Khovanshchina

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Operas by Modest Mussorgsky

Salammbô (1866)
The Marriage (1868)
Boris Godunov (1872)
Mlada (1872)
Khovanshchina (1880)
Sorochintsï Fair (1880)
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For the 1960 Soviet film based on this opera, see Khovanshchina (film).

Khovanshchina (Russian: Хованщина, Hovánščina, sometimes rendered The Khovansky Affair) is an opera (subtitled a 'national music drama') in five acts by Modest Mussorgsky. The work was written between 1872 and 1880 in St. Petersburg, Russia. The composer wrote the libretto based on historical sources. Although the setting of the opera is the Moscow Uprising of 1682, its main themes are the struggle between progressive and reactionary political factions during the minority of Tsar Peter the Great, and the passing of old Muscovy before Peter's westernizing reforms. The opera was unfinished and unperformed when the composer died in 1881. It received its first performance in the Rimsky-Korsakov edition in 1886.

Contents

[edit] Performance history

Fyodor Shalyapin as Dosifey (1912)
Fyodor Shalyapin as Dosifey (1912)

[1]

The St. Petersburg world premiere took place on 21 February (9 February O.S.), 1886 using the Rimsky-Korsakov version. Also in St. Petersburg on 27 October 1893 the opera was presented by artists of the Russian Opera Society.

The Russian Private Opera presented the Moscow premiere at the Solodovnikov Theater on 12 November 1897 conducted by Michele Esposito, with scene designs by Konstantin Korovin, Apollinary Vasnetsov, andSergey Malyutin. There were 1910 and 1911 productions in the two cities, the first by the Zimin Opera in moscow and conducted by Palitsīn scenes by Matorin, while the second was at St. Petersburg's Mariinsky Theatre and conducted by Albert Coates.

In 1913 the opera reached Paris where Emil Cooper (Kuper) conducted a perfmance at the [[Théâtre des Champs-Elysées] of a Dyagilev production, with additional material including new ending, by Igor Stravinsky and Maurice Ravel. That same year it was presented in London at the Theatre Royal Drury Lane and, finally, in 1931, in New York.

The Shostakovitch version was first presented on 25 November 1960 at the Kirov Theater, conducted by Sergey Yeltsin, in an edition by Pavel Lamm, orchestrated by Dmitriy Shostakovich, with set desing by Fedorovsky.

[edit] Roles

Role Voice type Premiere cast
21 February (9 February O.S.), 1886
St. Petersburg
(Conductor: Eduard Goldshteyn)		 Moscow cast
Zimin Opera, 1910
(Conductor: Palitsīn)		 St. Petersburg cast
Mariinsky Theatre, 1911
(Conductor: Albert Coates)
Prince Ivan Khovansky, head of the Streltsy bass Bedlevich Zaporozhets Sharonov
Prince Andrey Khovansky, his son tenor Pyotr Inozemtsev Labinsky
Prince Vasiliy Golitsïn tenor Karklin Anton Sekar-Rozhansky Ivan Yershov
Dosifey, head of the schismatics bass Fyodor Shalyapin Petrov Fyodor Shalyapin
Boyar Fyodor Shaklovitïy baritone Sokolov Shevelyov P. Andreyev
Marfa, a schismatic mezzo-soprano Selyuk Vera Petrova-Zvantseva Yevgeniya Zbruyeva
Susanna, an old schismatic soprano
Scrivener tenor
Emma, a maiden from the German quarter soprano Antonova
Pastor baritone
Varsonofyev, a retainer of Golitsïn bass
Kuzka, a strelets (musketeer) baritone
Streshnev, a Boyar tenor
Chorus: Streltsï, schismatics, serving girls and Persian slaves of Prince Ivan Khovansky, Peter's "poteshnïye" (soldiers), people

[edit] Instrumentation

Shostakovich Orchestration:

  • Strings: Violins, Violas, Cellos, Double Basses
  • Woodwinds: 2 Flutes, 1 Flute/Piccolo, 2 Oboes, 1 Oboe/English Horn, 2 Clarinets, 1 Clarinet/Bass Clarinet, 2 Bassoons, 1 Bassoon/Contrabassoon
  • Brass: 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba
  • Percussion: Triangle, Tambourine, Timpani, Bass Drum, Snare Drum, Cymbals, Tam-tam, Bells, Glockenspiel
  • Other: Piano, Harp, Celesta
  • On/Offstage: Unspecified numbers of Horns, Trumpets, Trombones

[edit] Synopsis

Time: The year 1682

Place: Moscow

[edit] Act 1

Moscow, Red Square

Shaklovity, a Boyar, dictates an anonymous letter to the Tsar, warning of a rebellion by Khovansky (captain of the Streltsy Guards) and the Old Believers. Ivan Khovansky arrives and promises a crowd of people to defend the Tsar against treachery. Andrey Khovansky, Ivan's son, chases in Emma, a German girl, but is fended off by Marfa, an Old Believer. Andrey threatens to kill Emma, but is prevented by the arrival of Dosifey, the leader of the Old Believers. Marfa leaves with Emma.

