又名: Глинка: Руслан и Людмила
表演者: Alexander Vedernikov / Bolshoi Theatre / Morozova / Shtonda / Dursseneva / Gilmanov / Gavrilova / Panfilov / Paster / Lynkovsky / Dolyenko
流派: 古典
专辑类型: 专辑
介质: SACD
发行时间: 2004-04-01
出版者: Pentatone
唱片数: 3
条形码: 0827949003462
表演者: Alexander Vedernikov / Bolshoi Theatre / Morozova / Shtonda / Dursseneva / Gilmanov / Gavrilova / Panfilov / Paster / Lynkovsky / Dolyenko
流派: 古典
专辑类型: 专辑
介质: SACD
发行时间: 2004-04-01
出版者: Pentatone
唱片数: 3
条形码: 0827949003462
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简介 · · · · · ·
It is generally acknowledged that the original score of Ruslan and Lyudmila – the one which was penned by Mikhail Glinka himself – disappeared in the fire which ravaged the Circus Theatre of St. Petersburg during a winter’s night in 1859. Our research got off to quite a banal start, on a journey along the banks of the river Neva undertaken with the intention of comparing the ...
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It is generally acknowledged that the original score of Ruslan and Lyudmila – the one which was penned by Mikhail Glinka himself – disappeared in the fire which ravaged the Circus Theatre of St. Petersburg during a winter’s night in 1859. Our research got off to quite a banal start, on a journey along the banks of the river Neva undertaken with the intention of comparing the manuscript of the opera kept at the music library on the Architect Rossi street, with the version edited in 1966, which is reputed to be the most accurate of all. At the outset, there was nothing to hint that this purely technical mission would acquire the allure of an exciting adventure with all the ingredients of a thriller novel.
From the start, our work was divided into various directions at once: expertise in handwriting, comparisons of accounts and publications of the day, specification of the order in which the manuscripts were filed in the library of the Imperial Theatre, and the search for documents in the archives likely to provide the necessary explanations.
While studying the circumstances of the 1859 fire, it wasn’t long before we came across major contradictions between various accounts from the same people. Thus, in the preface which she edited for the 1878 edition of the opera, Lyudmila Ivanovna Chestakova (the musician’s sister) wrote the following: « The only reliable score – the one which belonged to the management of the Imperial Theatre and which was used for the first production of Ruslan and Lyudmila 1 under the baton of the composer himself – was incinerated during the fire which raged at the Circus Theatre. » Whereas less than two years later in her memoirs, which were published in 1880, she mentions a different fire. Better yet, a fire which took place in a different city. « In 1853, » she tells us, « the fire devoured the Bolshoi Theatre in Moscow and, at the same time, the scores of Ruslan and A Life for the Czar.
As a consequence, there is just a single copy left of each of these operas: the two copies which are filed at the Imperial Theatre in St. Petersburg.2 »
The only account which gets us anywhere near the truth is the one given by Vassily Pavlovich Engelhart, a loyal friend of Glinka. Besides being an ardent admirer and expert connoisseur of his music, he was also – of essential importance for us – a fanatic collector of his manuscripts. In his letter of February 25, 1859, addressed to the writer Nestor Vassilievich Koukolnik (also a very close friend of the composer), Vassily Engelhart depicts the fire at the Circus Theatre with so much irony that it is clear evident that, had the manuscripts truly disappeared in the flames, a collector such as he would not have permitted himself such a mocking tone. This is what he wrote: « One night, the attic in the Theatre caught fire right above the prompt box. At that moment, the caretaker was at the Grand Theatre Kamenny, watching the masked ball which was taking place there. As for Saburov3, he stayed out all night and couldn’t be found until 9 o’clock the following morning. Being the first to arrive on the scene, the Sovereign4 noted that all employees responsible for the administration of the theatre were absent. The fire had destroyed everything: the interior, the scenery, the costumes, the scores of 20 or so operas, the instruments, etc. The French horns had been transformed into cymbals and the cymbals into trombones... Only the cash register, the refreshment rooms and the toilets remained miraculously intact, and we should give thanks to the Lord for this! »
As required by the management of the Imperial Theatre, two copies were drawn up of the scores of each opera. The first one – the original manuscript, or a copy of this made by the composer – was kept at the music library located on the Architect Rossi street; and the second one – drawn up by a professional copyist – was kept on file in the Theatre. We quickly realized that the score on file at the library in the Rossi street corresponded to the first type of manuscript, and was in fact the copy made by Mikhail Glinka himself.
This was actually the score used for the first production of the opera on November 27, 1842, at the Grand Theatre Kamenny in St. Petersburg.
But where was the original manuscript? As he didn’t have time before the première to himself copy the immense orchestral score of his work, the composer called on the help of a group of at least five professional copyists. This unexpected conclusion might have been considered a debatable hypothesis, had it not been confirmed by an extremely important document, entitled « Dossier of the procedure instituted by the 2nd bureau of the Department for Civil Affairs at the Ministry of Justice ». Filed at the National Historical Archives in St. Petersburg, this dossier consists of the plea for justice lodged by editor Feodor Timofeyevich Stellovsky against Lyudmila Ivanovna Chestakova. May we emphasize, by the way, that the matter in question took up a period of 15 years. On September 19, 1869, the date on which the plaintiff imperatively demanded the return of the original score of the opera, which he had acquired in accordance with the contract signed on September 17, 1861, Mr. Stassov, the defendant’s lawyer pulled out his last trump: « It is a known fact that the authentic original score of Ruslan and Lyudmila does not exist. »
Nevertheless, the artistic value of works of art and architecture, of poems, novels, plays and compositions is not diminished by the fact that the great masters left the technical work to their pupils. The same thing goes for the compositions of Mikhail Glinka. And if, creatively speaking, the composer of the famous Knight’s Romance may be likened to a noble knight, it would be unjust to forget his faithful equerries. They were the serf musician Yakov Oulianovich Netoyev, a good cellist, an excellent singer, servant in the service of the Glinka family, majordomo and secretary of the composer, conductor Josef Hermann, the driving force behind the highly popular musical soirées organized in the summer in the Pavlovsk park, Johann Martin Westfahl, violinist, oboe-player and professional copyist, renowned for his admirable handwriting, Fedor Alexandrovich Rahl, conductor of an orchestra for wind instruments, Constantin Petrovich Vilboa, composer and collector of folk songs, and Vladimir Nikitich Kashperov, composer and singer, who befriended Mikhail Glinka in Berlin during the last six months of the great musician’s life. While working on the orchestration with Vladimir Kashperov, the composer of Ruslan and Lyudmila recommended that he study polyphony with Siegfried Wilhelm Dehn, a music theoretician from Berlin. Kashperov was the one who accompanied Glinka to his final resting place and who must have helped Siegfried Dehn to catalogue the numerous scores brought to Berlin by the genius of Russian music.
These Berlin scores constituted the culmination of our research. Transcribed without haste, in beautiful handwriting, and ordered according to the indications of the composer in 1854 or 1855, the score of Ruslan and Lyudmila lay before us in all its glory...
