Name: Tsarskaya Nevesta
Start: 2017-08-07T00:00:00.000Z
End: 2017-08-07T00:00:00.000Z
Location: Palco

Organization

Direzione d'orchestra

Pavel Smelkov

Valery Gergiev

Pianoforte

Irina Soboleva

Cantante

Basso

Oleg Sychev

Vasily Stepanovich Sobakin

Soprano

Albina Schagimuratova

Marfa

Baritono

Kirill Zharovin

Grigory Grigorevich Gryaznoy

Vladimir Feliauer

Malyuta Skuratov

Tenore

Evgeny Akhmedov

Il boiardo Ivan Sergeyevich Lykov

Mezzosoprano

Yulia Matochkina

Lyubasha

Alexei Kostyuk

Yelisey Bomeliy

Alena Diyanova

Domna Ivanovna Saburova

Contralto

Laura Bustamante

Dunyasha

Svetlana Rozhok

Petrovna

Sergei Pleshivtsev

Il fuochista dello zar

Others

The Mariinsky Chorus

Primorsky Stage of the Mariinsky Theatre

Tsarskaya Nevesta -  (La fidanzata dello Zar)

Vladivostok

Russia

Big Hall

Tsarskaya Nevesta

Public

La fidanzata dello Zar

inglese

Approvato

Palco

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chefdirigent Musiktheater

Chorus Director

Composizione

Coreografia

Coro

Costumi

Direzione del coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Regia

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Basso-baritono

Controtenore

Alto

Continuo

Mimi

Narrazione

Voce bianca

“Of all my operas, best of all, I love The Snow Maiden and The Tzar’s Bride”.
N.A. Rimsky-Korsakov

Rimsky-Korsakov’s ninth opera The Tzar’s Bride (1898) puzzled both the composer’s admirers and his critics. The application area of Korsakov’s talent which had so firmly established itself during the previous years, seemingly left no room for doubt as to the character of his subsequent works. Myth, fairytale and epos - those were Alpha and Omega of Rimsky-Korsakov’s operatic field of activities, as it was perceived by his contemporaries. “The Tzar’s Bride is a new and original thing for me,” the composer wrote to Nadezhda Zabele-Vrubel, the first performer of Martha, “I’m surprised that many inveterate musicians do not want to understand it…. They have a specialization all set for me: fantastic music, for dramatic music - I’m not good enough. ... Is it possible that I am destined to portray only water, land-living and amphibian monsters?” Though drama was far from being alien to Rimsky-Korsakov, who by that time had already created his historical folk drama The Maid of Pskov and “dramatic scenes” Mozart and Salieri, most people found his choice of a domestic drama The Tzar’s Bride by Lev Mey to be quite unexpected. Later, in his Chronicle of My Musical Life, Rimsky-Korsakov described his decision to tackle Mey’s play as “a long-term intention”. Indeed, the idea to compose an opera to a dramatic plot dated back to the times of the Mighty Five and had been suggested by M.A. Balakirev, while A.P. Borodin had also toyed with the idea of The Tzar’s Bride at the end of the 1860s. As it became apparent later, the style of The Tzar’ Bride, that astounded musicians so much, had been even better prepared, as a twist toward the new, as the author called it, “plastique” vocal style had occurred earlier - in a series of romances, duets and other vocal compositions created in 1897- the beginning of 1898.

The opening performance of the opera took place in Moscow under the sponsorship of actors of a private opera theatre. According to critics, The Tzar’s Bride indicated “a radical change in Korsakov’s operatic views”, “departure from the ideas of the Mighty Five” and even his “deliberate renunciation of the revered principles of the New Russian School”. Reviewers wrote about “anti-wagnerism” of the opera, “simplification” of the composer, trying to “reconcile the requirements of a new musical drama with the old operatic forms”. After the premiere at the Mariinsky Theatre on 30 October 1901, The Tzar’s Bride enjoyed a tremendous success with Moscow and St Petersburg audiences that subsequently developed into a true appreciation.

English

La fidanzata dello Zar by Rimsky-Korsakov, Da (2017/2017), Direttore d'orchestra Pavel Smelkov, Valery Gergiev, Palco, Vladivostok, Russia

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble

Programma, informazioni e sinossi

Foto

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