Name: Khovanshchina
Start: 2023-10-29T00:00:00.000Z
End: 2024-04-24T00:00:00.000Z
Location: Stanislavsky and Nemirovich-Danchenko Music Theater

Organization

Admin

Stanislavsky and Nemirovich-Danchenko Academic Music Theatre

Singer

Mezzo-soprano

Natalia Zimina

Marfa

Bass

Dmitry Ulyanov

Prince Ivan Khovansky

Soprano

Maria Makeeva

Emma

Baritone

Dmitry Polkopin

Kuzka

Tenor

Dmitry Kondratkov

Streshnev

Vladimir Dmitruk

Prince Vasiliy Golitsin

Stanislav Chernenkov

Varsonofyev

Nikolay Erokhin

Prince Andrey Khovansky

Gabriel De Rel

First strelets

Maxim Osokin

Second strelets

Valery Mikitsky

Scrivener

Mikhail Basenko

Golitsin's messenger

Irina Vashchenko

Susanna

Stage director

Alexander Titel

Conductor

Timur Zangiev

Lighting designer

Damir Ismagilov

Costume designer

Maria Danilova

Set designer

Vladimir Arefiev

Choreographer

Larisa Alexandrova

Igor Korostylev

Dosifey

Anton Zaraev

Shaklovity

Chingis Ayusheev

Kirill Zolochevsky

Daria Terekhova

Voice

Margarita Guscha

Kirill Matveev

Felix Kudryavtsev

Daniil Malykh

Alexey Tikhomirov

Mikhail Golovushkin

Natalya Muradymova

Orchestra

Orchestra of the Moscow Academic Musical Theatre

rusă

Khovanshchina

Moscow

Russia

Stanislavsky and Nemirovich-Danchenko Music Theater

Main stage

Khovanshchina Mussorgsky

Public

Approved

Opera by Modest Mussorgsky Ivan Khovansky - Dmitry Ulyanov. Choir and orchestra of the Musical Theatre. Conductor: Alexander Lazarev. Director: Alexander Titel. Artist: Vladimir Arefiev; Choirmasters: Stanislav Lykov, Alexander Rybnov, Vladimir Pogorov Recorded in 2015 *** Opera by Modest Mussorgsky Ivan Khovansky - Dmitry Ulyanov. Chorus Ensemble and Orchestra of the Stanislavsky Music Theater; Conductor: Alexander Lazarev. Director: Alexander Titel; Set Designer: Vladimir Arefiev; Costume Designer: Maria Danilova; Chorus Masters: Stanislav Lykov, Alexander Rybnov, Vladimir Pogorov *** “Khovanshchina” by Modest Mussorgsky, staged by Alexander Titel and Vladimir Arefiev, is a grandiose operatic fresco, which premiered on February 18, 2015. Musical director and stage conductor Alexander Lazarev. Costume designer Maria Danilova. Lighting designer Damir Ismagilov. The performance is a laureate of the Russian National Theater Award and the Golden Mask Festival 2016 in the category "Best Opera Performance". The performance is a winner of the Moscow Prize in the field of literature and art 2016.

Khovanshchina/ Khovanshchina. Resumption of the performance.

The Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre brings Modest Mussorgsky’s opera “Khovanshchina” back to its repertoire. The premiere performances of the renewed production are scheduled on April 13th and 14th 2022 on the Main Stage.

“Khovanshchina” is probably the most “Russian” opera regarding its original music and plot. The composer himself defined its genre as a folk musical drama. “Khovanshchina” consists of series of historical sketches depicting the fates of historical and fictional characters. In these sketches, the Russian people occupy a special place. It is difficult to find at least one positive character in the opera but it is easy to discern the “Russian suffering” theme that has such a vivid reflection in Russian culture. Mussorgsky began composing his grandiose historical collage in 1872, precisely at a time when public interest in Russian history was as great as ever. The plot of the opera intertwines historical events that took place between the Streletsky riot of 1682 (it gave the opera its name) and the final confirmation of Tsar Peter Alekseevich in power. The Russian people then found themselves torn apart by a dispute about the choice of their civilisational path, a dispute about the old and new faith tormented by rhetorical questions like: “who is to blame?” and “what should we do?” Any outcome of the dispute as well as any answer to those questions would have been fatal for Russia. Indeed, “Khovanshchina” could have become the most Russian opera if the composer had fulfilled his ambitions and finished it.