This gem includes a dazzling ensemble of three handwritten copies of the opera, which were made in Glinka’s lifetime. One of them, dating from 1855, was discovered in the Bolshoi archives; the two others, in the storerooms of the music library at the Moscow Conservatoire where they had been kept since the middle of the 1860’s.
It might occur to someone who is not an expert in the field of vocal art to question the point of having so many handwritten scores which are more or less similar. On the one hand, these documents complement one another, and they shed more light on the way in which a work was conceived by its composer. On the other, they constitute the framework which allows orchestral and choir conductors, producers and singers to create different versions of the production.ALEXANDER VEDERNIKOV
Alexander Vedernikov is one of the most promising Russian conductors of the young generation.
He studied at the Moscow Conservatory and in 1988 joined the Stanislavsky Theatre Moscow where he conducted many opera’s with great success.
In the 2001/2002 season he became Chief Conductor and Music Director of the Bolshoi Theatre Moscow.
Alexander Vedernikov conducted the St. Petersburg Philharmonic, the Russian State Symphony Orchestra and is a regular guest with the Russian National Orchestra.
He gave many concerts with the Moscow Radio Symphony Orchestra in Russia and toured with them in Germany, Austria and the UK.
He also conducted at opera houses such as the Metropolitan New York, the Royal Opera House Covent Garden, the Semper Opera Dresden and La Scala.
Alexander Vedernikov worked as guest conductor with many orchestras like The Philharmonia Orchestra, the London Philharmonic, the Budapest Festival Orchestra and the Montreal Symphony.RUSSIAN NATIONAL ORCHESTRA
Ever since its 1990 Moscow debut, the Russian National Orchestra has been in demand throughout the music world. The first Russian orchestra to perform at the Vatican and in Israel, the RNO maintains an active schedule of touring to North America, Asia and Europe. It is a frequent guest at major festivals including Edinburgh, Lucerne, Sydney and Colmar, and opened the 1996 Olympics Arts Festival in Atlanta. Of the orchestra’s debut at the BBC Proms in London (1996), the Evening Standard wrote, “They played with such captivating beauty that the audience gave an involuntary sigh of pleasure.”
Gramophone, Britain’s premier classical periodical, listed the first RNO CD, released in 1991, as the best recording of Tchaikovsky’s Pathétique in history, calling it “an awe inspiring experience; should human beings be able to play like this?” An extensive discography recorded for Deutsche Grammophon and PentaTone Classics, with conductors that include Mikhail Pletnev, Mstislav Rostropovich, Kent Nagano and Alexander Vedernikov, has garnered more praise. Classic CD described the RNO’s recording of the Rachmaninov Second Symphony as “breathtakingly beautiful…this has no, and may never have, any serious rivals,” and Gramophone declared its CD of Prokofiev’s Cinderella “one of the best records of the 1990s.”
Unique among the principal Russian ensembles, the RNO is independent of the government and has developed its own path-breaking structure. It is perhaps the only orchestra in the world to establish a Conductor Collegium, a group of internationally renowned conductors who have developed a special rapport with the RNO and its musicians, and whose vision guides tour and recording strategies.
Another RNO innovation is Cultural Allies, created in 2001 and encompassing exchanges between artists in Russia and the West, collaborations with American and European orchestras, and the commissioning of new works. Prominent RNO partners in Cultural Allies include Dave Brubeck, Bill Clinton, Mikhail Gorbachev, Hélène Grimaud, Sophia Loren, Wynton Marsalis, Jessye Norman, Leonard Slatkin and Michael Tilson Thomas.
The Russian National Orchestra is supported by private funding and is governed by a distinguished multinational board of trustees. Affiliated organizations include the Russian Arts and Cultural Foundation-UK, the Russian Arts Foundation and the American Council of the RNO.In the new century, the Bolshoi Theatre has turned to Mikhail Glinka’s opera “Ruslan and Lyudmila”. This is a deeply symbolic fact and confirms how meaningful and important his music always is to us.
Glinka is a rather enigmatic figure in the history of Russian music, as it were appearing out of the blue. The genealogy of his work, as distinct to that of our other classical composers, is fairly difficult to trace. Operatic works written by Russian composers before Glinka exist separately, they did not generate the nineteenth-century operatic tradition. The question thus arises: what is Glinka’s work?
Our present production represents an answer to this question from the twenty-first century. We had two main points of departure. The first involved approaching the authorial text with the maximum care, which required painstaking textological analysis, research and the study of the original sources. The second point of departure was related to the production. We tried to avoid excessive preoccupation with everyday themes, psychological approaches, a detailed elaboration of the characters of the personages: in other words, the Stanislavsky system which our theatre so adores. One could call this the rejection of entertainment simply for the sake of entertainment.
The format we chose answers more precisely to Glinka’s method, according to which the music comes first, and behind it trails the action. Let us put it this way – the logic of the development is exclusively musical. The exposition of the material is built on an epic rather than a dramatic basis, which brings us close to such ancient theatrical genres such as the tragedy and mystery. Therefore, it followed that the chorus, like its ancient Greek counterpart, should take upon itself the role of commentator of events only and not become a personage in the opera. In our production, the personages are the soloists and, of course, the orchestra, which here has a particular, dominant role, in which over 40 minutes of music fall to its lot.
I would like to emphasize that our work is also an homage to Glinka’s jubilee in 2004.
Alexander Vedernikov
Conductor
Taras Shtonda
Taras Shtonda holds the title of Merited Artist of the Ukraine. He was born in Kiev, and after studying with Galina Sukhorukova, graduated from the Kiev Tchaikovsky Conservatoire in 1993. Between 1991 and 2001, he won prizes at the following international competitions: the Glinka Competition in Alma-Ata, Julian Gayarre International Singing Competition in Pamplona, Francisco Viñas Singing Competition in Barcelona, Maria Callas International Music Competition in Athens, Patorzhinsky Competition in Lugansk, Alchevsky Competition in Kharkov, Byul-Byul Competition in Baku, and the Sviridov Competition in Lursk; as well as at the Sobinov Festival in Saratov.
As of 1992, Taras Shtonda has been a soloist of the National Opera of the Ukraine. His repertoire includes the following roles: Philip II, the Grand Inquisitor (“Don Carlos”), Zaccaria (“Nabucco”), Monterone (“Rigoletto”), Basilio (“Il barbiere di Siviglia”), Boris, Pimen (“Boris Godunov”), Dosifei (“Khovantschina”), Gremin (“Eugen Onegin”), Kochubei (“Mazepa”), King Rene (“Iolanthe”), Vladimir Galitsky (“Prince Igor”), Boris Timofeyevich (“Katerina Izmailova”), the Magician Celio (“Love of Three Oranges”).
