Letter 348 - Revision history

Tony: Text correction - "Voyeboda" to "Voyevoda" / Added commas for ease of reading

2024-03-05T13:35:12Z

Text correction - "Voyeboda" to "Voyevoda" / Added commas for ease of reading

← Older revision		Revision as of 15:35, 5 March 2024
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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">In his capacity as music critic for the newspaper ''Moscow Register'' [[Pyotr Shchurovsky]] had come to [[Milan]] in April 1874 because the first performance in Italy of [[Glinka]]'s opera '' A Life for the Tsar'' was due to take place in this city. The opera had been translated into Italian by the Russian soprano Aleksandra Aleksandrovna Gorchakova (stage name in Italy: Santagano; 1841–1913), who also funded out of her own pocket the production at the Teatro Dal Verme. Tchaikovsky, who had arrived in [[Venice]] from [[Saint Petersburg]] on the day that he wrote this letter, was keen to attend this production not just because he hoped for a triumph of his favourite Russian opera in Italy, but also because he had undertaken to write about it for the journal ''Russian Register''. [[Shchurovsky]] had evidently sent him a telegram (which has not survived) giving the expected date of the premiere in [[Milan]] — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\|Чайковский на московской сцене}} (1940), p. 457.</ref>		<ref name="note1">In his capacity as music critic for the newspaper ''Moscow Register'', [[Pyotr Shchurovsky]] had come to [[Milan]] in April 1874 because the first performance in Italy of [[Glinka]]'s opera '' A Life for the Tsar'' was due to take place in this city. The opera had been translated into Italian by the Russian soprano Aleksandra Aleksandrovna Gorchakova (stage name in Italy: Santagano; 1841–1913), who also funded out of her own pocket the production at the Teatro Dal Verme. Tchaikovsky, who had arrived in [[Venice]] from [[Saint Petersburg]] on the day that he wrote this letter, was keen to attend this production not just because he hoped for a triumph of his favourite Russian opera in Italy, but also because he had undertaken to write about it for the journal ''Russian Register''. [[Shchurovsky]] had evidently sent him a telegram (which has not survived) giving the expected date of the premiere in [[Milan]] — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\|Чайковский на московской сцене}} (1940), p. 457.</ref>
	<ref name="note2">The Italian premiere of [[Glinka]]'s '' A Life for the Tsar'' took place in the Teatro Dal Verme, [[Milan]], on 8/20 May 1874, conducted by Francesco Antonio Faccio and featuring Jean-Baptiste Merly (Susanin), [[Aleksandra Menshikova]] (Antonida), and Eufemia Martella Barlani-Dini (Vania). Tchaikovsky decided not to attend this performance (see Note 3 below) and returned to [[Moscow]] by early/mid May. However, [[Vladimir Kashperov]], his colleague at the [[Moscow]] Conservatory, was in [[Milan]] at the time and he forwarded a newspaper cutting with an Italian critic's review of the opera to Tchaikovsky, which the latter translated into Russian as the basis of his article ''[["A Life for the Tsar" on the Milan Stage]]'', published in the '' Russian Register'' on 25 May/6 June 1874. It is worth noting here that [[Hans von Bülow]] attended two performances of '' A Life for the Tsar'' during his stay in [[Milan]] in May, and in the article entitled 'Musikalisches aus Italien' which he wrote for the '' Allgemeine Zeitung'' he would praise Tchaikovsky as one of the most promising successors to [[Glinka]].</ref>		<ref name="note2">The Italian premiere of [[Glinka]]'s '' A Life for the Tsar'' took place in the Teatro Dal Verme, [[Milan]], on 8/20 May 1874, conducted by Francesco Antonio Faccio and featuring Jean-Baptiste Merly (Susanin), [[Aleksandra Menshikova]] (Antonida) and Eufemia Martella Barlani-Dini (Vania). Tchaikovsky decided not to attend this performance (see Note 3 below) and returned to [[Moscow]] by early/mid-May. However, [[Vladimir Kashperov]], his colleague at the [[Moscow]] Conservatory, was in [[Milan]] at the time and he forwarded a newspaper cutting with an Italian critic's review of the opera to Tchaikovsky, which the latter translated into Russian as the basis of his article ''[["A Life for the Tsar" on the Milan Stage]]'', published in the '' Russian Register'' on 25 May/6 June 1874. It is worth noting here that [[Hans von Bülow]] attended two performances of '' A Life for the Tsar'' during his stay in [[Milan]] in May, and in the article entitled 'Musikalisches aus Italien' which he wrote for the '' Allgemeine Zeitung'' he would praise Tchaikovsky as one of the most promising successors to [[Glinka]].</ref>
