Русская музыка в Метрополитан-опера: репертуарный анализ в социокультурном контексте новейшей истории Соединённых Штатов

[xxvi]Met Performance CID:74580. United States Premiere. Eugene Onegin {1}. Metropolitan Opera House: 03/24/1920.

[xxvii]“Mr. Bodanzky did not linger over the syrupy music, for which Apollo be praised! The score is of a linked sweetness, long drawn out, but the conductor's vivacious baton and spirited tempi made the music seem better than it is.” Review of James Gibbons Huneker in The New York World . Ibid.

[xxviii] Met Peformance CID:176000. Eugene Onegin {1}. Metropolitan Opera House: 10/28/1957.

[xxix]Met Performance] CID:355023. New Production. Eugene Onegin {136} . Metropolitan Opera House, 09/23/2013.

[xxx]Review of Anthony Tommasini in The New York Times A Fight for Love. In the Met and Out "Eugene Onegin" Opens Metropolitan Opera Season. Ibid.

[xxxi] Met Presentation CID:52410. Imperial Russian Ballet. Matinee ed. Metropolitan Opera House: 12/19/1911. Met Performance CID:52440. Tosca {83}. Imperial Russian Ballet. Metropolitan Opera House: 12/21/1911. Met Presentation CID:52510. Imperial Russian Ballet. Metropolitan Opera House: 12/26/1911. Met Performance CID:52550. Imperial Russian Ballet. Matinee ed. Metropolitan Opera House: 12/29/1911.

[xxxii] Первое документированное исполнение в 1910 г. как часть смешанной программы с «русским» акцентом. См.: Met Performance CID:49390. Orfeo ed Euridice {19}. Ballet Divertissement . Metropolitan Opera House: 12/19/1910.

[xxxiii] Первое исполнение: Met Performance CID:52410. Imperial Russian Ballet. Matinee ed. Metopolitan Opera House: 12/19/1911.

[xxxiv] Met Concert/Gala CID:50830. Twenty-First Sunday Concert. Metropolitan Opera House, 04/09/1911.

[xxxv] Met Performance CID:61530. United States Premiere. Prince Igor {1}. Metropolitan Opera House, 12/30/1915.

[xxxvi] Met Performance CID:355353. Prince Igor {19}. Metropolitan Opera House, 03/08/2014.

[xxxvii] Met Performance CID:152890. Metropolitan Opera Premiere. Khovanshchina {1}. Metropolitan Opera House: 02/16/1950.

[xxxviii] Met Performance CID:354425. Khovanshchina {38}. Metropolitan Opera House: 03/17/2012.

[xxxix] Met Performance CID:282210. Khovanshchina {5}. Metropolitan Opera House: 10/14/1985.

[xl] “The Metropolitan Opera's new production of Mussorgsky's Khovanshchina is a considerable achievement. Even the work's most ardent adherents, Russian opera aficionados who have labored patiently to untangle the strands of this frighteningly complex historical-political drama, could hardly have hoped for such a lucid presentation, let alone one more strongly cast or authoritatively conducted. Once again, as so often at the Met these days, the company seems to make its most satisfying artistic statements with worthy but unpopular projects -- Khovanshchina is a work of genius, but it has never appealed to a wide audience and probably never will. Still, major opera companies must keep trying, and the Met is doing all it can. Even the program booklet is crammed with valuable information on the opera - I advise anyone attending future performances to arrive early and bone up.” Review of Peter G. Davis in the Cotrober 25 issue of New York Magazine. Khovanschchina {5} .

[xli] «Борис Годунов» представляет особые возможности для режиссёра-постановщика и дирижёра, которые могут выбирать между более радикальной оригинальной гармонизацией Мусоргского и более конвенциональным вариантом, предложенным Римским-Корсаковым после смерти композитора. К сожалению, архив не содержит однозначной информации по решениям, принятым в отдельных случаях; однако, представляется более чем возможным, что оперная дирекция предпочитала оригинал в новых постановках, следуя международному тренду, наблюдаемому в европейских оперных театрах.

[xlii]Met Performance] CID:54660. United States Premiere. Boris Godunov {1} Metropolitan Opera House, 03/19/1913. Review of Richard Aldrich in The New York Times ; W. J. Henderson in the Sun ; Max Smith in the Press ; Henry E. Krehbiel in the Tribune

[xliii] Met Performance CID:353590. New Production. Boris Godunov {265}. Metropolitan Opera House: 10/11/2010. Met Performance CID:353883. Boris Godunov {273}. Metropolitan Opera House: 03/17/2011.

[xliv] Met Performance CID:68340. United States Premiere. Cavalleria Rusticana {175}. Le Coq d ' Or {1} . Metropolitan Opera House, 03/06/1918.

[xlv] Met Performance CID:79920. United States Premiere. Snegurochka {1}. Metropolitan Opera House, 01/23/1922.

