The Voyevoda (opera) - Revision history

Brett at 14:22, 30 December 2023

2023-12-30T14:22:49Z

Brett at 19:27, 27 December 2023

2023-12-27T19:27:29Z

← Older revision		Revision as of 21:27, 27 December 2023
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	In May, Tchaikovsky reworked his [[Characteristic Dances]], written in 1865, which were used to open the opera's second act as ''Dances of the Chambermaids'', and then while on holiday at [[Hapsal]] between June and August he orchestrated them, along with Act I of the opera <ref name="note13"/>.		In May, Tchaikovsky reworked his [[Characteristic Dances]], written in 1865, which were used to open the opera's second act as ''Dances of the Chambermaids'', and then while on holiday at [[Hapsal]] between June and August he orchestrated them, along with Act I of the opera <ref name="note13"/>.

	The composer's difficulties in extracting the rest of the libretto from [[Aleksandr Ostrovsky]] were an obstacle to any significant progress during the autumn, until Tchaikovsky took the decision to finish the rest of the opera by himself. On 25 November/7 December 1867 he told his brother [[Modest]]: "The opera is now going quite ~~successfully~~; the whole of the ~~third~~ act ~~is written, and~~ the dances from it, which I orchestrated in [[Hapsal]], will be performed at the next concert" <ref name="note14"/>.		The composer's difficulties in extracting the rest of the libretto from [[Aleksandr Ostrovsky]] were an obstacle to any significant progress during the autumn, until Tchaikovsky took the decision to finish the rest of the opera by himself. On 25 November/7 December 1867 he told his brother [[Modest]]: "The opera's now going quite well; I've written the whole of the 3rd act; the dances from it, which I orchestrated at [[Hapsal]], will be performed at the next concert" <ref name="note14"/>.

	It is impossible to establish how much work had been done during the winter of 1868, but in mid/late February 1868, Tchaikovsky was engaged in orchestrating Act III, as he wrote to [[Anatoly Tchaikovsky]]: "Over the last few days I have made a start on orchestrating the third act. I really want to finish the opera by the summer" <ref name="note15"/>.		It is impossible to establish how much work had been done during the winter of 1868, but in mid/late February 1868, Tchaikovsky was engaged in orchestrating Act III, as he wrote to [[Anatoly Tchaikovsky]]: "Over the last few days I have made a start on orchestrating the third act. I really want to finish the opera by the summer" <ref name="note15"/>.

Brett at 08:20, 2 September 2023

2023-09-02T08:20:11Z

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	On his return to [[Moscow]] on 31 August/12 September, Tchaikovsky once again called on [[Aleksandr Ostrovsky]], and that same day he wrote to [[Anatoly Tchaikovsky]]: "[[Ostrovsky]] continues to deceive me; in [[Saint Petersburg]] I read in the newspapers that he had finished my libretto, but this is completely untrue, and I had great difficulty prising half of one old act from him" <ref name="note8"/>. Evidently, this was the libretto of the first scene of Act II. In an undated latter, probably written in September 1867, Tchaikovsky again asked [[Ostrovsky]] for the libretto: "For the sake of all that's holy—find a spare moment and finish off what you promised me. I can do nothing without the missing scenes from the second act" <ref name="note9"/>. But by 28 September/9 October, work on the opera had resumed: "The opera is gradually taking shape; [[Ostrovsky]] has gone to [[Saint Petersburg]] for a while; when he comes back from there I shall pounce on him" <ref name="note10"/>.		On his return to [[Moscow]] on 31 August/12 September, Tchaikovsky once again called on [[Aleksandr Ostrovsky]], and that same day he wrote to [[Anatoly Tchaikovsky]]: "[[Ostrovsky]] continues to deceive me; in [[Saint Petersburg]] I read in the newspapers that he had finished my libretto, but this is completely untrue, and I had great difficulty prising half of one old act from him" <ref name="note8"/>. Evidently, this was the libretto of the first scene of Act II. In an undated latter, probably written in September 1867, Tchaikovsky again asked [[Ostrovsky]] for the libretto: "For the sake of all that's holy—find a spare moment and finish off what you promised me. I can do nothing without the missing scenes from the second act" <ref name="note9"/>. But by 28 September/9 October, work on the opera had resumed: "The opera is gradually taking shape; [[Ostrovsky]] has gone to [[Saint Petersburg]] for a while; when he comes back from there I shall pounce on him" <ref name="note10"/>.