	<ref name="note3">[[Shchurovsky]] wrote a letter to Tchaikovsky from [[Milan]] on 19 April/1 May, in which he explained that the opinion of the largely non-Russian cast, and in particular that of the conductor Francesco Faccio, was that [[Glinka]]'s music would have to be adapted to the tastes of the Milanese public if the opera was to have any chance of success. For example, the contralto Eufemia Martella Barlani-Dini wanted to introduce some fiorituras of her own invention into the part of Vanya. After reading [[Shchurovsky]]'s letter Tchaikovsky decided not to go to [[Milan]], because he realised that he would have to intervene and protest against this tampering with [[Glinka]]'s music, but that his comments would probably fall on deaf ears (see [[Letter 351]] to [[Modest Tchaikovsky]], 27 April/9 May 1874). [[Shchurovsky]]'s letter was included (in abridged form) by [[Modest Tchaikovsky]] in the first volume of his biography of the composer—see {{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 409—and was published in full in ''{{bibx\|1940/228\| Чайковский на московской сцене}}'' (1940), p. 457–459. It is not known whether Tchaikovsky replied to this letter; certainly, no more correspondence between the two men has survived — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 459.</ref>		<ref name="note3">[[Shchurovsky]] wrote a letter to Tchaikovsky from [[Milan]] on 19 April/1 May, in which he explained that the opinion of the largely non-Russian cast, and in particular that of the conductor Francesco Faccio, was that [[Glinka]]'s music would have to be adapted to the tastes of the Milanese public if the opera was to have any chance of success. For example, the contralto Eufemia Martella Barlani-Dini wanted to introduce some fiorituras of her own invention into the part of Vanya. After reading [[Shchurovsky]]'s letter, Tchaikovsky decided not to go to [[Milan]], because he realised that he would have to intervene and protest against this tampering with [[Glinka]]'s music, but that his comments would probably fall on deaf ears (see [[Letter 351]] to [[Modest Tchaikovsky]], 27 April/9 May 1874). [[Shchurovsky]]'s letter was included (in abridged form) by [[Modest Tchaikovsky]] in the first volume of his biography of the composer—see {{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 409—and was published in full in ''{{bibx\|1940/228\| Чайковский на московской сцене}}'' (1940), p. 457–459. It is not known whether Tchaikovsky replied to this letter; certainly, no more correspondence between the two men has survived — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 459.</ref>
	<ref name="note4">[[Aleksandra Menshikova]] (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre. In the premiere of Tchaikovsky's opera ''[[The Voyevoda (opera)\|The ~~Voyeboda~~]]'' at the [[Moscow]] Bolshoi Theatre on 30 January/11 February 1869 she had created the role of Maria Vlasyevna. In the [[Milan]] production of '' A Life for the Tsar'' she sang Antonida — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 457.</ref>		<ref name="note4">[[Aleksandra Menshikova]] (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre. In the premiere of Tchaikovsky's opera [[The Voyevoda (opera)\|The Voyevoda]] at the [[Moscow]] Bolshoi Theatre on 30 January/11 February 1869, she had created the role of Maria Vlasyevna. In the [[Milan]] production of '' A Life for the Tsar'', she sang Antonida — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 457.</ref>
	<ref name="note5">Aleksandr Aleksandrovich Lavrov (d. 1906) was a bass singer at the [[Moscow]] Bolshoi Theatre who in 1869 created the minor role of the Jester at the premiere of ''[[The Voyevoda (opera)\|The Voyevoda]]''. It seems that he was also taking part in the [[Milan]] production of '' A Life for the Tsar''.</ref>		<ref name="note5">Aleksandr Aleksandrovich Lavrov (d. 1906) was a bass singer at the [[Moscow]] Bolshoi Theatre who in 1869 created the minor role of the Jester at the premiere of [[The Voyevoda (opera)\|The Voyevoda]]. It seems that he was also taking part in the [[Milan]] production of '' A Life for the Tsar''.</ref>
	</references>		</references>
	{{DEFAULTSORT:Letter 0348}}		{{DEFAULTSORT:Letter 0348}}

