Act One, Scene 1: Ov - Kirov Orch, St. Petersberg/Valery Gergiev
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Act One, Scene 1: Lovi! Lovi - Ludmilla Filtova/Evgenia Perlasova/Galina Gorchakova/Olga Korzhenskaya/Kirov Chor, St. Petersburg...
3
Act One, Scene 1: Skazka Pro Khorobrogo Vityazya Gor'inyu - Ludmilla Filatova/Kirov Chor, St. Petersburg/Valery Borisov/Olga Korzhenskaya/Evgenia Perlasova
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Act One, Scene 1: Razkukuisya T'i, Kukushechka - Vladimir Galusin/Galina Gorchakova/Gennady Bezzubenkov
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Act One, Scene 1: Vot Zdes', Ne To, Chto V Teremu - Gennady Bezzubenkov/Nikolai Gassiev/Galina Gorchakova
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Act One, Scene 2: Kto Sozvonil Na Skhodku? - Kirov Chor, St. Petersburg/Valery Borisov/Gennady Bezzubenkov/Nikolai Gassiev/Vladimir Galusin
Disc: 2
1
Act Two, Scene 1: Grozen Tsar' Idiot Velikii Pskov - Kirov Chor, St. Petersberg/Valery Borisov
2
Act Two, Scene 1: Akh, Mama, Mama - Galina Gorchakova/Ludmilla Filatova
3
Act Two, Scene 1: Udarili V Zasten'i! - Kirov Chor, St. Petersburg/Valery Borisov/Galina Gorchakova/Ludmilla Filatova
4
Act Two, Scene 2: Intermezzo: Voiti, Al' Net? - Vladimir Ognovienko/Gennady Bezzubenkov
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Act Two, Scene 2: Tsar': Gosudar - Gennady Bezzubenkov/Vladimir Ognovienko/Galina Gorchakova/Kirov Chor, St. Petersburg...
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Act Two, Scene 2: Ya Vsyo Khotel Tebya Sprosit' - Vladimir Ognovienko/Gennady Bezzubenkov
7
Act Three, Scene 1: Musical Interlude: A Forest, The Tsar's Hunt, A Storm: Akh, T'i Dubravana... - Kirov Chor, St. Petersburg/Valery Borisov/Ludmilla Filatova
8
Act Three, Scene 1: Odna, V Lesu - Galina Gorchakova/Vladimir Galusin/Kirov Chor, St. Petersburg/Valery Borisov/Nikolai Gassiev
9
Act Three, Scene 2: Vot, Obelil Ya Pskov - Vladimir Ognovienko/Evgeny Fedotov/Nikolai Gassiev
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Act Three, Scene 2: Zdorovo, Ol'ga Ivanovna - Vladimir Ognovienko/Galina Gorchakova
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Act Three, Scene 2: Devuch'i Slyoz'i I Devuch'e Gore - Galina Gorchakova/Vladimir Ognovienko/Vladimir Galusin/Prince/Kirov Chor, St. Petersberg...
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Act Three, Scene 2: Bezumnaya! - Vladimir Ognovienko/Yuri Laptev/Kirov Chor, St. Petersburg/Valery Borisov
Product details
Is Discontinued By Manufacturer
:
No
Product Dimensions
:
5.75 x 5 x 1.25 inches; 9.92 ounces
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As Ivan the Terrible extended his power and authority in the 1560s and 1570s, two ancient cities, Nizhny Novgorod and Pskov, stood apart from other Russian cities as relatively independent from the Russian monarchy. In 1571, Ivan sacked Novgorod and massacred much of its ruling elite. But Pskov was spared. Nikolai Rimsky-Korsakov's opera "The Maid of Pskov" ("Pskovityanka") explains Ivan's mercy through a melodramatic personal tale, the discovery by the Tsar that Olga, Princess of Pskov, is his illegitimate daughter.
"Pskovityanka" originated in the 1860s, a period in which Russian dramatists and composers produced many plays and operas set in ancient times. This reliance on old historical plots was motivated partly by the censorship rules in place then, which forbade the depiction of Romanov dynasty members on the stage. The transposition of plots with political intonations to a pre-Romanov period such as the time of Ivan the Terrible evaded these restrictions and allowed sideways political commentary. Few operas hold such vivid meaning as "Pskovityanka", an opera that doesn't gloss over Ivan the Terrible's despotism, features an insurgent band of democratic warriors, and depicts the naked fear of the oppressed Pskov-ites before an unrestrained and paranoid tyrant.
