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This opera is based on a drama by Lev Mey and was premiered in 1899. It is a very popular work in Russia at the present time. This 1973 performance brought a number of great Russian artists together, including Evgeny Nesterenko, Galina Vishnevskaya, Vladimir Atlantov and Irina Arkhipova.
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Ekaterina Kudriavchenko (Marfa), Arkady Mishenkin (Ivan Likov), Vladislav Verestnikov (Grigory Gryaznoy), Nina Terentieva (Lyubasha), Vladimir Kudriashov (Bomelius), Pyotr Gluboky (Vasily Sobakin), Elena Okolysheva (Dunyasha), Irina Udalova (Saburova), Nikolai Nizienko (Grigory Malyuta-Skuratov), Nina Larionova (Servant), Tatiana Pechuria (Petrovna), Vladislav Pashinsky (Coachman) & Yuri Markelov (Young Lad)
Sveshnikov Russian Academic Choir & Bolshoi Theatre Orchestra, Andrey Chistiakov
A 100% Russian feast - An all-Russian cast in this very Russian opera of Rimsky-Korsakov, one of the finest Russian opera composers (and still neglected in this field).
A must for opera fans and everybody with a taste for dramatic, highly romantic and athmospheric music with more then a touch of couleur locale.
Very few CD competitors in this repertoire, and certainly not in this price range. Rimsky-Korsakov’s tenth opera, The Tsar’s Bride moves away from the fairytale tableauxstyle of opera in which he had triumphed. This is a grand narrative in the Verdian style. That said, the musical language is unmistakably Russian, with a motif (Slava) running like a thread throughout the score. This motto can also be heard in Boris Godunov, Beethoven’s second ‘Razumovsky’ Quartet, and Tchaikovsky’s Mazeppa. The score also displays Rimsky’s mastery of contrapuntal techniques, and of course his extraordinary use of the orchestra combine to produce a ravishing sound.
The opera, although successful in the early years of the 20th century, and throughout the early Soviet period, fell into neglect by midcentury as did most of his stage work. Galina Vishnevskaya, the great Russian soprano did much to restore the fortunes of this masterpiece with her searing interpretations of poor deranged Marfa (the wife of Ivan the Terrible). After noticing a mad woman on the streets of Leningrad after the siege, she wrote ‘I was deeply affected by her intensity and the despair of her introverted gaze. It was as if she were trying to recall something, straining to make out, in the depths of a bottomless chasm, something known to her alone.’
“The aria is tenderly sung by Ekaterina Kudriavchenko, who handles with great sensitivity this portrayal of a figure familiar from many Russian novels and operas, the suffering heroine. Lyubasha is potently sung by Nina Terentieva, somewhat in the
charged manner of another Marfa, that of Mussorgsky's Khovanshchina. She suggests banked fires of passion, sings her unaccompanied song caressingly, and rounds with both dignity and rage on the slimy Bomelius (Vladimir Kudriashov) even
as she consents to his advances for the sake of his potions, snarling at him the word "nemets": translated by the libretto as "monster”. Gryaznoy's opening aria is also a difficult one, for Rimsky gives him a melodic line that presents him as a
character of some sympat hy, if we do not know that he is regretting that he is now getting too old for the rapes he used to enjoy so much and is casting his eyes on the innocent Marfa instead of his mistress Lyubasha.Vladislav Verestnikov rightly
handles this with a kind of blunt strength that does not give away too much. Later, he suggests an increasing and destructive tension, while also a certain magnificence.” Gramophone Magazine
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Live performance from 1983
Lydia Kovaleva (Marfa), Yuri Grigoriev (Grigory Gryaznoy), Boris Morozov (Malyuta Skuratov), Evgeny Shapin (Ivan Sergeyevich Likov), Nina Terentieva (Lyubasha), Konstantin Pustovoi (Yelisey Bomelius), Larissa Yurchenko (Domna Ivanovna Saburova), Marina Shutova (Dunyasha), Nina Grigorieva (Petrovna)
Orchestra and Chorus of the Bolshoi Theatre, Yuri Simonov
omposed in 1898, “The Tsar’s Bride” was Rimsky-Korsakov’s tenth opera. Based on the true story of an ill-fated peasant bride of Tsar Ivan (“Ivan the Terrible”), the opera was composed in a traditional musical style, filled with lush “cantilena” melodies, intended by the composer as a response to the ubiquitous influence of Wagner. This 1983 Bolshoi Opera production features a magnificent cast under the direction of Yuri Simonov. Color, Mono, 4:3, 158 minutes; Sung in Russian, with optional subtitles in English, French, and Russian, All regions.