Apart from his performances in the opera repertoire, Taras Shtonda gives many recitals and concerts in the cantata-oratorio and the chamber-music fields. He also performs both classical and modern Ukrainian music. He has toured widely outside of his native country, and has sung in France, Spain, Hungary, Switzerland, Holland, Denmark, Brazil, Yugoslavia, Italy, Poland and Germany, as well as in Russia and the Ukraine. At the Bolshoi, he has sung the role of Dosifei (“Khovantschina”).Ekaterina Morozova
Ekaterina Morozova was born in Ekaterinburg, where she graduated from the Ekaterinburg Music College both as pianist and as chorus conductor. She studied singing with professor V. Gurevich, and later graduated from the Moscow State Conservatoire in the class of professor Y. Grigorev.
From 1996 – 2000, she was a soloist with the Moscow New Opera Theatre. In 2000, she made her Bolshoi Theatre début as Violetta in “La traviata”.
Since 1999, Ekaterina Morozova has also performed abroad. She sang the role of Natasha Rostova in Prokofiev’s “War and Peace” at the Spoleto Festival; Oksana in Tchaikovsky’s “Cherevichki” in Italy; Clorinda in “Cinderella” at the Rossini Opera Festival; and the title role in Donizetti’s “Lucrezia Borgia” at the Teatro Comunale in Bologna.
One of the best roles in her repertoire is the Queen of the Night from Mozart’s “Die Zauberflöte”, which she has sung at the Salzburg Landestheater, Deutsche Oper Berlin, Badisches Staatstheater Karlsruhe, Deutsche Oper am Rhein, Semperoper Dresden, with the Orchestra della Toscana, at the Schwetzingen Festival and for the Opéra National du Rhin.
In 2001, she was an award-winner at the Dresden Opera Competition, and in the same year, she sang Gilda (“Rigoletto”) at the Savonilinsky Festival. At the Wexford Festival, she sang Leonora in von Flotow’s “Alessandro Stradella”. For the Canadian Opera Company, she sang Madame Faulville in Rossini’s “Il viaggio a Reims”; for the Paris Opera, Kseniya in “Boris Godunov”; and for Kazan Opera, Rosina in “Il barbiere di Siviglia”.
Her repertoire also includes the following roles: Lucia (“Lucia di Lammermoor”); Valter (“Valli” by A. Katalan); Lyudmila (“Ruslan and Lyudmila”); Donna Anna (“Don Giovanni”); Dido (“Dido and Aeneas”); Iolanthe (“Iolanthe”); Lucretia
(“I due foscari”); Violetta (“La traviata”).Vadim Lynkovsky was born in Moscow into a family of music teachers. In 1992, he graduated from the wind instruments’ class at the Moscow A. Shnitke Music College. Four years later, in 1996, he graduated from the vocal department of the Moscow A. Schnittke State Institute of Music. In 1998, he continued his education at the Moscow State Conservatoire with Pyotr Skusnichenko.
In 1997, he received the first prize in the All-Russian Bella Voce Competition, and in 1999, he again won first prize at the 18th Glinka International Competition of Vocalists.
From 1998 – 1999, he was a soloist with the Boris Pokrovsky Chamber Music Theatre. In 2001, he joined the Bolshoi Theatre Opera Company, where his roles have included: Director of the Casino (“The Gambler”); the Mayor (“La forza del destino”); Quinault (“Adriana Lecouvreur”); Varsonofiev (“Khovantschina”); Angelotti (“Tosca”); Colline (“La Bohème”); Nikitich (“Boris Godunov”); Bermyata (“Snow Maiden”); and Nick Shadow (“The Rake’s Progress”).Aleksandra Durseneva was born in Kharkov, where she graduated from the Kharkov State Pedagogical Institute and from the vocal section of the Kharkov Institute of Arts (in the class of Tamara Veske). She began her professional career at the Kharkov State Academic Theatre of Opera and Ballet, where she sang the lead roles. She has also won prizes in several international competitions.
In 1994, Aleksandra Durseneva joined the Bolshoi Theatre Opera Company. Her repertoire includes: Lyubasha (“The Czar’s Bride”); Amelfa (“The Golden Cockerel”); Marfa (“Khovantschina”); Vanya (“Ivan Susanin”); Konchakovna (“Prince Igor”); Clariche (“Love for the Three Oranges”); and Fyodor Basmanov (“Oprichnik”).
Aleksandra Durseneva tours abroad extensively. In 1999, she made her Royal Opera début as Amelfa (“The Golden Cockerel”). She has made frequent appearances at the Bregenz Festival in Austria and has also sung at the Konzerthaus in Vienna. She has taken part in productions in Dublin, Leipzig, Iena, Madrid, Copenhagen, Ravenna and Florence.Vitaly Panfilov was born in Novgorod in 1969. He graduated from the opera-singing class at the St. Petersburg Conservatoire in 1999. He sang the part of Vaudemon in a Conservatoire Music Theatre production of “Iolanta”.
Vitaly Panfilov has often performed with the St. Petersburg Philharmonia, mostly in the Big Hall of the St. Petersburg Philharmonia, in works such as Mozart’s “Requiem”, Verdi’s “Requiem”, Shostakovich’s “From Jewish Folk Poetry” vocal cycle, Bach’s “St. John” Passion, Handel’s “The Messiah”, Schubert-E. Denisov’s opera “Lazarus”, and various Schubert Masses.
During the Temirkanov 60th Birthday Concert, he was invited to sing a duet with Barbara Hendricks. The BBC asked him to take part in a direct radio transmission from St. Petersburg to London, in which he sang several arias from Russian operas.
Vitaly Panfilov tours in Russia and abroad. In October 2002, he was awarded the diploma and jury prize of the international music competition held in Poitiers in France.Maria Gavrilova has been awarded the honorary title of People’s Artist of Russia. She was born in Chelyabinsk, and graduated from the class of German Gavrilov (her father) at the Chelyabinsk Music College. She continued her studies at the Moscow State Conservatoire, where she graduated from the class of professor
I. Maslennikova.
In 1990, while still a student, Maria Gavrilova joined the opera cast of the Bolshoi Theatre. She made her début at the Bolshoi as Oksana in “Cherevichki”. Her repertoire includes the following roles: Tatiana (“Eugen Onegin”); Margarite (“Faust”); Iolanthe (“Iolanthe”); Agnesse (“Maid of Orleans”); Voislava (“Mlada”); Contessa (“Le nozze di Figaro”); Leonora (“Il trovatore”); Lisa (“The Queen of Spades”); Mimi (“La Bohème”); Francesca da Rimini (“Francesca da Rimini”); Natalia (“Oprichnik”); and Olga (“Maid of Pskov”).
Maria Gavrilova tours in the USA, Europe and Japan. She has performed Tatiana (“Eugen Onegin”) to great critical acclaim at the San Francisco Opera.Valery Gilmanov graduated from the Novosibirsk State Conservatoire after studying with A.Y. Levitsky. He joined the Novosibirsk State Theatre of Opera and Ballet as a soloist in 1994, and in 2000, he was invited to become a soloist with Moscow’s New Opera Company. In 2001, he joined the Bolshoi Theatre as a soloist.
