The Oprichnik - Revision history

Brett: /* Composition */

2023-12-29T23:12:52Z

Composition

← Older revision		Revision as of 00:12, 30 December 2023
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	==Composition==		==Composition==
	Initially work on the opera progressed slowly, which is evident from the composer's letters: "I've been terribly lazy of late; the opera is stuck at the first chorus" <ref name="note6"/>. "~~In four weeks~~ I've written ~~nothing~~" <ref name="note7"/>. By mid/late April he had written "only a couple of scenes" <ref name="note8"/>.		Initially work on the opera progressed slowly, which is evident from the composer's letters: "I've been terribly lazy of late; the opera is stuck at the first chorus" <ref name="note6"/>. "I haven't written anything for 4 weeks now" <ref name="note7"/>. By mid/late April he had written "only a couple of scenes" <ref name="note8"/>.

	On 23 April/5 May 1870, the composer wrote to [[Anatoly Tchaikovsky]]: "My opera is going very sluggishly. I think the reason for this is that although the subject is very good, it doesn't inspire me" <ref name="note9"/>. He reported the same to [[Ivan Klimenko]] on 1/13 May: "My opera ("The Oprichnik") is going very sluggishly, and I doubt that it will be finished within two years" <ref name="note10"/>.		On 23 April/5 May 1870, the composer wrote to [[Anatoly Tchaikovsky]]: "My opera is going very sluggishly. I think the reason for this is that although the subject is very good, it doesn't inspire me" <ref name="note9"/>. He reported the same to [[Ivan Klimenko]] on 1/13 May: "My opera ("The Oprichnik") is going very sluggishly, and I doubt that it will be finished within two years" <ref name="note10"/>.

Brett at 12:11, 10 September 2023

2023-09-10T12:11:14Z

← Older revision		Revision as of 13:11, 10 September 2023
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	''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included [[Wilhelmina Raab]] (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), [[Dmitry Orlov]] (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').		''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included [[Wilhelmina Raab]] (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), [[Dmitry Orlov]] (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').

	In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.		In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with [[Yekaterina Massini]] (''Natalya''), [[Mariya Ilyina]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.

	In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.		In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.

Brett at 18:46, 9 September 2023

2023-09-09T18:46:10Z

← Older revision		Revision as of 19:46, 9 September 2023
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	''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.		''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.

	''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included [[Wilhelmina Raab]] (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), Dmitry Orlov (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').		''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included [[Wilhelmina Raab]] (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), [[Dmitry Orlov]] (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').

	In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), Dmitry Orlov (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.		In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.

	In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.		In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.

Brett at 17:38, 9 September 2023

2023-09-09T17:38:53Z

← Older revision		Revision as of 18:38, 9 September 2023
Line 236:		Line 236:

	==Performances==		==Performances==
	Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), [[[[Wilhelmina Raab]]]] (''Natalya''), Vladimir Sobolev (''Mitkov''), [[Aleksandra Krutikova]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').		Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), [[Wilhelmina Raab]] (''Natalya''), Vladimir Sobolev (''Mitkov''), [[Aleksandra Krutikova]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').

	From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.		From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.

Brett: Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

2023-09-09T17:38:33Z

Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

← Older revision		Revision as of 18:38, 9 September 2023
Line 236:		Line 236:

	==Performances==		==Performances==
	Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), [[Wilhelmina Raab]] (''Natalya''), Vladimir Sobolev (''Mitkov''), [[Aleksandra Krutikova]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').		Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), [[[[Wilhelmina Raab]]]] (''Natalya''), Vladimir Sobolev (''Mitkov''), [[Aleksandra Krutikova]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').

	From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.		From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.
Line 242:		Line 242:
	''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.		''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.

	''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included Wilhelmina Raab (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), Dmitry Orlov (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').		''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included [[Wilhelmina Raab]] (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), Dmitry Orlov (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').

	In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), Dmitry Orlov (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.		In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), Dmitry Orlov (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.

