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Nikolai Andreyevich Rimsky Korsakov Mikhail Ippolitov Ivanov Ivanov Bolshoy Albert Coates Golovin Chest Staples Mily Balakirev Mikhail Glinka Richard Wagner Solodovnikov Theatre Mariinsky Theatre Zimin Opera 1831 1844 1871 1899 1900 1902 1906 1908 1911 1913 1915
Rimsky-Korsakov Flight Of The Bumblebee "Flight of the Bumblebee" (Russian: Полёт шмеля) is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. Its composition is intended to musically evoke the seemingly chaotic and rapidly changing flying pattern of a bumblebee. Despite the piece's being a rather incidental part of the opera, it is today one of the more familiar classical works because of its frequent use in popular culture. The piece closes Act III, Tableau 1, during which the magic Swan-Bird changes Prince Gvidon Saltanovich (the Tsar's son) into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concerto piece possible. The Tale of Tsar Saltan is an opera in four acts with a prologue (a total of seven scenes) by Nikolai Rimsky-Korsakov. The libretto was written by Vladimir Belsky, and is based on the 1831 poem of the same name by Aleksandr Pushkin. The opera was composed in 1899–1900 to coincide with Pushkin's centenary, and was first performed in 1900 in Moscow, Russia. The lengthy full title of both the opera and the poem is The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan (Russian: Сказка о царе Салтане, о сыне его славном и могучем богатыре князе Гвидоне Салтановиче и о прекрасной царевне Лебеди Skazka o tsare Saltane, o syne yego slavnom i moguchem bogatyre knyaze Gvidone Saltanoviche i o prekrasnoy tsarevne Lebedi). The plot of the opera generally follows that of Pushkin's fairy-tale poem, with the addition of some characters, some expansion (particularly for Act 1), and some compression (mostly by reducing Gvidon's three separate trips to one). The libretto by Belsky borrows many lines from and largely emulates the style of Pushkin's poem, which is written in couplets of trochaic tetrameter. The music is composed in the manner of Rimsky-Korsakov's operas after Snowmaiden, i.e., having a more or less The première was held in Moscow on 3 November (O.S. 21 October) 1900 at the Solodovnikov Theatre conducted by Mikhail Ippolitov-Ivanov with scenic design by Mikhail Vrubel. The St. Petersburg premiere took place in 1902 at the St. Petersburg Conservatory, conducted by Zelyonïy. Other notable performances included those in 1906 at the Zimin Opera, Moscow, conducted by Ippolitov-Ivanov; 1913 at the Bolshoy Theatre in Moscow, conducted by Emil Cooper, with scenic design by Konstantin Korovin; and 1915 at the Mariinsky Theatre in St. Petersburg, conducted by Albert Coates, with scenic design by Korovin and Aleksandr Golovin. On September 14 [O.S. September 1] 1911, while he was attending a performance of the opera at the Kiev Opera House in the presence of the Tsar and his family, the Russian Prime Minister Pyotr Stolypin was shot twice, once in the arm and once in the chest, dying two days later; his assassin, Dmitri Bogrov, was both a leftist radical and an agent of the Okhrana. Nikolai Andreyevich Rimsky-Korsakov born 18 March 1844, Tikhvin and died 21 June 1908, Lyubensk, Saint Petersburg Governorate) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy-tale and folk subjects. Rimsky-Korsakov believed in developing a nationalistic style of classical music, as did his fellow composer Mily Balakirev and the critic Vladimir Stasov. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods. Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of The Five. Rimsky-Korsakov's techniques of composition and orchestration were further enriched by his exposure to the works of Richard Wagner. Enjoy!
Nikolai Andreyevich Rimsky Korsakov Mikhail Ippolitov Ivanov Ivanov Bolshoy Albert Coates Golovin Chest Staples Mily Balakirev Mikhail Glinka Richard Wagner Solodovnikov Theatre Mariinsky Theatre Zimin Opera 1831 1844 1871 1899 1900 1902 1906 1908 1911 1913 1915
Rimsky-Korsakov Flight Of The Bumblebee "Flight of the Bumblebee" (Russian: Полёт шмеля) is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. Its composition is intended to musically evoke the seemingly chaotic and rapidly changing flying pattern of a bumblebee. Despite the piece's being a rather incidental part of the opera, it is today one of the more familiar classical works because of its frequent use in popular culture. The piece closes Act III, Tableau 1, during which the magic Swan-Bird changes Prince Gvidon Saltanovich (the Tsar's son) into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concerto piece possible. The Tale of Tsar Saltan is an opera in four acts with a prologue (a total of seven scenes) by Nikolai Rimsky-Korsakov. The libretto was written by Vladimir Belsky, and is based on the 1831 poem of the same name by Aleksandr Pushkin. The opera was composed in 1899–1900 to coincide with Pushkin's centenary, and was first performed in 1900 in Moscow, Russia. The lengthy full title of both the opera and the poem is The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan (Russian: Сказка о царе Салтане, о сыне его славном и могучем богатыре князе Гвидоне