Alexander Borodin "Prince Igor" Opera in two acts with a prologue. Mariinsky Theatre production
Performed in Russian The performance has 1 intermission Running time: 3 hours 45 minutes Mariinsky Theatre production with participation of the Bolshoi Theatre Opera, Ballet, Chorus and Orchestra Libretto by the composer based on Old Russian epos The Tale of Igor´s Raid
The famous Russian chemist Alexander Borodin wrote his largest musical composition - a large opera based on a plot from Russian history - for almost eighteen years. He found time for creativity, distracting himself from a huge number of other, more pressing matters: teaching, experiments in the laboratory, publishing scientific articles. It is not surprising that the opera remained unfinished, although excerpts from it were performed during the author’s lifetime - in concerts. Borodin had a script plan, but did not have a ready-made libretto, which implied the usual musical forms. The composer himself adapted “The Tale of Igor’s Campaign,” composing the musical and poetic text almost simultaneously. Along the way, he studied other sources about the relationship between Ancient Rus' and the steppe, about princely feuds, about campaigns, battles and cooperation between Prince Igor and the Polovtsian khans. An enlightened amateur, the author of symphonies, quartets, and romances, when creating the opera, Borodin was guided by the well-known European model - the large French opera with numerous choruses, dramatic scenes, extended monologues, and ballet numbers. But, sharing the hobbies of his comrades in the “Mighty Handful” circle, he tried to saturate the melody with specifically Russian intonations and oriental motifs. “Prince Igor” is an opera about the clash of two cultures, about the suffering of people involved in the war, about the Russian Troubles, betrayal and betrayal, about love and devotion. Here they see off loved ones to battle, languish in the unknown, and mourn those who did not return. However, Borodin does not paint the world in black and white; Prince Igor’s opponents - the Polovtsians - got not only a tough, warlike march and barbaric frenzied dances, but also languidly spicy mesmerizing melodies. Since the opera remains unfinished, the authors of the play must decide how to put together the puzzle from the available material. Most of the productions are based on the edition by Rimsky-Korsakov and Glazunov, made for the Mariinsky Theater (1890) after the composer’s death and which became canonical. But today the theater deviates from this version, offering a different sequence of films. After the prologue, where Igor’s squad goes on a campaign, an overture sounds, written by Glazunov based on his memories of the performance of the overture by Borodin himself. Her battle episode depicts to the public a battle, after which Prince Igor is captured. The next picture takes listeners to a nomadic camp, where Khan Konchak invites the prince to be not an enemy, but a dear guest and entertains him with songs and dances of slave girls. After the intermission, there is the second Polovtsian act, usually skipped during productions, but important because of Igor’s aria “Why didn’t you fall on the battlefield” (the Mariinsky ordered the orchestration of this autograph of Borodin from the St. Petersburg composer Yuri Falik). Then the action again moves to Putivl: Yaroslavna’s lament and the chorus of the villagers, which opened the fourth act of the opera in Rimsky-Korsakov’s edition, now precede two scenes from the first - the scene with Prince Galitsky and the scene of Yaroslavna with her rebel brother. The finale of the first act, with the ominous sounds of the alarm bell and the expectation of a Polovtsian raid, also becomes the finale of the work, where on the last chords the main character who has escaped from captivity suddenly appears. If, musically, today's version of the opera takes into account the notes revealed in the 1995 production, then the scenography reproduces the performance of the Kirov Theater in 1954. Sketches of scenery and costumes for it were created by artists Nikolai Melnikov and Nina Tikhonova. This is an example of a great style, where ancient Russian churches, fortress walls, Polovtsian tents, and princesses' towers appear on the stage almost life-size. The picturesque scenery captivates with the richness of the palette and illusory verisimilitude. The famous “Polovtsian Dances” are choreographed by Mikhail Fokine - the same one that was first shown as part of Diaghilev’s Russian seasons in 1909 in Paris. Diaghilev, sensitive to the West’s demand for Russian exoticism, then introduced the public only to the second act of the opera, the most “barbaric”. The success was such that “Polovtsian Dances” were invariably included in the program of all Diaghilev’s seasons until 1929. Today, one of the most important operas of the Russian repertoire appears at the Mariinsky as the heir to the searches with which the Russian tradition of the twentieth century is rich, and as a work capable of new versions and work with the author’s text. Anna Petrova SynopsisThe Prologue. Prince Igor, who is about to start on a campaign against the Khan Konchak of the Polovtsians, refuses to heed the warnings of his wife and his people who