[edit] Act 2

Summer study of Prince Vasily Golitsyn

Marfa tells the prince's fortune, saying that he will fall from power. After she leaves, Golitsyn orders his servants to kill her. Ivan Khovansky appears to complain that Golitsyn has interfered with the Boyars, but Dosifey enters and persuades the two to work together. Marfa, who has been saved by the Tsar's guards, reappears, followed by Shaklovity, who tells the group that the Tsar has been warned of their opposition to him.

[edit] Act 3

The Streltsï Quarter, south of the Moscow River

Marfa is overheard singing of her love by Susanna, a fellow Old Believer. Marfa admits to Dosifey that she loves Andrey Khovansky.

[edit] Act 4

Scene 1: A richly furnished chamber in Ivan Khovansky's mansion

Khovansky is warned by a servant of Golitsyn that he is in danger, but Khovansky ignores the warning and watches his servant girls dance. Shaklovity enters and murders Khovansky.

Scene 2: Moscow. The square before the Cathedral of Vasiliy the Blessed

Golitsyn is led into exile. Dosifey mourns the conspirators' downfall. Marfa offers sanctuary to Andrey with the Old Believers. The Streltsy are led to their execution. Peter, through an agent, intervenes to pardon them (which is not in agreement with historical fact).

[edit] Act 5

A pine forest, a secluded monastery, a moonlit night.

Dosifey and his followers prepare to immolate themselves. As Dosifey, Marfa, Andrey and the Old Believers perish in the flames of a burning chapel, Peter's soldiers arrive in a vain attempt to capture them.

[edit] Principal Arias and Numbers

Introduction: Dawn on the Moscow River

Act 1

Chorus: "The Great One is coming!" «Большой идет!» (Streltsï)
Chorus: "Glory to the White Swan" «Слава лебедю, слава белому» (People)

Act 2

Aria: Marfa's Divination «Силы потайные, силы великие» (Marfa)

Act 3

Aria: "The Streltsy sleep in their nest" (Shaklovitïy)

Act 4

Ballet: Dance of the Persian Slaves (Orchestra)
Chorus: "A young swan swims, ladu-ladu" (Maidens, Shaklovitïy)
Introduction: The Departure of Golitsïn (Orchestra, Chorus)
Chorus: "Show them no mercy" (Streltsï Wives)
March: March of the Poteshniye Soldiers (Orchestra)

Act 5

Aria: "Here, in this holy place" «Здесь, на этом месте святе» (Dosifey)

[edit] Historical Basis of the Plot

Like Mussorgsky's earlier Boris Godunov, The Khovansky Affair deals with an episode in Russian history, first brought to the composer's attention by his friend Vladimir Stasov. In this case, it concerns the rebellion of Prince Ivan Khovansky, his Old Believer followers, and the Streltsy, against Peter the Great, who was attempting to institute Westernizing reforms to the country. Ultimately, Peter succeeded, the rebellion was crushed and (in the opera, at least) Khovansky's followers committed mass suicide.

[edit] Versions by other hands

Nikolai Rimsky-Korsakov completed, revised, and scored Khovanshchina in 1881–1882. Because of the heavy cuts and "recomposition" at Rimsky-Korsakov's hand, Dmitri Shostakovich revised the opera in 1959 based on Mussorgsky's vocal score, and it is this version that is usually performed today. It is also believed that Igor Stravinsky added a finale chorus at the finale of the opera

[edit] Repertory status

While not as well known as Boris Godunov, this opera is, in some ways, more accessible. The pace of the action is slow, but there is more in the way of traditional vocal lines as compared to the earlier opera's use of a more speech-like style. There are also some fiery set-pieces, in particular the Dance of the Persian Slaves. While Khovanshchina is not seen on stage often, especially in the West, it has been recorded several times. More recently it is to be performed by Welsh National Opera in both Wales and England as well as at the Bayerische Staatsoper in Munich under Kent Nagano in 2007.

[edit] Selected recordings

This is a list of studio recordings. A comprehensive list of all recordings may be found here.

Rimsky-Korsakov Version 1882

  • 1946, Khaykin, Kirov Orchestra and Chorus
  • 1951, Nebolsin, Bolshoy Theater Orchestra and Chorus
  • 1954, Baranovich, Belgrade National Opera Orchestra and Chorus
  • 1974, Khaykin, Bolshoy Theatre Orchestra and Chorus
  • 1975, Margaritov, Sofia National Opera Chorus and Orchestra
  • 1988, Ermler, Bolshoy Theater Orchestra and Chorus

Shostakovich Version 1959

  • 1986, Tchakarov, Sofia National Opera Chorus and Orchestra
  • 1989, Abbado, Orchestra of the Vienna Staatsoper
  • 1991, Gergiev, Kirov Chorus and Orchestra

[edit] References

  1. ^ Source: Театральная Энциклопедия (Theatrical Encyclopedia published by Sovetskaya Entsiklopediya)

[edit] External links