Салтановиче и о прекрасной царевне Лебеди Skazka o tsare Saltane, o syne yego slavnom i moguchem bogatyre knyaze Gvidone Saltanoviche i o prekrasnoy tsarevne Lebedi). The plot of the opera generally follows that of Pushkin's fairy-tale poem, with the addition of some characters, some expansion (particularly for Act 1), and some compression (mostly by reducing Gvidon's three separate trips to one). The libretto by Belsky borrows many lines from and largely emulates the style of Pushkin's poem, which is written in couplets of trochaic tetrameter. The music is composed in the manner of Rimsky-Korsakov's operas after Snowmaiden, i.e., having a more or less The première was held in Moscow on 3 November (O.S. 21 October) 1900 at the Solodovnikov Theatre conducted by Mikhail Ippolitov-Ivanov with scenic design by Mikhail Vrubel. The St. Petersburg premiere took place in 1902 at the St. Petersburg Conservatory, conducted by Zelyonïy. Other notable performances included those in 1906 at the Zimin Opera, Moscow, conducted by Ippolitov-Ivanov; 1913 at the Bolshoy Theatre in Moscow, conducted by Emil Cooper, with scenic design by Konstantin Korovin; and 1915 at the Mariinsky Theatre in St. Petersburg, conducted by Albert Coates, with scenic design by Korovin and Aleksandr Golovin. On September 14 [O.S. September 1] 1911, while he was attending a performance of the opera at the Kiev Opera House in the presence of the Tsar and his family, the Russian Prime Minister Pyotr Stolypin was shot twice, once in the arm and once in the chest, dying two days later; his assassin, Dmitri Bogrov, was both a leftist radical and an agent of the Okhrana. Nikolai Andreyevich Rimsky-Korsakov born 18 March 1844, Tikhvin and died 21 June 1908, Lyubensk, Saint Petersburg Governorate) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy-tale and folk subjects. Rimsky-Korsakov believed in developing a nationalistic style of classical music, as did his fellow composer Mily Balakirev and the critic Vladimir Stasov. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods. Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of The Five. Rimsky-Korsakov's techniques of composition and orchestration were further enriched by his exposure to the works of Richard Wagner. Enjoy!
Golubev Deva Pyotr Tchaikovsky Zhukovsky Jules Barbier Auguste Mermet Eduard Nápravník Mikhail Ippolitov Ivanov Ivanov Mariinsky Theatre Private Opera Zimin Opera 1878 1879 1881 1882 1899 1907
Interpretation The Maid of Orleans (opera) "The Maid of Orleans" ( _ru. Орлеанская дева, "Orleanskaja deva") is an opera in 4 acts, 6 scenes, by Pyotr Tchaikovsky. It was composed during 1878–1879 to a Russian libretto by the composer, based on several sources: Friedrich von Schiller’s "The Maid of Orleans" as translated by Vasily Andreyevich Zhukovsky; Jules Barbier’s "Jeanne d’Arc" ("Joan of Arc"); Auguste Mermet’s libretto for his own opera; and Henri Wallon’s biography of Joan of Arc. The opera was dedicated to conductor Eduard Nápravník. Among Tchaikovsky's operas, this work represents the composer's closest approach to French grand opera (albeit in the Russian language), especially with its inclusion of a ballet in Act 2. Performance history The world premiere was given on 25 February (13 February O.S.), 1881 at the Mariinsky Theatre in Saint Petersburg conducted by Eduard Nápravník. Other notable performances were given on 28 July 1882 in Prague (the first production of a Tchaikovsky opera outside Russia); in 1899 in Moscow by the Private Opera Society and conducted by Mikhail Ippolitov-Ivanov; and in 1907 in Moscow by the Zimin Opera conducted by Palitsīn.
Golubev Deva Pyotr Tchaikovsky Zhukovsky Jules Barbier Auguste Mermet Eduard Nápravník Mikhail Ippolitov Ivanov Ivanov Mariinsky Theatre Private Opera Zimin Opera 1878 1879 1881 1882 1899 1907
ARTEM GOLUBEV - King Karl VII - P.Tchaikovsky from opera Maid of Orléans (Orleanskaja Dewa) Artem Golubev Opera singer (tenor) laureate of international competitions. Interpretation The Maid of Orleans (opera) "The Maid of Orleans" ( _ru. Орлеанская дева, "Orleanskaja deva") is an opera in 4 acts, 6 scenes, by Pyotr Tchaikovsky. It was composed during 1878–1879 to a Russian libretto by the composer, based on several sources: Friedrich von Schiller’s "The Maid of Orleans" as translated by Vasily Andreyevich Zhukovsky; Jules Barbier’s "Jeanne d’Arc" ("Joan of Arc"); Auguste Mermet’s libretto for his own opera; and Henri Wallon’s biography of Joan of Arc. The opera was dedicated to conductor Eduard Nápravník. Among Tchaikovsky's operas, this work represents the composer's closest approach to French grand opera (albeit in the Russian language), especially with its inclusion of a ballet in Act 2. Performance history The world premiere was given on 25 February (13 February O.S.), 1881 at the Mariinsky Theatre in Saint Petersburg conducted by Eduard Nápravník. Other notable performances were given on 28 July 1882 in Prague (the first production of a Tchaikovsky opera outside Russia); in 1899 in Moscow by the Private Opera Society and conducted by Mikhail Ippolitov-Ivanov; and in 1907 in Moscow by the Zimin Opera conducted by Palitsīn.
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