DOCSLIB.ORG

“Boris Godunov” to “Khovanshchina”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Boris Godunov” to “Khovanshchina” 14 FROM “BORIS GODUNOV” TO “KHOVANSHCHINA” Th e essay below, published in Reading Opera, eds. Arthur Groos and Roger Parker (Princeton: Princeton University Press, 1988), 235–67, was my pioneering attempt to move off Boris Godunov and on to Musorgsky’s late, unfi nished wonderwork Khovanshchina, a musical-historical drama diff erently constructed in almost all respects. It resulted in a sea-change of sympathy — which was rebalanced only by my reBorisifi cation in 2007, brought about through contact with Prokofi ev. MUSORGSKY’S LIBRETTI ON HISTORICAL THEMES: FROM THE TWO BORISES TO KHOVANSHCHINA 1988 Just over one hundred years ago — in February 1886 — an amateur music group in Petersburg staged the premiere performance of Musorgsky’s Khovanshchina.1 Both music and libretto in this production diff ered profoundly from the piano-vocal score that Musorgsky had left incomplete at the time of his death fi ve years earlier. Th is in itself should occasion no surprise; re-doing Musorgsky’s compositions is a minor industry. What is surprising is that Khovanshchina survived at all. After Musorgsky’s death, Rimsky-Korsakov spent two years on the manu- script, cutting some 800 bars of music and orchestrating, reharmonizing, 1 For an account of the premiere and a brief performance history, see M. Rakhmanova, “K 100-letiiu prem’ery ‘Khovanshchiny’” [In Honor of the Centennial of the Premiere of Khovanshchina], Sovetskaia muzyka, 1986 (3), 88–96. Sovetskaia muzyka is cited hereafter as SM. — 269 — ------------------------------------ PART III. MUSICALIZING THE LITERARY CLASSICS ----------------------------------- and shaping the score into a performance version.2 Th e libretto passed the state literary censorship in September 1882, and Bessel published a full score the following year.3 But in tsarist Russia, dramatic texts approved for print were then subject to another, more severe censorship for public performance.4 When Khovanshchina came up for consideration, Russia was in a period of crisis and political reaction. Tsar Alexander II, liberator of the serfs, had been cut down by a terrorist’s bomb in March 1881, the very month of Musorgsky’s death. Literary advisory committees attached to the imperial theaters were understandably nervous about historical opera on political themes. “One radical opera by Musorgsky is enough,” the Imperial Opera Committee reputedly said when Khovanshchina came to a vote, and was rejected, in 1883.5 Rimsky-Korsakov resigned from the committee in protest. When the opera was fi nally brought to the amateur stage, its plot was unrecognizable. All reference to the Old Belief had disappeared (including the entire self-immolation scene at the end), and the religious dissenters had been replaced by a nondescript group of Muscovites vaguely politicking on behalf of Andrei Khovansky.6 In an article marking the fi fth anniversary of 2 Th e most important cuts were: the wrecking of the Clerk’s booth (Act 1); Golitsyn’s reading of his mother’s letter, the episode between Goiitsyn and the Lutheran pastor, and a substantial portion of Dosifei’s dialogue (Act II); and the streltsy’s “Rumor Song” (Act III). 3 Th e fi rst edition of the Rimsky-Korsakov redaction of Kbovanshchina, published by Bessel in 1883, bears a censor-stamp dated 8 September 1882. Th e score contains plate numbers at the beginning of clearly detachable dramatic episodes, which suggests that Bessel contemplated marketing individual arias and choruses as sheet music. I thank Robert William Oldani for information on the 1883 score and its U.S. location (Boston Public Library). 4 Robert Oldani, who is currently researching this stratifi cation of censorship, has located no single statute that draws a distinction between the right to read a text and the right to perform it. But such secondary censorship indisputably existed. Th ree years after the Khovanshchina score was published, “theatrical censorship” made its presence keenly felt in the premiere performance. Konstantin Pobedonostsev, lay head of the Russian Orthodox Church and chief advisor to the Tsar, objected to the libretto’s graphic portrayal of state persecution of religious dissenters, and that theme was “rewritten” in the performing version. For the problems Rimsky encountered in bringing Khovanshchina to the stage, see A. Gozenpud, “V bor’be za naslediia Musorgskogo” [Fighting for Musorgsky’s Legacy], SM 1956 (3), 88–93. On Musorgsky’s earlier experience with the censorship over Boris, see Oldani, “Boris Godunov and the Censor,” 19th-century Music 2 (1979): 245–53. 5 See Gozenpud, 89, and V. V. Stasov, “Po povodu postanovki ‘Khovanshchiny’ (Pis’mo k redaktoru)” [Concerning the Production of Khovanshchina (A Letter to the Editor)] in V. V. S t a s ov, Stat’i o muzyke (Moscow, 1977), 3:277. 