WGBH Radio WGBH Radio theclassicalstation.org

Rimsky-Korsakov: Tsar's Bride / Mansourov, Vishnevskaya

Release Date: 08/12/2008 
Label:  Opera D'oro   Catalog #: 1481   Spars Code: n/a 
Composer:  Nikolai Rimsky-Korsakov
Performer:  Vladimir ValaitisVladimir AtlantovBoris MorozovYevgeny Nesterenko,   ... 
Conductor:  Fouat Mansourov
Orchestra/Ensemble:  Bolshoi Theatre ChorusBolshoi Theatre Orchestra
Number of Discs: 2 
Recorded in: Stereo 
Back Order: Usually ships in 2 to 3 weeks.  
On sale! $18.98
CD:  $15.99
Back Order

Notes and Editorial Reviews

Booklet contains synopsis without libretto.


RIMSKY-KORSAKOV The Tsar’s Bride Fouat Mansourov, cond; Vladimir Valaitis ( Gryaznoy ); Irina Arkhipova ( Lyubasha ); Galina Vishnevskaya ( Marfa ); Yevgeny Nesterenko ( Sobakin ); Andrei Sokolov ( Dr. Bomelius ); Vladimir Atlantov (
Read more Lykov ); Bolshoi Theater O & Ch OPERA D’ORO 1481 (2 CDs: 151:10)

Each of Rimsky-Korsakov’s operas was conceptualized from a fresh starting point. Instead of being poured into a pre-existing mold, he created a distinctive formal design for each of these works—so that Mlada is truly an opera-ballet; The Invisible City of Kitezh is an opera-religious ritual; and Tsar Saltan is a fairytale framed by repeating thematic narratives. Of The Tsar’s Bride he wrote in My Musical Life , “The style of this opera was to be cantilena par excellence; the arias and soliloquies were planned for development within the limits of the dramatic situations. I had in mind vocal ensembles, genuine, finished, and not at all in the form of any casual and fleeting liking of voices with others, as dictated by the present-day requirements of quasi-dramatic truth, according to which two or more persons are not supposed to talk simultaneously.” In other words, this was to be Rimsky-Korsakov’s verismo opera, at least in a musical sense. Normally ruthless in criticizing his own finished works, the composer professed himself very pleased with the result—as well he should have been. The Tsar’s Bride is among his finest operas for its characterizations, inventive part-writing, and consistently high level of inspiration.

The only modern digital recording of the work is on Philips 462 618. Olga Borodina is a fine Lyubasha, and Dmitri Hvorostovsky, a sonorous Gryaznoy—though he misses the darker character elements that are important to both plot and arias. Gergiev is in his worst form, however, pressing forward relentlessly without any focus or detail, and Marina Shaguch only sounds comfortable when singing quietly, which she seldom does.

So it’s good to see this re-release. It’s the same version of the opera that appeared first in the U.S. on Melodiya/Angel SRC 4122, back in the 1970s. Opera d’Oro lists it as deriving from a live 1973 Moscow performance, but the “live” portion is wrong: it’s a studio recording, with the slightly cavernous, over-reverberant ambience that Melodiya favored at the time for its classical releases. This in no way affects the enjoyment afforded by these singers. Valaitis is a superb Gryaznoy, his voice dark and effortlessly produced, his manner conveying perfectly the mix of idealistic love, shrewdness, and volcanic anger so necessary to the part. Arkhipova is his match on the distaff side, caught at the top of her form: hauntingly lyrical in her unaccompanied act I song, a passionate fury, elsewhere. A typical Slavic spread had just begun to affect Vishnevskaya’s voice at the time this was made, but it does little to damage a brilliant portrayal of the sweetly vulnerable Marfa. Sokolov and Nesterenko are excellent as Dr. Bomelius and Sobakin, respectively; however, Atlantov’s steely tone and endlessly loud singing does little for his Lykov. Mansourov is very sensitive to the score and sympathetic to his cast, and the Bolshoi Orchestra responds with disciplined, attractive playing.

Regrettably, Opera d’Oro provides no libretto, just a very short synopsis with slight notes. Still, it’s better than nothing at all, and the recording’s sound quality doesn’t appreciably differ from my LP originals. Barring the reappearance of a 1950s Tsar’s Bride with the Kiev Shevchenko Theater forces (Elizaveta Chavdar’s Marfa being one for the ages), this is the version to get.