Rimsky-Korsakov first wrote "Pskovityanka" in the late 1860s and 70s, when he boarded with Modest Mussorgsky. "Pskovityanka" has, as other reviewers have written, many similarities with Mussorgsky's "Boris Godunov", also written when the two artists shared quarters. These similarities include concrete musical parallels, including the use of oscillating chords (separated by a minor third rather than the tritone in "Boris") in the highlight of "Pskovityanka", a large choral szena in Act 1 in which the citizens of Pskov learn about the Ivan's awful destruction of Novgorod, and a reliance on repetitive folk-like melodies. The similarities between "Pskovityanka" and "Boris" are obscured by Rimsky-Korsakov's repeated revisions of his opera in the 1880s and 1890s, a period in which he adopted a more polished and lush style. Mussorgksy of course revised "Boris" once in the 1870s and then descended into an alcoholic spiral ending with his death, leaving the opera unadorned by later changes. Rimsky-Korsakov in contrast took another path, becoming increasingly professional and established.
This 1994 performance of "Pskovityanka" featuring St. Petersburg's Kirov Opera and led by Valery Gergiev is generally similar in quality to the rest of these musicians' series of Russian operas on the Philips label. It's good and pleasing without being outstanding. Vladimir Ognovienko (Ivan) and Galina Gorchakova (Olga) are solid leads. I always enjoy Gergiev's performances and he directs a solid, musical performance which doesn't always rise to the heights. For example, in the conclusion of the opening chorus of Act II, I would ask for more intensity in what is a passionate piece of music. But it's good generally -- and it's also your only alternative as this appears to be the only full modern "Pskovityanka" available. Sound quality is no better than ok, with some muddiness.
I enjoyed this opera. The two orchestral numbers, the Overture and Storm Scene are weak, surprising given Rimsky-Korsakov's gift for writing orchestral music. But the opera is full of attractions. The striking scene where the Pskovites learns of Novgorod's destruction is a standout and there are many delicious melodies in a relatively short opera that flows well. I think you will enjoy it.
Nicolai Rimsky-Korsakov: The Maid Of Pskov is a 1997 Philips Classics recording starring the Kirov chorus and orchestra from St Petersburg under the direction of Valery Gergiev. The cast is all Russian which is a good indicator that the performance should be fine. The booklet is close to 180 pages long. Starts with a photograph of the composer. Robert Layton has written the music notes. Marina Malkiel has written the synopsis. All the lyrics are available in Russian, German, English and French. Also included are photographs of the performers from the time of the recording. Sound quality is superb. I very much enjoyed it. Highly recommended. 5/5.
The Maid of Pskov was Rimsky-Korsakov's first opera, though the version usually played (and given here) is his third, much later revision. It is rather clear that despite his efforts Rimsky didn't quite manage to chip away all the problematic parts, but it is nevertheless a very interesting work, and one which is in some ways more forward-looking and daring than several of his later operas (there are touches that are reminiscent of Mussorgsky, for instance, something that the composer mostly avoided later). The plot concerns the antics of Ivan the Terrible and his, as it turns out, illegitimate daughter Olga, the Maid of Pskov. Ivan is as deranged and cruel as any mad king in opera, but he is not really the opera's villain; that honor goes to his main adversary, the Boyar Nikita Matuta. In short, and without going into the details of the plot, this is a dark work with much cruelty and evil, and it ends - expectedly - rather badly.
Gergiev has as usual assembled an overall strong cast. Galina Gorchakova is a splendid, full-voiced Olga, particularly in the more lyrical scenes; her lover Mikhail Tucha is also finely portrayed by Vladimir Galusin. As for Ivan, Rimsky's deranged but pained tsar doesn't really have much humanity to him, so when Vladimir Ognovienko isn't really able to conjure much sympathy for him despite much fine singing the blame must go to the librettist. Nikolay Gassiev's Nikita Matuta is another highlight; his is a dark voice that conveys the mysterious insidiousness of his character well neigh perfectly.
As with most Rimsky operas much of the work's merit stems from the orchestral part. As usual, Rimsky is a marvelous orchestrator, and there are many wonderfully atmospheric and splendidly constructed, imaginative orchestral passages, as well as some magnificent chorus scenes. The performance at hand scores some points in this respect; Gergiev tautly upholds (as you'd expect) the forward momentum and view of the larger lines, while also realizing the colors and atmospheres - though with a sense of bloodlust and urgency that may lose a few of the nuances in the more lyrical parts. The response from the Kirov orchestra (and chorus) is generally excellent. The sound is good and so is the documentation, so overall this is a rewarding and easily recommendable release. I wouldn't rank the Maid of Pskov among Rimsky's very strongest operas (it is no Invisible City, Snow Maiden, Christmas Eve or Sadko), even if it contains elements not generally found in Rimsky's other works, but it is still a rewarding and enjoyable experience.
I really enjoyed this performance. Perhaps it is not Boris but it is good solid Russian music and the story is wonderful up until the end - which is really unusual. Pskov would be an interesting place to visit.
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