FULL SADKO St.Petersburg 2023 Dmitry Demidchik, Olga Cheremnykh, Natalya Evstafieva, Ekaterina Krapivina
Information on the Performance
- Work Title: Sadko
- Composer: Rimsky-Korsakov Nikolai
- Libretto: Nikolai Rimsky-Korsakov Libretto Text, Libretto Index
- Venue & Opera Company: Peter and Paul Fortress, St.Petersburg, Russia
- Recorded: July 12, 2023
- Type: Staged Opera Live
- Singers: Dmitry Demidchik, Olga Cheremnykh, Natalya Evstafieva, Ekaterina Krapivina, Tigriy Bazhakin, Pavel Shnipov, Ilya Lavelin, Sergei Chepurko, Vladislav Uspensky, Dmitry Mulyarchik, Dmitry Grigoriev-Kan, Yuri Zaryadnov, Vitaly Yankovsky
- Conductor: Fabio Mastrangelo
- Orchestra: Orchestra of the Musical Theater F.I. Shalyapin's "Northern Symphony"
- Chorus: Concert Choir of St. Petersburg
- Chorus Master: Vladimir Begletsov
- Choreographer: Sergey Naryshev
- Stage Director: Andrei Tsvetkov-Tolbin
- Stage Designer: Yulia Goltsova
- Costume Designer:
Information about the Recording
- Published by: Silver Video
- Date Published: 2023
- Format: Streaming
- Quality Video: 3 Audio:3
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Sadko (Russian: Садко, tr. Sadkó, the name of the main character) is an 1898 opera in seven scenes by Nikolai Rimsky-Korsakov. The libretto was written by the composer, with assistance from Vladimir Belsky, Vladimir Stasov, and others. Rimsky-Korsakov was first inspired by the bylina of Sadko in 1867, when he completed a tone poem on the subject, his Op. 5. After finishing his second revision of this work in 1891, he decided to turn it into a dramatic work.
The music is highly evocative, and Rimsky-Korsakov’s famed powers of orchestration are abundantly evident throughout the score. According to the Soviet critic Boris Asafyev, writing in 1922, Sadko constitutes the summit of Rimsky-Korsakov’s craft. From the opus 5 tone poem the composer quoted its most memorable passages, including the opening theme of the swelling sea,and other themes as leitmotives – he himself set out to “utilize for this opera the material of my symphonic poem, and, in any event, to make use of its motives as leading motives for the opera”.