Prince Yuri Vsevolodovich: Stanislav Trofimov
Prince Vsevolod Yuryevich: Alexander Trofimov
Fevroniya: Irina Churilova
Grishka Kuterma: Andrei Popov
Fyodor Poyarok: Edem Umerov
World premiere: 7 February 1907, Mariinsky Theatre
Premiere of this production: 20 January 2001
Running time: 4 hours 50 minutes
The performance has three intervals
The Legend of the Invisible City of Kitezh and the Maiden Fevronia was Rimsky-Korsakov’s last grand epic opera. Its lengthy title in itself is a reference to bylina legends and their unhurried and poetically imagistic syllables. It is believed that the most important words in the title are “invisible” and “maiden”. In the closing years of his life, which came at the start of the Time of Troubles in Russia, the composer gave a great deal of thought to the dramatic destiny of his homeland and already foresaw the new trials it would have to endure. He wrote of the “stuffy and anxious conditions” that perturbed him and had daydreams of the “invisible”, meaning the spectrally idealistic, lost in the bylina fairy-tale past of a “virginal and sacred Russia”. In the philosophy of this opera (and it should be regarded specifically as a philosophical work) there are many allusions and subtexts. The plot itself is mythological and in its essence resembles parables in the Bible: it is the story of the strength of human nature spiritualised through faith. The kind of strength that overcomes the devilish “undead” (Rimsky-Korsakov’s own words) through sincerity and earnestness of faith. It is not by chance, therefore, that half of the opera’s plot is taken up with prayer, collective or mysteriously confessional. And the entire intonational structure of Kitezh is as if looking deep into the primordial and sacral principals of “the Russian soul”. In this later period of his life, Rimsky-Korsakov was at the peak of his creative maturity, but was constantly updating his musical language. He wrote “I feel that I am entering some new period and that I have mastered a technique which hitherto seemed to me to be something of chance...” Here he was speaking of a special manner of vocal composition, closely resembling ancient Christian chants, free of the pressures of Western European classical harmony. It is in Kitezh that the results of these endeavours were to be fully embodied, in both the large chorus scenes and in the soloists’ monologues.
The premiere of the opera took place on 7 February 1907 at the Mariinsky Theatre and proved a tremendous success, having been preceded by a year and a half of tense rehearsals. Many ideas of the sixty-three-year-old composer seemed extremely radical even to the younger generation of performers and once, leaving a rehearsal, Rimsky-Korsakov exclaimed “My legs will not step foot in this theatre again.” A common language was nevertheless found and the composer lavished praise on the fruits of their difficult joint labour.
The theatre subsequently turned to Kitezh on several occasions: there were productions in 1910, 1918, 1958, 1994 and, most recently, the current one of 2001. Stage director Dmitry Chernyakov used several elements of the designs from the first production, for example the picturesque curtains by Korovin and Vasnetsov. But the innovative spirit inherent in him also came through in this piece. Already at the outset of the plot, the sets of the forest clearing where Fevronia lives captivate the audience with the video sequence of surprising and fairy-tale-like beauty. They are so bizarre that they immediately transport the audience to other times and places, to the idealistic world of the Russian epos. The image of Little Kitezh is depicted differently – as a receptacle of worldly vanities. It brings to mind a certain station buffet with its typical poverty and restlessness. Ultimately, in the finale, the stage director brilliantly visualises the metaphor for the transformation of the human spirit – the path of the redemption of sin and the ascension from worldly decay into the kingdom of heavenly light.
Dmitry Chernyakov sees the enemy from without as the enemy from within, implanted into weak souls, helpless before the temptations of vice. Unfortunately, Rimsky-Korsakov’s anxious presentiments may well be seen in today’s Russia. That is why the composer’s grandiose spiritual work that forms the score of Kitezh even today remains current and even topical. Why this happens is something the stage director considers in his production. Vladimir Rannev
Sponsored by the Mariinsky Theatre Trust (UK)
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