	However, Tchaikovsky's collaboration with [[Aleksandr Ostrovsky]] on ''The Voyevoda'' was over. In 1882, the composer wrote to [[Sergey Taneyev]] about this: "This most kind man [Ostrovsky]... wrote the first act and the first scene of the second act for me himself. I began to compose, but having written the first act, I became disillusioned with the subject and the music I had written and decided to abandon composition, so after that I did not further trouble [[Ostrovsky]]. But it so happened that the singer Menshikova wanted a new opera for her benefit, and she prevailed upon me to finish the opera, so I somehow cobbled together the remainder (both the libretto and the music)" <ref name="note11"/>.		However, Tchaikovsky's collaboration with [[Aleksandr Ostrovsky]] on ''The Voyevoda'' was over. In 1882, the composer wrote to [[Sergey Taneyev]] about this: "This most kind man [Ostrovsky]... wrote the first act and the first scene of the second act for me himself. I began to compose, but having written the first act, I became disillusioned with the subject and the music I had written and decided to abandon composition, so after that I did not further trouble [[Ostrovsky]]. But it so happened that the singer [[Menshikova]] wanted a new opera for her benefit, and she prevailed upon me to finish the opera, so I somehow cobbled together the remainder (both the libretto and the music)" <ref name="note11"/>.

	===Synopsis===		===Synopsis===
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	The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.		The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.

	A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), Aleksandra Menshikova (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New Voyevoda''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.		A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist [[Aleksandra Menshikova]], conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), [[Aleksandra Menshikova]] (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New Voyevoda''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.

	Nevertheless, the Entr'acte & Dances of the Chambermaids (Act II, No. 4) continued to be given separate concert performances, including:		Nevertheless, the Entr'acte & Dances of the Chambermaids (Act II, No. 4) continued to be given separate concert performances, including:

Brett: Text replacement - "A. A. Bakhrushin State Central Theatrical Museum, Moscow" to "{{RUS-Mt}} in Moscow"

2023-08-07T18:22:52Z

Text replacement - "A. A. Bakhrushin State Central Theatrical Museum, Moscow" to "{{RUS-Mt}} in Moscow"

← Older revision		Revision as of 20:22, 7 August 2023
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	<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>		<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>
	<ref name="note6">See {{und\|A. N. Ostrovsky. Полное собрание сочинений, том XIII}} (1953), pp. 263–265.</ref>		<ref name="note6">See {{und\|A. N. Ostrovsky. Полное собрание сочинений, том XIII}} (1953), pp. 263–265.</ref>
	<ref name="note7">~~A. A. Bakhrushin State Central Theatrical Museum,~~ [[Moscow]].</ref>		<ref name="note7">{{RUS-Mt}} in [[Moscow]].</ref>
	<ref name="note8">[[Letter 102]] to [[Anatoly Tchaikovsky]], 31 August/12 September 1867.</ref>		<ref name="note8">[[Letter 102]] to [[Anatoly Tchaikovsky]], 31 August/12 September 1867.</ref>
	<ref name="note9">[[Letter 103]] to [[Aleksandr Ostrovsky]], by 20 September/2 October 1867.</ref>		<ref name="note9">[[Letter 103]] to [[Aleksandr Ostrovsky]], by 20 September/2 October 1867.</ref>

Tony: /* Related Works */

2023-04-11T18:26:11Z

Related Works

Tony: /* Notes and References */

2023-01-13T10:15:56Z

Notes and References

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	<ref name="note2">[[Letter 96]] to [[Anatoly Tchaikovsky]], 8/20 November 1866.</ref>		<ref name="note2">[[Letter 96]] to [[Anatoly Tchaikovsky]], 8/20 November 1866.</ref>
	<ref name="note3">See also [[Letter 2148]] to [[Sergey Taneyev]], 29 October/10 November 1882.</ref>		<ref name="note3">See also [[Letter 2148]] to [[Sergey Taneyev]], 29 October/10 November 1882.</ref>
	<ref name="note4">[[Letter 98]]to [[Anatoly Tchaikovsky]], 2/14 May 1867.</ref>		<ref name="note4">[[Letter 98]] to [[Anatoly Tchaikovsky]], 2/14 May 1867.</ref>
	<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>		<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>
	<ref name="note6">See {{und\|A. N. Ostrovsky. Полное собрание сочинений, том XIII}} (1953), pp. 263–265.</ref>		<ref name="note6">See {{und\|A. N. Ostrovsky. Полное собрание сочинений, том XIII}} (1953), pp. 263–265.</ref>

