>KHon...O, npnuH, CBeuibm npH3paK" Andante quasi adagio...Allegro moderato, pp. 96-101 Range: D2 to B-flat4 Nikolai Andreyevich Rimsky-Korsakov (1844-1908) The Maid from Pskov Leningrad: State Publishers, 1981.

#33 Mikhail Andreevich Tucha's Song (Act 1, Scene 1) “PacKyKyncH Tbi, KyKymeaKa" Adagio molto, p. 47 Range: F-sharp2 to G-sharp3

May Night Melville, New York: Belwin Mills, 1981. (Complete Works, Vol. 53)

#34 Levko's Song (No. 2) “ CoJlHblLLIKO HH3KO, B e a e p y>K 6 j1H3Ko” Allegretto giocoso e scherzando, pp. 47-56 Range: D-sharp2 to A 4

#35 Levko's Second Song (No. 13) “ KaK THXo...Crm, Moa KpacaBHua...nycTb Tebe npnrpe3iiTca” Molto andante...Allegretto...Poco piu mosso, pp. 215-23 Range: E2 to A4, lyric

The Sitozv Maiden Moscow: State Publishers, 1967.

#36 Tsar Berendey's Cavatina (Act 2) ■■yxonnT ueHb Beceabin" Adagio non troppo lento e cantabile, pp. 269-72 Range: F-sharp2 to G-sharp3

Christmas Eve Leipzig: M. P. Belaiev, n.d.

#37 The Devil's Arioso (Act 1, Scene 1) "06bman ciapbin" Allegro assai, pp. 5-11 Range: Eo to G3

#38 Vakula's Song (Act 2) Txi-b Tbi, c u a a Moa M oaoneuK aa?" Andante non troppo, pp. 112-15 Range: E-flat9 to A -fla t4 (optional B-flat4) Sadko Leningrad: State Publishers, 1975.

#39 Sadko's Recitative and Aria (Scene 1) "Ka6bi 6biJia y MeHH 3onoTa Ka3Ha" Recitative Piu mosso, p. 44-50 Range: D2 to A 4

#40 Sadko's Slow Song (Scene 2) "Or Tbi, TeMHaa ny6paBWKa!" Adagio, pp. 79-85 Range: E2 to G 3, lyric

#41 The Indian Guest's Song (Scene 4) "He cHecTb anMa30B b kamehhbix nemepax" Andantino, pp. 236-9 Range: D2 to G 3

#42 Sadko's Aria (Scene 5) Ton, upy>KHHa BepHan, nonHanajibHafl!" Andante non troppo, pp. 287-9 Range: G? to A-flat4

#43 Sadko's Song of Praise (Scene 6)

"CnHee Mope rpo3Ho, luhpoko" Moderato, pp. 305-7 Range: F-sharp2 to A 4

The Tsar's Bride Melville, New York: Belwin Mills, 1982. (Complete Works, Vol. 60)

#44 Li'kov's Aria "Tywa HeHacTHan mhmo npoMMajiacn" Allegretto, pp. 237-43 Range: E-, to A4 The Talc of Tsar Saltan Moscow: Muzi'ka, 1988.

#45 The Old Grandfather's Aria (Act 1) "Bee me n b euK) Tyt non naHH.nucfl" Andante, pp. 73-75 Range: F-sharp2 to G^

#46 Gvidon's Song (Act 4, Scene 1) "Beiep Ha M ope ryjiaeT...EcnH 6 3Han oh" Allegro...Moderato, pp. 187-91 Range: E-flat2 to A -flat4

Kasltchey the Deathless Melville, New York: Belwin Mills, 1979. (Complete Works, Vol. 63)

#47 Kashchey's Arioso (Act 1) “npHpoflbi nocTHTHyTa TanHa” Moderato assai, pp. 34-36 Range: E-sharp2 to B -flat4

The Golden Cockerel Melville, New York: Belwin Mills, 1983. (Complete Works, Vol. 6 6 )

#48 The Astrologer's Narrative (Prologue) “CjiaBeH 6ynb, BejiHKHR uapb!” Moderato, pp. 32-36 Range: G2 to B4

#49 The Astrologer's Epilogue “BoT HeM KOHHHJiaCH CKa3Ka" Moderato assai, pp. 231-33 Range: F-, to C4

Sergey Ivanovich Taneyev (1856-1915) Orcsteya Moscow: State Publishers, 1970.

#50 Orest's Scene (Act 2, Scene 2) TepMnn! Be;iHKHn 6 or" Adagio, pp. 173-7 Range: D-sharp9 to G-sharp^ Sergey Vasilyevich Rakhmaninov (1873-1943) Alcko Moscow: State Publishers, 1976.

