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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.