Tony: /* Related Works */ Text replacement - "from" to "of" for consistency

2023-01-13T10:04:16Z

Related Works: Text replacement - "from" to "of" for consistency

Tony: /* Publication */

2023-01-12T20:24:48Z

Publication

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	==Publication==		==Publication==
	In 1873 [[Pyotr Jurgenson]] published the full score of the ''Entr'acte & Dances of the Chambermaids''. In June 1890 the composer made some changes to the finale of this number for a new edition by [[Jurgenson]] <ref name="note23"/>, which appeared in 1891 along with the orchestral parts. In 1892 and 1893 [[Jurgenson]] brought out the full score and orchestral parts respectively of the Overture. These were the only parts of the opera to be published during the composer's lifetime.		In 1873, [[Pyotr Jurgenson]] published the full score of the ''Entr'acte & Dances of the Chambermaids''. In June 1890, the composer made some changes to the finale of this number for a new edition by [[Jurgenson]] <ref name="note23"/>, which appeared in 1891 along with the orchestral parts. In 1892 and 1893, [[Jurgenson]] brought out the full score and orchestral parts respectively of the Overture. These were the only parts of the opera to be published during the composer's lifetime.

	In the 1930s [[Sergey Popov]] used the surviving parts from the first performances to reconstruct the opera, and in the 1940s a performing version was realised by Pavel Lamm, with the assistance of Vissarion Shebalin and [[Boris Asafyev]], with a revised libretto by Sergey Spassky. The opera was published for the first time in 1953 in this version (full score and vocal-piano reduction) in volume 1 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Pavel Lamm.		In the 1930s, [[Sergey Popov]] used the surviving parts from the first performances to reconstruct the opera, and in the 1940s a performing version was realised by Pavel Lamm, with the assistance of Vissarion Shebalin and [[Boris Asafyev]], with a revised libretto by Sergey Spassky. The opera was published for the first time in 1953 in this version (full score and vocal-piano reduction) in volume 1 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Pavel Lamm.

	==Related Works==		==Related Works==

Tony: /* Performances */ Omitted "at" for clarity of meaning

2023-01-12T20:17:24Z

Performances: Omitted "at" for clarity of meaning

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	Tchaikovsky himself conducted a concert performance of the Entr'acte & Dances of the Chambermaids (Act II, No. 4) from ''The Voyevoda'' at a charity concert in [[Moscow]] on 19 February/2 March 1868 <ref name="note15A"/>.		Tchaikovsky himself conducted a concert performance of the Entr'acte & Dances of the Chambermaids (Act II, No. 4) from ''The Voyevoda'' at a charity concert in [[Moscow]] on 19 February/2 March 1868 <ref name="note15A"/>.

	The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that at the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.		The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.

	A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), Aleksandra Menshikova (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New Voyevoda''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.		A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), Aleksandra Menshikova (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New Voyevoda''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.

Tony: /* Performances */ Text replacement - Voevoda" to "Voyevoda"

2023-01-12T20:15:41Z

Performances: Text replacement - Voevoda" to "Voyevoda"

← Older revision		Revision as of 22:15, 12 January 2023
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	Tchaikovsky himself conducted a concert performance of the Entr'acte & Dances of the Chambermaids (Act II, No. 4) from ''The Voyevoda'' at a charity concert in [[Moscow]] on 19 February/2 March 1868 <ref name="note15A"/>.		Tchaikovsky himself conducted a concert performance of the Entr'acte & Dances of the Chambermaids (Act II, No. 4) from ''The Voyevoda'' at a charity concert in [[Moscow]] on 19 February/2 March 1868 <ref name="note15A"/>.

	The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that at the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.		The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September <ref name="note16"/>. Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told [[Anatoly Tchaikovsky]] that the premiere had been postponed: "You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that at the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score... In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left" <ref name="note17"/>.

	A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), Aleksandra Menshikova (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New ~~Voevoda~~''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.		A new date for the premiere was set for December 1868 <ref name="note18"/>, but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (''Voyevoda''), Platon Radonezhesky (''Dyuzhoy''), Anna Annenskaya (''Nastasya''), Aleksandra Menshikova (''Marya''), Zinayda Kronenberg (''Praskovya''), Aleksandr Rapport (''Bastryukov''), Stepan Demidov (''Dubrovin''), Anna Ivanova (''Olyona''), Konstantin Bozhanovsky (''Rezvy''), Aleksandr Lavrov (''Jester''), Yelena Rozanova (''Nedviga'') and Ivan Korin (''New Voyevoda''). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire <ref name="note19"/>.