Usually despatched in 4 - 5 working days.
Mikhail Stepanovich Grishko (Grigory Grigor'yevich Gryaznoy),Elizaveta Ivanovna Chavdar (Marfa), Vera Lyubimova (Domna Ivanovna Saburavova), Boris Gmyria (Vasily Stepanovich Sobakin), Pyotr Belinnik (Ivan Sergeyevich Lykov), Antonina Sopova (Dunyasha), Larisa Arkhipovna Rudenko (Lyubasha), Zinaida Kushnareva (Petrovna), Vladimir Matveyev (Grigory Luk'yanovich Malyuta-Skuratov), Vasili Babenko (Servant), Pavel Ivanov (Elisa Bomelius)
Kiev Opera Orchestra, Kiev Opera Chorus, Vladimir Piradov
Rimsky Korsakov: 5 Operas
Kashchey the Immortal
Konstantin Pluzhhnikov (Kashchey the Immortal), Marina Shaguch (The Princess), Larissa Diadkova (Kashcheyevna), Alexander Gergalov (Prince Ivan Korolevich) & Alexander Morozov (The Storm Knight)
The Legend of the Invisible City of Kitezh and the Maiden Fevronia
Nicolai Ohotnikov (Prince Yury Vsevolodich), Yuri Masurin (Prince Vsevolod), Galina Gorchakova (Fevroniya), Vladimir Galuzin (Grishka Kuter' ma), Nicolai Putilin (Feodor Poyarok), Olga Korzhenskaya (Page), Evgeny Boitsov, Evgeny Fedorov (Two well-off people), Mikhail Kit (Gusli player), Nikolai Gassiev (Bear leader), Grigory Karazev (Singing beggar), Bulat Minjilkiev (Bedyay), Vladimir Ognovienko (Burunday), Tatiana Kravtsova (Sirin) & Larissa Diadkova (Alkonost)
The Maid of Pskov
Vladimir Ognovienko (Ivan the Terrible), Galina Gorchakova (Princess Olga), Vladimir Galusin (Mikhail A. Tucha), Ludmilla Filatova (Vlasyevna), Evgenia Perlasova (Perfilyevna), Olga Korzhenskaya (Styosha), Gennady Bezzubenkov (Prince Yuri I. Tokmakov), Nikolai Gassiev (Boyar Nikita Matuta), Evegeny Fedotov (Prince Afanasy Vyazemski), Georgy Zastavni (Yushko Velebin) & Yuri Laptev (Bomelius)
The Tsar's Bride
Gennady Bezzubenkov (Vasily Stepanovich Sobakin), Marina Shaguch (Marfa), Dmitri Hvorostovsky (Grigory Grigoryevich Gryaznoy), Sergei Alexashkin (Grigory Lukyanovich Malyuta-Skuratov), Evgeny Akimov (Ivan Sergeyevich Lykov), Olga Borodina (Lyubasha), Nikolai Gassiev (Yelisey Bomelius), Irina Loskutova (Domna Ivanovna Saburova), Olga Markova-Mikhailenko (Dunyasha), Lyubov Sokolova (Petrovna), Yuri Shkliar (Stoker), Lyudmila Kasjanenko (Serving Girl) & Viktor Vikhrov (Lad)
Vladimir Galusin (Sadko), Marianna Tarassova (Marianna Tarassova), Sergei Alexashkin (Okian-more), Valentina Tsidipova (Volkhova), Larissa Diadkova (Nezhata), Vladimir Ognovenko (Duda), Nikolai Gassiev (Sopel), Evgeni Boitsov (Foma Nazarich), Gennadi Bezzubenkov (Luka Zinovich), Bulat Minjelkiev (Varangian Merchant), Alexander Gergalov (Venetian Merchant), Gegam Grigorian (Indian Merchant) & Nikolai Putilin (Apparition)
Kirov Opera & Orchestra, Mariinsky Theatre, St. Petersburg, Valery Gergiev
Enter the magical world of Rimsky-Korsakov opera with five celebrated recordings made by the Kirov Opera under Valery Gergiev: Kashchey the Immortal, Legend of the Invisible City of Kitezh, The Maid of Pskov, Sadko, and The Tsar's Bride – a unique set with no competition on the market.
A great follow-up to the earlier Prokofiev Operas box (4782315). Synopses included.
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