Performed in ItalianThe performance will have synchronised Russian and supertitles
Premiere of this production: 15 April 2011, Moscow theatre "New Opera", Moscow, Russia
The production of Borodin’s Prince Igor staged at the Novaya Opera is based on Glazunov and Rimsky-Korsakov’s version adapted by Yuri Alexandrov. Trying to bring home the message of The Tale of Igor's Campaign, which is somewhat concealed by Borodin’s beautiful music, the stage director highlights different key points.
Yuri Alexandrov, stage director:
“While working on the opera, I pondered about what happens in Russia, about its historical role, what it’s like now and what it’ll be like in the future. The production at the Novaya Opera is a true story; this is what I see around. The opera is not about darkness, but about light. The light that exists in every human being and it has to be revealed. Alexander Borodin’s patriotic opera ‘Prince Igor’ makes a comeback to the Moscow stage after a 10-year break. Boris Pokrovsky’s legendary production of the opera was last performed at the Bolshoi in January 2002. Since then the Moscow public have enjoyed only rare concert performances of ‘Prince Igor’. My concept is focused on a person’s valour. For me, Yaroslavna is the embodiment of valour: she can endure all the people’s pain and she can even govern the country if necessary. She symbolizes loyalty to Russia. Prince Igor neglects his duties and God’s laws, whereas Yaroslavna has the virtue. Igor is a sufferer, and through suffering he redeems his sins. This is one of the messages of my production. We have lost the ability to repent and to admit to our mistakes. I think that faith is one of the few things that can stop us from falling into a spiritual abyss. This opera is about light that every person has. We have to reveal this light. That’s why the finale of our production is crowned with the most pacific and beautiful music – the peasants’ chorus”.
Evgeny Samoilov, music director of the production, Honoured Artist of Russia:
“Novaya Opera performed this piece for the first time in January 2009 during the Epiphany Week Festival. The idea appeared in 2008, the year of the 175th anniversary of Borodin’s birth. Recent years have seen a renaissance of Russian cultural values. And that is why we felt it was important to turn to Russian music. It is also a pleasure for the audience to listen to and for the singers to perform this opera. The music is so rich, convincing and emotional that it is a value in itself”.
Vyacheslav Okunev, designer of the production:
“The focus of the Act 1 sets is the brick constructions. The red colour of bricks reminds me of gore. Those brick constructions symbolize ruins of cathedrals in central Russia that used to be white-washed, but are now neglected. Red brick is also the Kremlin; it is a number of houses on the outskirts of Russian cities. This colour makes me uneasy; it makes me think about Russian attitude to culture. That is how I feel the opera and I believe that the audience will feel and see it the same way”.
Synopsis
FIRST ACT
First scene
Following a beautiful unknown girl, whom he accidentally had met in Madrid,
the Count Almaviva arrived in Seville under a name of Lindoro. His servant
Fiorello managed to find out the girl’s address. To entice Rosina from the house
the Count sings her a serenade at night, but all his efforts are in vain… The
Count pays off musicians.
The barber Figaro recently moved in Siviglia, enjoying wide popularity here.
By chance he is brought together with his former master – Almaviva. Fortunately
to the Barber the Count, as it turned out, is in love with Dr. Bartolo’s ward –
Rosina, and in this situation a person who can enter Doctor’s house may be
extremely useful!
Meanwhile Bartolo is away for a short while. A new serenade by “Lindoro”
turns out to be more successful than the first one. The Count demands from
Figaro to bring him in to Bartolo’s house. To this the Barber suggests him to
pretend to be a drunken soldier. After that he gives a long and confused
explanation about his address in Seville, but without success, as it seems.
Sums, promised by the Count for his service, makes Figaro to give himself up to
rosy dreams… Second scene
Rosina is ready to run away with a splendid “Lindoro”, but how to do that? To
write a letter! Figaro, as usual, comes to offer his services to Rosina, but she
has no time to say a word about the letter as he disappears, hearing Doctor’s
steps.
Bartolo suspects that Figaro has come on purpose. He has heard that his ward
is noticed by the Count Almaviva and intends without delay to make Rosina his
wife tonight. A patient, that has come to him, a military musician Don Basilio,
works up a strategy of the battle: first, to defame an enemy spitefully, second,
immediately to make a marriage contract between Rosina and Bartolo. Their
conversation is overheard by Figaro: the girl should hurry up, if she does not
like to marry her guardian! Rosina gives the letter to the Barber, but Dr
Bartolo is already here and sets a trap to her, trying to catch her. The Count
disguised as a drunken soldier bursts into the house and tries to hand a letter
to Rosina. A fight begins between the Count and Bartolo. A noise draws attention
of a military patrol. After hearing to confused explanations from all who are
present, the Officer takes a decision to arrest the “soldier”. After a short
talk with a perspective prisoner tкteatкte, he changes his decision.
Nobody understands anything.
SECOND ACT
First scene
The Count again penetrates Bartolo’s house under a new mask to find a way to
Rosina’s heart. Disguised as Don Alonso, a faithful pupil of supposedly ill Don
Basilio, he gives the girl a singing lesson. Rosina performs an aria from a
popular opera “La Fille mal gardйe”. Old Bartolo does not approve of modern
music.
Figaro comes to shave the Doctor so that the lovers could talk without
trouble. Suddenly Don Basilio comes… A sum of money helps to diagnose scarlatina
with him and to suggest an idea to him to return home and receive medical
treatment. Rosina is going to escape with Almaviva at midnight, but Bartolo
again suspects of something and casts reproaches upon her. The servant Berta,
who has got tired of strange quarrels and shouts, dreams about
love… Second scene
Dr. Bartolo and Don Basilio work up a plot: it’s necessary to convince
Rosina, that Lindoro has another lover and he is an agent sent to kidnap the
girl for the Count Almaviva. Rosina agrees to the immediate marriage to Bartolo.
At midnight sharp the Count appears, but Rosina meets her “Lindoro” not the way
that he has expected. To become reconciled with the girl Almaviva is forced to
reveal his real name. The time for escape is missed; Basilio, the Notary and
then Bartolo appear. Rosina’s kidnapping is cancelled. The Count has at once to
marry lawfully in presence of all witnesses.