Brett at 15:38, 9 September 2023

2023-09-09T15:38:38Z

← Older revision		Revision as of 16:38, 9 September 2023
Line 236:		Line 236:

	==Performances==		==Performances==
	Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), Wilhelmina Raab (''Natalya''), Vladimir Sobolev (''Mitkov''), Aleksandra Krutikova (''Morozova''), Dmitry Orlov (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').		Tchaikovsky entrusted the publisher [[Vasily Bessel]] with arrangements for the production of the opera in [[Saint Petersburg]] <ref name="note31"/>. This production was considerably delayed, and met with a number of difficulties, principally from the censor <ref name="note32"/>. The first production of the opera eventually took place in [[Saint Petersburg]] on 12/24 April 1874 at the Mariinsky Theatre, for [[Eduard Nápravník]]'s benefit, and was conducted by him. The soloists were: Vasily Vasilyev I (''Zhemchuzhny''), [[Wilhelmina Raab]] (''Natalya''), Vladimir Sobolev (''Mitkov''), [[Aleksandra Krutikova]] (''Morozova''), [[Dmitry Orlov]] (''Andrey''), Vasily Vasilyev II (''Basmanov''), [[Ivan Melnikov]] (''Vyazminsky'') and [[Olga Nápravník (mother)\|Olga Schroeder]] (''Zakharyevna'').

	From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.		From the first rehearsals, Tchaikovsky experienced a profound disappointment with his composition. "No movement, no style, no inspiration!" <ref name="note33"/>. "I couldn't stand the fiasco, yet at the same time received an excellent lesson in opera composition, because at the first rehearsals I could see my elementary blunders which I shall certainly not commit when writing my next operas", the composer wrote to [[Vasily Bessel]] on 18/30 May 1874 <ref name="note34"/>. However, [[Bessel]] later recalled that the first production in [[Saint Petersburg]] "was a real triumph for Tchaikovsky; it undoubtedly rekindled his interest in the operatic genre... and also consolidated his aptitude for the stage" <ref name="note35"/>.

Tony: /* Notes and References */

2023-01-14T19:54:02Z

Notes and References

← Older revision		Revision as of 20:54, 14 January 2023
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	<ref name="note20">See [[Letter 249]] to [[Anatoly Tchaikovsky]], 1/13 January 1872, and [[Letter 251]] to [[Ilya Tchaikovsky]], 31 January/12 February 1872.</ref>		<ref name="note20">See [[Letter 249]] to [[Anatoly Tchaikovsky]], 1/13 January 1872, and [[Letter 251]] to [[Ilya Tchaikovsky]], 31 January/12 February 1872.</ref>
	<ref name="note21">[[Letter 255]] to [[Eduard Nápravník]], 4/16 May 1872.</ref>		<ref name="note21">[[Letter 255]] to [[Eduard Nápravník]], 4/16 May 1872.</ref>
	<ref name="note22">[[Letter 336]] to [[Anatoly Tchaikovsky]], 24 January/5 February 1874. In 1873 Lent began on 11/23 February, so the rehearsals mentioned by Tchaikovsky presumably began on 18 February/2 March.</ref>		<ref name="note22">[[Letter 336]] to [[Anatoly Tchaikovsky]], 24 January/5 February 1874. In 1873, Lent began on 11/23 February, so the rehearsals mentioned by Tchaikovsky presumably began on 18 February/2 March.</ref>
	<ref name="note23">[[Letter 919]] to [[Bogomir Korsov]], 22 September/4 October 1878.</ref>		<ref name="note23">[[Letter 919]] to [[Bogomir Korsov]], 22 September/4 October 1878.</ref>
	<ref name="note24">[[Letter 933]] to [[Bogomir Korsov]], 7/19 October 1878.</ref>		<ref name="note24">[[Letter 933]] to [[Bogomir Korsov]], 7/19 October 1878.</ref>

Tony: /* Related Works */ Text replacement - "Maryaa" to "Marya" / "Andrei" to "Andrey"

2023-01-14T19:47:20Z

Related Works: Text replacement - "Maryaa" to "Marya" / "Andrei" to "Andrey"