Valery Gilmanov’s repertoire includes the following roles: Varlaam (“Boris Godunov”); Ivan Khovansky (“Khovantschina”); Konchak (“Prince Igor”); Gremin (“Eugen Onegin”); the Miller (“Rusalka”); Boris Timofeyevich (“Lady Macbeth of Mtsensk”); Ramphis (“Aida”); Colline, Benoit (“La Bohème”); Abimelech, an old Hebrew (“Samson et Dalila”); the Ghost of Hamlet’s Father (“Hamlet”); Loredano (“I due foscari”); and Sparafucile (“Rigoletto”).
Valery Gilmanov has won numerous prestigious prizes, among others: in 1998, a Philip Morris-Début Prize for the best operatic début of the 1997-98 season; the S.I. Bugayov Fund prize; the Paradise prize (Novosibirsk); in 2000, the Golden Mask National Theatre prize (for his performance in V. Kobekin’s opera “Young David”, with the Novosibirsk Theatre of Opera and Ballet); and he is also the winner of the Siberian Fair Gold Medal.
Valery Gilmanov has toured in Portugal, Spain, Thailand, and Italy. In 2000, as part of the M. Rostropovich world project, he sang the role of Boris Timofeyevich in “Lady Macbeth of Mtensk” in Spain, Italy, France, Germany and the Argentine.Maksim Paster graduated as a choral conductor from the class of A. Koshman and A. Linkov at the Kharkov Music College in 1994. In 1998, he entered the vocal faculty of the Kharkov Institute of the Arts, studying with professor L. Tsuran and with D. Gendelman (chamber singing class).
In 2000, he was an award-winner at the 35th Antonin Dvorák Competition in Karlovy Vary in the Czech Republic, where he won second prize in the opera and chamber-music sections. Two years later, in 2002, he won first prize in Kaliningrad at the 5th Ambert Nightingale Chamber Singing Competition; he also won the Grand Prix in Donetsk, at the 2nd A. Solovyanenko Nightingale Fair Competition; and also in 2002, he won an award at the 12th Pyotr Ilyich Tchaikovsky Competition in Moscow, and at the N. Lysenko Competition in Kiev. That year, he received a grant after winning the N. Manoylo prize.
Since 2002, Maksim Paster has been a soloist with the Kharkov Lysenko Theatre of Opera and Ballet. His repertoire includes: Paolino (“Il matrimonio segreto”); Lucentio (“Taming of the Shrew”); Chekalinsky (“Queen of Spades”); as well as solo parts in Mozart’s “Requiem” and “Coronation” Mass, Verdi’s “Requiem”, Weber’s “Requiem”, Schubert’s Mass in G and Mass in A flat, Rossini’s “Petite messe solennelle” and “Stabat mater”.Irina Dolzhenko holds the title of Merited Artist of Russia. She was born in Tashkent, and after completing her studies at the Tashkent State Conservatoire, she joined the Natalia Sats Children’s Music Theatre Company. She took part in Stanislavsky and Nemirovich-Danchenko Musical Theatre productions. She also studied in Italy with M. Sigele and Giorgio Luchetti.
Since 1996, Irina Dolzhenko has been a soloist with the Bolshoi Theatre Opera Company. Her repertoire includes the following roles: Amneris (“Aida”); Azucena (“Il trovatore”); Ulrica (“Un ballo in maschera”); Fenena (“Nabucco”); Adalgisa (“Norma”); Cherubino (“Le nozze di Figaro”); Olga (“Eugen Onegin”); Morozova (“Oprichnik”); Amelfa (“The Golden Cockerel”); Blanche (“The Gambler”); La princesse de Bouillon (“Adriana Lecouvreur”); and Preziosilla (“La forza del destino”).
Irina Dolzhenko also performs regularly outside of Russia. Companies with which she has sung include: the Vienna Chamber Opera; the Swedish Royal Opera in Stockholm; the Deutsche Oper Berlin; the Teatro Colon in Buenos Aires; and the New Israeli Opera in Tel-Aviv. She has performed in Japan, Korea, Australia, the USA and Europe. Festivals in which she has taken part include the Schoenbrun festival in Austria, the Savonnlina Festival in Finland, the Mozart Festival in France, the Jerusalem Festival in Israel, and the Festival of Forgotten Operas in Wexford in Ireland.“The Bolshoi give us Glinka’s colourful score complete in an exiting new recording.”
---John Warrack, Gramophone (July 2004)
“The recording uses SA-CD surround technology, and to my ears the most exciting result is not the enhanced spatiality and depth, but the way the recording captures the theatre’s unique acoustic.”
---Andrew Farach-Colton,Gramophone (July 2004)
“The result? Elegant ballets, perfect rather than impressive voices, involved choirs: The true pleasure of simple things well done.”
---Le Soir (09-06-2004)
“A marvellous performance, historically informed and caught absolutely on the wing. How lucky the audience was to be there at the Bolshoi and how lucky are we now, to enjoy the immediacy of the event…The miracle of the score lies in the ability to deliver a coherent whole rather than a succession of “numbers”. Do try to hear this set, even if you own Gergiev- Vedernikov restores Ruslan, intact and complete to its rightful place.”
---Colin Clarke, www.musicweb
“A special thank to PentaTone for releasing this. I’ve waited a long time to hear Ruslan and Lyudmilla given proper treatment. The result is worth the wait.”
---SA-CD.net
“What an absolutely wonderful recording! I love everything about it, the music, the performances, the sound quality, the acoustics of the venue.”
---Russell Lichter, The Stereo Times
“This recording sets a standard, because in an interprtation like this one Glinka’s Ruslan and Lyudmilla must be counted amongst the most important operas of the 19th century.”
---Uwe Schneider, Klassik.com
“ This recording from the opera house captures the exitedment of colorful performances from a close audience perspective. Voices are up on stage and the orchestra is in the pit, with a natural balance between them.”
---Kal Rubinstein, Stereophile
“ While there’s no clear winner between the competing versions of Ruslan and Lyudmila, I prefer this new release. With one exception, its cast is equal to or significantly better than that on Philips. Vedernikov’s tempos work better in the long haul, too… PentaTone Classic’s new release makes a more convincing case for this most ungainly and beautiful of operas.”
---Barry Brenesal, Fanfare
From the start, our work was divided into various directions at once: expertise in handwriting, comparisons of accounts and publications of the day, specification of the order in which the manuscripts were filed in the library of the Imperial Theatre, and the search for documents in the archives likely to provide the necessary explanations.
While studying the circumstances of the 1859 fire, it wasn’t long before we came across major contradictions between various accounts from the same people. Thus, in the preface which she edited for the 1878 edition of the opera, Lyudmila Ivanovna Chestakova (the musician’s sister) wrote the following: « The only reliable score – the one which belonged to the management of the Imperial Theatre and which was used for the first production of Ruslan and Lyudmila 1 under the baton of the composer himself – was incinerated during the fire which raged at the Circus Theatre. » Whereas less than two years later in her memoirs, which were published in 1880, she mentions a different fire. Better yet, a fire which took place in a different city. « In 1853, » she tells us, « the fire devoured the Bolshoi Theatre in Moscow and, at the same time, the scores of Ruslan and A Life for the Czar.
