Rimsky-Korsakov recommendations?

[bhodges]

Another vote for The Legend of the Invisible City of Kitezh, which has some really gorgeous music.  Gergiev and the Kirov brought it to the Lincoln Center Festival in 2003, and I enjoyed it immensely.  Here is the New York Times review.

I haven't yet heard Sadko, but have heard it's marvelous--another example of Rimsky-Korsakov's talents as an orchestrator.

--Bruce

[False_Dmitry]

Reading over this thread from scratch,  I'm surprised how relatively few people have recommended Rimsky's operas?

The single most-performed opera in Russia - far outplaying EVGENY ONEGIN or THE QUEEN OF SPADES even - is Rimsky's THE TSAR'S BRIDE (TSARSKAYA NEVESTA).  I can't pretend I am over-found of this overly-melodramatic (to my mind) work, but Russians adore the piece beyond all reasonable level of devotion!   It's a fact I use by way of illustration...  Moscow has FIVE full-time professional opera companies, and TSAR'S BRIDE is the only opera which all five of them maintain permanently in their continuous every-season repertoire.  And it is always sold-out.

But surely his most inspired and imaginative work for the stage is SNOW MAIDEN.  Although written before the Tsar's assassination in 1881,  it had the good luck to be produced soon after, in 1882 - ushering in a new era of ultra-patriotism and nationalism in the Arts in Russia  ("foreign anarchists" were blamed for killing Tsar Alexander II, although in fact no-one was ever found - but foreign arts and culture came under heavy nationalist suspicion for decades afterwards).

Unlike the increasingly conservative and pseudo-patriotic works R-K produced later, this has the light touch of a fairyland kingdom,  and deals touchingly with animist beliefs and traditions that are still found in the depths of Siberia.  The entire score is imbued with astonishing beauty,  and the three dances for Snow-Maiden's suitor Lel' are often performed in the concert-hall too - a calling-card for young mezzo-sopranos (it's a breeches role).   Of course the role of the dopey sap Mizgir appeals to the Russian sense of humour,  as he's a prototype for "Simpleton Ivan", anti-hero of Russian folk-tales and fairytales.

Oh, and we ought to put in a word for R-K's charming opera for children, KASHCHEY THE INVINCIBLE - again based on a Russian folktale.  In Russia at least it still turns up in the repertoire, and still staged primarily for children to enjoy


Vladimir Bolotin (Kaschey) & Anna Grechishkina (The Queen)


Oles Paritsky (in a NASA uniform!) as Prince Ivan, and Anna Grechishkina (The Queen)


Ksenia Vyaznikova as the Wicked Witch (who turns out to be a Good Witch after all) & Oles Paritsky (Prince Ivan)

(all production photos from the Helikon Opera (Moscow) production by Dmitry Bertmann)

[bhodges]

But surely his most inspired and imaginative work for the stage is SNOW MAIDEN.  Although written before the Tsar's assassination in 1881,  it had the good luck to be produced soon after, in 1882 - ushering in a new era of ultra-patriotism and nationalism in the Arts in Russia  ("foreign anarchists" were blamed for killing Tsar Alexander II, although in fact no-one was ever found - but foreign arts and culture came under heavy nationalist suspicion for decades afterwards).

Unlike the increasingly conservative and pseudo-patriotic works R-K produced later, this has the light touch of a fairyland kingdom,  and deals touchingly with animist beliefs and traditions that are still found in the depths of Siberia.  The entire score is imbued with astonishing beauty,  and the three dances for Snow-Maiden's suitor Lel' are often performed in the concert-hall too - a calling-card for young mezzo-sopranos (it's a breeches role).   Of course the role of the dopey sap Mizgir appeals to the Russian sense of humour,  as he's a prototype for "Simpleton Ivan", anti-hero of Russian folk-tales and fairytales.