	Nevertheless, the Entr'acte & Dances of the Chambermaids (Act II, No. 4) continued to be given separate concert performances, including:		Nevertheless, the Entr'acte & Dances of the Chambermaids (Act II, No. 4) continued to be given separate concert performances, including:
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	The Overture to the opera was also premiered in [[London]] at the Queen's Hall by Henry Wood on 3/15 May 1897.		The Overture to the opera was also premiered in [[London]] at the Queen's Hall by Henry Wood on 3/15 May 1897.

	On 28 September 1949 a reconstructed version of the opera was produced on the stage of the Maly Opera Theatre in [[Leningrad]]. For this production the missing pages from the full score were completed by Yury Kochurov. The conductor was Eduard Grikurov, and the soloists: Nikolay Butyagin (''Voyevoda''), Arkady Guryevich (''Dyuzhoy''), Frederika Zass (''Nastasya''), Vera Kudyavtseva (''Marya''), Fyodor Andrukovich (''Bastryukov''), Lev Petrov (''Dubrovin''), Vera Ovcharenko (''Olyona''), Dmitry Silvestrov (''Rezvy''), Fyodor Barayev (''Jester'') and Kseniya Komissarova (''Nedviga''). The opera became established in the theatre's repertoire in this performing version.		On 28 September 1949, a reconstructed version of the opera was produced on the stage of the Maly Opera Theatre in [[Leningrad]]. For this production the missing pages from the full score were completed by Yury Kochurov. The conductor was Eduard Grikurov, and the soloists: Nikolay Butyagin (''Voyevoda''), Arkady Guryevich (''Dyuzhoy''), Frederika Zass (''Nastasya''), Vera Kudyavtseva (''Marya''), Fyodor Andrukovich (''Bastryukov''), Lev Petrov (''Dubrovin''), Vera Ovcharenko (''Olyona''), Dmitry Silvestrov (''Rezvy''), Fyodor Barayev (''Jester'') and Kseniya Komissarova (''Nedviga''). The opera became established in the theatre's repertoire in this performing version.

	==Critical Reception==		==Critical Reception==

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	The libretto was compiled by the composer and [[Aleksandr Ostrovsky]] (1823–1886), after the latter's play ''A Dream on the Volga'' (Сон на Волге) (1865).		The libretto was compiled by the composer and [[Aleksandr Ostrovsky]] (1823–1886), after the latter's play ''A Dream on the Volga'' (Сон на Волге) (1865).

	The first reference to the idea of the opera ''The Voyevoda'' appears in Tchaikovsky's letter to [[Anatoly Tchaikovsky]] of 8/20 November 1866: "I'm now busy revising the [[Symphony No. 1\|symphony]] ~~<ref name="note3"/>~~ and then, perhaps, I can eventually make a start on an opera. There is hope that [[Ostrovsky]] himself will write me a libretto from ''The Voyevoda''" <ref name="note2"/>.		The first reference to the idea of the opera ''The Voyevoda'' appears in Tchaikovsky's letter to [[Anatoly Tchaikovsky]] of 8/20 November 1866: "I'm now busy revising the [[Symphony No. 1\|symphony]] and then, perhaps, I can eventually make a start on an opera. There is hope that [[Ostrovsky]] himself will write me a libretto from ''The Voyevoda''" <ref name="note2"/>.

	The libretto for the opera's first act was received from [[Aleksandr Ostrovsky]] in March 1867. In the copybook containing sketches for the opera, Tchaikovsky made the following note: "Received from [[A. N. Ostrovsky]] 1st Act libretto. 5 March 1867. Started to write on the 8th" {{OS}} <ref name="note3"/>.		The libretto for the opera's first act was received from [[Aleksandr Ostrovsky]] in March 1867. In the copybook containing sketches for the opera, Tchaikovsky made the following note: "Received from [[A. N. Ostrovsky]] 1st Act libretto. 5 March 1867. Started to write on the 8th" {{OS}} <ref name="note3"/>.

	In late April/early May, Tchaikovsky lost the libretto, as he wrote to [[Anatoly Tchaikovsky]] on 22 May/3 June <ref name="note4"/>, and he was forced to ask [[Ostrovsky]] to provide another copy of the text. It is not clear exactly how much Tchaikovsky had lost, but in the composer's archive there is a manuscript by [[Ostrovsky]] containing the reconstructed libretto for the whole of the first act, and for the first scene of Act II.		In late April/early May, Tchaikovsky lost the libretto, as he wrote to [[Anatoly Tchaikovsky]] on 22 May/3 June <ref name="note4"/>, and he was forced to ask [[Ostrovsky]] to provide another copy of the text. It is not clear exactly how much Tchaikovsky had lost, but in the composer's archive there is a manuscript by [[Ostrovsky]] containing the reconstructed libretto for the whole of the first act, and for the first scene of Act II <ref name="note3A"/>.