As a consequence, there is just a single copy left of each of these operas: the two copies which are filed at the Imperial Theatre in St. Petersburg.2 »
The only account which gets us anywhere near the truth is the one given by Vassily Pavlovich Engelhart, a loyal friend of Glinka. Besides being an ardent admirer and expert connoisseur of his music, he was also – of essential importance for us – a fanatic collector of his manuscripts. In his letter of February 25, 1859, addressed to the writer Nestor Vassilievich Koukolnik (also a very close friend of the composer), Vassily Engelhart depicts the fire at the Circus Theatre with so much irony that it is clear evident that, had the manuscripts truly disappeared in the flames, a collector such as he would not have permitted himself such a mocking tone. This is what he wrote: « One night, the attic in the Theatre caught fire right above the prompt box. At that moment, the caretaker was at the Grand Theatre Kamenny, watching the masked ball which was taking place there. As for Saburov3, he stayed out all night and couldn’t be found until 9 o’clock the following morning. Being the first to arrive on the scene, the Sovereign4 noted that all employees responsible for the administration of the theatre were absent. The fire had destroyed everything: the interior, the scenery, the costumes, the scores of 20 or so operas, the instruments, etc. The French horns had been transformed into cymbals and the cymbals into trombones... Only the cash register, the refreshment rooms and the toilets remained miraculously intact, and we should give thanks to the Lord for this! »
As required by the management of the Imperial Theatre, two copies were drawn up of the scores of each opera. The first one – the original manuscript, or a copy of this made by the composer – was kept at the music library located on the Architect Rossi street; and the second one – drawn up by a professional copyist – was kept on file in the Theatre. We quickly realized that the score on file at the library in the Rossi street corresponded to the first type of manuscript, and was in fact the copy made by Mikhail Glinka himself.
This was actually the score used for the first production of the opera on November 27, 1842, at the Grand Theatre Kamenny in St. Petersburg.
But where was the original manuscript? As he didn’t have time before the première to himself copy the immense orchestral score of his work, the composer called on the help of a group of at least five professional copyists. This unexpected conclusion might have been considered a debatable hypothesis, had it not been confirmed by an extremely important document, entitled « Dossier of the procedure instituted by the 2nd bureau of the Department for Civil Affairs at the Ministry of Justice ». Filed at the National Historical Archives in St. Petersburg, this dossier consists of the plea for justice lodged by editor Feodor Timofeyevich Stellovsky against Lyudmila Ivanovna Chestakova. May we emphasize, by the way, that the matter in question took up a period of 15 years. On September 19, 1869, the date on which the plaintiff imperatively demanded the return of the original score of the opera, which he had acquired in accordance with the contract signed on September 17, 1861, Mr. Stassov, the defendant’s lawyer pulled out his last trump: « It is a known fact that the authentic original score of Ruslan and Lyudmila does not exist. »
Nevertheless, the artistic value of works of art and architecture, of poems, novels, plays and compositions is not diminished by the fact that the great masters left the technical work to their pupils. The same thing goes for the compositions of Mikhail Glinka. And if, creatively speaking, the composer of the famous Knight’s Romance may be likened to a noble knight, it would be unjust to forget his faithful equerries. They were the serf musician Yakov Oulianovich Netoyev, a good cellist, an excellent singer, servant in the service of the Glinka family, majordomo and secretary of the composer, conductor Josef Hermann, the driving force behind the highly popular musical soirées organized in the summer in the Pavlovsk park, Johann Martin Westfahl, violinist, oboe-player and professional copyist, renowned for his admirable handwriting, Fedor Alexandrovich Rahl, conductor of an orchestra for wind instruments, Constantin Petrovich Vilboa, composer and collector of folk songs, and Vladimir Nikitich Kashperov, composer and singer, who befriended Mikhail Glinka in Berlin during the last six months of the great musician’s life. While working on the orchestration with Vladimir Kashperov, the composer of Ruslan and Lyudmila recommended that he study polyphony with Siegfried Wilhelm Dehn, a music theoretician from Berlin. Kashperov was the one who accompanied Glinka to his final resting place and who must have helped Siegfried Dehn to catalogue the numerous scores brought to Berlin by the genius of Russian music.
These Berlin scores constituted the culmination of our research. Transcribed without haste, in beautiful handwriting, and ordered according to the indications of the composer in 1854 or 1855, the score of Ruslan and Lyudmila lay before us in all its glory...
This gem includes a dazzling ensemble of three handwritten copies of the opera, which were made in Glinka’s lifetime. One of them, dating from 1855, was discovered in the Bolshoi archives; the two others, in the storerooms of the music library at the Moscow Conservatoire where they had been kept since the middle of the 1860’s.
It might occur to someone who is not an expert in the field of vocal art to question the point of having so many handwritten scores which are more or less similar. On the one hand, these documents complement one another, and they shed more light on the way in which a work was conceived by its composer. On the other, they constitute the framework which allows orchestral and choir conductors, producers and singers to create different versions of the production.ALEXANDER VEDERNIKOV
Alexander Vedernikov is one of the most promising Russian conductors of the young generation.
He studied at the Moscow Conservatory and in 1988 joined the Stanislavsky Theatre Moscow where he conducted many opera’s with great success.
In the 2001/2002 season he became Chief Conductor and Music Director of the Bolshoi Theatre Moscow.
Alexander Vedernikov conducted the St. Petersburg Philharmonic, the Russian State Symphony Orchestra and is a regular guest with the Russian National Orchestra.
He gave many concerts with the Moscow Radio Symphony Orchestra in Russia and toured with them in Germany, Austria and the UK.
He also conducted at opera houses such as the Metropolitan New York, the Royal Opera House Covent Garden, the Semper Opera Dresden and La Scala.
Alexander Vedernikov worked as guest conductor with many orchestras like The Philharmonia Orchestra, the London Philharmonic, the Budapest Festival Orchestra and the Montreal Symphony.RUSSIAN NATIONAL ORCHESTRA
Ever since its 1990 Moscow debut, the Russian National Orchestra has been in demand throughout the music world. The first Russian orchestra to perform at the Vatican and in Israel, the RNO maintains an active schedule of touring to North America, Asia and Europe. It is a frequent guest at major festivals including Edinburgh, Lucerne, Sydney and Colmar, and opened the 1996 Olympics Arts Festival in Atlanta. Of the orchestra’s debut at the BBC Proms in London (1996), the Evening Standard wrote, “They played with such captivating beauty that the audience gave an involuntary sigh of pleasure.”
Gramophone, Britain’s premier classical periodical, listed the first RNO CD, released in 1991, as the best recording of Tchaikovsky’s Pathétique in history, calling it “an awe inspiring experience; should human beings be able to play like this?” An extensive discography recorded for Deutsche Grammophon and PentaTone Classics, with conductors that include Mikhail Pletnev, Mstislav Rostropovich, Kent Nagano and Alexander Vedernikov, has garnered more praise. Classic CD described the RNO’s recording of the Rachmaninov Second Symphony as “breathtakingly beautiful…this has no, and may never have, any serious rivals,” and Gramophone declared its CD of Prokofiev’s Cinderella “one of the best records of the 1990s.”
