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)

Performers

指挥:

帕韦尔·斯梅尔科夫

Igor Svyatoslavich: Marat Mukhametzyanov
Yaroslavna: Irina Novikova
Konchakovna: Laura Bustamante
Vladimir Igorevich: Alexei Kostyuk
Prince Galitsky: Vladislav Chibirev
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

序曲

前言

1185. 俄罗斯老城普季夫利的一个广场。

伊戈尔公爵与他的儿子弗拉基米尔和他的战斗队正准备对游牧的波洛韦茨人发动战役,后者正在以掠夺性袭击毁灭俄罗斯的土地。人们赞美伊戈尔和他的战士并祝愿他们胜利。

天色突然暗下来,日食开始发生。民众、公爵和贵族们认为这是一个不祥之兆,并建议伊戈尔推迟战役。公爵的年轻妻子雅罗斯拉夫娜也恳求他留在家里。但伊戈尔态度坚决。他对自己的事业的正义性充满信心,他将捍卫罗斯的事业。

公爵与妻子告别,温柔地安慰她,让她不要担心他,并等待胜利。他将雅罗斯拉夫娜托付给她的弟弟弗拉基米尔·加利茨基,并让他担任普季夫利的总督。

两名士兵斯库拉和叶罗什卡悄悄离开伊戈尔的战斗队:他们打算为加利茨基服役。

在祝福之下,伊戈尔和他的战斗队开始了征战。

第一幕

弗拉基米尔·加利茨基公爵的宫廷。

在提花桌布的桌子坐着,加利茨基公爵正在参加宴会,斯库拉和叶罗什卡带领着一群狂饮作乐的仆人围着他。他的权力还不够大,他想把他的妹妹雅罗斯拉夫娜流放到修道院,然后除掉伊戈尔,自己在普季夫利当公爵。

兴奋的女孩们跑进院子。他们恳求加利茨基释放他们的女朋友,她被公爵的保卫员带到塔里取乐。但加利茨基却在人群的醉酒笑声中赶走了女孩们。

醉醺醺的狂欢达到了极致。受到加利茨基公爵贿赂的斯库拉和叶罗什卡与胆大妄为的狂欢者一起煽动人民起义:“我们要罢免伊戈尔,我们要让弗拉基米尔上台!我们有什么可害怕的?”

雅罗斯拉夫娜塔楼的房间。敲钟报警。

公爵夫人心里很不安。无论白天还是黑夜,令人不安的梦境和不祥的预感一直萦绕在她心头。已经很久没有公爵的消息了。而周围的诸侯之间也充满了纷争和动乱,就连他的弟弟弗拉基米尔也在密谋叛乱,希望推翻伊戈尔并统治普季夫利。被加利茨基赶出院子的姑娘们的出现,使雅罗斯拉夫娜从悲伤的思绪中平静下来。女孩们寻求公爵夫人的保护,免受施暴者的伤害。

加利茨基突然出现,对他的妹妹表现出挑衅和傲慢的态度。雅罗斯拉夫娜指责她的哥哥背叛和叛国,但却无力应对他。抵达的波雅尔带来了坏消息:伊戈尔的军队被击败,公爵本人和他的儿子被俘,俄罗斯公爵们都溺于纠纷,而波洛韦茨部落正向罗斯进军。雅罗斯拉夫娜听到后感到恐惧和绝望。警钟的惊叫声宣告危险:波洛韦茨人正在接近普季夫利。贵族和人民决心保卫他们的土地。

第二幕

波洛韦茨营地的夜晚。

波洛韦茨女孩试着用歌舞来取悦康恰克可汗的女儿康恰科芙娜。但她所有的心思都被被俘的青年王子弗拉基米尔吸引住了。康恰科夫娜期待着与他见面。

伊戈尔的儿子弗拉基米尔出现了,他深深地爱着康恰科芙娜。

然而,伊戈尔公爵并不想听到弗拉基米尔的婚礼。相反,康恰克同意将他的女儿嫁给一位俄罗斯公爵。

伊戈尔公爵睡不着觉。他被沉重的思绪所压迫。承受失败和被俘的耻辱并不容易。很难接受祖国被奴役的现实。伊戈尔热切地渴望自由。他深情地想念着他的妻子雅罗斯拉夫娜。

突然,受洗的波洛韦茨人奥夫鲁尔走近了公爵。他向伊戈尔提供帮助,帮助他逃离囚禁,但伊戈尔骄傲地拒绝了,但逃跑的念头却困扰着他。

康恰克可汗对伊戈尔表示崇高的敬意,称他为最亲爱的客人。他答应释放他,条件是他将来不会举剑对抗波洛韦茨人。但伊戈尔拒绝了康恰克的提议,并直言不讳:获得自由后,他将再次召集自己的战斗队,与波洛韦茨人开战。俄罗斯公爵的骄傲和勇气让康恰克感到高兴。

按照可汗的命令,俘虏和战士们为了驱散伊戈尔的阴暗想法,用舞蹈来娱乐他,赞美强大的康恰克。

普季夫利的城墙。

雅罗斯拉夫娜对伊戈尔的归来已不抱有任何希望,她在早上为他感到悲痛。她转向风、太阳、第聂伯河,等待它们的回答:伊戈尔在哪里?他出了什么事?雅罗斯拉夫娜的哀歌与村民的悲歌相呼应,他们为遭到毁坏和烧焦的土地感到悲痛。突然,公爵夫人注意到远处有骑兵在奔跑,她认出其中一个骑兵就是她心爱的丈夫。骗子斯库拉和叶罗什卡这些天一直在赞美公爵,现在他们决定使诈,让自己免受惩罚:他们敲响了钟声,告诉人们统治者回来了。普季夫利的居民们听到钟声后纷纷赶来,向他们的公爵问好并称赞他。

伊戈尔公爵再次召集他的战斗队俄罗斯的土地。在族长的祝福下,伊戈尔和他的战斗队开始了一场新的解放波罗夫齐人的战役。

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 6+

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