	Before leaving [[Moscow]] for his summer holidays, Tchaikovsky went to visit [[Aleksandr Ostrovsky]], but could not find him, as he informed the writer from [[Hapsal]] on 10/22 June 1867: "You were already in the country. I was very upset leaving for the summer without having had a single line of the libretto, but now I am even rather glad that this happened, because I suppose that you have not even begun the second act, and this might allow me to suggest that you might consider the following new plan for the second act. After the duet for Dubrovin and Bastryukov, I would very much like to introduce Olyona into this act, with the following factors serving as the motive for her appearance:		Before leaving [[Moscow]] for his summer holidays, Tchaikovsky went to visit [[Aleksandr Ostrovsky]], but could not find him, as he informed the writer from [[Hapsal]] on 10/22 June 1867: "You were already in the country. I was very upset leaving for the summer without having had a single line of the libretto, but now I am even rather glad that this happened, because I suppose that you have not even begun the second act, and this might allow me to suggest that you might consider the following new plan for the second act. After the duet for Dubrovin and Bastryukov, I would very much like to introduce Olyona into this act, with the following factors serving as the motive for her appearance:
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	If you are agreeable to these changes, then perhaps we could do without the first scene of the second act".		If you are agreeable to these changes, then perhaps we could do without the first scene of the second act".

	At the end of his letter, Tchaikovsky cautioned [[Aleksandr Ostrovsky]]: "I ~~ask~~ you ~~not~~ to hurry; I will spend ~~the~~ summer finishing off ~~the orchestration of~~ the first act; then during the winter and coming summer I hope to write the remaining three" <ref name="note5"/>.		At the end of his letter, Tchaikovsky cautioned [[Aleksandr Ostrovsky]]: I am not asking you to hurry: I will spend this summer finishing off and orchestrating the first act; then during the winter and the coming summer I hope to write the remaining three" <ref name="note5"/>.

	It follows from this letter that the opera was planned in four acts, and that the composer already had the libretto of Act I.		It follows from this letter that the opera was planned in four acts, and that the composer already had the libretto of Act I.
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	[[Aleksandr Ostrovsky]]'s diary refers to his work on copying out the libretto <ref name="note6"/>. He began this task on 4/16 June 1867, and on 8/20 June Act I was finished. Work was continually interrupted, since at the same time [[Ostrovsky]] was writing a libretto for [[Aleksandr Serov]]'s opera ''The Power of Evil''. From his diary it would appear that he was much more enthusiastic about his work on the latter project than on ''The Voyevoda'', and he concentrated on this other plan. On 17/29 June, [[Ostrovsky]] sent Tchaikovsky the portion of the libretto that he had prepared, with a covering letter: "I am sorry for delaying your libretto, I have had a lot of work to do. I am sending all that I have managed to do, and the remainder will follow shortly... Have no fear, kind sir, I shall certainly keep my promise" <ref name="note7"/>. Nevertheless, to judge from his diary entries, by late August/early September, [[Ostrovsky]] had done no significant work on the libretto of ''The Voyevoda''		[[Aleksandr Ostrovsky]]'s diary refers to his work on copying out the libretto <ref name="note6"/>. He began this task on 4/16 June 1867, and on 8/20 June Act I was finished. Work was continually interrupted, since at the same time [[Ostrovsky]] was writing a libretto for [[Aleksandr Serov]]'s opera ''The Power of Evil''. From his diary it would appear that he was much more enthusiastic about his work on the latter project than on ''The Voyevoda'', and he concentrated on this other plan. On 17/29 June, [[Ostrovsky]] sent Tchaikovsky the portion of the libretto that he had prepared, with a covering letter: "I am sorry for delaying your libretto, I have had a lot of work to do. I am sending all that I have managed to do, and the remainder will follow shortly... Have no fear, kind sir, I shall certainly keep my promise" <ref name="note7"/>. Nevertheless, to judge from his diary entries, by late August/early September, [[Ostrovsky]] had done no significant work on the libretto of ''The Voyevoda''