Unique among the principal Russian ensembles, the RNO is independent of the government and has developed its own path-breaking structure. It is perhaps the only orchestra in the world to establish a Conductor Collegium, a group of internationally renowned conductors who have developed a special rapport with the RNO and its musicians, and whose vision guides tour and recording strategies.
Another RNO innovation is Cultural Allies, created in 2001 and encompassing exchanges between artists in Russia and the West, collaborations with American and European orchestras, and the commissioning of new works. Prominent RNO partners in Cultural Allies include Dave Brubeck, Bill Clinton, Mikhail Gorbachev, Hélène Grimaud, Sophia Loren, Wynton Marsalis, Jessye Norman, Leonard Slatkin and Michael Tilson Thomas.
The Russian National Orchestra is supported by private funding and is governed by a distinguished multinational board of trustees. Affiliated organizations include the Russian Arts and Cultural Foundation-UK, the Russian Arts Foundation and the American Council of the RNO.In the new century, the Bolshoi Theatre has turned to Mikhail Glinka’s opera “Ruslan and Lyudmila”. This is a deeply symbolic fact and confirms how meaningful and important his music always is to us.
Glinka is a rather enigmatic figure in the history of Russian music, as it were appearing out of the blue. The genealogy of his work, as distinct to that of our other classical composers, is fairly difficult to trace. Operatic works written by Russian composers before Glinka exist separately, they did not generate the nineteenth-century operatic tradition. The question thus arises: what is Glinka’s work?
Our present production represents an answer to this question from the twenty-first century. We had two main points of departure. The first involved approaching the authorial text with the maximum care, which required painstaking textological analysis, research and the study of the original sources. The second point of departure was related to the production. We tried to avoid excessive preoccupation with everyday themes, psychological approaches, a detailed elaboration of the characters of the personages: in other words, the Stanislavsky system which our theatre so adores. One could call this the rejection of entertainment simply for the sake of entertainment.
The format we chose answers more precisely to Glinka’s method, according to which the music comes first, and behind it trails the action. Let us put it this way – the logic of the development is exclusively musical. The exposition of the material is built on an epic rather than a dramatic basis, which brings us close to such ancient theatrical genres such as the tragedy and mystery. Therefore, it followed that the chorus, like its ancient Greek counterpart, should take upon itself the role of commentator of events only and not become a personage in the opera. In our production, the personages are the soloists and, of course, the orchestra, which here has a particular, dominant role, in which over 40 minutes of music fall to its lot.
I would like to emphasize that our work is also an homage to Glinka’s jubilee in 2004.
Alexander Vedernikov
Conductor
Taras Shtonda
Taras Shtonda holds the title of Merited Artist of the Ukraine. He was born in Kiev, and after studying with Galina Sukhorukova, graduated from the Kiev Tchaikovsky Conservatoire in 1993. Between 1991 and 2001, he won prizes at the following international competitions: the Glinka Competition in Alma-Ata, Julian Gayarre International Singing Competition in Pamplona, Francisco Viñas Singing Competition in Barcelona, Maria Callas International Music Competition in Athens, Patorzhinsky Competition in Lugansk, Alchevsky Competition in Kharkov, Byul-Byul Competition in Baku, and the Sviridov Competition in Lursk; as well as at the Sobinov Festival in Saratov.
As of 1992, Taras Shtonda has been a soloist of the National Opera of the Ukraine. His repertoire includes the following roles: Philip II, the Grand Inquisitor (“Don Carlos”), Zaccaria (“Nabucco”), Monterone (“Rigoletto”), Basilio (“Il barbiere di Siviglia”), Boris, Pimen (“Boris Godunov”), Dosifei (“Khovantschina”), Gremin (“Eugen Onegin”), Kochubei (“Mazepa”), King Rene (“Iolanthe”), Vladimir Galitsky (“Prince Igor”), Boris Timofeyevich (“Katerina Izmailova”), the Magician Celio (“Love of Three Oranges”).
Apart from his performances in the opera repertoire, Taras Shtonda gives many recitals and concerts in the cantata-oratorio and the chamber-music fields. He also performs both classical and modern Ukrainian music. He has toured widely outside of his native country, and has sung in France, Spain, Hungary, Switzerland, Holland, Denmark, Brazil, Yugoslavia, Italy, Poland and Germany, as well as in Russia and the Ukraine. At the Bolshoi, he has sung the role of Dosifei (“Khovantschina”).Ekaterina Morozova
Ekaterina Morozova was born in Ekaterinburg, where she graduated from the Ekaterinburg Music College both as pianist and as chorus conductor. She studied singing with professor V. Gurevich, and later graduated from the Moscow State Conservatoire in the class of professor Y. Grigorev.
From 1996 – 2000, she was a soloist with the Moscow New Opera Theatre. In 2000, she made her Bolshoi Theatre début as Violetta in “La traviata”.
Since 1999, Ekaterina Morozova has also performed abroad. She sang the role of Natasha Rostova in Prokofiev’s “War and Peace” at the Spoleto Festival; Oksana in Tchaikovsky’s “Cherevichki” in Italy; Clorinda in “Cinderella” at the Rossini Opera Festival; and the title role in Donizetti’s “Lucrezia Borgia” at the Teatro Comunale in Bologna.
One of the best roles in her repertoire is the Queen of the Night from Mozart’s “Die Zauberflöte”, which she has sung at the Salzburg Landestheater, Deutsche Oper Berlin, Badisches Staatstheater Karlsruhe, Deutsche Oper am Rhein, Semperoper Dresden, with the Orchestra della Toscana, at the Schwetzingen Festival and for the Opéra National du Rhin.
In 2001, she was an award-winner at the Dresden Opera Competition, and in the same year, she sang Gilda (“Rigoletto”) at the Savonilinsky Festival. At the Wexford Festival, she sang Leonora in von Flotow’s “Alessandro Stradella”. For the Canadian Opera Company, she sang Madame Faulville in Rossini’s “Il viaggio a Reims”; for the Paris Opera, Kseniya in “Boris Godunov”; and for Kazan Opera, Rosina in “Il barbiere di Siviglia”.
Her repertoire also includes the following roles: Lucia (“Lucia di Lammermoor”); Valter (“Valli” by A. Katalan); Lyudmila (“Ruslan and Lyudmila”); Donna Anna (“Don Giovanni”); Dido (“Dido and Aeneas”); Iolanthe (“Iolanthe”); Lucretia
(“I due foscari”); Violetta (“La traviata”).Vadim Lynkovsky was born in Moscow into a family of music teachers. In 1992, he graduated from the wind instruments’ class at the Moscow A. Shnitke Music College. Four years later, in 1996, he graduated from the vocal department of the Moscow A. Schnittke State Institute of Music. In 1998, he continued his education at the Moscow State Conservatoire with Pyotr Skusnichenko.
In 1997, he received the first prize in the All-Russian Bella Voce Competition, and in 1999, he again won first prize at the 18th Glinka International Competition of Vocalists.