interpret a recent eclipse as a bad omen. Prince of Galich (Kniaz Galitsky) bribes Skoula and Eroshka to encourage Prince Igor in his determination to depart as he himself wants to usurp Igor’s place. Igor unsuspectingly entrusts his wife to his care. ACT I. Scene I is laid in the Galich Prince’s courtyard, where the people are welcoming him as their prince. A group of young women beg the prince to restore one of their friends whom he has carried off; but he frightens them away. Scene II. The young women appeal to Yaroslavna, Igor’s wife, who is lamenting Igor’s absence in Putyvl, and while they are relating the story, Galich Prince enters. Yaroslavna questions him as to the truth of their story and he only laughs. Word is brought that Igor and his son have been taken captive, and that an attack upon them is imminent. ACT II. The Polovtsian Camp: Vladimir, son of Igor, has fallen in love with Konchakovna, a daughter of Khan Konchak. She is sure her father will consent to the marriage, but Vladimir is doubtful if his father will. Konchak offers Igor freedom if he will promise not to wage war on him again, but he refuses. ACT III. Igor learns that an attack is to be made on his city. He escapes. He tries to persuade his son to accompany him, but Konchakovna clings to him, and the father leaves alone. When the Khan learns of Igor’s escape, he refuses to pursue, retains Vladimir as a hostage, and marries him to his daughter. ACT IV. Igor arrives safely at the city Kremlin, and is welcomed with great rejoicing. Prince Igor is an opera in four acts with a prologue. It was composed by Alexander Borodin. The composer adapted the libretto from the East Slavic epic The Lay of Igor's Host, which recounts the campaign of Russian prince Igor Svyatoslavich against the invading Polovtsian tribes in 1185. He also incorporated material drawn from two medieval Kievan chronicles. The opera was left unfinished upon the composer's death in 1887 and was edited and completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. It was first performed in St. Petersburg, Russia, in 1890. SynopsisTime: The year 1185 Place: The city of Putivl (prologue, Acts 1 and 4); a Polovtsian camp (Acts 2 and 3) Note: As discussed in this article, Borodin's final decision on the order of the first two acts is unclear. The traditional grouping presented here is that of the Rimsky-Korsakov-Glazunov edition. In many productions, Act 3 is omitted. PrologueThe cathedral square in Putivl Prince Igor is about to set out on a campaign against the Polovtsy and their Khans who have previously attacked the Russian lands. The people sing his praise and that of his son, the other leaders and the army (Chorus: "Glory to the beautiful Sun"). A solar eclipse takes place to general consternation. Two soldiers Skula and Yeroshka desert feeling sure that Vladimir Yaroslavich, Prince Galitsky, will offer them work more to their liking. Although Yaroslavna, Igor's wife, takes the eclipse for a bad omen, Igor insists that honour demands that he go to war. He leaves her to the care of her brother, Prince Galitsky, who tells of his gratitude to Igor for sheltering him after he was banished from his own home by his father and brothers. The people sing a great chorus of praise (Chorus: "Glory to the multitude of stars") as the host sets out on their campaign against the Polovtsy. Act 1Scene 1: Vladimir Galitsky's court in Putivl Galitsky's followers sing his praise. Skula and Yeroshka are now working as gudok-players. They entertain the followers and all sing of how Galitsky and his men abducted a young woman and how she pleaded to be allowed to return to her father without being dishonoured. The prince arrives and sings of how, if he were Prince of Putivl, he would drink and feast all day while dispensing judgment and have the prettiest maidens with him all night (Galitsky's Song). The treasury would be spent on himself and his men while his sister would be praying in a monastery. A group of young women beg the prince to restore their abducted friend. He threatens them and drives them away, saying how she now lives in luxury in his quarters and does not have to work. The prince returns to his rooms having sent for wine for his followers. The gudok players and the prince's followers mock the women. They wonder what might happen if Yaroslavna hears of what happens, but then realise she would be helpless with all her men gone to war. They sing of how they are all drunkards and are supported by Galitsky. The men decide to go to the town square to declare Galitsky the Prince of Putivl, leaving just the two drunk musicians behind. Scene 2: A room in Yaroslavna's palace Yaraslavna is alone worrying about why she has not heard from Igor and his companions (Yaroslavna's Arioso). She sings of her tearful nights and nightmares and reminisces about when she was happy with Igor by her side. The nurse brings in the young women who tell Yaroslavna of their abducted friend. They are reluctant at first to reveal the culprit but eventually name Galitsky and talk of how he and his drunken followers cause trouble around Putivl. Galitsky enters and the women run away. Yaroslavna questions him as to the truth of their story and he mocks her saying she should treat him as a guest in her house. She