#51 The Young Gypsy's Romance “B3rjiHHM: non om a n eH b iM cbouom" Allegretto, pp. 83-5 Range: G2 to B-flat4 A PPE N D IX B

A LIST OF NINETEENTH-CENTURY RUSSIAN OPERAS

Alexander Alexandrovich Aliabyev (1787-1851). Few manuscripts survive. JlyHHan Honb, hjih JJoMOBbie (Moonlit Night, or The Domestic Sprites) (1823) Ejjbhh H Ocuap (Edwin and Oscar) (early 1830s, sketches survive) Bypn(The Tempest) BoJiiue6Haf]HOHb(The Magical Night) (1838) PbidaK h pycanxa,h jih 3noe 3enbe (The Fisherman and the Mermaid, or The Evil Potion) (1841-3) AMManar- Ben (Ammalat-Bck) (1847, sketches survive)

Alexey Nikolayevich Verstovsky (1799-1862) IJaH TBapuoBCKH (Pan Tvardovsky) (1828) BajjHM, hjih Plpo6y}KjieHHe uBeHanuarH cnatUHX neB(Vadim, or the Awakening of the Twelve Sleeping Maidens) (1832) AcKonbjjOBa Mornna(Askold's Grave) (1835) )Kene3Hoe nepo(The Iron Pen) (1836-7, incomplete) Tocxa nopojjHHe (Homesickness) (1839) Coh HanBy, hjih HypoBa MOJiHHa(A Waking Dream, or Chur's Valley) (1844) rpoMo6oH (Gromoboy) (1853-4)

M ikhail Ivanovich Glinka (1804-57) PoKe6n (Rokeby) (1824, sketches for entr'acte only) MapbHHa poma(Mary's Grove) (1834, sketches; used for A Life for the Tsar) M.H3Hb 3a uapn (A Life for the Tsar) (1834-6) PycjiaH H JhoAMHJia(Ruslan and Lyudmila) (1837-42) JjByMy)KHHua (The Bigamist) (1855, sketches only; lost)

219 220 Alexander Sergeyevich Dargomi'zhsky (1813-69) EcMepanbna (Esmeralda) (1838-41) TopmecTBO BaKxa (The Triumph of Bacchus) (1843-8) Pycanna (Rusalka) (1848-55) Ma3ena (Mazepa) (1859 or 1860, incomplete; scenes only) PornaHa (Rogdana) (1860-67, incomplete; scenes only) KaMeHHbM rocrb (The Stone Guest) (1866-9, incomplete; completed by Cui and Rimsky-Korsakov)

Alexander Nikolayevich Serov (1820-71) BacypMaH (The Infidel) (1843) BtiHU3opcKHe npoKa3Hinjbi (The Merry Wives of Windsor) (1844) MenbHHVHKa b M apnn (The Miller-Girl from Marly) (1844) MaftCKan HOVb (May Night) (1850-54, destroyed; fragments survive) EIonraBa () (projected around 1857) .VHHJ1HH (Undine) (projected around 1858-60) K )m < t> b () (1861-3) Pomena (Rogneda) (1865) Ho'db non pomnecTBO(Christmas Eve) (1866, sketches only) Bpawbfl cnna (The Power of the Fiend; Hostile Power) (1867-71, incomplete; completed and edited by V. S. Serova and N. F. Solovyov in 1871; completed and edited by Boris Asaf'yev in 1947). rycHTbi (The Hussites) (projected only)

Alexander Porfiryevich Borodin (1833-1887) Eorarbipn (The Heroic Warriors) (1867) UapcKan HeBecra (The Tsar's Bride) (1867-8, sketches only; lost) M nana (Mlada) (1872, Act 4 only ) 1 KHfl3b Mropb (Prince Igor) (1869-70; 1874-87, incomplete; completed by Rimsky-Korsakov and Glazunov)

Cesar Antonovich Cui (1835-1918) KaBKa3eKHR nneHHHK (The Caucasian Prisoner) (1857-8; 1881-2) CbiH MaHnapHHa (The Mandarin’s Son) (1859) BunbftM PaTKMMp (William Ratcliff) (1861-8)

1 Each of the four acts of the opera-ballet Mlada was composed by a different composer: Cui, Rimsky-Korsakov, Musorgsky, Borodin, respecitvely. AHnxeno () (1871-5) Mnajja (Mlada) (1872, Act 1 only) Lc flibustier (1888-9) Filip bo BpesfB vysibi (A Feast in Time of Plague) (1895-7; 1900) CapaubiH (The Saracen) (1896-8) Manasiya3enb (Mam'zelle Fifi) (1902-03) CHe>KHbin dorarbipb (The Hero of the Snores) (1906) Mateo Falcone (1907) KanHTaHCKan nomea (The Captain's Daughter) (1907-09) KpacHan manoHKa (Red Riding-Hood) (1911) K ot b canorax()1913) ( liBanyiUKa-nypavoK (lvanushka the Little Fool) (1913)

Mily Alexeyevich Balakirev (1827-1910) M ap-nTim a () (1864)