[xlvi] “Rimsky-Korsakoff's "Sadko," produced at the Metropolitan Opera House Saturday afternoon, revealed to a voluminous and avid audience one of those sumptuous spectacles for which Giulio Gatti-Casazza is famous. There was also music, which in a spectacular opera still demands some consideration. Report that the score contained much recitative and little extended lyric utterance was discredited. Unfortunately the lyric passages were in themselves mostly of small charm. One slow tempo after another, melancholy moods, and absence of a climax mark many, if not all, of the solo scenes. Fundamentally the defects of the music, which are also its merits, lie in its uncompromising nationalism. Tonalities and rhythms are those which we have heard over and over in the creations of the builders of the Russian nationalistic school. The incessant use of the short phrase mercilessly reiterated, which is the melodic pattern of too many Russian folk songs, becomes tiresome before the opera is half over. Yet what else could a Russian do with a Russian legend?

Rimsky-Korsakoff was a master of orchestration. The instrumental portion of "Sadko" is beautifully made. There are a hundred details to interest the music lover who takes note of such matters, but we are somewhat skeptical as to their influence upon the typical operagoer. Naturally there was a large cast. Mr. Johnson labored manfully with the music of Sadko. He won much applause and deserved much sympathy. But the interest of the afternoon was centered in the pictures, the dances, and the ensembles. Katisha had a left shoulder blade which people went miles to see.” Review by W.J. Henderson in the New York Sun. Sadko {1}

[xlvii] Review in Musical America, unsigned, but probably Oscar Thompson: 'SADKO' Exerts Lure of Fantastic Spectacle at American Premiere. Rimsky's “Sadko” - A Scenic Triumph at Metropolitan - Russian Opera Achieves Brilliant Success as Spectacle at its American Premiere -Music is Melodious and Beautifully Orchestrated, but in Performance Proves Second in Interest to Elaborate Mounting and Spectacular Underseas Ballet. Sadko {1}. Обращает на себя вниманиие достаточно прохладная рецензия на музыкальное сопровождение Римского-Корсакова, в то время как предпочтение было отдано хореографии. «Yet, highly ingenious as it is, and enchanting as the scoring remains after three decades of orchestral experimentation, this is music filled with cliches, as well as of remembrances. It is the music of a vastly proficient technician rather than of a man of seminal, creative power. It is at its best when it builds imaginatively about some Russian folk tune, and at its worst when it unblushingly imitates the banalities of Italian or French opera. But even in his choice of folk material, Rimsky managed to find some remarkably insipid specimens. How different his outlook from that of Moussorgsky may be discovered in his own professional confession that he wrote the first scene of the second act, that of the young wife's lament, as an afterthought because he found he had neglected to compose anything in the key of F Minor - a pundit's consideration that never would have troubled Moussorgsky.»

[xlviii] Met Performance] CID:356341 Anna Netrebko in Recital. Matinee ed. Metropolitan Opera House, 02/28/2016.,

[xlix]“Theodore Thomas used to say that he considered Rimsky-Korsakov the greatest of the Russian composers-greater than Rubinstein or Tchaikovsky. The public did not agree with him. Tchaikovsky, in particular, thanks to Seidl, Safonoff, and other conductors, came into such vogue that only Wagner and Beethoven disputed his supremacy in the concert hall. It is only within the last few years that Korsakov has come conspicuously to the fore. His symphonic suite "Scheherazade" in particular has become a great favorite; this season it has been played more frequently than one of the popular Tchaikovsky symphonies.

Even more important, perhaps, than "Scheherazade" in calling attention to Korsakov's genius were the excellent performances given at the Metropolitan several seasons in succession of his delightful semi-humorous opera "The Golden Cock," which is equally entertaining for adults and children. It was the success of this work that suggested the advisability of producing at the same place another famous opera by the same composer. The choice fell on "The Snow Maiden." It is, at least in its atmosphere, vaguely autobiographic, and music associated with personal experiences is apt to be good.” Snegurochka {1} , Review of Henry T. Finck in the New York Post.

[l] Met Concert/Gala CID:202590. An Evening of Russian and German Music. New York: Manhattan, Lewison Stadium: 07/14/1965. Обращает на себя внимание то, что это стало одним из немногих исполнений академической русской музыки за стенами оперы в качестве элемента расширяющейся программы географической экспансии «Мет», имеющей целью расширение целевой аудитории и распространение знаний о музыке среди американцев.

[li] См.: Review of John W. Freeman in Opera News. War and Peace {1}, 02/14/2002.

[lii] Met Performance CID:333540. Metropolitan Opera Premiere. Gambler {1}. Metropolitan Opera House, 03/19/2001. Review of Martin Bernheimer in the June 2001 issue of Opera (UK): Gambling on Prokofiev.

[liii] Met Performance CID:352477. The Gambler {11}. Metropolitan Opera House: 04/12/2008.