From 1998 – 1999, he was a soloist with the Boris Pokrovsky Chamber Music Theatre. In 2001, he joined the Bolshoi Theatre Opera Company, where his roles have included: Director of the Casino (“The Gambler”); the Mayor (“La forza del destino”); Quinault (“Adriana Lecouvreur”); Varsonofiev (“Khovantschina”); Angelotti (“Tosca”); Colline (“La Bohème”); Nikitich (“Boris Godunov”); Bermyata (“Snow Maiden”); and Nick Shadow (“The Rake’s Progress”).Aleksandra Durseneva was born in Kharkov, where she graduated from the Kharkov State Pedagogical Institute and from the vocal section of the Kharkov Institute of Arts (in the class of Tamara Veske). She began her professional career at the Kharkov State Academic Theatre of Opera and Ballet, where she sang the lead roles. She has also won prizes in several international competitions.
In 1994, Aleksandra Durseneva joined the Bolshoi Theatre Opera Company. Her repertoire includes: Lyubasha (“The Czar’s Bride”); Amelfa (“The Golden Cockerel”); Marfa (“Khovantschina”); Vanya (“Ivan Susanin”); Konchakovna (“Prince Igor”); Clariche (“Love for the Three Oranges”); and Fyodor Basmanov (“Oprichnik”).
Aleksandra Durseneva tours abroad extensively. In 1999, she made her Royal Opera début as Amelfa (“The Golden Cockerel”). She has made frequent appearances at the Bregenz Festival in Austria and has also sung at the Konzerthaus in Vienna. She has taken part in productions in Dublin, Leipzig, Iena, Madrid, Copenhagen, Ravenna and Florence.Vitaly Panfilov was born in Novgorod in 1969. He graduated from the opera-singing class at the St. Petersburg Conservatoire in 1999. He sang the part of Vaudemon in a Conservatoire Music Theatre production of “Iolanta”.
Vitaly Panfilov has often performed with the St. Petersburg Philharmonia, mostly in the Big Hall of the St. Petersburg Philharmonia, in works such as Mozart’s “Requiem”, Verdi’s “Requiem”, Shostakovich’s “From Jewish Folk Poetry” vocal cycle, Bach’s “St. John” Passion, Handel’s “The Messiah”, Schubert-E. Denisov’s opera “Lazarus”, and various Schubert Masses.
During the Temirkanov 60th Birthday Concert, he was invited to sing a duet with Barbara Hendricks. The BBC asked him to take part in a direct radio transmission from St. Petersburg to London, in which he sang several arias from Russian operas.
Vitaly Panfilov tours in Russia and abroad. In October 2002, he was awarded the diploma and jury prize of the international music competition held in Poitiers in France.Maria Gavrilova has been awarded the honorary title of People’s Artist of Russia. She was born in Chelyabinsk, and graduated from the class of German Gavrilov (her father) at the Chelyabinsk Music College. She continued her studies at the Moscow State Conservatoire, where she graduated from the class of professor
I. Maslennikova.
In 1990, while still a student, Maria Gavrilova joined the opera cast of the Bolshoi Theatre. She made her début at the Bolshoi as Oksana in “Cherevichki”. Her repertoire includes the following roles: Tatiana (“Eugen Onegin”); Margarite (“Faust”); Iolanthe (“Iolanthe”); Agnesse (“Maid of Orleans”); Voislava (“Mlada”); Contessa (“Le nozze di Figaro”); Leonora (“Il trovatore”); Lisa (“The Queen of Spades”); Mimi (“La Bohème”); Francesca da Rimini (“Francesca da Rimini”); Natalia (“Oprichnik”); and Olga (“Maid of Pskov”).
Maria Gavrilova tours in the USA, Europe and Japan. She has performed Tatiana (“Eugen Onegin”) to great critical acclaim at the San Francisco Opera.Valery Gilmanov graduated from the Novosibirsk State Conservatoire after studying with A.Y. Levitsky. He joined the Novosibirsk State Theatre of Opera and Ballet as a soloist in 1994, and in 2000, he was invited to become a soloist with Moscow’s New Opera Company. In 2001, he joined the Bolshoi Theatre as a soloist.
Valery Gilmanov’s repertoire includes the following roles: Varlaam (“Boris Godunov”); Ivan Khovansky (“Khovantschina”); Konchak (“Prince Igor”); Gremin (“Eugen Onegin”); the Miller (“Rusalka”); Boris Timofeyevich (“Lady Macbeth of Mtsensk”); Ramphis (“Aida”); Colline, Benoit (“La Bohème”); Abimelech, an old Hebrew (“Samson et Dalila”); the Ghost of Hamlet’s Father (“Hamlet”); Loredano (“I due foscari”); and Sparafucile (“Rigoletto”).
Valery Gilmanov has won numerous prestigious prizes, among others: in 1998, a Philip Morris-Début Prize for the best operatic début of the 1997-98 season; the S.I. Bugayov Fund prize; the Paradise prize (Novosibirsk); in 2000, the Golden Mask National Theatre prize (for his performance in V. Kobekin’s opera “Young David”, with the Novosibirsk Theatre of Opera and Ballet); and he is also the winner of the Siberian Fair Gold Medal.
Valery Gilmanov has toured in Portugal, Spain, Thailand, and Italy. In 2000, as part of the M. Rostropovich world project, he sang the role of Boris Timofeyevich in “Lady Macbeth of Mtensk” in Spain, Italy, France, Germany and the Argentine.Maksim Paster graduated as a choral conductor from the class of A. Koshman and A. Linkov at the Kharkov Music College in 1994. In 1998, he entered the vocal faculty of the Kharkov Institute of the Arts, studying with professor L. Tsuran and with D. Gendelman (chamber singing class).
In 2000, he was an award-winner at the 35th Antonin Dvorák Competition in Karlovy Vary in the Czech Republic, where he won second prize in the opera and chamber-music sections. Two years later, in 2002, he won first prize in Kaliningrad at the 5th Ambert Nightingale Chamber Singing Competition; he also won the Grand Prix in Donetsk, at the 2nd A. Solovyanenko Nightingale Fair Competition; and also in 2002, he won an award at the 12th Pyotr Ilyich Tchaikovsky Competition in Moscow, and at the N. Lysenko Competition in Kiev. That year, he received a grant after winning the N. Manoylo prize.
Since 2002, Maksim Paster has been a soloist with the Kharkov Lysenko Theatre of Opera and Ballet. His repertoire includes: Paolino (“Il matrimonio segreto”); Lucentio (“Taming of the Shrew”); Chekalinsky (“Queen of Spades”); as well as solo parts in Mozart’s “Requiem” and “Coronation” Mass, Verdi’s “Requiem”, Weber’s “Requiem”, Schubert’s Mass in G and Mass in A flat, Rossini’s “Petite messe solennelle” and “Stabat mater”.Irina Dolzhenko holds the title of Merited Artist of Russia. She was born in Tashkent, and after completing her studies at the Tashkent State Conservatoire, she joined the Natalia Sats Children’s Music Theatre Company. She took part in Stanislavsky and Nemirovich-Danchenko Musical Theatre productions. She also studied in Italy with M. Sigele and Giorgio Luchetti.
