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Glinka – Ruslan and Lyudmila - Alexander Vedernikov
Glinka – Ruslan and Lyudmila - Alexander Vedernikov
PentaTone Classics
PentaTone Classics
MIKHAIL GLINKA
(1804-1857) Fairy opera in 3 parts, 5 acts
Original version
Libretto by Valerian Shirkov and Mikhail Glinka with the participation of K.A. Bakhturin,
N.V. Kukolnik, M.A. Gedeonov and N.A. Markevich after the poem by Alexander Pushkin
Critical Edition by Nadezhda Teterina and Evgeny Lavashev
Orchestrations for the stage orchestra: Yuri Poteyenko • Stage production directed by Viktor Kramer
Ruslan ...........Taras Shtonda,
Bass-baritone
Lyudmila ......Ekaterina Morozova,
Soprano
Svetosar ................. Vadim Lynkovsky,
Bass
Ratmir .....Aleksandra Durseneva,
Contralto
Finn ..............................Vitaly Panfilov,
Tenor
Gorislava ............. Maria Gavrilova,
Soprano
Farlaf ..........................Valery Gilmanov,
Bass
Bayan .......................... Maksim Paster,
Tenor
Naina......... Irina Dolzhenko,
Mezzo-soprano
Chorus and Orchestra of the Bolshoi Theatre
, Moscow
Alexander Vedernikov
Chorus master: Valery Borisov
Conductor: Igor Dronov
Voice coach: Franco Pagliazzi
Concertmaster: Dmitry Khakhamov
Glass harmonica: Igor Sklyarov & Timofei Vinkovsky
Flute: Sergei Balashov
Oboe: Sofia Belyaeva
English horn: Vladislav Komissarchuk
Clarinet: Alexei Bogorad
Recorded live at the Bolshoi Theatre Moscow, April 23rd –27th , 2003
Executive Producers: Anton Getman, Alexander Vedernikov, Job Maarse
Recording Producer: Job Maarse
Balance Engineer: Jean-Marie Geijsen
Recording Engineers : Erdo Groot, Roger de Schot
Editing: Sebastian Stein, Josh Blair
Photo's: Kind permission Bolshoi Theatre Moscow
Design: Netherlads
A co-production of the Bolshoi Theatre Moscow and
PentaTone Music
conducted by
3
Fairy opera in 3 parts, 5 acts
Disc 1
PTC 5186 035
ACT 1:
1 Overture
2 No. 1: Introduction:
“Dela davno minuvsikh dnei”
3 “Est’pustynnyi kraj”
4 No. 2: Lyudmila’s Cavatina:
“Grustno mne, roditel’ dorogoi”
5 No. 3: Finale: “Chada rodimye”
6 “Chto sluchilos’?”
ACT 2:
7 No. 4: Entr’acte
8 No. 5: Finn’s Ballad:
“Dobro pozhalovat’, moi syn”
9 No. 6: Duet of Finn and Ruslan:
“Blagodaryu tebya, moi divnyi pokrovitel ”
10 No. 7: Scene and Farlaf’s Rondo:
“Ya ves’ drozhu”
11 (Rondo)
“Blizok uz chas torzhestva moego”
Total timing disc 1 : 64. 54
5. 17
7. 03
7. 58
8. 01
6. 03
8. 40
7 No. 13: Gorislava’s Scene and Cavatina:
“Kakie sladostnye zvuki”
8 No. 14: Ratmir’s Aria:
“I zhar, i znoi smenila nochi ten’”
9 No. 15: Dances
10 No. 16: Finale: “O moi Ratmir!”
11 “Vityazi! Kovarnaya Naina”
Total timing disc 2 : 64. 42
4. 37
11. 49
13. 03
6. 24
4. 21
3. 12
8. 30
2. 05
4. 14
3. 49
Disc 3
PTC 5186 037
ACT 4:
1 No. 17: Entr’acte
2 No. 18: Lyudmila’s Scene and Aria:
“Vdali ot milogo”
3 “Akh ty dolya, dolushka”
4 No. 19: March of Chernomor
5 No. 20: Oriental Dances:
a.Turkish Dance (Allegretto)
6 b. Arabian Dance (allegro con spirito)
7 c. Lesginka (Caucasian Dance)
8 No. 21: Chorus:
“Pogibnet, nezhdannyij prishlets!”
9 No. 22: Finale: “Pobeda, pobeda, Lyudmila”
ACT 5:
10 No. 23: Entr’acte
11 No. 24: Ratmir’s Romance:
“Ona mne zhizn’, ona mne radost ”
12 No. 25: Recitative and Chorus: “Vsyo tikho!
13 No. 26: Duet of Ratmir and Finn:
“Chto slyshu ya? Lyudmily net?”
14 No. 27: Finale: “Akh ty svet,- Luydmila”
15 “Kogo nam bogi shlyut?”
16 “Slava velikim bogam”
Total timing disc 3: 73. 56
1. 34
5. 04
10. 17
4. 54
2. 15
1. 41
3. 13
3. 12
7. 19
Disc 2
PTC 5186 036
1 No. 8: Ruslan’s Aria: “O pole, pole”
2 “Dai, Perun, bulatnyi mech”
3 No. 9: Scene with The Head:
“Kto zdes’ bluzhdaet”
4 No. 10: Finale: The Tale of The Head:
“Nas bylo dvoe, brat moi i ya”
ACT 3:
5 No. 11: Entr’acte
6 No. 12: Persian Chorus:
“Lozhitsya v pole mrak”
2. 44
6. 38
1. 50
6. 18
5. 10
4. 35
7. 10
6. 16
4. 44
2. 34
3. 32
2. 41
4. 41
Total timing box: 3. 23. 32
4
IN SEARCH OF LOST MANUSCRIPTS
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
5
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 Saburov
3
, 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
Sovereign
4
noted that all employees responsible for
the administration of the theatre were absent. The fire
Taras Shtonda
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.
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