	On his return to [[Moscow]] on 31 August/12 September, Tchaikovsky once again called on [[Aleksandr Ostrovsky]], and that same day he wrote to [[Anatoly Tchaikovsky]]: "[[Ostrovsky]] continues to ~~deceive~~ me; in [[~~Saint~~ Petersburg]] I read in the newspapers that he ~~had~~ finished my libretto, but this ~~is completely untrue~~, and I ~~had great difficulty prising~~ half of ~~one~~ old act from him" <ref name="note8"/>. Evidently, this was the libretto of the first scene of Act II. In an undated latter, probably written in September 1867, Tchaikovsky again asked [[Ostrovsky]] for the libretto: "For the sake of all that's ~~holy—find~~ a spare moment and finish off what you promised me. I ~~can do nothing~~ without the missing scenes from the second act" <ref name="note9"/>. But by 28 September/9 October, work on the opera had resumed: "The opera is gradually taking shape; [[Ostrovsky]] has ~~gone to~~ [[~~Saint~~ Petersburg]] for a while; when he comes back from there I shall pounce on him" <ref name="note10"/>.		On his return to [[Moscow]] on 31 August/12 September, Tchaikovsky once again called on [[Aleksandr Ostrovsky]], and that same day he wrote to [[Anatoly Tchaikovsky]]: "[[Ostrovsky]] continues to confound me; in [[Petersburg]] I read in the newspapers that he'd finished my libretto, but this turned out to be utterly false news, and I struggled to prise half of the old act from him" <ref name="note8"/>. Evidently, this was the libretto of the first scene of Act II. In an undated latter, probably written in September 1867, Tchaikovsky again asked [[Ostrovsky]] for the libretto: "For the sake of all that's holy — find a spare moment and finish off what you promised me. I am quite forlorn without the missing scenes from the second act" <ref name="note9"/>. But by 28 September/9 October, work on the opera had resumed: "The opera is gradually taking shape; [[Ostrovsky]] has left for [[Petersburg]] for a while; when he comes back from there I shall pounce on him" <ref name="note10"/>.

	However, Tchaikovsky's collaboration with [[Aleksandr Ostrovsky]] on ''The Voyevoda'' was over. In 1882, the composer wrote to [[Sergey Taneyev]] about this: "This most kind man [Ostrovsky]... wrote the first act and the first scene of the second act for me himself. I began to compose, but having written the first act, I became disillusioned with the subject and the music I had written and decided to abandon composition, so after that I did not further trouble [[Ostrovsky]]. But it so happened that the singer [[Menshikova]] wanted a new opera for her benefit, and she prevailed upon me to finish the opera, so I somehow cobbled together the remainder (both the libretto and the music)" <ref name="note11"/>.		However, Tchaikovsky's collaboration with [[Aleksandr Ostrovsky]] on ''The Voyevoda'' was over. In 1882, the composer wrote to [[Sergey Taneyev]] about this: "This most kind man [Ostrovsky]... wrote the first act and the first scene of the second act for me himself. I began to compose, but having written the first act, I became disillusioned with the subject and the music I had written and decided to abandon composition, so after that I did not further trouble [[Ostrovsky]]. But it so happened that the singer [[Menshikova]] wanted a new opera for her benefit, and she prevailed upon me to finish the opera, so I somehow cobbled together the remainder (both the libretto and the music)" <ref name="note11"/>.
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	<ref name="note1">Entitled ''The Voevoda'' in [[TH]].</ref>		<ref name="note1">Entitled ''The Voevoda'' in [[TH]].</ref>
	<ref name="note2">[[Letter 96]] to [[Anatoly Tchaikovsky]], 8/20 November 1866.</ref>		<ref name="note2">[[Letter 96]] to [[Anatoly Tchaikovsky]], 8/20 November 1866.</ref>
	<ref name="note3">See also [[Letter 2148]] to [[Sergey Taneyev]], 29 October/10 November 1882.</ref>		<ref name="note3">{{RUS-KLč}} (a{{sup\|1}}, No. 1). See also [[Letter 2148]] to [[Sergey Taneyev]], 29 October/10 November 1882.</ref>
			<ref name="note3A">{{RUS-KLč}} (a{{sup\|1}}, No. 3).</ref>
	<ref name="note4">[[Letter 98]] to [[Anatoly Tchaikovsky]], 2/14 May 1867.</ref>		<ref name="note4">[[Letter 98]] to [[Anatoly Tchaikovsky]], 2/14 May 1867.</ref>
	<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>		<ref name="note5">[[Letter 99]] to [[Aleksandr Ostrovsky]], 10/22 June 1867.</ref>