← Older revision		Revision as of 20:47, 14 January 2023
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	While composing the opera ''The Oprichnik'', Tchaikovsky used music from his destroyed opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867-68), and some other works:		While composing the opera ''The Oprichnik'', Tchaikovsky used music from his destroyed opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867-68), and some other works:
	* Act I, No. 1. The opening Allegretto comodo is based on an episode in Act I (No. 7) of the earlier opera		* Act I, No. 1. The opening Allegretto comodo is based on an episode in Act I (No. 7) of the earlier opera
	* Act I, No. 2. The opening Chorus of Maidens is reworked from the opening chorus (Act I, No. 1) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the following song for Natalya is based on ~~Maryaa~~'s Song (Act II, No. 5) from the same opera		* Act I, No. 2. The opening Chorus of Maidens is reworked from the opening chorus (Act I, No. 1) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the following song for Natalya is based on Marya's Song (Act II, No. 5) from the same opera
	* Act I, No. 3. This ~~scenes~~ is also partly based on music from Act I (No. 2) of ''[[The Voyevoda (opera)\|The Voyevoda]]''		* Act I, No. 3. This Scene is also partly based on music from Act I (No. 2) of ''[[The Voyevoda (opera)\|The Voyevoda]]''
	* Act I, No. 4. The Scene is based on music from Act I (No. 3) of the earlier opera		* Act I, No. 4. The Scene is based on music from Act I (No. 3) of the earlier opera
	* Act I, No. 6. The Chorus (from bar 123) is based on the Khorovod (Act II, No. 9) from ''[[The Voyevoda (opera)\|The Voyevoda]]''		* Act I, No. 6. The Chorus (from bar 123) is based on the Khorovod (Act II, No. 9) from ''[[The Voyevoda (opera)\|The Voyevoda]]''
	* Act II, No. 8. The opening C-major section of the Scene is based on Bastryukov's Aria (Act II, No. 2) from ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the end of the Duet is taken from Act II (No. 3) of the same		* Act II, No. 8. The opening C-major section of the Scene is based on Bastryukov's Aria (Act II, No. 2) from ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the end of the Duet is taken from Act II (No. 3) of the same
	* Act IV, No. 16. ~~Andrei~~'s farewell speech is based on Bastryukov's Song from Act I (No. 9) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the Andante sostenuto section of the following Duet (from bar 237) uses a theme from the central section of the symphonic fantasia ''[[Fatum]]''.		* Act IV, No. 16. Andrey's farewell speech is based on Bastryukov's Song from Act I (No. 9) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the Andante sostenuto section of the following Duet (from bar 237) uses a theme from the central section of the symphonic fantasia ''[[Fatum]]''.

	The Dances of Oprichniks and Women (Act IV, No. 15) are based on the folksongs ''Our Wine Cellar'' (Винный наш колодец), ''Floating and Rising'' (Плывет, восплывает), ''Master Andrey Made Merry'' (Гулял Андрей господин), ''Merry Katya'' (Катенька веселая) and ''Little Ivan Wears a Big Hat'' (На Иванушке чапан). The melodies of these songs were used in Tchaikovsky's collection of [[Fifty Russian Folksongs]] for piano duet (1868-69).		The Dances of Oprichniks and Women (Act IV, No. 15) are based on the folksongs ''Our Wine Cellar'' (Винный наш колодец), ''Floating and Rising'' (Плывет, восплывает), ''Master Andrey Made Merry'' (Гулял Андрей господин), ''Merry Katya'' (Катенька веселая) and ''Little Ivan Wears a Big Hat'' (На Иванушке чапан). The melodies of these songs were used in Tchaikovsky's collection of [[Fifty Russian Folksongs]] for piano duet (1868-69).

Tony: /* Performances */ Omitted "production" to avoid repetition

2023-01-14T19:29:43Z

Performances: Omitted "production" to avoid repetition

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	''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.		''The Oprichnik'' was first produced on the [[Moscow]] stage on 4/16 May 1875 in the Bolshoi Theatre, at the benefit for singer Stepan Demidov, conducted by Eduard Merten, with soloists: Stepan Demidov (''Zhemchuzhny''), Smelskaya (''Natalya''), [[Yevlaliya Kadmina]] (''Morozova''), [[Aleksandr Dodonov]] (''Andrey''), Anna Aristova (''Basmanov'') and Platon Radonezhsky (''Vyazminsky''). Tchaikovsky wrote on 12/24 May to [[Anatoly Tchaikovsky]]: "I was present at numerous rehearsals of ''The Oprichnik'', and with stoical fortitude I endured the systematic mutilation of this ill-fated opera, but without disgracing myself. However, the production of ''The Oprichnik'' last Sunday did not correspond with my expectations, in the sense that I was expecting far worse. They all tried very hard" <ref name="note36"/>.