6 For details of the changes in the premiere, see Rakhmanova (n. 1 above), 94, and Gozenpud, 88–89. Gozenpud relates that E. Feoktistov, Chief of the Main Bureau for — 270 — ---------------------------------- 14. FROM “BORIS GODUNOV” TO “KHOVANSHCHINA” --------------------------------- Musorgsky’s death, Vladimir Stasov remarked bitterly: “Is it even thinkable that in Germany people would conceal and stubbornly forbid to be staged a still unperformed opera of Wagner’s? But with us it’s fully thinkable.”7 One hundred years have passed, and Musorgsky’s move from musical eccentric to mainstream classic is now well-researched territory. Centennial celebrations in the last decade have occasioned a new round of discussions in the Soviet press on Musorgsky’s skills as a librettist and on his historical sensibilities. Th e present essay grows out of that recent literature, and out of my own dissatisfaction at attempts to yoke together Musorgsky’s two major operas under a single continuous “philosophy of history.” Several central questions remain unresolved. What changes occurred in Musorgsky’s historical imagination as he moved from Boris Godunov to Khovanshchina? Is there continuum, or a conceptual break? Th e music of the two operas is plotted and distributed according to very diff erent principles. Can the two libretti on historical themes be said to have an integrated poetics? I will argue here that Musorgsky’s mode of emplotting history did indeed evolve, but in a direction uncongenial both to the progressive Hegelians of Musorgsky’s own era and to the ideology of his later Soviet interpreters. Within nineteenth-century Russian culture, this evolution is not so much linear as circular, a return to the source of Musorgsky’s initial inspiration in historical drama, Pushkin’s Boris Godunov. But this return is complex and indirect. Along the way, Musorgsky appears to have developed a vision of history quite radical for historical opera — even as he embodied that vision in increasingly conventional, Italianate operatic forms. We might open the argument with a review of Musorgsky’s earlier experience as a prose dramatist. I Although Musorgsky was librettist for all his operas, his source material came in varying degrees of literary “preparedness.” His fi rst operatic experiment Printed Materials and advisor to Pobedonostsev, exhorted Rimsky-Korsakov to remove the Old Believers from the opera and “turn them into people dissatisfi ed with something.” “But dissatisfi ed with what?” Rimsky asked. “Th ere’s lots to choose from,” Feoktistov answered. “Ultimately, I guess, Peter’s reforms” (Gozenpud, 88). Th e time of the opera, of course, precedes Peter’s reforms by at least a decade. 7 “Iz stat’i ‘Pamiati Musorgskogo’” [From the article “In Musorgsky’s Memory”], in Stasov, Stat’i o muzyke, III, 283. Th e article originally appeared in the journal Istoricheskii vestnik (March 1886): 644–56. — 271 — ------------------------------------ PART III. MUSICALIZING THE LITERARY CLASSICS ----------------------------------- drew on a novel, Flaubert’s Salammbô; his second was a word-for-word setting of a portion of Gogol’s dramatic farce, Marriage. At the end of his life Musorgsky again returned to Gogol, this time to the Ukrainian tales, for “Th e Fair at Sorochintsy.” All these projects were either abandoned or left incomplete. Th e two great operas for which Musorgsky is remembered, Boris Godunov and Khovanshchina, do not have prose fi ction at their base but rather historical drama — or the naked historical document itself. Let us fi rst consider Boris. Out of Pushkin’s Boris Godunov Musorgsky created two versions of an opera, one in 1869 and a revised version between 1872–1874. As Richard Taruskin has persuasively argued, these two operas are not variants of a single plan but two quite separately conceptualized wholes.8 Musorgsky composed his initial 1869 version under the infl uence of a strict realist aesthetic, in which fi delity to the verbal text and the intonational patterns of Russian speech took precedence over musical form or development.9 Th is fi rst version nevertheless refl ects a curious type of fi delity. Th e words that characters sing, and thus the sentiments they express at any given moment, are indeed those of Pushkin’s characters realized in music. Since music slows down a text, however, Musorgsky was obliged (as are most librettists who adapt an existing stage drama) to cut and simplify the story drastically. Th is reduction in the number and complexity of scenes could only result in a very casual fi delity to the whole of the source. Pushkin’s sense of the historical event, as well as his balancing of one scene against another that is so crucial for a poet, was inevitably lost. Th e 1874 version of the opera has an equally complex relation to its source. After the Th eater Directorate rejected the initial version, Musorgsky returned to Pushkin and created an entire new act out of the Polish scenes. Th e new 8 Richard Taruskin, “Musorgsky vs. Musorgsky: Th e Versions of Boris Godunov,” in 19th- century Music 8 (1984–85): 91–118 and 245–72.