FANFARE: Barry Brenesal
Read less

Works on This Recording

Tsar's Bride by Nikolai Rimsky-Korsakov
Performer:  Vladimir Valaitis (Baritone), Vladimir Atlantov (Tenor), Boris Morozov (Bass),
Yevgeny Nesterenko (Bass), Galina Vishnevskaya (Soprano), Irina Arkhipova (Mezzo Soprano)
Conductor:  Fouat Mansourov
Orchestra/Ensemble:  Bolshoi Theatre Chorus,  Bolshoi Theatre Orchestra
Period: Romantic 
Written: 1898; Russia 

Featured Sound Samples

Act I: "Zachem ty"
Act II: "Akh, chto so mnoy"
Act III: "Pobol'she zhenikhu"

Sound Samples

The Tsar's Bride: Overture
The Tsar's Bride: Act I, "S uma neydyot krasavitsa" (Gryaznoy)
The Tsar's Bride: Act I, "Da vot i gosti" (Gryaznoy, Chorus, Malyuta, Lykov, Bomelius)
The Tsar's Bride: Act I, "Khozyain! Prikazal by ty" (Malyuta, Gryaznoy, Chorus, Lykov, Bomelius)
The Tsar's Bride: Act I, "Kak za rechen'koy yar khmel"
The Tsar's Bride: Act I, "Zdorovo, krestnitsa" (Malyuta, Lyubasha, Chorus, Gryaznoy)
The Tsar's Bride: Act I, "Bomeli" (Gryaznoy, Bomelius, Lyubasha)
The Tsar's Bride: Act I, "Zachem ty" (Gryaznoy, Lyubasha)
The Tsar's Bride: Act II, "Vot Bog privyol" (Chorus, Boy)
The Tsar's Bride: Act II, "Ish', vecher-to kakoy" (Petrovna, Dunyasha, Marfa)
The Tsar's Bride: Act II, "Akh, chto so mnoy" (Marfa, Dunyasha, Lykov, Sobakin)
The Tsar's Bride: Act II, Symphonic Intermezzo (Orchestra)
The Tsar's Bride: Act II, "Razvedala" (Lyubasha, Bomelius, Sobakin, Marfa, Dunyasha, Lykov)
The Tsar's Bride: Act II, "Vot do chego ya dozhila" (Lyubasha, Marfa, Sobakin, Lykov, Bomelius, Chorus)
The Tsar's Bride: Act III, Preluse (Orchestra)
The Tsar's Bride: Act III, "Chto Gospoda gnevit" (Sobakin, Lykov, Gryaznoy)
The Tsar's Bride: Act III, "Skazhi, boyarin" (Lykov, Gryaznoy)
The Tsar's Bride: Act III, "A vot i myod" (Sobakin, Domna Saburova, Lykov)
The Tsar's Bride: Act III, "Neuzheli Dunyasha?" (Lykov, Gryaznoy)
The Tsar's Bride: Act III, "Pobol'she zhenikhu" (Gryaznoy)
The Tsar's Bride: Act IV, "Zabylasya" (Sobakin, Domna Saburova, Serving Girl, Stoker)
The Tsar's Bride: Act IV, "Bol'shoy poklon boyarinu" (Gryaznoy, Sobakin, Marfa, Domna Saburova, Chorus)
The Tsar's Bride: Act IV, "I sam ya nedostoinoyu rukoyu" (Gryaznoy, Chorus, Domna Saburova, Dunyasha, Sobakin, Malyuta, Marfa)
The Tsar's Bride: Act IV, "Ivan Sergeich, khochesh" (Marfa)
The Tsar's Bride: Act IV, "Net, net, ne sterpet" (Gryaznoy, Lyubasha, Marfa, Malyuta, Domna Saburova, Dunyasha, Sobakin, Chorus)

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 A Fortuitous Find April 20, 2012 By D. Hamilton (Indianapolis, IN) See All My Reviews "This is a really good find. The opera is certainly not a mainstay of the operatic repertoire and is probably unfamiliar to many; yet it is a beautiful opera deserving to be heard by all. This recording of the opera is performed very well and the quality of the recording is very good." Report Abuse
 Unforgettable Vishnevskaya March 27, 2012 By Colin Smith (Wellington, New Zealand) See All My Reviews "I heard Galina singing for a few minutes on the radio whilst I was at work one day well back into last century. I've never forgotten her gorgeous voice. Vishnevskaya was one of the very best sopranos. I'm buying this 2-CD set to hear her VOICE OF THE CENTURY!" Report Abuse
Review This Title