Name: The Tale of Tsar Saltan
Start: 2016-08-21T00:00:00.000Z
End: 2017-05-06T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Regissör

Ekaterina Malaya

Scenograf

Pyotr Okunev

Video designer

Vadim Dulenko

Körledare

Larisa Shveikovskaya

Anna Pipia

Pianist

Marina Repina

Bass

Sergei Pleshivtsev

Tsar Saltan

Soprano

Alena Diyanova

Tsaritsa Militrisa

Tenor

Alexei Kostyuk

Tsarevich Gvidon

Alina Mikhailik

Tsarevna Lyebyed

Mezzo-soprano

Laura Bustamante

Tkachikha

Elena Tretyakova

Povarikha

contralto

Irina Kolodyazhnaya

Svatya Baba Babarikha

Vsevolod Marilov

Staryi Ded

Baritone

Gennady Akhmedov

Gonets

Yevgeny Plekhanov

Skomorokh

Ilya Astafurov

Pervyi Korabelschik

Dmitry Nelasov

Vtoroy Korabelschik

Vadim Soloviev

Tretii Korabelschik

Dirigent

Anton Torbeev

Aigul Khismatullina

Svetlana Rozhok

Ljus designer

Alexandra Rudakova

Yevgenia Akishina

Anastasia Kikot

Evgeny Mizin

Natalya Zakharchenko

Vyacheslav Vasilyev

Primorsky Stage of the Mariinsky Theatre

ryska

The Tale of Tsar Saltan -  (Sagan om tsar Saltan)

Vladivostok

Ryssland

The Tale of Tsar Saltan

Public

Sagan om tsar Saltan

engelska

Approved

Nikolay Rimsky-Korsakov is called the greatest storyteller in the history of Russian music and The Tale of Tsar Saltan – his most joyful opera. Based on Pushkin’s theme, it was composed to coincide with the centenary of the genius of Russian poetry, so the composer tried to follow the original Pushkin’s text as closely as possible. And, indeed, the poetic lines of the immortal fairy tale literally tickle one’s imagination, prompting the musical solution: the magical squirrel sings: “In the grove or in the garden…” and the Swan Princess “speaks the Russian language.”

Rimsky-Korsakov wanted to compose music which would match Pushkin’s fairy tale – something Russian, lubok- and fair-like. The composer was so successful in incarnating this vision that after the opera premiere he became known as “the musical Pushkin”. Rimsky-Korsakov preserved both long, bylina-like name of the poem and Saltan’s peculiar features, such as naivety, good-natured humour, fast “dancing” rhythm, folklore storytelling techniques and national ethnic flavour.

The compositional method itself, which the author perceived as “grid drawing,” is a detailed artistic illustration akin to the art of ethnic embroidery or craftsmen’s palekh miniatures. Here, indeed, Rimsky-Korsakov could give rein to his love for filigree precision and careful drawing of “tasty bits,” his talent for colourful and inventive instrumentation. Apt description of the characters creates folklore-like rich and vivid images. The symphonic fragments, which brought Rimsky-Korsakov a resounding success before the opera had even premiered, are magnificent: the orchestra intermezzo Three Wonders, depicting wonders found in the City of Ledenets (a squirrel cracking golden nuts, thirty-three sea-knights (bogatyrs) headed by Chernomor and the beautiful Swan Princess), as well as the famous Bumblebee Flight which has become one of the main “hits” of music classics.

The producers who staged “The Tale About Tsar Saltan” on the Primorsky Stage – director Daria Panteleeva and designer Piotr Okunev – have created the performance with a thorough knowledge and respect for Russian fairy-tale traditions. On the stage, we can see accurately reconstructed signs of Russian life: delicate lace of wooden architecture and bright national class- and character-specific costumes seem to have stepped out of classical illustrations of folk tales.

Nadezhda Koulygina

English

Sagan om tsar Saltan by Rimsky-Korsakov, Från (2016/2017), Regisserad av Ekaterina Malaya,, Dirigent Anton Torbeev, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Ryssland

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