Anton Grigorievich Rubinstein (1829-94) KyntiKOBCKan 6HTBa (The Battle of Kulikova) (1849-50) Cn6npcKneoxothhkji (The Siberian Hunters) (1852) CreHbKa Pa3UH (Sten'ka Razin) (1852, incomplete) Mecrb (Revenge) (1852-3, only one song survives) &osiKa-nypavoK (Tom the Fool) (1853, lost) Das verlorcne Paradics (1855-6) Die Kinder dcr Heide (1861) Feramors (1861-2) Der Thurm zu Babel (1868-9) Demon (1871) Die Maccabder (1872-4) Neron (Nero) (1875-7) Kyneu KanamHHKOB (The Merchant Kalashnikov) (1877-9) Sulam ith (1882-3) Unter Rdubern (1883) Der Papagei (1884) Moses (1887-9) ropiom a (The Doleful One) (1888) Christ us (1893) Modest Petrovich Musorgsky (1839-81) Han d'lslande (projected 1856) Salammbo (1863-6, incomplete) MeHHTbOa (The Marriage) (1868) Bopnc rouyHOB (Boris Godunov) (1868-9; revised version 1871-2; Rimsky-Korsakov version 1896; revised version 1908) Bo6biflb (The Lonely Bachelor) (projected 1870) M nana (Mlada) (1872, Act 3 only, incomplete; completed by Rimsky- K o rsa k o v ) XoBaHLUMHa (Khovnnshchina) (1872-80) CopomiHCKafl npsiapKa (The Fair at Sorochintsi) (1874-81, incomplete; four completed versions by various composers 1913, 1915-16, 1923,1932) [JyrayeBUiHHa (Pugachyovshchinn) (projected 1877)

Pyotr Ilyich Tchaikovsky (1840-93) Boesona (The Provincial Governor) (1867-8, destroyed; reconstructed by S. 1927; reconstructed by Pavel Lamm 1953) VHUMHa (Undine) (1869, destroyed; fragments survive) MaHnparopa (Mandragora) (1870, scenes only) OnpMHHHK (The Oprichnik) (1870-72) K)'3Heu BaKyna (Vakula the Smith) (1874; Revised as Cherevichki) EBreHitn OHentH (Yevgeny Onegin) (1877-8) OpneaHcnan neBa (The Maid of Orleans) (1878-9) Ma3ena (Mazepa) (1881-3) TepeBUHBH (The Slippers; The Caprices of Oxana) (1885) TaponeflKa (; The Sorceress) (1885-7) flitKOBan nasta (The Queen of Spades) (1890) IIojiaHTa (Iolanta) (1891)

Nikolai Andreyevich Rimsky-Korsakov (1844-1908) ncKOBHTHHHa (The Maid from Pskov) (Four versions 1868-72, 1876-7, 1891-2,1898) M nana (Mlada) (1872; Act 1 ? by Rimsky-Korsakov, incomplete) MancKan Ho^bfM ay Night) (1878-9) CHerypoHKa (The Snow Maiden) (Two versions 1881; 1895) M nana (Mlada) (1889-90, Act 2 only) HoHb nepen PomnecTpost (Christmas Eve) (1894-5) Canno (Sadko) (1895-6) BarnajjKHR 6pano6peR (The Barber of Baghdad)(1895, sk etch es o n ly ) M ouapr h Canbepii (Mozart and Salieri) (1897) BoRbiHR Bepa IUenora (The Noblewoman Vera Sheloga) (1898, prologue to second version of The Maid from Pskov) Uapcnafia HeBecra (The Tsar's Bride) (1898) CKa3Ka o Uape CanraHe, o cbiHe ero cuaBHOM r dorarbipe KHR3e TBHAOHe CanraHOBime h o npenpacHon UapeBHe Jle6enn (The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogati’r Prince Guidon Saltanovich, and of the Swan Princess) (1899-1900) CepBHJiHR(Serviliya) (1900-01) Kaujen 6eccMepTHbM(Kashcheg the Deathless) (1901-02) [JaH BoeBOjja () (1902-03) Cwaaawwe o HeBHmtsioM rpane Kureme h neBe $eBpoHiin(The Legend of the Invisible City of Kitezh and the Maiden Fcvroniya) (1903-04) 3o j i o t o r neryuiOK (The Golden Cockerel) (1906-07) CreHbKa Pa3RH (Sten’ka Razin) (1905, sketches only) 3eMfin R He6o(Heaven and Earth) (1905, sketches only)

Sergey Ivanovich Taneyev (1856-1915) OpecreH (Oresteya) (1887-94)

Sergey Vasilievich Rakhm aninov (1873-1943) EcMepanbua (Esmeralda) (1888, scenes only) AneKo (Aleko) (1892) CnyROR pbiuapb (The Miserly Knight) (1903-05)

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