Opera Tsarskaia nevesta [The Tsar's Bride] v 4-rekh deistviiakh... Soderzhanie zaimstvovano iz dramy L. Meia Dopolnitelnye stseny napisany N. F. Tiumenevym. [Piano-vocal score]. Nikolay RIMSKY-KORSAKOV.

Opera Tsarskaia nevesta [The Tsar's Bride] v 4-rekh deistviiakh... Soderzhanie zaimstvovano iz dramy L. Meia Dopolnitelnye stseny napisany N. F. Tiumenevym. [Piano-vocal score]

Leiptsig [Cyrillic]: M. P. Beliaev [Cyrillic; i.e., Belaieff] [PN 2004 et al.], [ca. 1905]. Folio. Original gray printed wrappers with titling within decorative border. 1f. (blank), [1] (polychrome title by Antipov), [2] (cast in Russian and German), 3-261, [i] (publisher's catalogue) pp. Text in Russian and German. Watermark: CGR*5.

Upper wrapper with titling in Russian and German and year "1899"; publisher's catalogue to verso. Piano reduction (?of overture only) credited to A. N. Schaefer in caption title, p. 3. With publisher's catalogue to final page listing all of Rimsky-Korsakov's songs from opp. 3-56 (1899); catalogue to verso of upper wrapper lists editions published to 1900 (Lyadov, op. 50).

Occasional corrections in pencil to German text of Marfa's part in early (pre-1901) orthography; annotations in Danish.

Upper wrapper detached; lower lacking. Slightly worn; uniform light browning; final leaf frayed; final signature detached.

A later edition, based on corrected plates of the first edition (1899).

First performed at the Solodovnikov Theater (Savva Mamontov’s Private Russian Opera), Moscow, on October 22/ November 3, 1899.

"Although usually described as a historical opera, The Tsar’s Bride is based on a wholly fictional drama that conjures an imaginary tragedy out of the tantalizing documentary vacuum surrounding Ivan the Terrible’s brief third marriage, to a commoner named Marfa Sobakina. A lurid compound of jealousy, murder, potions and madness, Mei’s play was from the first an opera in search of a composer... The opera is a natural counterpart... to Tchaikovsky’s... Queen of Spades. In its extremely effective exploitation of opulent vocal display Rimsky’s opera is an emulatory tribute to his late rival’s ‘Imperial style.'... In the fourth act... Rimsky proved wholly worthy of his models, which despite the many leitmotifs no longer included Wagner. With the exception of the unseen tsar’s, these are of the ‘recalling’ rather than the ‘identifying’ variety, the kind of which Verdi, not Wagner, was the past master." Richard Taruskin in Grove Music Online. Item #27090

Price: $75.00  other currencies

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