Ah, I forgot that I've seen a concert version of The Snow Maiden--again thanks to Gergiev and the Kirov at Carnegie Hall a couple of years ago.  Loved it!  I'm not nearly as well-acquainted with these operas as you are, but it made an immediate (positive) impression.  And of course I recognized bits here and there, e.g., the fantastically conceived "Dance of the Tumblers."

Have never heard The Tsar's Bride (nor Kashchey), and the Met has never produced it.  (Although according to the Met database, a few arias were done on a Met concert program in 1926.) 

However, the Met did stage The Snow Maiden for 7 performances in 1922 ( ) and Sadko was done 11 times in 1930.  Amazing, that neither one has returned since.

--Bruce

[False_Dmitry]

Have never heard The Tsar's Bride (nor Kashchey), and the Met has never produced it.  (Although according to the Met database, a few arias were done on a Met concert program in 1926.) 

By way of a tit-for-tat, the Bolshoi were compelled to admit they hadn't staged THE MAGIC FLUTE since 1898(!) - until it came around for the Mozart Birthday Bash just recently

[bhodges]

By way of a tit-for-tat, the Bolshoi were compelled to admit they hadn't staged THE MAGIC FLUTE since 1898(!) - until it came around for the Mozart Birthday Bash just recently

Wow...really?    

Now that is quite something...

--Bruce

[False_Dmitry]

Wow...really?    

They phoned-around the cast from last time - but most of them were n/a

[bhodges]

They phoned-around the cast from last time - but most of them were n/a

   

--Bruce

[False_Dmitry]

But they managed to stage such a violently unpopular new production of MAGIC FLUTE that it's certain not to come back into repertoire until 2098 now (or whenever they finish the rebuilding of the theatre - whichever comes first )

[Scarpia]

I enjoyed this one a lot, although I see it is now OOP. 

[Grazioso]

For Rimsky opera, check out this DVD:



Delightful stuff.

[Scarpia]

For Rimsky opera, check out this DVD:



Delightful stuff.

Oooh, I have that one too, although have not found time to watch it yet.   Need to put it near the top of the to-watch pile!

[vandermolen]

I have the Gergiev Sadko CDs and have heard Gergiev do the Invisible City of Kitzeh (twice).  I highly recommend both pieces.  Kitezh, in particular, is a beautiful, visionary work.  The opera Sadko cannot be judged by the symphonic poem of the same name, which is uninspired in comparison.  I think the negative comments about R-K partly reflect an understable but wrongheaded focus on the incorrect part of his work. 

BTW, no mention of the Reiner Scheherazade on this thread?  This has always been the strongly recommended version of the work and has just been rereleased on SACD to enthusiasm.

Reiner's Scheherazade was my first ever classical LP c 1969. I just bought the CD - what a great nostalgia trip! It is not like any other version known to me and head and shoulders above them all (IMHO).

[listener]

I'm astonished to note that no one has mentioned the Beecham/Royal Philharmonic SCHEHEREZADE, but maybe you have to be of a certain age.  I've just listened to the vinyl, and it is still a superb performance.  Steven Staryk is the 1st violin soloist.

[mc ukrneal]

Surprisingly little action here!

Anyone familar with this recording? Mlada is the one with the Procession of the Nobles (often a piece played separately).
[asin]B00579EKZ0[/asin]

[MishaK]

I haven't heard that recording, but the bumping up of this thread reminds me that I need to pint out that the recent Rimsky recordings by Gerard Schwarz and the Seattle Symphony on Naxos are outstanding!

[DieNacht]

"Scheherazade" has of course been issued in many more fine recordings ...

My Top-5 are probably (all are stereo):

- Silvestri EMI (very broad and grandiose, yet idiomatic)
- Celibidache DG
- Morton Gould, Morton Gould Orchestra
- Chalabala, Prague PO or Czech PO (LP cover has both), stereo (he also made a mono in 1953 which I haven´t heard)
  Both Gould and Chalabala have an unusually "novellistic" approach with a lot of varied details.
- Beecham, RPO /emi

Other fine ones are
- Stokowski, RPO (not quite so dramatic as one could expect)
- Muti/EMI

As regards Dorati/Minneapolis I find it somewhat disappointing, the interpretation is fluent and rather fast, but the sound of both a Philips Fontana stereo LP and a Mercury mono LP was really annoying, very thin and tin-can-like.