	''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint ~~production~~ production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included Wilhelmina Raab (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), Dmitry Orlov (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').		''The Oprichnik'' was the first of Tchaikovsky's operas to be performed on the provincial stages. On 26 July/7 August 1874, ''The Oprichnik'' had exceptional success in [[Odessa]], in a joint production between Ferdinand Berger's opera company and the [[Saint Petersburg]] Imperial Opera. The cast included Wilhelmina Raab (''Natalya''), [[Yelizaveta Lavrovskaya]] (''Morozova''), Dmitry Orlov (''Andrey'') and [[Bogomir Korsov]] (''Vyazminsky'').

	In [[Kiev]] the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), Dmitry Orlov (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.		In [[Kiev]], the premiere took place at the city's Opera Theatre on 9/21 December 1874 in the presence of the composer, with Yekaterina Massini (''Natalya''), [[Mariya Ilyina]] (''Morozova''), Dmitry Orlov (''Andrey''), Olga Puskova (''Basmanov''), and Fyodor Stravinsky (''Vyazminsky''). Press reports were also favourable.

	In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.		In the 1879/80 season, ''The Oprichnik'' should have been revived on the stage of the Bolshoi Theatre in [[Moscow]]. The premiere was scheduled for 28 December/9 January, but after the dress rehearsals the production was cancelled by government decree. Tchaikovsky wrote about this to [[Nadezhda von Meck]] on 8/20 February 1880: "The story of ''The Oprichnik'' is very curious: it has been banned, because the subject is considered to be too revolutionary for the present time" <ref name="note37"/>.

Tony: /* Composition */ Text replacement - "you" to "your" due to context

2023-01-14T19:18:22Z

Composition: Text replacement - "you" to "your" due to context

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	* ''Natalya'' (Наталья) — soprano		* ''Natalya'' (Наталья) — soprano
	* ''Molchan Mitkov'' (Молчан митьков) — bass		* ''Molchan Mitkov'' (Молчан митьков) — bass
	* '' Boyarynya Morozova'' (Боярына Морозова) — mezzo-soprano		* ''Boyarynya Morozova'' (Боярына Морозова) — mezzo-soprano
	* ''Andrey Morozov'' (Андрей Морозов) — tenor		* ''Andrey Morozov'' (Андрей Морозов) — tenor
	* ''Basmanov'' (Басманов) — contralto		* ''Basmanov'' (Басманов) — contralto
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	"For four whole days I've been working on cuts and changes to the score", the composer wrote to [[Anatoly Tchaikovsky]] on 24 January/5 February. "I've seen [[Bessel]]. I'm glad to say that the problems with the censor have been overcome successfully. Everything is ready; from the second week in Lent rehearsals will take place every day" <ref name="note22"/>.		"For four whole days I've been working on cuts and changes to the score", the composer wrote to [[Anatoly Tchaikovsky]] on 24 January/5 February. "I've seen [[Bessel]]. I'm glad to say that the problems with the censor have been overcome successfully. Everything is ready; from the second week in Lent rehearsals will take place every day" <ref name="note22"/>.