Brett at 08:16, 2 September 2023

2023-09-02T08:16:52Z

← Older revision		Revision as of 10:16, 2 September 2023
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	<references>		<references>
	<ref name="note1">In his capacity as music critic for the newspaper ''Moscow Register'' [[Pyotr Shchurovsky]] had come to [[Milan]] in April 1874 because the first performance in Italy of [[Glinka]]'s opera '' A Life for the Tsar'' was due to take place in this city. The opera had been translated into Italian by the Russian soprano Aleksandra Aleksandrovna Gorchakova (stage name in Italy: Santagano; 1841–1913), who also funded out of her own pocket the production at the Teatro Dal Verme. Tchaikovsky, who had arrived in [[Venice]] from [[Saint Petersburg]] on the day that he wrote this letter, was keen to attend this production not just because he hoped for a triumph of his favourite Russian opera in Italy, but also because he had undertaken to write about it for the journal ''Russian Register''. [[Shchurovsky]] had evidently sent him a telegram (which has not survived) giving the expected date of the premiere in [[Milan]] — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\|Чайковский на московской сцене}} (1940), p. 457.</ref>		<ref name="note1">In his capacity as music critic for the newspaper ''Moscow Register'' [[Pyotr Shchurovsky]] had come to [[Milan]] in April 1874 because the first performance in Italy of [[Glinka]]'s opera '' A Life for the Tsar'' was due to take place in this city. The opera had been translated into Italian by the Russian soprano Aleksandra Aleksandrovna Gorchakova (stage name in Italy: Santagano; 1841–1913), who also funded out of her own pocket the production at the Teatro Dal Verme. Tchaikovsky, who had arrived in [[Venice]] from [[Saint Petersburg]] on the day that he wrote this letter, was keen to attend this production not just because he hoped for a triumph of his favourite Russian opera in Italy, but also because he had undertaken to write about it for the journal ''Russian Register''. [[Shchurovsky]] had evidently sent him a telegram (which has not survived) giving the expected date of the premiere in [[Milan]] — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\|Чайковский на московской сцене}} (1940), p. 457.</ref>
	<ref name="note2">The Italian premiere of [[Glinka]]'s '' A Life for the Tsar'' took place in the Teatro Dal Verme, [[Milan]], on 8/20 May 1874, conducted by Francesco Antonio Faccio and featuring Jean-Baptiste Merly (Susanin), Aleksandra Menshikova (Antonida), and Eufemia Martella Barlani-Dini (Vania). Tchaikovsky decided not to attend this performance (see Note 3 below) and returned to [[Moscow]] by early/mid May. However, [[Vladimir Kashperov]], his colleague at the [[Moscow]] Conservatory, was in [[Milan]] at the time and he forwarded a newspaper cutting with an Italian critic's review of the opera to Tchaikovsky, which the latter translated into Russian as the basis of his article ''[["A Life for the Tsar" on the Milan Stage]]'', published in the '' Russian Register'' on 25 May/6 June 1874. It is worth noting here that [[Hans von Bülow]] attended two performances of '' A Life for the Tsar'' during his stay in [[Milan]] in May, and in the article entitled 'Musikalisches aus Italien' which he wrote for the '' Allgemeine Zeitung'' he would praise Tchaikovsky as one of the most promising successors to [[Glinka]].</ref>		<ref name="note2">The Italian premiere of [[Glinka]]'s '' A Life for the Tsar'' took place in the Teatro Dal Verme, [[Milan]], on 8/20 May 1874, conducted by Francesco Antonio Faccio and featuring Jean-Baptiste Merly (Susanin), [[Aleksandra Menshikova]] (Antonida), and Eufemia Martella Barlani-Dini (Vania). Tchaikovsky decided not to attend this performance (see Note 3 below) and returned to [[Moscow]] by early/mid May. However, [[Vladimir Kashperov]], his colleague at the [[Moscow]] Conservatory, was in [[Milan]] at the time and he forwarded a newspaper cutting with an Italian critic's review of the opera to Tchaikovsky, which the latter translated into Russian as the basis of his article ''[["A Life for the Tsar" on the Milan Stage]]'', published in the '' Russian Register'' on 25 May/6 June 1874. It is worth noting here that [[Hans von Bülow]] attended two performances of '' A Life for the Tsar'' during his stay in [[Milan]] in May, and in the article entitled 'Musikalisches aus Italien' which he wrote for the '' Allgemeine Zeitung'' he would praise Tchaikovsky as one of the most promising successors to [[Glinka]].</ref>
