Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

OPERA TODAY ARCHIVES »

Reviews

Rimsky-Korsakov by Valentin Aleksandrovich Serov
02 Nov 2008

The Tsar’s Bride by OONY

What opera contains a terrific overture, a wedding sextet, two murderous magical potions, a mad scene for coloratura soprano, a magnificent a cappella aria for contralto, dozens of glorious melodies and lots of nifty choral writing?

Nikolay Andreyevich Rimsky-Korsakov: The Tsar’s Bride [Tsarskaya nevesta].

Marfa (Olga Makarina), Lyubasha (Olga Borodina), Lykov (Yeghishe Manucharyan). Bomelii (John Easterlin). Gryaznoi (Alexey Markov), Sobakin (Christophoros Stamboglis). Opera Orchestra of New York conducted by Eve Queler; performance of October 15.

Above: Rimsky-Korsakov by Valentin Aleksandrovich Serov

 

If you read the heading of this review, you already know the answer: Nikolai Rimsky-Korsakov’s Tsar’s Bride – one of the most popular operas throughout Russia, but downright obscure in the West – it has never been staged in New York (to my knowledge), despite a huge Russian community who would eat it up and a dozen visits over the years from three or four of Russia’s leading opera companies wasting our time with Mlada or Macbeth or far too many Onegins.

Rimsky-Korsakov was in an Italianate mood when he composed Tsar’s Bride, with its feast of plot complications and consequent musical situations: licentious boyar Grisha Gryaznoi (heroic baritone) lusts for Marfa (coloratura soprano), though she is about to wed her truelove Lykov (romantic tenor). Grisha persuades the tsar’s sinister German alchemist, Bomelii (character tenor), to concoct a potion that will make Marfa fall for best man Grisha instead. Complication one: Grisha’s jealous mistress Lyubasha (dynamite Slavic mezzo) switches the potion with another one, intended to destroy Marfa’s good looks – never mind how Lyubasha got the sleazy alchemist to run it up for her (think: Tosca). Complication two: Just as Marfa drinks the potion on her wedding day, news arrives that the tsar, Ivan the Terrible no less (sinister offstage presence), has chosen Marfa as his bride! Too, the potion – what was in it? – turns out to be poison that drives her lyrically insane. At curtain’s fall, everyone is either miserable or dead except the tsar, who remains off stage, singing (we may imagine), “Next!” (Ivan married more wives than Henry VIII. He once proposed to Henry’s daughter, Elizabeth.)

Bride is, thus, one of those operas (like Don Carlos or Don Giovanni or L’Africaine) where no single character grabs our attention all night; we are involved with the dilemmas and desires of many, and follow them through to a general catastrophe. One reason the opera may be rare over here may be the sheer number of great voices who are required to sing beautiful arias and ensembles in the true, flavorful Russian manner. Lyubasha calls for a grand low-voiced lady, with a voice from the vaults of the earth; it has long been a signature role for Borodina, and she graciously returned to sing it with Queler a second time. Marfa’s father, Sobakin, is a Russian bass from the old church-trained tradition, like Boris or Prince Igor or Prince Gremin. Marfa herself is an all-stops-out coloratura, whose lovely final scene is one of Rimsky’s handsomest tunes. And first and last there is the devilish Grisha Gryaznoi, whose outward brashness conceals inner torment, selfishness, crime and, finally, a (very Russian) orgy of guilt. Half a dozen minor roles have major parts to sing in solos and ensembles.

The problem is that it’s hard to bring in a worthy performance (and O.O.N.Y.’s was a very worthy performance) unless you have dozens of great Russian singers at your disposal – but that doesn’t prevent anyone in the West from staging Boris Godunov or even the far less theatrically promising Khovanshchina or Prince Igor – all three of which, by the way, might never have captured the stage at all had it not been for Rimsky-Korsakov’s now discredited editing.

Happily, Eve Queler and her Opera Orchestra of New York threw caution to the winds and brought this wonderful piece back to Carnegie Hall for the first New York hearing in twenty years. Olga Borodina, new in town at that previous performance, is now a grande dame and local favorite, but she retains the plummy low notes that make Lyubasha appealing, her disastrous passions touching. Borodina is one of the rare Russian singers (her husband, Ildar Abdrazakov, is another) who has no trouble singing Italian music idiomatically, without the voiced vowels and Slavic curlicues that make so many Russian opera singers a little risible in western song, but back in her native element there seem to be depths of tragic character lurking in the rounded shadows of her singing.

Alexey Markov made an exciting impression chewing up the stage as the narcissistic Grisha. He is a fine singing actor, with a plush, endearing baritone – and it is necessary that this character make himself a lovable scamp in the great narrations of the first act or his hideous behavior for the rest of the evening will only depress you. Yeghishe Manucharyan sang ardently and deft phrasing as Marfa’s hapless true love, but John Easterlin nearly stole the tenor honors with a Bomelii at once forceful and melodramatically harsh. You did not need a libretto to know which of these men was the lover and which the villain, and Easterlin made a villain it was a delight to hiss. Christophoros Stamboglis, as Marfa’s understandably confused father, had a good time with one of those stirring, from-the-depths-of-the-Russian-earth bass arias – only the last, very lowest note eluded him. There were many excellent young singers in minor but important roles (housekeeper, sister, mother – impossible to tell them apart as the electric titles often broke down and there was no printed libretto), and such poignant bits of music-making as the lovely wedding sextet (the last happy moment before the potion is drunk and Tsar Ivan’s messenger arrives) were revels in the bosom of vocal art.

John Yohalem

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):