	In September 1878, [[Bogomir Korsov]], performing the role of Vyazminsky at [[Moscow]]'s Bolshoi Theatre, asked Tchaikovsky to write an additional aria for him. The composer flatly refused to carry out this request: " I must warn you that neither now, nor in the foreseeable future, will I be ''able'' to fulfil ~~you~~ request, despite my fervent wish to do so. There are certain periods, certain states of mind, when it is impossible to work. I find myself precisely in this state and nothing in the world at this moment could release me from this sort of moral and intellectual torpor which utterly stands between me and any hint of artistic creativity. I put this to you as an artist and as a friend, and ask you not to press the matter" <ref name="note23"/>. At this time Tchaikovsky decided to resign from the [[Moscow]] Conservatory. While refusing the request, he suggested that [[Korsov]] should ask the composer [[Grigory Lishin]] to write the additional aria, provided this was stated on the concert bills. But [[Korsov]] persisted, and Tchaikovsky relented.		In September 1878, [[Bogomir Korsov]], performing the role of Vyazminsky at [[Moscow]]'s Bolshoi Theatre, asked Tchaikovsky to write an additional aria for him. The composer flatly refused to carry out this request: " I must warn you that neither now, nor in the foreseeable future, will I be ''able'' to fulfil your request, despite my fervent wish to do so. There are certain periods, certain states of mind, when it is impossible to work. I find myself precisely in this state and nothing in the world at this moment could release me from this sort of moral and intellectual torpor which utterly stands between me and any hint of artistic creativity. I put this to you as an artist and as a friend, and ask you not to press the matter" <ref name="note23"/>. At this time Tchaikovsky decided to resign from the [[Moscow]] Conservatory. While refusing the request, he suggested that [[Korsov]] should ask the composer [[Grigory Lishin]] to write the additional aria, provided this was stated on the concert bills. But [[Korsov]] persisted, and Tchaikovsky relented.

	On 7/19 October 1878, the aria was despatched to [[Korsov]] <ref name="note24"/>. In an accompanying letter, Tchaikovsky wrote: "Here is the aria which I promised you... If you do not consider it to be suitable, remember that I have done you a favour, and that at the moment I'm not at all in the frame of mind for composition... The aria has two couplets. It should be inserted after the chorus 'Its light flows upon us', page 110 in the vocal-piano reduction, first line, 4th bar".		On 7/19 October 1878, the aria was despatched to [[Korsov]] <ref name="note24"/>. In an accompanying letter, Tchaikovsky wrote: "Here is the aria which I promised you... If you do not consider it to be suitable, remember that I have done you a favour, and that at the moment I'm not at all in the frame of mind for composition... The aria has two couplets. It should be inserted after the chorus 'Its light flows upon us', page 110 in the vocal-piano reduction, first line, 4th bar".

	The composition of this additional aria was confirmed in the following report by Mikhail Ivanov in the journal ''New Time''in 1897: "In passing we note that Tchaikovsky wrote a separate aria for the part of Vyazminsky, when '' The Oprichnik'' was given in [[Moscow]]. He wrote it especially for Mr [[Korsov]], who has kept it until now. The aria was not considered to be meretricious, either by the composer or the artist, and has never been performed or published" <ref name="note25"/>. The vocal-piano reduction of this aria was only rediscovered and published in 1986 <ref name="note26"/>.		The composition of this additional aria was confirmed in the following report by Mikhail Ivanov in the journal ''New Time'' in 1897: "In passing we note that Tchaikovsky wrote a separate aria for the part of Vyazminsky, when'' The Oprichnik'' was given in [[Moscow]]. He wrote it especially for Mr [[Korsov]], who has kept it until now. The aria was not considered to be meretricious, either by the composer or the artist, and has never been performed or published" <ref name="note25"/>. The vocal-piano reduction of this aria was only rediscovered and published in 1986 <ref name="note26"/>.

	In his article, Mikhail Ivanov also mentions that Tchaikovsky wrote an additional aria for Olga Puskova, a singer at the [[Kiev]] Theatre who performed the role of Basmanov. This is borne out by a letter from Tchaikovsky to [[Iosif Setov]] of 18/30 November 1874: "For God's sake don't think that I have forgotten my promise to write an aria for Puskova... I certainly don't know where to incorporate an aria for Basmanov. If inserted in the first act after Andrey's additional aria, wouldn't it hold up the action? For God's sake tell me where to insert this aria and what the text should be, whether you still want this, and whether you want it to be sent to you or should I write it when I come to [[Kiev]]?" <ref name="note27"/>.		In his article, Mikhail Ivanov also mentions that Tchaikovsky wrote an additional aria for Olga Puskova, a singer at the [[Kiev]] Theatre who performed the role of Basmanov. This is borne out by a letter from Tchaikovsky to [[Iosif Setov]] of 18/30 November 1874: "For God's sake don't think that I have forgotten my promise to write an aria for Puskova... I certainly don't know where to incorporate an aria for Basmanov. If inserted in the first act after Andrey's additional aria, wouldn't it hold up the action? For God's sake tell me where to insert this aria and what the text should be, whether you still want this, and whether you want it to be sent to you or should I write it when I come to [[Kiev]]?" <ref name="note27"/>.