Load more

Recommended publications
  • Musorgsky's Boris Godunov
    22 JANUARY 2019 Musorgsky’s Boris Godunov PROFESSOR MARINA FROLOVA-WALKER Today we are going to look at what is possibly the most famous of Russian operas – Musorgsky’s Boris Godunov. Its route to international celebrity is very clear – the great impresario Serge Diaghilev staged it in Paris in 1908, with the star bass Fyodor Chaliapin in the main role. The opera the Parisians saw would have taken Musorgsky by surprise. First, it was staged in a heavily reworked edition made by Rimsky-Korsakov after Musorgsky’s death, where only about 20% of the bars in the original were left unchanged. But that was still a modest affair compared to the steps Diaghilev took on his own initiative. The production had a Russian cast singing the opera in Russian, and Diaghilev was worried that the Parisians would lose patience with scenes that were more wordy, since they would follow none of it, so he decided simply to cut these scenes, even though this meant that some crucial turning points in the drama were lost altogether. He then reordered the remaining scenes to heighten contrasts, jumbling the chronology. In effect, the opera had become a series of striking tableaux rather than a drama with a coherent plot. But as pure spectacle, it was indeed impressive, with astonishing sets provided by the painter Golovin and with the excitement generated by Chaliapin as Boris. For all its shortcomings, it was this production that brought Musorgsky’s masterwork to the world’s attention. 1908, the year of the Paris production was nearly thirty years after Musorgsky’s death, and nearly and forty years after the opera was completed.
    [Show full text]
  • Boris Godunov
    Boris Godunov and Little Tragedies Alexander Pushkin Translated by Roger Clarke FE<NFIC; :C8JJ@:J ONEWORLD CLASSICS LTD London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.oneworldclassics.com Boris Godunov first published in Russian in 1831 The Mean-Spirited Knight first published in Russian in 1836 Mozart and Salieri first published in Russian in 1831 The Stone Guest first published in Russian in 1839 A Feast during the Plague first published in Russian in 1832 This translation first published by Oneworld Classics Limited in 2010 English translations, introductions, notes, extra material and appendices © Roger Clarke, 2010 Front cover image © Catriona Gray Printed in Great Britain by MPG Books, Cornwall ISBN: 978-1-84749-147-3 All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Boris Godunov 1 Introduction by Roger Clarke 3 Boris Godunov 9 Little Tragedies 105 Introduction by Roger Clarke 107 The Mean-Spirited Knight 109 Mozart and Salieri 131 The Stone Guest 143 A Feast during the Plague 181 Notes on Boris Godunov 193 Notes on Little Tragedies 224 Extra Material 241 Alexander Pushkin’s Life 243 Boris Godunov 251 Little Tragedies 262 Translator’s Note 280 Select Bibliography 282 Appendices 285 1.