← Older revision		Revision as of 20:26, 11 April 2023
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	==Related Works==		==Related Works==
	Much of the music from ''The Voyevoda'' was either borrowed from or re-used in other works:		Much of the music from ''The Voyevoda'' was either borrowed from or re-used in other works:
	* Act I, No. 1. The opening chorus includes the folk-tune 'A Little Duckling Swan on the Sea' (На море утушка купался), which Tchaikovsky later arranged as No. 23 of [[Fifty Russian Folksongs]] (1868-69). This whole section was re-used in Act I (No. 2) of the opera ''[[The Oprichnik]]'' (1870-72).		* Act I, No. 1. The opening chorus includes the folk tune 'A Little Duckling Swan on the Sea' (На море утушка купался), which Tchaikovsky later arranged as No. 23 of [[Fifty Russian Folksongs]] (1868-69). This whole section was re-used in Act I (No. 2) of the opera ''[[The Oprichnik]]'' (1870-72).
	* Act I, No. 2. The ending of the Duet (from bar 130) was re-used in Act I (No. 3) of ''[[The Oprichnik]]''		* Act I, No. 2. The ending of the Duet (from bar 130) was re-used in Act I (No. 3) of ''[[The Oprichnik]]''
	* Act I, No. 3. Music for this Scena was re-used in Act I (No. 4) of ''[[The Oprichnik]]''		* Act I, No. 3. Music for this Scena was re-used in Act I (No. 4) of ''[[The Oprichnik]]''
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	* Act II, No. 3. The first part of this Scena was used in Act II (No. 8) of ''[[The Oprichnik]]''		* Act II, No. 3. The first part of this Scena was used in Act II (No. 8) of ''[[The Oprichnik]]''
	* Act II, No. 4. The Dances of the Chambermaids are based on the [[Characteristic Dances]] for orchestra (1865)		* Act II, No. 4. The Dances of the Chambermaids are based on the [[Characteristic Dances]] for orchestra (1865)
	* Act II, No. 5. Marya's Song was reworked as Natalya's Song (Act I, No. 2) from ''[[The Oprichnik]]''. The song uses the folk-tune 'I Wear My Hair in a Plaid' (Коса ль моя косынка), which Tchaikovsky heard in [[Kuntsevo]] in September 1867, and noted down himself <ref name="note24"/>. He also later arranged the tune as No. 24 of [[Fifty Russian Folksongs]]		* Act II, No. 5. Marya's Song was reworked as Natalya's Song (Act I, No. 2) from ''[[The Oprichnik]]''. The song uses the folk tune 'I Wear My Hair in a Plaid' (Коса ль моя косынка), which Tchaikovsky heard in [[Kuntsevo]] in September 1867, and noted down himself <ref name="note24"/>. He also later arranged the tune as No. 24 of [[Fifty Russian Folksongs]]
	* Act II, No. 8. The opening theme of this number was re-used in ''[[The Year 1812]] (1880)		* Act II, No. 8. The opening theme of this number was re-used in ''[[The Year 1812]] (1880)
	* Act II, No. 9. The Khorovod was used in Act I (No. 6) of ''[[The Oprichnik]]''. It includes the folk-tune 'Beyond My Yard is a Green Meadow' (За двором лужок зеленешек, which Tchaikovsky later arranged as No. 25 of [[Fifty Russian Folksongs]]		* Act II, No. 9. The Khorovod was used in Act I (No. 6) of ''[[The Oprichnik]]''. It includes the folk tune 'Beyond My Yard is a Green Meadow' (За двором лужок зеленешек, which Tchaikovsky later arranged as No. 25 of [[Fifty Russian Folksongs]]
	* Act III, Entr'acte. Re-used as the Entr'acte to Act IV of ''[[Swan Lake]]'' <ref name="note25"/>		* Act III, Entr'acte. Re-used as the Entr'acte to Act IV of ''[[Swan Lake]]'' <ref name="note25"/>
	* Act III, No. 2. The Andante section (bars 10–35) was reworked as the opening of the Finale (Act IV, No. 29) from the ballet ''[[Swan Lake]]'' (1875-76)		* Act III, No. 2. The Andante section (bars 10–35) was reworked as the opening of the Finale (Act IV, No. 29) from the ballet ''[[Swan Lake]]'' (1875-76)

