马林斯基剧院, 大剧场

伊戈尔王子


亚历山大·鲍罗廷 的歌剧(音乐会演出)

俄语演唱(俄英文字幕)
首演

Performers

指挥:

安东·托尔别耶夫

Igor Svyatoslavich: Marat Mukhametzyanov
Yaroslavna: Alena Diyanova
Konchakovna: Laura Bustamante
Vladimir Igorevich: Mingiyan Odzhaev
Prince Galitsky: Yevgeny Plekhanov
Khan Konchak: Bat-Erdene Dorjtseden

Credits

音乐:亚历山大·鲍罗廷
作曲家根据古老的俄罗斯史诗《伊戈尔远征记》编写的歌词

音乐总监:瓦列里·捷杰耶夫
音乐指导:伊琳娜·索博列娃
首席合唱大师:拉丽莎·什韦伊科弗丝卡娅

SYNOPSIS

Overture

Prologue
1185. A Square in the Ancient Russian City of Putivl
Prince Igor, together with his son Vladimir and his army of warriors, is getting ready for a campaign against the nomadic Polovtsians who are launching devastating attacks on Russia’s virginal lands. The people greet Igor and the warriors and wish them victory.
Suddenly it gets dark – a solar eclipse begins. The people, the princes and the boyars regard this as an ill omen, an inauspicious sign, and advise Igor to put off the campaign. The Prince’s wife Yaroslavna also implores him to stay at home. But Prince Igor is unbending. He is certain that his cause is just – he will defend Russia.
The prince bids farewell to his wife and tenderly consoles her, giving assurances that she need not worry about him and should await his victorious return. He entrusts Yaroslavna to the care of her brother, Prince Vladimir Galitsky, whom he appoints as his deputy in Putivl.
Unnoticed, two warriors, Skula and Yeroshka, leave Igor’s army; it is their intention to join the service of Prince Galitsky.
After being blessed, Igor and his detachment set off for the campaign.

Act I
The Court of Prince Vladimir Galitsky
Prince Galitsky is feasting at a lavishly laid table, with his servants led by Skula and Yeroshka. His power is limited – he would like to send Yaroslavna to a nunnery and become the Prince of Putivl by dethroning Prince Igor.
Agitated maidens run into the courtyard. They beg Prince Galitsky to liberate their girlfriend who was taken by warriors into a chamber for amusement. But the prince drives the maidens out to the amusement of the drunken crowd.
The drinking-bout reaches its culmination. Skula and Yeroshka, bribed by Prince Galitsky, together with the warriors whose boldness grows from the revelry incite the people to mutiny: “We shall depose Igor and elevate Vladimir to the throne! What do we have to fear?”

A Chamber in Yaroslavna’s Terem Palace. Alarm
The Princess feels uneasy. Troublesome dreams and gloomy presentiments remain with her day and night. She has had no news from the Prince for a long time. And she sees the strife and plotting around her by the princes, even her own brother Vladimir has conceived some evil deed, hoping to dethrone Prince Igor and become the Prince of Putivl.
The sudden arrival of the girls whom Prince Galitsky has driven out from the court distracts Yaroslavna from her sad thoughts. The girls implore the Princess to defend them from their offender. Yaroslavna accuses her brother of treason and treachery, but she cannot reason with him. Called on by the Princess to answer, Prince Galitsky conducts himself impertinently, claiming power in Putivl.
The boyars arrive with gloomy news: Igor’s armed force has been defeated and the Prince himself imprisoned with his son; the Russian princes wallow in dissent, while hordes of Polovtsians march on Russia. Disturbed by what she has heard, Yaroslavna wishes to interrogate the messengers herself. Meanwhile, Prince Galitsky and his servants seize the moment and stir up a rebellion. The alarm bell is heard, heralding danger – the Polovtsians are approaching Putivl. The boyars and the people are filled with resolve to defend their lands.