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	While composing the opera ''The Oprichnik'', Tchaikovsky used music from his destroyed opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867-68), and some other works:		While composing the opera ''The Oprichnik'', Tchaikovsky used music from his destroyed opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' (1867-68), and some other works:
	* Act I, No. 1. The opening Allegretto comodo is based on an episode in Act I (No. 7) of the earlier opera		* Act I, No. 1. The opening Allegretto comodo is based on an episode in Act I (No. 7) of the earlier opera
	* Act I, No. 2. The opening Chorus of Maidens is reworked from the opening chorus (Act I, No. 1) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the following song for Natalya is based on ~~Maryaa~~'s Song (Act II, No. 5) from the same opera		* Act I, No. 2. The opening Chorus of Maidens is reworked from the opening chorus (Act I, No. 1) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the following song for Natalya is based on Marya's Song (Act II, No. 5) from the same opera
	* Act I, No. 3. This ~~scenes~~ is also partly based on music from Act I (No. 2) of ''[[The Voyevoda (opera)\|The Voyevoda]]''		* Act I, No. 3. This Scene is also partly based on music from Act I (No. 2) of ''[[The Voyevoda (opera)\|The Voyevoda]]''
	* Act I, No. 4. The Scene is based on music from Act I (No. 3) of the earlier opera		* Act I, No. 4. The Scene is based on music from Act I (No. 3) of the earlier opera
	* Act I, No. 6. The Chorus (from bar 123) is based on the Khorovod (Act II, No. 9) from ''[[The Voyevoda (opera)\|The Voyevoda]]''		* Act I, No. 6. The Chorus (from bar 123) is based on the Khorovod (Act II, No. 9) from ''[[The Voyevoda (opera)\|The Voyevoda]]''
	* Act II, No. 8. The opening C-major section of the Scene is based on Bastryukov's Aria (Act II, No. 2) from ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the end of the Duet is taken from Act II (No. 3) of the same		* Act II, No. 8. The opening C-major section of the Scene is based on Bastryukov's Aria (Act II, No. 2) from ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the end of the Duet is taken from Act II (No. 3) of the same
	* Act IV, No. 16. ~~Andrei~~'s farewell speech is based on Bastryukov's Song from Act I (No. 9) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the Andante sostenuto section of the following Duet (from bar 237) uses a theme from the central section of the symphonic fantasia ''[[Fatum]]''.		* Act IV, No. 16. Andrey's farewell speech is based on Bastryukov's Song from Act I (No. 9) of ''[[The Voyevoda (opera)\|The Voyevoda]]'', and the Andante sostenuto section of the following Duet (from bar 237) uses a theme from the central section of the symphonic fantasia ''[[Fatum]]''.

	The Dances of Oprichniks and Women (Act IV, No. 15) are based on the folksongs ''Our Wine Cellar'' (Винный наш колодец), ''Floating and Rising'' (Плывет, восплывает), ''Master Andrey Made Merry'' (Гулял Андрей господин), ''Merry Katya'' (Катенька веселая) and ''Little Ivan Wears a Big Hat'' (На Иванушке чапан). The melodies of these songs were used in Tchaikovsky's collection of [[Fifty Russian Folksongs]] for piano duet (1868-69).		The Dances of Oprichniks and Women (Act IV, No. 15) are based on the folksongs ''Our Wine Cellar'' (Винный наш колодец), ''Floating and Rising'' (Плывет, восплывает), ''Master Andrey Made Merry'' (Гулял Андрей господин), ''Merry Katya'' (Катенька веселая) and ''Little Ivan Wears a Big Hat'' (На Иванушке чапан). The melodies of these songs were used in Tchaikovsky's collection of [[Fifty Russian Folksongs]] for piano duet (1868-69).