	<ref name="note3">[[Shchurovsky]] wrote a letter to Tchaikovsky from [[Milan]] on 19 April/1 May, in which he explained that the opinion of the largely non-Russian cast, and in particular that of the conductor Francesco Faccio, was that [[Glinka]]'s music would have to be adapted to the tastes of the Milanese public if the opera was to have any chance of success. For example, the contralto Eufemia Martella Barlani-Dini wanted to introduce some fiorituras of her own invention into the part of Vanya. After reading [[Shchurovsky]]'s letter Tchaikovsky decided not to go to [[Milan]], because he realised that he would have to intervene and protest against this tampering with [[Glinka]]'s music, but that his comments would probably fall on deaf ears (see [[Letter 351]] to [[Modest Tchaikovsky]], 27 April/9 May 1874). [[Shchurovsky]]'s letter was included (in abridged form) by [[Modest Tchaikovsky]] in the first volume of his biography of the composer—see {{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 409—and was published in full in ''{{bibx\|1940/228\| Чайковский на московской сцене}}'' (1940), p. 457–459. It is not known whether Tchaikovsky replied to this letter; certainly, no more correspondence between the two men has survived — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 459.</ref>		<ref name="note3">[[Shchurovsky]] wrote a letter to Tchaikovsky from [[Milan]] on 19 April/1 May, in which he explained that the opinion of the largely non-Russian cast, and in particular that of the conductor Francesco Faccio, was that [[Glinka]]'s music would have to be adapted to the tastes of the Milanese public if the opera was to have any chance of success. For example, the contralto Eufemia Martella Barlani-Dini wanted to introduce some fiorituras of her own invention into the part of Vanya. After reading [[Shchurovsky]]'s letter Tchaikovsky decided not to go to [[Milan]], because he realised that he would have to intervene and protest against this tampering with [[Glinka]]'s music, but that his comments would probably fall on deaf ears (see [[Letter 351]] to [[Modest Tchaikovsky]], 27 April/9 May 1874). [[Shchurovsky]]'s letter was included (in abridged form) by [[Modest Tchaikovsky]] in the first volume of his biography of the composer—see {{bib\|1997/94\|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 409—and was published in full in ''{{bibx\|1940/228\| Чайковский на московской сцене}}'' (1940), p. 457–459. It is not known whether Tchaikovsky replied to this letter; certainly, no more correspondence between the two men has survived — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 459.</ref>
	<ref name="note4">Aleksandra ~~Grigoryevna~~ Menshikova (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre. In the premiere of Tchaikovsky's opera ''[[The Voyevoda (opera)\|The Voyeboda]]'' at the [[Moscow]] Bolshoi Theatre on 30 January/11 February 1869 she had created the role of Maria Vlasyevna. In the [[Milan]] production of '' A Life for the Tsar'' she sang Antonida — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 457.</ref>		<ref name="note4">[[Aleksandra Menshikova]] (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre. In the premiere of Tchaikovsky's opera ''[[The Voyevoda (opera)\|The Voyeboda]]'' at the [[Moscow]] Bolshoi Theatre on 30 January/11 February 1869 she had created the role of Maria Vlasyevna. In the [[Milan]] production of '' A Life for the Tsar'' she sang Antonida — note based partly on information provided by Vasily Kiselev in {{bibx\|1940/228\| Чайковский на московской сцене}} (1940), p. 457.</ref>
	<ref name="note5">Aleksandr Aleksandrovich Lavrov (d. 1906) was a bass singer at the [[Moscow]] Bolshoi Theatre who in 1869 created the minor role of the Jester at the premiere of ''[[The Voyevoda (opera)\|The Voyevoda]]''. It seems that he was also taking part in the [[Milan]] production of '' A Life for the Tsar''.</ref>		<ref name="note5">Aleksandr Aleksandrovich Lavrov (d. 1906) was a bass singer at the [[Moscow]] Bolshoi Theatre who in 1869 created the minor role of the Jester at the premiere of ''[[The Voyevoda (opera)\|The Voyevoda]]''. It seems that he was also taking part in the [[Milan]] production of '' A Life for the Tsar''.</ref>
	</references>		</references>
	{{DEFAULTSORT:Letter 0348}}		{{DEFAULTSORT:Letter 0348}}