Tjeknavorian is rather anonymous.                                                                                                                                             

Had the Scherchen, but it is not among his most successful releases IMO & I sold it.

[Elgarian]

I'd like to plant a small seedling here, which I hope may grow into something more substantial.

I first heard Scheherazade when I was sixteen - one of the very first few pieces of classical music to make an impact. Rapidly I grew to love it. I spent serious money (at the time) on an LP of Paul Kletzki's version:



I didn't realise at the time that I had a real firecracker of a performance (didn't even know how different performances could be). I only knew I loved it. I listened to it several times a week for many months, and in due course wore it out completely. I think also, that I overdid it, and allowed it to wear me out. So when eventually I threw away my vinyl, I didn't bother to replace Scheherazade with a CD version.

Years went by. I thought Scheherazade was part of my past - immensely valuable, but definitely past. But then one day I had a fancy to hear it again, and bought the Naxos CD, under Batiz:



This confirmed me in my suspicion that Scheherazade and I were now ex-lovers. I didn't stop to think that the Batiz performance might fall a good way short of Kletzki's; or at least might just not be my cup of tea. I just shrugged and moved on.


More years slipped by. Then I discovered that Immerseel and Anima Eterna had done a period instrument version of Scheherazade:



I was still riding the crest of the wave generated by Immerseel's fantastic Beethoven symphonies, so I couldn't get out my credit card fast enough. But although it was interesting to hear his take on the piece, I have to say that after several listenings it lost ground with me, and certainly failed to reignite my old passion for the music. (I listened to it again today, and found it even more disappointing: it's probably the least energising of all the Scheherazades I've been gathering together in recent weeks - more of which, anon.)

Which brings me to the Big Event of a couple of months ago, when purely on a whim, I bought this:



After all, it was cheap; I had nothing much to lose, giving Scheherazade 'one more try', with a recording that is regarded as one of the very finest ever made. But I didn't expect much. I certainly didn't expect what happened, namely, that the music blew me out of my chair and left me in a state of gibbering bewilderment. My first love, Kletzki, may have been good, but by golly he was never this good. Out of the blue, Scheherazade was back on my personal map. I thought I knew the music backwards. I didn't. Beecham articulates the music with such clarity, such panache, such drama, and such delicacy, that I am no longer sitting in my chair: I'm in there with the princess through the night, being beguiled by her words, falling in love with her; I'm there on the ship, hanging on for dear life in the raging storm, marvelling in awe at the giant waves that tower over the boat.

This experience started a raging flashfire. If Beecham could bring Scheherazade back to vivid, pulsing life for me, then what about other conductors? I started reading reviews, and selectively ordering Scheherazade CDs online. More recently, I found myself digging about in the secondhand section at Bath Compact Discs, presenting my heap of purchases at the counter while mumbling self-consciously about not really being some sort of Rimsky Korsakov nerd. In this way I've gathered together versions by Reiner, Kondrashin, Svetlanov, Litton, Schwarz, and Gergiev, and am currently waiting for Ansermet, Ormandy, and Stokowski. I haven't heard anything yet that challenges Beecham for the number 1 spot, but there are some superb versions out there, regardless. As I get to know them better I hope to add  comments about them.

But I'll tell you this - to think that you've lost one of your oldest and dearest loves, and then discover, 50 years on, that you haven't, after all - that's a fine and heartwarming discovery to make.

[mc ukrneal]

I'd like to plant a small seedling here, which I hope may grow into something more substantial.