threatens him with what Igor will do on his return, but Galitsky replies that he can seize the throne whenever he wants. Yaroslavna accuses him of repeating the betrayal that he carried out against their father, but he replies that he was only joking and asks if she has a lover now her husband is away. She threatens him with sending him back to their father. He replies that he will return the girl but will take another later and leaves. The council of boyars arrive to inform Yaroslavna that the Polovtsy under Khan Gzak are about to attack Putivl. Igor's army has been utterly destroyed and he has been wounded and captured with his son and brother. After a moment of faintness, Yaroslavna orders messengers sent to the city's allies, but the Boyars report that the roads are cut, some towns are in revolt and their princes will be captured. The Boyars say that they will organise the defence but Galitsky returns with his followers to demand that a new Prince be chosen. His retinue say it should be him as he is Yaroslavna's brother and Igor's brother-in-law. The boyars refuse. The argument is interrupted by the sight of flames and the sound of crying women. Some of the boyars flee; some join the battle, others guard the Princess. They call the attack God's judgment. Act 2Evening in the Polovtsian Camp Polovtsian maidens sing comparing love to a flower that droops in the heat of the day and is revived by night. They dance together (Dance of the Polovtsian Maidens). Konchakovna joins in the singing hoping that her own lover will join here soon (Konchakovna's Cavatina). The Russian prisoners arrive from their day's work and express their gratitide when fed by Konchakovna and the maidens. Their guards retire for the night leaving just Ovlur, a Christian, in charge. Vladimir, son of Igor, sings of his hope that his love will soon join him now that the day is fading (Vladimir's Cavatina). His love is Konchakovna. She comes and the two sing of their love and their desire to marry (Love Duet). While her father will consent to the marriage, they know that his will not. They part when they hear Igor coming. He sings of his disgrace and torment at being captured with his followers dead (Prince Igor's Aria). Only his wife, he feels, will be loyal. He hopes for the chance to regain his honour. Ovlur urges Igor to escape and the prince agrees to think about it. Khan Konchak asks him if all is well (Konchak's Aria) and he replies that the falcon cannot live in captivity. Konchak says that as Igor did not ask for mercy he is not a prisoner but an honoured guest equal to a Khan. Igor reminds him that he too knows what it is to be a captive. Konchak offers Igor freedom if he will promise not to wage war on him again, but he refuses saying he cannot lie. Konchak regrets that they were not born to be allies. They would then have captured all of Russia. He summons the Polovtsian slaves to entertain Igor and himself and offers Igor his choice of them. As the slaves dance the Polovtsy sing of Konchak's glory (Polovtsian Dances). Act 3The Polovtsian camp The Polovtsian army returns in triumph singing the praise of Khan Gzak (Polovtsian March). Konchak sings of the sack of Putivl and other victories and confidently predicts that they will soon capture all of Russia. Igor and his son Vladimir have their worst fears confirmed by the new captives. Vladimir and the other prisoners urge Igor to escape, but he is at first reluctant, singing of his shame and saying that it is the duty of the other Russian princes to save the homeland (Igor's Monologue, Mariinsky edition only). Ovlur now arrives to say that he has prepared horses for Igor and Vladimir and Igor now agrees to escape. The distressed Konchakovna comes, challenging Vladimir to show his love by either taking her with him or by staying. Igor urges his son to come, but Vladimir feels unable to leave Konchakovna who threatens to wake the camp. Eventually Igor flees alone and Konchakovna sounds the alarm. She and her father refuse to let the Polovtsy kill Vladimir. Instead Konchak orders the death of the guards and marries Vladimir to his daughter. As for Igor, Konchak thinks more of him for his escape. Act 4Dawn in Putivl Yaroslavna weeps at her separation from Igor and the defeat of his army, blaming the very elements themselves for helping the enemy (Yaroslavna's Lament). Peasant women blame not the wind but Khan Gzak for the devastation. As Yaroslavna looks around to acknowledge the destruction, she sees two riders in the distance who turn out to be Igor and Ovlur. The two lovers sing of their joy of being reunited and of the expectation that Ivan will lead the Russians to victory against the Khan. Unaware of Igor's return, Skula and Yeroshka, the drunken gudok players, sing a song that mocks him. Then they notice him in the distance. After a moment of panic about what will happen to them, Skula says that they should rely on their cunning and decides on a plan that will save them. They ring the church bells to summon a crowd. Although people at first treat them with suspicion, the gudok players manage to convince the crowd that Igor has returned and the boyars that they are loyal followers of the true prince and not Galitsky. All joyously celebrate Igor's return. © wikipedia | |||||