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Brett at 11:27, 1 March 2020

2020-03-01T11:27:07Z

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{{letterhead
|Date=17/29 April 1874
|To=[[Pyotr Shchurovsky]]
|Place=[[Venice]]
|Language=Russian
|Autograph=[[Moscow]]: {{RUS-Mt}}
|Publication={{bibx|1940/228|Чайковский на московской сцене}} (1940), p. 456–457 <br/>{{bib|1959/50|П. И. Чайковский. Полное собрание сочинений ; том V}} (1959), p. 348–349
}}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist
|Original text={{right|Venezia<br/>17/29 апреля 1874 г[ода]}}
{{centre|Пётр Андреевич!}}
Во-первых, очень благодарю за ответную телеграмму, а во-вторых, извиняюсь, что ввёл Вас в расход. Дело в том, что Милан довольно скучный город, и мне хотелось поэкономизировать временем, которого в моём распоряжении очень мало. Теперь, узнавши от Вас, что «''Жизнь за царя''» пойдёт не ранее 12-го, я решаюсь, минуя Милан (это был бы крюк), махнуть во Флоренцию и ещё южнее, с тем чтобы к 12 уже приехать в Милан и ждать первого представления. Вы пишете, что оно состоится между ''12 и 20'' мая. Будьте добры, оповестите меня, почему это не решено, и вообще дайте, ради Бога, несколько сведений о том, как идёт дело постановки, какие встречает она препятствия и проч. Потрудитесь ответ Ваш адресовать в ''Неаполь'' ''poste restante'', ибо я ещё не знаю, где остановлюсь. Прошу Вас назначить мне самый поздний срок, дабы не пришлось мне напрасно отрываться от Неаполя, который меня несказанно интересует, для того, чтоб бездельно жить в Милане, в котором я дважды уже был и который сам по себе для меня не интересен. Передайте самый искренний привет Александре Григорьевне и Лаврову.

Преданный Вам,
{{right|П. Чайковский}}

|Translated text={{right|[[Venice]]<br/>17/29 April 1874}}
{{centre|[[Pyotr Shchurovsky|Pyotr Andreyevich]]!}}
First of all, I am very grateful for your telegraphic reply, and, secondly, I apologize for having put you to expense <ref name="note1"/>. The thing is that [[Milan]] is a rather boring city, and I would like to use up my time sparingly, since I have very little of it at my disposal. Now that I have found out from you that "''A Life for the Tsar''" will not be performed before the 12th, I have decided to by-pass [[Milan]] (which would be a detour) and travel straight to [[Florence]] and even more southern regions, with the intention of then coming to [[Milan]] by the 12th to await the first performance <ref name="note2"/>. You write that it will take place between ''12 and 20'' May. Be so kind as to tell me why this has not been decided yet, and, in general, do let me have, for God's sake, some information as to how the project of staging the opera is going, what obstacles it is encountering and so on <ref name="note3"/>. Please address your letter to ''[[Naples]], poste restante'', as I don't know yet where I shall be staying. I kindly ask you to specify the very latest date so that I don't have to tear myself in vain from [[Naples]], a city which interests me awfully, in order to go and live idly in [[Milan]], for I have been to the latter twice already and it is a place which in itself is of no interest to me. Give my most heartfelt greetings to Aleksandra Grigoryevna <ref name="note4"/> and to Lavrov <ref name="note5"/>.