Since 1996, Irina Dolzhenko has been a soloist with the Bolshoi Theatre Opera Company. Her repertoire includes the following roles: Amneris (“Aida”); Azucena (“Il trovatore”); Ulrica (“Un ballo in maschera”); Fenena (“Nabucco”); Adalgisa (“Norma”); Cherubino (“Le nozze di Figaro”); Olga (“Eugen Onegin”); Morozova (“Oprichnik”); Amelfa (“The Golden Cockerel”); Blanche (“The Gambler”); La princesse de Bouillon (“Adriana Lecouvreur”); and Preziosilla (“La forza del destino”).
Irina Dolzhenko also performs regularly outside of Russia. Companies with which she has sung include: the Vienna Chamber Opera; the Swedish Royal Opera in Stockholm; the Deutsche Oper Berlin; the Teatro Colon in Buenos Aires; and the New Israeli Opera in Tel-Aviv. She has performed in Japan, Korea, Australia, the USA and Europe. Festivals in which she has taken part include the Schoenbrun festival in Austria, the Savonnlina Festival in Finland, the Mozart Festival in France, the Jerusalem Festival in Israel, and the Festival of Forgotten Operas in Wexford in Ireland.“The Bolshoi give us Glinka’s colourful score complete in an exiting new recording.”
---John Warrack, Gramophone (July 2004)
“The recording uses SA-CD surround technology, and to my ears the most exciting result is not the enhanced spatiality and depth, but the way the recording captures the theatre’s unique acoustic.”
---Andrew Farach-Colton,Gramophone (July 2004)
“The result? Elegant ballets, perfect rather than impressive voices, involved choirs: The true pleasure of simple things well done.”
---Le Soir (09-06-2004)
“A marvellous performance, historically informed and caught absolutely on the wing. How lucky the audience was to be there at the Bolshoi and how lucky are we now, to enjoy the immediacy of the event…The miracle of the score lies in the ability to deliver a coherent whole rather than a succession of “numbers”. Do try to hear this set, even if you own Gergiev- Vedernikov restores Ruslan, intact and complete to its rightful place.”
---Colin Clarke, www.musicweb
“A special thank to PentaTone for releasing this. I’ve waited a long time to hear Ruslan and Lyudmilla given proper treatment. The result is worth the wait.”
---SA-CD.net
“What an absolutely wonderful recording! I love everything about it, the music, the performances, the sound quality, the acoustics of the venue.”
---Russell Lichter, The Stereo Times
“This recording sets a standard, because in an interprtation like this one Glinka’s Ruslan and Lyudmilla must be counted amongst the most important operas of the 19th century.”
---Uwe Schneider, Klassik.com
“ This recording from the opera house captures the exitedment of colorful performances from a close audience perspective. Voices are up on stage and the orchestra is in the pit, with a natural balance between them.”
---Kal Rubinstein, Stereophile
“ While there’s no clear winner between the competing versions of Ruslan and Lyudmila, I prefer this new release. With one exception, its cast is equal to or significantly better than that on Philips. Vedernikov’s tempos work better in the long haul, too… PentaTone Classic’s new release makes a more convincing case for this most ungainly and beautiful of operas.”
---Barry Brenesal, Fanfare
曲目 · · · · · ·
- Overture
- No. 1: Introduction: 'Dela Davno Minuvsikh Dnei'
- 'Est'pustynnyi Kraj'
- No. 2: Lyudmila's Cavatina: 'Grustno Mne, Roditel' Dorogoi'
- No. 3: Finale: 'Chada Rodimye'
- 'Chto Sluchilos?'
- No. 4: Entr'acte
- No. 5: Finn's Ballad: 'Dobro Pozhalovat', Moi Syn'
- No. 6: Duet Of Finn And Rusian: 'Blagodaryu Tebya, Moi Divnyi Pokrovitel'
- No. 7: Scene And Farlaf's Rondo: 'Ya Ves' Drozhu'
- (Rondo) 'Blizok Uz Chas Torzhestva Moego'
- No. 8: Ruslan's Aria: 'O Pole, Pole'
- 'Dai, Perun, Bulatnyi Mech'
- No. 9: Scene With The Head: 'Kto Zdes' Bluzhdaet'
- No. 10: Finale: The Tale Of The Head: 'Nas Bylo Dvoe, Brat Moi I Ya'
- No. 11: Entr'acte
- No. 12: Persian Chorus: 'Lozhitsya V Pole Mrak'
- No. 13: Gorislava's Scene And Cavatina: 'Kakie Sladostnye Zvuki'
- No. 14: Ratmir's Aria: 'I Zhar, I Znoi Smenila Nochi Ten'
- No. 15: Dances
- No. 16: Finale: 'O Moi Ratmir!'
- 'Vityazi! Kovarnaya Naina'
- No. 17: Entr'acte
- No. 18: Lyudmila's Scene And Aria: 'Vdali Ot Milogo'
- 'Akh Ty Dolya, Dolushka'
- No. 19: March Of Chernomor
- No. 20: Oriental Dances: a. Turkish Dance (Allegretto)
- b. Arabian Dance (Allegro Con Spirito)
- c. Lesginka (Caucasian Dance)
- No. 21: Chorus: 'Pogibnet, Nezhdannyij Prishlets!'
- No. 22: Finale: 'Pobeda, Pobeda, Lyudmila'
- No. 23: Entr'acte
- No. 24: Ratmir's Romance
- No. 25: Recitative And Chorus: 'Vsy Tikho!'
- No. 26: Duet Of Ratmir And Finn: 'Chto Slyshu Ya? Lyudmily Net?'
- No. 27: Finale: 'Akh Ty Svet, Luydmila'
- 'Kogo Nam Bogi Shlyut?'
- 'Slava Velikim Bogam'
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0 有用 语焉 2012-11-26 14:54:32
豆瓣音乐的混乱让我都不知道说什么好了
0 有用 Veronica 2020-07-27 19:25:29
听了一天的鲁斯兰与柳德米拉，公主与骑士。
0 有用 雪之 2020-09-20 21:34:56
第一次听全曲，大倒胃口。《鲁斯兰与柳德米拉》用鬼一样的HIP演出来的效果就是这么可怕，缺乏热情从头到尾都低能量。比如这个序曲和第一幕里面的结婚场景居然能演的这么意兴阑珊？不管你信不信，我反正是颓了，一定要找一个正常点的版本洗洗耳朵
0 有用 语焉 2012-11-26 14:54:32
豆瓣音乐的混乱让我都不知道说什么好了
0 有用 Veronica 2020-07-27 19:25:29
听了一天的鲁斯兰与柳德米拉，公主与骑士。
0 有用 雪之 2020-09-20 21:34:56
第一次听全曲，大倒胃口。《鲁斯兰与柳德米拉》用鬼一样的HIP演出来的效果就是这么可怕，缺乏热情从头到尾都低能量。比如这个序曲和第一幕里面的结婚场景居然能演的这么意兴阑珊？不管你信不信，我反正是颓了，一定要找一个正常点的版本洗洗耳朵