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • Russia in the Accounts of Sixteenth-Century English Voyagers, Ed
    Rude and Barbarous Kingdom: Russia in the Accounts of Sixteenth-Century English Voyagers, ed. Lloyd E. Berry and Robert O. Crummey, Madison, Milwaukee and London: University of Wisconsin Press, 1968. xxiii, 391 pp. $7.50. This attractively-presented volume is yet another instance of the work of publishers in making available in a more accessible form primary sources which it was hitherto necessary to seek among dusty collections of the Hakluyt Society publications. Here we have in a single volume accounts of the travels of Richard Chancellor, Anthony Jenkinson and Thomas Randolph, together with the better-known and more extensive narrative contained in Giles Fletcher's Of the Russe Commonwealth and Sir Jerome Horsey's Travels. The most entertaining component of this volume is certainly the series of descriptions culled from George Turberville's Tragicall Tales, all written to various friends in rhyming couplets. This was apparently the sixteenth-century equivalent of the picture postcard, through apparently Turberville was not having a wonderful time! English merchants evidently enjoyed high favour at the court of Ivan IV, but Horsey's account reflects the change of policy brought about by the accession to power of Boris Godunov. Although the English travellers were very astute observers, naturally there are many inaccuracies in their accounts. Horsey, for instance, mistook the Volkhov for the Volga, and most of these good Anglicans came away from Russia with weird ideas about the Orthodox Church. The editors have, by their introductions and footnotes, provided an invaluable service. However, in the introduction to the text of Chancellor's account it is stated that his observation of the practice of debt-bondage is interesting in that "the practice of bondage by loan contract did not reach its full development until the economic collapse at the end of the century and the civil wars that followed".
    [Show full text]
  • The End of Boris. Contribution to an Aesthetics of Disorientation
    The end of Boris. ConTriBuTion To an aesTheTiCs of disorienTaTion by reuven Tsur The Emergence of the Opera–An Outline Boris Godunov was tsar of russia in the years 1598–1605. he came to power after fyodor, the son of ivan the terrible, died without heirs. Boris was fyodor's brother-in-law, and in fact, even during fyodor's life he was the omnipotent ruler of russia. ivan the Terrible had had his eldest son executed, whereas his youngest son, dmitri, had been murdered in unclear circumstances. in the 16–17th centuries, as well as among the 19th-century authors the prevalent view was that it was Boris who ordered dmitri's murder (some present-day historians believe that dmitri's murder too was ordered by ivan the Terrible). in time, two pretenders appeared, one after the other, who claimed the throne, purporting to be dmitri, saved miraculously. Boris' story got told in many versions, in history books and on the stage. Most recently, on 12 July 2005 The New York Times reported the 295-year-late premiere of the opera Boris Goudenow, or The Throne Attained Through Cunning, or Honor Joined Happily With Affection by the German Baroque composer Johann Mattheson. Boris' story prevailed in three genres: history, tragedy, and opera. in the nineteenth century, the three genres culminated in n. M. Karamzin's monumental History of the Russian State, in alexander Pushkin's tragedy Boris Godunov, and in Modest Mussorgsky's opera Boris Godunov. each later author in this list liberally drew upon his predecessors. in her erudite and brilliant 397 reuven tsur the end of boris book, Caryl emerson (1986) compared these three versions in a Pimen interprets as an expression of the latter's ambition.
    [Show full text]
  • Così Fan Tutte Cast Biography
    Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin.
    [Show full text]
  • Musically Russian: Nationalism in the Nineteenth Century Joshua J
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
    [Show full text]
  • 03-10-2018 Semiramide Mat.Indd
    GIOACHINO ROSSINI semiramide conductor Opera in two acts Maurizio Benini Libretto by Gaetano Rossi, based on production John Copley the play Sémiramis by Voltaire set designer Saturday, March 10, 2018 John Conklin 1:00–4:40 PM costume designer Michael Stennett lighting designer John Froelich revival stage director The production of Semiramide was Roy Rallo made possible by a generous gift from the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader’s Digest Association, Inc. The revival of this production is made possible by a gift from Ekkehart Hassels-Weiler general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 34th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance semiramide is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Maurizio Benini Network, sponsored in order of vocal appearance by Toll Brothers, America’s luxury oroe, high priest of the magi ® homebuilder , with Ryan Speedo Green* generous long-term support from idreno, an indian prince The Annenberg Javier Camarena Foundation, The Neubauer Family assur, a prince Foundation, the Ildar Abdrazakov Vincent A. Stabile Endowment for semir amide, queen of babylon Broadcast Media, Angela Meade and contributions from listeners arsace, commander of the assyrian army worldwide. Elizabeth DeShong There is no Toll Brothers– a zema, a princess Metropolitan Sarah Shafer Opera Quiz in List Hall today. mitr ane, captain of the guard Kang Wang** This performance is also being broadcast ghost of king nino live on Metropolitan Jeremy Galyon Opera Radio on SiriusXM channel 75.