Act II
Evening in the Polovtsian Camp

The Polovtsian maidens are trying to amuse Konchakovna, the daughter of Khan Konchak, with songs and dances. All her thoughts are focussed on the captive youth – Prince Vladimir.
Konchakovna impatiently waits for a moment when she can see him.
Igor’s son Vladimir appears, and is charmed by Konchakovna.
But Prince Igor does not wish even to hear of Vladimir’s marriage. Konchak, however, agrees to marry his daughter to the Russian prince.
Prince Igor cannot sleep. He is oppressed by gloomy thoughts. It is not easy to overcome the shame of defeat and captivity. It is hard to accept the thought of his native land being enslaved. Igor passionately yearns for freedom in order to liberate Russia. He tenderly recalls his beloved wife Yaroslavna.
Suddenly Ovlur, a baptized Polovtsian, comes to him. He offers Igor his help to escape from captivity. But the latter refuses – a Russian prince ought not to flee.
The Polovtsian Khan Konchak bestows high honours on Igor as his honoured guest. He promises to free him if he agrees never to raise his sword against the Polovtsians again. But Igor rejects Konchak’s proposal and does not hide his intentions: once free he will assemble his forces and make war against the Polovtsians once more.
The pride and valour of the Russian prince delight Konchak.
On the Khan’s orders, the captive women and warriors entertain Igor to dispel his gloomy thoughts with dances glorifying the mighty Konchak.

The City Walls of Putivl
In the morning, Yaroslavna, having abandoned all hopes of Igor’s return, mourns his loss. Addressing the wind, the sun and the River Dnepr, she awaits their answer: where is Igor and what has happened to him? Yaroslavna’s lament is repeated by the mournful song of the villagers who lament the destruction and scorching of the land. Unexpectedly, the Princess sees riders galloping far away, and she recognizes her beloved spouse in one of them. The gudoshniki Skula and Yeroshka, who have been scolding the Prince all these days, now, to save themselves from punishment, have decided to cheat: they ring the bell to inform the people of the return of the ruler. At the toll of the bell the inhabitants of Putivl arrive, greeting and praising their Prince.
Prince Igor again assembles his retinue to defend the Russian lands. With the blessing of the patriarch, Igor and his army set out on a new liberation campaign against the Polovtsians.

ABOUT THE PRODUCTION

Alexander Borodin, a prominent Russian composer and chemist, wrote his largest composition – his epic opera based on a subject from Russian history – for almost eighteen years. He could hardly afford to compose the opera distracting from the myriad of other, more pressing matters, as he had to stick to his chemical research work including teaching, laboratory experiments and academic papers. No wonder that the opera remained unfinished although some selections from it had been performed at concerts in the composer’s lifetime.

Borodin had a scenario outline but had no libretto that would imply habitual music forms. The composer adapted the libretto by himself from The Tale of Igor’s Raid while composing the music and writing the poetics almost simultaneously. At the same time he studied other literary sources concerning relations between ancient Russia and steppe tribes, discords and wars between Russian princes or campaigns, battles and cooperation between Prince Igor and Polovtsian Khans. When creating his opera, Borodin as a learned amateur and composer of symphonies, quartets and romances adhered to the European pattern well known to him, namely: a large French opera with a plenty of choruses, dramatic scenes, extensive monologues, and ballet dances. However, having shared his friends’ likes and dislikes in the Mighty Handful, the composer aimed to charge melodies with specific Russian intonations and Oriental motifs.

Prince Igor is an opera that treats of the collision of two cultures, sufferings of people involved in war, Russian sedition, conspiracy, betrayal, love, and devotion. In Prince Igor, people bid farewell before a battle, languish in suspense or mourn for their kinsfolk and friends who have not returned from the war. However, Borodin does not draw a black-and-white picture of the world, and Prince Igor’s enemies – Polovtsians – perform viciously bellicose marches and deliriously barbaric dances as well as sing lingeringly spicy, bewitching tunes.

Since the opera has been left incomplete, the authors of any production have to decide how to assemble a puzzle out of the available materials. Most productions are based on the canonical version written by Rimsky-Korsakov and Glazunov for the Mariinsky Theatre in 1890, after Borodin’s death. 

Anna Petrova


世界首演:1890年10月23日马林斯基剧院

音乐会时间:3小时
音乐会含一次中场休息

Age category 12+

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