Mussorgsky spent a lot of time and energy while working on the opera. By the time he passed away in 1881, the opera was ready (apart from the final act) to be played in clavier. The majestic scale of Mussorgsky’s unfinished opera was firstly recognized by Rimsky-Korsakov who conducted the first screenings and wrote the music for the final act (for many years the opera was performed in his edition). In the XX century another edition of Khovanshchina appeared. Dmitry Shostakovich created his own version that is characterized by a feeling of gloominess and all–consuming existential horror.

The version of “Khovanshchina” opera edited by Dmitry Shostakovich was premiered in the Music Theatre in 2015. The music for the final act was written by modern composer Vladimir Kobekin.

The music director of the renewed play is Alexander Lazarev who is famous for his splendid records of numerous Russian operas. The stage director of the play, stage designer and choirmaster are Alexander Titel, Vladimir Arefiev and Stanislav Lykov.

The cast of artists is similar to the one that was in 2015. Dmitry Ulianov (bass) will act as Ivan Khovansky and Nikolai Erokhin (tenor) as his son Andrey Khovansky. The part of Marfa is performed by Natalia Zimina and Ksenia Dudnikova (mezzo-soprano). Igor Korostylev (bass), Vlamidir Dmitruk (tenor), Kirill Matveev and trainee soloists will also take part in the renewal of the opera.

English

«Хованщина» по самобытности музыки, по своему сюжету, пожалуй, могла бы стать самой «русской» оперой. Композитор определил ее жанр так – народная музыкальная драма. «Хованщина» – это череда исторических эскизов, на которых изображены судьбы реальных исторических и вымышленных самим композитором персонажей. На этих эскизах особое место занимает русский народ. В опере сложно отыскать хотя бы одного положительного героя, но легко разглядеть «злосчастную Русь страдалицу»… Мусоргский приступил к сочинению своего грандиозного исторического коллажа в 1872 году, именно в тот период, когда интерес к отечественной истории был как никогда велик. В сюжете оперы переплетены исторические события, произошедшие между стрелецким бунтом 1682 года (он и дал название опере) и окончательным утверждением у власти царя Петра Алексеевича. Русский народ тогда оказался  раздираем спором о выборе своего цивилизационного пути, спором о старой и новой вере, мучим извечными вопросами «кто виноват» и «что делать». Любой исход спора, как и любой ответ на вопрос оказался бы для Руси фатальным. Действительно, по глубине, по духу «Хованщина» могла бы стать самой русской оперой, доведи композитор свой авторский замысел до конца.

Мусоргский работал долго и трудно, начинал и бросал свои сочинения: к моменту смерти композитора в 1881 году «Хованщина» за исключением финальной сцены последнего акта была готова в клавире. Величавый масштаб неоконченной оперы Мусоргского первым из композиторов распознал Римский-Корсаков, который оркестровал сочинение и дописал финальную сцену (долгое время «Хованщина» существовала именно в редакции Римского-Корсакова). В XX в. появилась еще одна редакция «Хованщины»: Шостакович создал собственную версию, музыкальному решению которой присуще производимое ощущение мрачности, а порой – всепоглощающего экзистенциального ужаса.

Музыкальный театр свою «Хованщину», премьера которой состоялась в 2015 году, исполняет в редакции Дмитрия Шостаковича. Музыку финальной сцены оперы написал наш современник, композитор Владимир Кобекин.

Музыкальным руководителем постановки и возобновления стал дирижер Александр Лазарев, сделавший признанные эталонными записи многих русских опер. Режиссер-постановщик и режиссер возобновления – Александр Титель, сценограф – Владимир Арефьев, главный хормейстер – Станислав Лыков.

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