On the 23 and 24 September, the Mariinsky Theatre's new stage will be the setting for the premiere of Anton Rubinstein's spellbinding opera, The Demon, under the maestro's wand of Valery Gergiev. Taking on the leading roles are: Gleb Peryazev, Maharram Huseynov, and Yevgeny Nikitin as the Demon; Yuri Vorobiev, Oleg Sychov, and Miroslav Molchanov portraying Prince Gudal; while the role of Tamara will see the talents of Inara Kozlovskaya, Yekaterina Goncharova, Olga Maslova, and Natalya Pavlova; with Prince Sinodal to be portrayed by Igor Morozov, Roman Shirokikh, and Kirill Belov.
The narrative of Lermontov's poem of the same name has, time and again, caught the imagination of composers. In just the latter half of the 19th century, we've seen the opera by Boris Fitinhof-Schell, musical illustrations by Pavel Blaramberg, and a symphony by Eduard Napravnik. However, it was Anton Rubinstein's opera, completed in 1871, that earned the greatest acclaim.
Rubinstein's The Demon celebrated its world premiere at the Mariinsky Theatre on January 13 (25), 1875. The distinguished Eduard Napravnik held the conductor's baton. While critics received the composition with tempered and at times, less than favorable reviews, the audience adored it. The opera later graced Moscow four years later under the direction of Enrico Bevignani. Notable conductors like Gustav Mahler and Sergei Rachmaninov also took turns guiding the performance.
Legendary Fyodor Shalyapin, renowned for his groundbreaking portrayal of the central character, has frequently performed the roles of Prince Gudal and the Demon. His vivid representation of the tormented soul, the character's inner turmoil, is etched in the annals of musical history. Shalyapin's Demon was a proud rebel whose relinquishing of resistance for love was not seen as a virtue, but a defeat. Interpretations varied, but one cannot deny that such a Demon became a true hero of his time, demanded by a new era.
Abroad, The Demon made its debut in Hamburg in 1880. Following this, the opera embarked on a tour of the world’s stages: London (1881), Cologne (1882), Leipzig (1883), and then Vienna, Monte Carlo, New York, Tel Aviv, and Riga. Concurrently, the piece resounded in Russian cities; it’s a rarity to find a local opera house that hasn't once staged The Demon. The Mariinsky’s last rendition saw the light in 2003 but did not secure a permanent spot in their repertoire.
The new spectacle at Mariinsky II is being crafted by director Yelizaveta Korneeva. Her “Demon” will eschew spatial-temporal coordinates, replaced by metaphors, echoes, and symbols – ranging from the Greek theatre to a sandbox. All aimed to underscore the timeless issues resonant in both the poetic and musical texts.
“This is Rubinstein's most popular opera, widely recognized not only in Russia but internationally. However, in my view, its essence is yet to be fully uncovered,” notes Elizaveta Korneyeva. “Perhaps its time hasn't come, or it's just on the horizon. It's compelling because it delves into the eternal theme and timeless human conflict.”
This is Rubinstein's most popular opera, widely recognized not only in Russia but also abroad. However, in my opinion, its essence has yet to be fully revealed,” notes Yelizaveta Korneeva. “Perhaps its time has not yet come, or it's just around the corner. It fascinates because it delves into an eternal theme and the everlasting human conflict. We witness this manifestation today and will continue to see it tomorrow; we've repeatedly observed it throughout history. Therefore, Rubinstein absolutely hit the mark with the subject matter, considering its enduring presence on the opera stage.”
“I invite the audience to join our trial,” the director adds. “We will be judging the Demon. We will all sit on the jury bench and deliver our verdict. We'll see what that verdict turns out to be.”
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