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The Maid of Pskov
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The Maid of Pskov
The Maid of Pskov (Russian: Псковитянка, romanized: Pskovityanka, lit. 'Pskov female resident' ⓘ), also known as Ivan the Terrible, is an 1872 opera originally in three acts (six scenes) by Nikolai Rimsky-Korsakov. The libretto is by the composer, after the play by Lev Mei.
The storyline is fictitious, but set against the background of the campaign by Ivan IV Vasilyevich to subject the cities of Pskov and Novgorod to his will.
Pskovityanka was Rimsky-Korsakov's first opera, and he revised it twice; once in 1876-7, when he added a prologue, and again in 1891-2, without the prologue (which was subsequently rewritten and became in 1898 the one act opera Boyarïnya Vera Sheloga). The third version was made famous by Feodor Chaliapin in the role of the Tsar. The opera was introduced to Paris in 1909, also with Chaliapin, by Diaghilev, under the title Ivan the Terrible.
The first product of the composer's interest in this work was a lullaby composed in 1866. Rimsky-Korsakov then set to work in full earnest on an operatic treatment in the winter of 1867-1868. There are 3 versions of the opera. The original version was composed in the years 1868–1872, and received its premiere in 1873. The composer revised the opera in the years 1876–1877. Later he completed a final version in the years 1891–1892.
The world premiere was given in St. Petersburg on 13 January (O.S. 1 January), 1873 at the Mariinsky Theatre, conducted by Eduard Nápravník.
Other notable performances included those in 1895 in St. Petersburg's Panayevsky Theatre, given by the Society of Musical Gatherings. The Russian Private Opera performances in Moscow in 1896, conducted by Bernardi, with scenery by Korovin and Vasnetsov, included Feodor Chaliapin as Ivan the Terrible.
In 1909 at the Théâtre du Châtelet in Paris, in a Sergei Diaghilev production, the opera was conducted by Nikolai Tcherepnin and Chaliapin sang Ivan. The opera was retitled Ivan le terrible (Ivan the Terrible), on account of the dominance of his role, and because of European audience's familiarity with his name.
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The Maid of Pskov
The Maid of Pskov (Russian: Псковитянка, romanized: Pskovityanka, lit. 'Pskov female resident' ⓘ), also known as Ivan the Terrible, is an 1872 opera originally in three acts (six scenes) by Nikolai Rimsky-Korsakov. The libretto is by the composer, after the play by Lev Mei.
The storyline is fictitious, but set against the background of the campaign by Ivan IV Vasilyevich to subject the cities of Pskov and Novgorod to his will.
Pskovityanka was Rimsky-Korsakov's first opera, and he revised it twice; once in 1876-7, when he added a prologue, and again in 1891-2, without the prologue (which was subsequently rewritten and became in 1898 the one act opera Boyarïnya Vera Sheloga). The third version was made famous by Feodor Chaliapin in the role of the Tsar. The opera was introduced to Paris in 1909, also with Chaliapin, by Diaghilev, under the title Ivan the Terrible.
The first product of the composer's interest in this work was a lullaby composed in 1866. Rimsky-Korsakov then set to work in full earnest on an operatic treatment in the winter of 1867-1868. There are 3 versions of the opera. The original version was composed in the years 1868–1872, and received its premiere in 1873. The composer revised the opera in the years 1876–1877. Later he completed a final version in the years 1891–1892.
The world premiere was given in St. Petersburg on 13 January (O.S. 1 January), 1873 at the Mariinsky Theatre, conducted by Eduard Nápravník.
Other notable performances included those in 1895 in St. Petersburg's Panayevsky Theatre, given by the Society of Musical Gatherings. The Russian Private Opera performances in Moscow in 1896, conducted by Bernardi, with scenery by Korovin and Vasnetsov, included Feodor Chaliapin as Ivan the Terrible.
In 1909 at the Théâtre du Châtelet in Paris, in a Sergei Diaghilev production, the opera was conducted by Nikolai Tcherepnin and Chaliapin sang Ivan. The opera was retitled Ivan le terrible (Ivan the Terrible), on account of the dominance of his role, and because of European audience's familiarity with his name.
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