FULL Sneguročka Vladivostok 2022 Olga Zharikova, Alena Diyanova, Elena Gorlo, Vyacheslav Vasilyev
Information on the Performance
- Work Title: Sneguročka aka The Snow Maiden
- Composer: Rimsky-Korsakov Nikolai
- Libretto: Nikolai Rimsky-Korsakov Libretto Text, Libretto Index
- Venue & Opera Company: Primorsky Stage, Mariinsky Theatre, Vladivostok, Russia
- Recorded: December 23, 2022
- Type: Staged Opera Live
- Singers: Olga Zharikova, Alena Diyanova, Elena Gorlo, Vyacheslav Vasilyev, Mingiyan Odzhaev, Laura Bustamante, Yevgeny Plekhanov
- Conductor: Pavel Smelkov
- Orchestra: Orchestra of the Primorsky Stage
- Chorus: Chorus of the Primorsky Stage
- Chorus Master: Andrei Annenkov
- Stage Director: Alexander Galibin
- Stage Designer: Georgy Tsypin
- Costume Designer: Tatiana Noginova
- Lighting Designer: Gleb Filshtinsky
Information about the Recording
- Format: Unknown
- Quality Video: 3 Audio:4
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
“You listen, and you melt…” the Snow Maiden sings with her dying heart, recalling the enchanting songs of Lel, the village shepherd. Rimsky-Korsakov invokes similar feelings with his music: at times it takes one’s breath away. The acute suffering of beauty also served as the original impulse that resulted in the creation of one of the most beguiling Russian operas: “In the winter of 1879–80,” the composer recalled, “I once again read The Snow Maiden, and I clearly saw its staggering beauty.” This is a reference to the play by Alexander Ostrovsky, his “springtime tale”; this secondary title was retained for the opera, too. Written as if in one breath, surrounded by warm fields and groves, to the singing of birds, Rimsky-Korsakov’s The Snow Maiden became transformed into a hymn to beauty, harmony, nature, life and love. “For me, there was no better subject in the world, there were no finer poetic images than the Snow Maiden, Lel or Spring, there was no better kingdom than that of the Berendeyans with their wonderful tsar, there was no better world-view and religion than worshipping Yarilo the Sun-God,” the composer recalled of the unforgettable summer of 1880, which he spent in his country estate near Luga, working on The Snow Maiden. Two years later came the premiere; the Mariinsky Theatre was to be the first stage from which the marvellous melodies of Lel’s songs were heard, the Snow Maiden’s crystalline and tender voice, the hot speeches of Mizgir the visiting merchant, the passionate declarations of Kupava, the famous “Mighty nature is full, full of wonders” coming from Tsar Berendey’s lips, and the choruses of his faithful subjects – full-sounding, crowded, filled with indomitable and almost magical energy.
And yet from the very start, in the utopian idyll of the land of the Berendeyans, Rimsky-Korsakov caught something disturbing, and it was not for nothing that following the first reading of the play this kingdom seemed “strange” to the composer. For the sake of preserving the existing world order, a cleansing sacrifice is made, and if archaic consciousness is ready, without hesitation, to recognise the need for this sacrifice, then we, people of a new age, are different: “No solemn ritual and no conviction that everything is done as it should be and goes on as usual will assure us of the justice of retribution,” wrote Boris Asafiev.