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Rimsky Korsakov: The Tsar's Bride

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),...

Rimsky Korsakov: The Tsar's Bride
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...

Rimsky Korsakov: The Tsar's Bride

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),...

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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...

About

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.’

Artists

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

Contents and tracklist

Overture (Orchestra)
Track length6:47
Act 1. Scene 1. Could I Somehow Forget (Gryaznoy)
Track length6:44
Act 1. Scene 2. Here Are My Guests!
Track length8:08
Act 1. Scene 3. Dear Host! May We Hear (Gryaznoy / Malyuta-Skuratov / Likov / Bomelius)
Track length5:38
Act 1. Scene 3. Song of the Hops (Malyuta-Skuratov / Gryzanoy / Bomelius)
Track length4:55
Act 1. Scene 4. Hello, My Beautiful Child! (Gryaznoy / Malyuta-Skuratov / Lyubasha)
Track length8:22
Act 1. Scene 5. Bomelius… (Gryaznoy / Bomelius / Lyubasha)
Track length3:47
Act 1. Scene 6. What Do You Want? (Lyubasha / Gryaznoy)
Track length9:08
Act 2. Scene 1. There, the End of the Vespers Has Arrived (Chorus)
Track length7:07
Act 2. Scene 2. How Calming This Autumn Evening Is (Marfa / Dunyasha / Petrovna)
Track length8:38
Act 2. Scene 3. Ah, What Is Wrong with Me, Why Am I Trembling So? (Marfa / Dunyasha / Likov / Sobakin)
Track length6:15
Act 2. Symphonic Intermezzo (Orchestra)
Track length1:21
Act 2. Scene 4. Finally, I Have Managed to Find His Turtledove! (Lyubasha / Bomelius)
Track length8:52
Act 2. Scene 5. Ah, My God Forgive Me, Grigory! (Lyubasha / Likov / Sobakin / Bomelius)
Track length7:08
Act 3. Prelude (Orchestra)
Track length1:39
Act 3. Scene 1. I Must Thank God, Ivan Sergeyevich! (Likov / Gryaznoy / Sobakin)
Track length3:58
Act 3. Scene 2. Tell Me, Please, What Would You Do (Likov / Gryaznoy)
Track length1:43
Act 3. Scene 3. My Good Friends, Taste This Wine! (Likov / Gryaznoy / Sobakin / Saburova)
Track length6:38
Act 3. Scene 3. Dunishia Pleases the Prince? Not Possible! (Lyubasha / Bomelius)
Track length5:15
Act 3. Scenes 4 and 5. This Glass Is for You (Marfa / Dunyasha / Likov / Gryaznoy / Sobakin)
Track length7:28
Act 4. Prelude and Scene 1. A Long Sleep Will Restore the Strength (Sobakin / Saburova / Servant / Coachman)
Track length6:04
Act 4. Scene 2. Receive My Prayers, Powerful Boyar (Sobakin / Gryaznoy / Marfa / Saburova / Dunyasha)
Track length3:05
Act 4. Scene 2. Ah! (Marfa / Gryaznoy / Dunyasha / Saburova / Sobakin)
Track length6:42
Act 4. Scene 2. Come to the Garden, Ivan Sergeyevich (Marfa)
Track length5:23
Act 4. Scene 3. No, No, This Is Enough (Gryaznoy / Lyubasha / Marfa / Malyuta-Skuratov / Saburova)
Track length5:19

Awards and reviews

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.
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