Act II - Bolshoi* - Russian Opera (CD)

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As soon as the schedule is announced, we will e-mail or call you. Less than 16 of tickets left! Less than 18 of tickets left! Very popular! Less than 20 of tickets left! Less than 17 of tickets left! In high demand — less than 20 of tickets left! In high demand! The Bolshoi! The very prospect gives pause to the most jaded operaphile.

It is true that the visit of any prominent opera company will provoke a certain interest -- for whatever repertory specialties it may bring, and for its particular way of dealing with that repertory. Its way may not be better than that of the local teams, but at least it will be different. The Bolshoi, however, is something else. It offers the best available access to a repertory that for all its diversity shares a musical immediacy and a sensitivity to time and place unmatched in the Western repertory.

Russian composers' modes of observation provide a special vantage point for concerns that are hardly uniquely Russian. And indeed, those Russian operatic methods -- like the attention to physical and sensory reality -- might usefully be applied to non-Russian operas. Of the current tour operas, "Mlada" and "Maid of Orleans" are novelties even to the Bolshoi.

When these productions, from and , respectively, were mounted in Glasgow last August, the veteran director Boris Pokrovsky, who staged both works, noted in the program that "Mlada," performed in collaboration with the Bolshoi Ballet, "has only been staged three times and each time has been regarded as unsuccessful. It has never impressed as one of Tchaikovsky's more stageworthy operas -- the Joan of Arc story looks like a swell dramatic subject, but has defeated most of the dramatists who have been suckered by it.

The opera has points of interest, though, and no Western company is likely to marshall the resources to test its stageworthiness. By comparison, "Yevgeny Onegin" is an intimate acquaintance, one among the handful of Russian operas that have entered the active Western repertory. Makvala Kasrashvili uttered some full-voiced singing and did assay the original soprano version of Joan's music unlike the mezzos Dolora Zajick for Ms.

Queler and Irina Arkhipova on the most recent recording. But her voice is soft-grained and awkwardly knit together, and her very top notes are still a trial. With her roly-poly face and placid acting, she failed decisively to project a visionary soldier-mystic. Kulko and Mr. Nikolsky repeated the impressions they made with Ms. Queler; the former is a monochromatic tenor with ringing top notes, the latter a stentorian darkbass. Hidden categories: Articles containing Russian-language text Articles with hAudio microformats.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Opera by Nikolai Rimsky-Korsakov. Nikolay Mutin. Grigoriy Pirogov. Yelena Tsvetkova. Leonida Balanovskaya. Aleksandra Rostovtseva.

Olga Pavlova. Adelaida Veretennikova. Margarita Gukova.

Apr 25,  · Act I: Resilience. Moscow’s Bolshoi was founded in and moved to its present site, just down the street from the Kremlin, four years later.

9 thoughts on “Act II - Bolshoi* - Russian Opera (CD)

  1. View credits, reviews, tracks and shop for the MP3, 32 kbps CD release of Russian Opera on Discogs.
  2. Recorded Sung in Russian, except tracks 58 to 64 sung in Latin. Barcode and Other Identifiers Matrix / Runout: CD #
  3. Bolshoi Experience 2 (HLTS from Russia Operas) This co-production of the Bolshoi Theatre and Pentatone brings a sampling of the typical opera-goers' experience in one of the great world centres of opera. And in exemplary surround sonics instead of the awful sound of Soviet-ear recordings or the so-so sound of many more recent Russian 4/5(1).
  4. Legends of Bolshoi: Highlights from Russian Operas. Russian Compact Disc: RCD Buy CD online. Elizaveta Shumskaya (soprano), Sergei Lemeshev, Georgy Nelepp, Ivan Kozlovsky (tenors), Mark Reizen (bass) Bolshoi Theatre Orchestra.
  5. Highlights from Russian Opera - Volume 2. Pentatone: PTC Buy SACD or download online. Bolshoi Theatre Moscow, Alexander Vedernikov.
  6. Act II Scene 3. A ball given by a rich dignitary. Yeletsky notices that Liza is out of spirits and keeps questioning her as to the cause of her malaise. Liza avoids giving an explanation. The entreaties of her fiance to whom she is indifferent, leave her cold. Liza gives Herman the key to a secret door into the Countess’ house: they must see.
  7. Dec 20,  · For "Swan Lake", the Bolshoi Theatre Orchestra has presented the whole of Act II in its performance edition (or Act I, scene 2 as in many Russian productions). Also recorded here is the Grand Pas de deux (or "Black Swan Pas de deux") though in the Bolshoi's altered version as staged by Yuri Grigorovich, long-time artistic director of the company.
  8. a stimulating and most interesting look at the [fairly]recent past of the BOLSHOI. Opera excerpts by some of the greatest voices Russia has proliferate,of course, But Tenors are much in evidence,too. LEMESHEV, and KOSLOVSKY in Tchaikovsky'sEUGENE ONEGIN. Galina VISHNEVSKAYA, as well as Yelena OBRASTSOVA [the Polish Act from Reviews: 2.
  9. The Tale of Tsar Saltan (Russian: Сказка о царе Салтане, Skazka o Tsare Saltane) is an opera in four acts with a prologue (a total of seven scenes) by Nikolai libretto was written by Vladimir Belsky, and is based on the poem of the same name by Aleksandr opera was composed in – to coincide with Pushkin's centenary, and was first.

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