    [Show full text]
  • Wednesday Playlist
    August 14, 2019: (Full-page version) Close Window “Art and life are not two separate things.” — Gustav Mahler Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Weber Overture ~ Der Freischutz Dresden State Orchestra/Sinopoli DG 449 216 028944921625 Awake! 00:11 Buy Now! Haydn Notturno No. 5 in C Root/Niesemann/Mozzafiato/L'Archibudelli Sony 62878 074146287828 00:19 Buy Now! Brahms Violin Concerto in D, Op. 77 Oliveira/Seattle Symphony/Schwarz Artek 0003 661853000328 01:01 Buy Now! Ponchielli Dance of the Hours ~ La gioconda Cincinnati Pops/Kunzel Vox 5130 047163513022 01:10 Buy Now! Strauss Sr. Paris Waltz Vienna Philharmonic/Pretre Decca 10611 028947800347 01:18 Buy Now! Granados Fandango by Candlelight ~ Goyescas Xiayin Wang Chandos 10995 095115199527 01:26 Buy Now! Mozart Sinfonia Concertante in E flat, K. 297b Philadelphia Orchestra/Ormandy Sony 67177 074646717721 02:00 Buy Now! Chopin Etudes, Op. 25 Murray Perahia Sony 61885 074646188521 Pastorale Variee for Clarinet, Harp and String 02:30 Buy Now! Ben-Haim Drosinos/St. Petersburg Symphony/Lande Marquis 774718142320 774718142320 Orchestra, Op. 31b 02:47 Buy Now! Schubert Impromptu in C minor, D. 899 No. 1 Simone Dinnerstein Sony 798943 03:00 Buy Now! Bach Brandenburg Concerto No. 2 in F, BWV 1047 Thibaud/Bach Orchestra Munich/Richter Archiv 427 143 028942714328 03:12 Buy Now! Bax Roscatha Ulster Orchestra/Thomson Chandos 8367 n/a String Sextet in D minor, Op. 70 "Souvenir of 03:24 Buy Now! Tchaikovsky Takezawa/Kim/Dutton/Neubauer/Finckel/Diaz BBC MM202 n/a Florence" 04:00 Buy Now! Massenet Ballet Music ~ Le Cid City of Birmingham Symphony/Fremaux EMI 63024 077776302423 04:20 Buy Now! Puccini E lucevan le stelle ~ Tosca Bergonzi/Paris Conservatory Orchestra/Pretre EMI 06126 5099920612627 04:24 Buy Now! Beethoven Piano Concerto No.
    [Show full text]
  • Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
    Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition.
    [Show full text]
  • Boris Godunov
    Modest Mussorgsky Boris Godunov CONDUCTOR Opera in a prologue and four acts Valery Gergiev Libretto by the composer, based on the play by PRODUCTION Alexander Pushkin (1875 version, with additions Stephen Wadsworth from the 1869 version) SET DESIGNER Ferdinand Wögerbauer Saturday, October 23, 2010, 12:00–4:15 pm COSTUME DESIGNER Moidele Bickel New Production LIGHTING DESIGNER Duane Schuler CHOREOGRAPHER Apostolia Tsolaki This production of Boris Godunov was made possible by generous gifts from Karen and Kevin Kennedy, Mr. and Mrs. Howard Solomon, and Mr. and Mrs. Wilmer J. Thomas, Jr. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 268th Metropolitan Opera performance of Modest Mussorgsky’s Boris Godunov Conductor Valery Gergiev in o r d e r o f v o c a l a p p e a r a n c e Nikitich, a police officer Xenia, daughter of Boris Valerian Ruminski Jennifer Zetlan Mitiukha, a peasant Feodor, son of Boris Mikhail Svetlov Jonathan A. Makepeace Shchelkalov, a boyar Nurse, nanny to Boris’s Alexey Markov children Larisa Shevchenko Prince Shuisky, a boyar Oleg Balashov Boyar in Attendance Brian Frutiger Boris Godunov René Pape Marina Ekaterina Semenchuk Pimen, a monk Mikhail Petrenko Rangoni, a Jesuit priest Evgeny Nikitin Grigory, a monk, later pretender to the Russian throne Holy Fool Aleksandrs Antonenko Andrey Popov Hostess of the Inn Chernikovsky, a Jesuit Olga Savova Mark Schowalter Missail Lavitsky, a Jesuit Nikolai Gassiev Andrew Oakden Varlaam Khrushchov, a boyar Vladimir Ognovenko Dennis Petersen Police Officer Gennady Bezzubenkov Saturday, October 23, 2010, 12:00–4:15 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [Show full text]