Name: The Tale of Tsar Saltan
Start: 2017-09-24T00:00:00.000Z
End: 2018-04-08T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Stage director

Ekaterina Malaya

Set designer

Pyotr Okunev

Lighting designer

Alexandra Rudakova

Video

Vadim Dulenko

Chorus master

Larisa Shveikovskaya

Anna Pipia

Pianist

Marina Repina

Yevgenia Akishina

Bass

Sergei Pleshivtsev

Tsar Saltan

Soprano

Alena Diyanova

Militrisa

Tenor

Evgeny Mizin

Prince Gvidon

Alina Mikhailik

Swan-Princess

Mezzo-soprano

Tatiana Makarchuk

The weaver

Svetlana Rozhok

Cook

Contralto

Irina Kolodyazhnaya

Matchmaker-Crone

Ilya Astafurov

Old man

Baritone

Gennady Akhmedov

Messenger

Yevgeny Plekhanov

Buffoon

Roman Krukovich

First sailor

Igor Volkov

Third sailor

Conductor

Waleriy Trubin-Leonoff

Alexei Kostyuk

Guzel Sharipova

Elizaveta Senatorova

Dmitry Nelasov

Second sailor

Anastasia Kikot

Laura Bustamante

Daria Sychova

Vsevolod Marilov

Anton Torbeev

Primorsky Stage of the Mariinsky Theatre

venäjä

The Tale of Tsar Saltan

Vladivostok

Russia

Big Hall

Public

englanti

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.

English

The Tale of Tsar Saltan by Rimsky-Korsakov, Alkaen (2017/2018), Ohjannut Ekaterina Malaya,, Musiikinjohto Waleriy Trubin-Leonoff, Anton Torbeev, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Russia

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