LindoroRossini's video: Nicolai Rimsky-Korsakov The Tsar s Bride 1899 Cavatina for Lyubasha

≈ History ≈ {based on materials from Bolshoi.ru & Belcanto.ru} The creation of "The Tsar's Bride" yields little intrigue. In 1898 Russian composer Rimsky-Korsakov turned to the 1849 historical drama by Lev Mei "The Tsar's Bride" for a new opera. The subject, vaguely based on the historic fact of Ivan IV choosing his third wife among 2,000 eligible girls and her sudden death, was in fact proposed to the composer as early as 1868. Rimsky-Korsakov began writing in February 1898 and completed the opera in 10 months with work proceeding "quickly and easily". It has been suggested that the composer saw the new opera as a reaction against the ideas of Wagner. The work received its successful premiere at the Moscow Private Russian Opera on October 22, 1899, and was revived by the Bolshoi as early as 1916. ≈ Narrative ≈ In spite of the extensive historic subtext, the plot of the opera is straightforward. Gryaznoy (baritone) falls in love with Marfa (soprano) who is already betrothed to the young boyar Lykov (tenor). The former's mistress Lyubasha (mezzo-soprano) in a fit of jealousy exchanges poison for a love potion with which Gryaznoy wishes to win over Marfa. During the engagement celebrations for Marfa and Lykov it is announced that the young girl has been chosen to be the Tsar's bride. In the final scene Gryaznoy relates that he has executed the boyar on the Tsar's orders, Marfa loses her reason, Gryaznoy admits that he had slandered his rival, Lyubasha proclaims to having poisoned Marfa and is murdered by Gryaznoy who is taken away to prison. Granting that the drama is fully comparable to the melodramatic histrionics of "I puritani", it is curious to note the almost complete lack of confrontation: Marfa, Gryaznoy and Lyubasha - the main love triangle - do not meet face to face until the final 3 minutes of the opera! ≈ Music ≈ Though I have read extensive praise for the work, I personally find "The Tsar's Bride" to be underwhelming: fine orchestration, easy melodies and a couple notable scenes, such as the heroine's childlike Mad Scene, cannot hide the basic lack of dramatic involvement which makes the sentimental language of the composer who de facto replicates the style of a 1840s bel canto opera at the turn of the century somewhat grating. In particular, the anti-heroine Lyubasha - a tragic figure of a woman who has been reduced to a mistress' role after being kidnapped by force from her homeland - is granted with a woefully underwritten part limited to an extended scene with her unfaithful lover in Act I, a rather square duet in Act II with the Tsar's physician and a brief appearance in the final scene. Her cavatina is a most revealing moment, as its rich melody and chilling setting promise more than the opera provides. Prompted by the request of her "dear godfather" - a murderer who is personally to blame for her sorry state - Lyubasha sings a haunting folk song about a girl who is being prepared by her mother for a wedding night with an older man. The cavatina is comparable to an art song in its modest dimensions, frequent textual painting and deceptive simplicity. The unnerving subject is made even more striking by the fact that it directly references Lyubasha's life. What is immediately apparent is the complete lack of orchestral support, save for the light wind figures, three string chords and a sigh from the brass {0:22 & 2:45} that form a brief introduction to each couplet. This forces the listener to focus solely on the singer who is left completely vulnerable in a subtle reflection of the character. The first verse details the preparations of the girl, focusing on the ritual of unbraiding of the maiden's hair - a Russian tradition signifying the end of youth and the beginning of womanhood {1:50}, elegantly reflected in the shifting ornaments. Though the music possesses several characteristics of a lullaby, its frequent "crying" suspensions {1:56 & 2:19} serve to underline the fact that the singer is heartbroken but completely resigned to her faith. The constantly shifting ornamentation of the second section is written out in the manuscript, as the song becomes even more explicit: the girl, lying on her wedding bed, asks her mother to "cross my deadly cold hands" {3:24} and "call the old bridegroom", so that the latter can marvel at "my maidenly beauty" {4:30}. In just a page of music, with almost no means other than the human voice, Rimsky-Korsakov fully encapsulates the character of Lyubasha in a haunting musical moment. ≈ Score ≈ The sheet of the scene is readily available on IMSLP {P. 87-8}: http://javanese.imslp.info/files/imglnks/usimg/3/3c/IMSLP89973-PMLP46569-Rimsky-Korsakov_-_The_Tsar_s_Bride_-_Act_I__orch._score_.pdf ≈ Recording ≈ The 1998 Philips recording of the opera by the Orchestra of the Mariinsky Theatre under Valery Gergiev is a wonderful modern interpretation of the work and boasts a fine Lyubasha in Olga Borodina. Hope you'll enjoy!