Your devoted,
{{right|P. Tchaikovsky}}
}}
==Notes and References==
<references>
<ref name="note1">In his capacity as music critic for the newspaper ''Moscow Register'' [[Pyotr Shchurovsky]] had come to [[Milan]] in April 1874 because the first performance in Italy of [[Glinka]]'s opera '' A Life for the Tsar'' was due to take place in this city. The opera had been translated into Italian by the Russian soprano Aleksandra Aleksandrovna Gorchakova (stage name in Italy: Santagano; 1841–1913), who also funded out of her own pocket the production at the Teatro Dal Verme. Tchaikovsky, who had arrived in [[Venice]] from [[Saint Petersburg]] on the day that he wrote this letter, was keen to attend this production not just because he hoped for a triumph of his favourite Russian opera in Italy, but also because he had undertaken to write about it for the journal ''Russian Register''. [[Shchurovsky]] had evidently sent him a telegram (which has not survived) giving the expected date of the premiere in [[Milan]] — note based partly on information provided by Vasily Kiselev in {{bibx|1940/228|Чайковский на московской сцене}} (1940), p. 457.</ref>
<ref name="note2">The Italian premiere of [[Glinka]]'s '' A Life for the Tsar'' took place in the Teatro Dal Verme, [[Milan]], on 8/20 May 1874, conducted by Francesco Antonio Faccio and featuring Jean-Baptiste Merly (Susanin), Aleksandra Menshikova (Antonida), and Eufemia Martella Barlani-Dini (Vania). Tchaikovsky decided not to attend this performance (see Note 3 below) and returned to [[Moscow]] by early/mid May. However, [[Vladimir Kashperov]], his colleague at the [[Moscow]] Conservatory, was in [[Milan]] at the time and he forwarded a newspaper cutting with an Italian critic's review of the opera to Tchaikovsky, which the latter translated into Russian as the basis of his article ''[["A Life for the Tsar" on the Milan Stage]]'', published in the '' Russian Register'' on 25 May/6 June 1874. It is worth noting here that [[Hans von Bülow]] attended two performances of '' A Life for the Tsar'' during his stay in [[Milan]] in May, and in the article entitled 'Musikalisches aus Italien' which he wrote for the '' Allgemeine Zeitung'' he would praise Tchaikovsky as one of the most promising successors to [[Glinka]].</ref>
<ref name="note3">[[Shchurovsky]] wrote a letter to Tchaikovsky from [[Milan]] on 19 April/1 May, in which he explained that the opinion of the largely non-Russian cast, and in particular that of the conductor Francesco Faccio, was that [[Glinka]]'s music would have to be adapted to the tastes of the Milanese public if the opera was to have any chance of success. For example, the contralto Eufemia Martella Barlani-Dini wanted to introduce some fiorituras of her own invention into the part of Vanya. After reading [[Shchurovsky]]'s letter Tchaikovsky decided not to go to [[Milan]], because he realised that he would have to intervene and protest against this tampering with [[Glinka]]'s music, but that his comments would probably fall on deaf ears (see [[Letter 351]] to [[Modest Tchaikovsky]], 27 April/9 May 1874). [[Shchurovsky]]'s letter was included (in abridged form) by [[Modest Tchaikovsky]] in the first volume of his biography of the composer—see {{bib|1997/94|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 409—and was published in full in ''{{bibx|1940/228| Чайковский на московской сцене}}'' (1940), p. 457–459. It is not known whether Tchaikovsky replied to this letter; certainly, no more correspondence between the two men has survived — note based partly on information provided by Vasily Kiselev in {{bibx|1940/228| Чайковский на московской сцене}} (1940), p. 459.</ref>
<ref name="note4">Aleksandra Grigoryevna Menshikova (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre. In the premiere of Tchaikovsky's opera ''[[The Voyevoda (opera)|The Voyeboda]]'' at the [[Moscow]] Bolshoi Theatre on 30 January/11 February 1869 she had created the role of Maria Vlasyevna. In the [[Milan]] production of '' A Life for the Tsar'' she sang Antonida — note based partly on information provided by Vasily Kiselev in {{bibx|1940/228| Чайковский на московской сцене}} (1940), p. 457.</ref>
<ref name="note5">Aleksandr Aleksandrovich Lavrov (d. 1906) was a bass singer at the [[Moscow]] Bolshoi Theatre who in 1869 created the minor role of the Jester at the premiere of ''[[The Voyevoda (opera)|The Voyevoda]]''. It seems that he was also taking part in the [[Milan]] production of '' A Life for the Tsar''.</ref>
</references>
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