[liv] Met Performance CID:350257. Metropolitan Opera Premiere. War and Peace {1}. Metropolitan Opera House, 02/14/2002.

[lv] Met Performance CID:352280. War and Peace {18}. Metropolitan Opera House: 01/03/2008.

[lvi] Met Performance CID:318440. Metropolitan Opera Premiere Lady Macbeth of Mtsensk {1} Metropolitan Opera House: 11/10/1994.

[lvii] Lady Macbeth of Mtsensk {10}-{15}.

[lviii] Lady Macbeth of Mtsensk {16}-{21}. Met Performance CID:355659. Lady Macbeth of Mtsensk {21}. Metropolitan Opera House: 11/29/2014.

[lix] “Its concern is, rather, as Stalin surely understood, with continuing the revolution by other means. The year 1917 had unthroned authorities; "Lady Macbeth" mocks everything except desolation. There's no reason to suppose that Shostakovich wasn't committed to the revolution. Several of his works of the twenties are overtly political, and if there are signs in them of bad faith the reasons are overeagerness and lack of precedents more than compulsion. "Lady Macbeth" perpetuates the overturning of the old world and the search for the new: it's in this search, as the convicts shuffle off, that the opera comes finally to a note of grim hope - of hope that might, at the1934 premiere, have included the hope of more Shostakovich operas to come. Two years later, that possibility ended, because Stalin wasn't interested in revolution and had a fair contempt for hope.

Hence the inevitable domino-fall of ironies. A revolutionary composer, among the first reared in a revolutionary society, was castigated by the leaders of that society. Forced, then, to write about the only society left to him - that of himself - he became the outstanding example of everything he'd earlier spurned and derided, the outstanding creator of music as individual expression. "Lady Macbeth" may leave us with little solace, but it does leave us with the irreverent, exuberant, fearless image of Shostakovich before that last long martyrdom”. Review of Paul Griffiths in The New Yorker of November 28, 1994: Sound and Fury, ibid.

[lx] Met Performance CID:353385. Metropolitan Opera Premiere. The Nose {1} Metropolitan Opera House: 03/05/2010. Review of David Shengold in the June 2010 issue of OPERA NEWS .

[lxi] The Nose {7}-{13}. Met Performance CID:355078. The Nose {13}. Metropolitan Opera House: 10/26/2013.

[lxii] Met Performance CID:71030. New Production (Petrouchka). La Traviata {109}. Petrushka {1}. Metropolitan Opera House: 02/06/1919.

[lxiii] Met Performance CID:93220. Samson et Dalila {57}. Petrouchka {15}. American Academy of Music, Philadelphila, Pennsylvania: 04/13/1926.

[lxiv] Met Concert/Gala CID:353065. The MET Orchestra. Matinee ed. Carnegie Hall, New York: 05/21/2009.

[lxv] Met Performance CID:89750 New production (Petrouchka )Petrouchka {6} Pagliacci {238} Metropolitan Opera House: 03/13/1925. Review of Lawrence Gilman in the Tribun е : Stravinsky's 'Petrouchka' Revised at the Metropolitan, in a New Production .

[lxvi] Met Concert/Gala CID:35013. The MET Orchestra. Tokyo, Japan: 06/11/1993. Исполнения в США: Met Concert/Gala CID:320130. The MET Orchestra. Matinee ed. New York, Canegie Hall: 06/07/1995. Met Concert/Gala CID 350268. The MET Orchestra. Hill Auditorium, Ann Arbor, Michigan: 05/12/1995.

[lxvii] Met Concert/Gala CID:354691. The MET Orchestra. Matinee ed. Carnegie Hall, New York: 12/02/2012.

[lxviii] Met Performance CID:266810. Stravinsky {1}. Le Sacre du printemps {1}. Le Rossignol {9}. Oedipus Rex {1}.Metropolitan Opera House : 12/03/1981.

[lxix] Met Performance CID:350789. Stravinsky {23}. Le Sacre du Printemps {23}. Le Rossignol {31}. Oedipus Rex {23}.Metropolitan Opera House : 02/21/2004.

[lxx] Ibid.

[lxxi] См.: Carroll Mark. Music and Ideology in Cold War Europe. Cambridge: Cambridge University Press, 2006.

[lxxii] Met Performance CID:161960. United States Premier. In the presence of the composer. The Rake's Progress {1}.Metropolitan Opera House: 02/14/1953.

[lxxiii] The Rake's Progress {9}-{17}

[lxxiv] The Rake's Progress {18}-{23}.

[lxxv] The Rake's Progress {24}-{26}. Met Performance CID:355985. The Rake's Progress {26}. Metropolitan Opera House: 05/09/2015.

[lxxvi]Met Performance CID:161960. United States Premiere. The Rake's Progress {1}. Metropolitan Opera House: 02/14/1953. Review of Virgil Thomson in The New York Herald Tribune.

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