← Older revision		Revision as of 12:04, 13 January 2023
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	* Act I, No. 4. Part of Bastryukov's Aria (bars 13–33) is based on a short episode from the overture to ''[[The Storm]]'' (1864)		* Act I, No. 4. Part of Bastryukov's Aria (bars 13–33) is based on a short episode from the overture to ''[[The Storm]]'' (1864)
	* Act I, No. 5. The Andante non troppo episode (from bar 47) is based on part of movt. III from the cantata ''[[Ode to Joy]]'' (1865)		* Act I, No. 5. The Andante non troppo episode (from bar 47) is based on part of movt. III from the cantata ''[[Ode to Joy]]'' (1865)
	* Act I, No. 7. The opening Allegretto comodo section was reworked in the opening scena (Act I, No. 1) ~~from~~ ''[[The Oprichnik]]''		* Act I, No. 7. The opening Allegretto comodo section was reworked in the opening scena (Act I, No. 1) of ''[[The Oprichnik]]''
	* Act I, No. 7. Bars 127–198 are based on part of the [[Overture in C minor]] (1865)		* Act I, No. 7. Bars 127–198 are based on part of the [[Overture in C minor]] (1865)
	* Act I, No. 9. Part of Bastryukov's Song (bars 89–105) was reworked in Act IV (No. 16) of ''[[The Oprichnik]]''		* Act I, No. 9. Part of Bastryukov's Song (bars 89–105) was reworked in Act IV (No. 16) of ''[[The Oprichnik]]''
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	* Act II, No. 5. Marya's Song was reworked as Natalya's Song (Act I, No. 2) from ''[[The Oprichnik]]''. The song uses the folk-tune 'I Wear My Hair in a Plaid' (Коса ль моя косынка), which Tchaikovsky heard in [[Kuntsevo]] in September 1867, and noted down himself <ref name="note24"/>. He also later arranged the tune as No. 24 of [[Fifty Russian Folksongs]]		* Act II, No. 5. Marya's Song was reworked as Natalya's Song (Act I, No. 2) from ''[[The Oprichnik]]''. The song uses the folk-tune 'I Wear My Hair in a Plaid' (Коса ль моя косынка), which Tchaikovsky heard in [[Kuntsevo]] in September 1867, and noted down himself <ref name="note24"/>. He also later arranged the tune as No. 24 of [[Fifty Russian Folksongs]]
	* Act II, No. 8. The opening theme of this number was re-used in ''[[The Year 1812]] (1880)		* Act II, No. 8. The opening theme of this number was re-used in ''[[The Year 1812]] (1880)
	* Act II, No. 9. The Khorovod was used in ~~the~~ Act I (No. 6) of ''[[The Oprichnik]]''. It includes the folk-tune 'Beyond My Yard is a Green Meadow' (За двором лужок зеленешек, which Tchaikovsky later arranged as No. 25 of [[Fifty Russian Folksongs]]		* Act II, No. 9. The Khorovod was used in Act I (No. 6) of ''[[The Oprichnik]]''. It includes the folk-tune 'Beyond My Yard is a Green Meadow' (За двором лужок зеленешек, which Tchaikovsky later arranged as No. 25 of [[Fifty Russian Folksongs]]
	* Act III, Entr'acte. Re-used as the Entr'acte to Act IV of ''[[Swan Lake]]'' <ref name="note25"/>.		* Act III, Entr'acte. Re-used as the Entr'acte to Act IV of ''[[Swan Lake]]'' <ref name="note25"/>
	* Act III, No. 2. The Andante section (bars 10–35) was reworked as the opening of the Finale (Act IV, No. 29) from the ballet ''[[Swan Lake]]'' (1875-76)		* Act III, No. 2. The Andante section (bars 10–35) was reworked as the opening of the Finale (Act IV, No. 29) from the ballet ''[[Swan Lake]]'' (1875-76)

	In 1868 Tchaikovsky compiled a ''[[Potpourri on Themes from the Opera 'The Voyevoda'\|Potpourri]]'' on themes from the opera, for solo piano, which was published under the pseudonym "H. Cramer".		In 1868, Tchaikovsky compiled a ''[[Potpourri on Themes from the Opera 'The Voyevoda'\|Potpourri]]'' on themes from the opera, for solo piano, which was published under the pseudonym "H. Cramer".

	For the revival of [[Ostrovsky]]'s play ''A Dream on the Volga'' in 1886, under its new title of ''The Voyevoda'', Tchaikovsky wrote a short [[The Voyevoda (melodrama)\|melodrama]] for one scene, but this has no musical connection to his earlier opera.		For the revival of [[Ostrovsky]]'s play ''A Dream on the Volga'' in 1886, under its new title of ''The Voyevoda'', Tchaikovsky wrote a short [[The Voyevoda (melodrama)\|melodrama]] for one scene, but this has no musical connection to his earlier opera.