I first heard Scheherazade when I was sixteen - one of the very first few pieces of classical music to make an impact. Rapidly I grew to love it. I spent serious money (at the time) on an LP of Paul Kletzki's version:



I didn't realise at the time that I had a real firecracker of a performance (didn't even know how different performances could be). I only knew I loved it. I listened to it several times a week for many months, and in due course wore it out completely. I think also, that I overdid it, and allowed it to wear me out. So when eventually I threw away my vinyl, I didn't bother to replace Scheherazade with a CD version.

Years went by. I thought Scheherazade was part of my past - immensely valuable, but definitely past. But then one day I had a fancy to hear it again, and bought the Naxos CD, under Batiz:



This confirmed me in my suspicion that Scheherazade and I were now ex-lovers. I didn't stop to think that the Batiz performance might fall a good way short of Kletzki's; or at least might just not be my cup of tea. I just shrugged and moved on.


More years slipped by. Then I discovered that Immerseel and Anima Eterna had done a period instrument version of Scheherazade:



I was still riding the crest of the wave generated by Immerseel's fantastic Beethoven symphonies, so I couldn't get out my credit card fast enough. But although it was interesting to hear his take on the piece, I have to say that after several listenings it lost ground with me, and certainly failed to reignite my old passion for the music. (I listened to it again today, and found it even more disappointing: it's probably the least energising of all the Scheherazades I've been gathering together in recent weeks - more of which, anon.)

Which brings me to the Big Event of a couple of months ago, when purely on a whim, I bought this:



After all, it was cheap; I had nothing much to lose, giving Scheherazade 'one more try', with a recording that is regarded as one of the very finest ever made. But I didn't expect much. I certainly didn't expect what happened, namely, that the music blew me out of my chair and left me in a state of gibbering bewilderment. My first love, Kletzki, may have been good, but by golly he was never this good. Out of the blue, Scheherazade was back on my personal map. I thought I knew the music backwards. I didn't. Beecham articulates the music with such clarity, such panache, such drama, and such delicacy, that I am no longer sitting in my chair: I'm in there with the princess through the night, being beguiled by her words, falling in love with her; I'm there on the ship, hanging on for dear life in the raging storm, marvelling in awe at the giant waves that tower over the boat.

This experience started a raging flashfire. If Beecham could bring Scheherazade back to vivid, pulsing life for me, then what about other conductors? I started reading reviews, and selectively ordering Scheherazade CDs online. More recently, I found myself digging about in the secondhand section at Bath Compact Discs, presenting my heap of purchases at the counter while mumbling self-consciously about not really being some sort of Rimsky Korsakov nerd. In this way I've gathered together versions by Reiner, Kondrashin, Svetlanov, Litton, Schwarz, and Gergiev, and am currently waiting for Ansermet, Ormandy, and Stokowski. I haven't heard anything yet that challenges Beecham for the number 1 spot yet, but there are some superb versions out there, regardless. As I get to know them better I hope to add  comments about them.

But I'll tell you this - to think that you've lost one of your oldest and dearest loves, and then discover, 50 years on, that you haven't, after all - that's a fine and heartwarming discovery to make.

Very interesting read. I think we all go through this sort of thing with one piece or other that for some reason captures our imaginiation, falls to side for a while, and then the magic is recaptured.

I love Scheherezade. And you have some wonderful versions. I would add the Mackerras version on Telarc, which is excellent and in demonstration quality sound to boot. 

[Elgarian]

I would add the Mackerras version on Telarc, which is excellent and in demonstration quality sound to boot.

Thanks for the tip. Mackerras is on my radar, and I'll certainly pick one up at some point.

Do you share my disappointment with Immerseel, I wonder? (It would be good to learn that it has subtle qualities that I just haven't managed to discern yet.)

[mc ukrneal]

Thanks for the tip. Mackerras is on my radar, and I'll certainly pick one up at some point.

Do you share my disappointment with Immerseel, I wonder? (It would be good to learn that it has subtle qualities that I just haven't managed to discern yet.)

Sorry, I have not heard that version.