马泽帕

三幕歌剧
俄语演唱(俄英文字幕)

Credits

作曲:彼得·柴可夫斯基
编剧及作词:维克托尔·布列尼纳 (故事取材自亚历山大·普希金的长诗《波尔塔瓦》)

音乐总监 – 瓦列里•捷杰耶夫
制作人:伊利亚•什列皮亚诺夫(1950年)
设计师 – 亚历山大•康斯坦丁诺夫斯基
资本更新主任 – 尤里•拉普特夫
灯光设计 – 达米尔•伊斯马吉洛夫
滨海分院的灯光改进 – 弗拉基米尔•扎马拉耶夫
首席合唱团指挥 – 康斯坦丁•里洛夫
责任音乐指导 – 伊琳娜•索博列娃

SYNOPSIS

乌克兰,18世纪初

第一幕
第一场景
科丘白房子及花园
玛丽亚(科丘白女儿)的女朋友们来她家,让她和她们一起求神问卜,并且得知谁是她的未婚夫。不过,因为马泽帕(玛丽亚爱的人)在科丘白家里作客,玛丽亚拒绝。

哥萨克安德烈(玛丽亚小时候的一个朋友)知道她的秘密热情。虽然如此,他对玛丽亚表示自己的深深的爱,并让她忘记马泽帕。玛丽亚知道,爱上他是鲁莽冒失的,但是她无法抗拒诱惑。

科丘白、柳博芙(他的妻子)、马泽帕以及客人进入花园。科丘白的仆人来娱乐马泽帕,他们跳舞唱歌。马泽帕请求科丘白允许他向玛丽亚求婚。科丘白和柳博芙感到非常愤慨,因为马泽帕即很老,又是玛丽亚的教父。马泽帕让玛丽亚在他和父母之间进行抉择。痛苦的犹豫后,她向马泽帕伸手。马泽帕带她运走。

第二场景
科丘白家里的一个房间
由于玛丽亚离开家了,她母亲在痛哭。柳博芙让她丈夫向马泽帕报仇。科丘白说出复仇计划。科丘白探听到了马泽帕与瑞典国王卡尔十二世建立了关系,他在准备出卖国家。科丘白决心检举他,将此消息告知俄国沙皇彼得一世。安德烈愿意将举报信交给沙皇。科丘白的同志们对马泽帕充满仇恨。

第二幕
第三场景
马泽帕宫殿的地窖
马泽帕被预告科丘白想检举他,因此,马泽帕向彼得一世诽谤了科丘白。科丘白和伊斯克拉被囚并遭受酷刑。他们在马泽帕宫殿的地窖等待审讯。

欧立克进入地窖,他是马泽帕的亲信。他要求科丘白交出他在狄康卡村庄附近埋的宝藏的位置。

科丘白失去了一切:他的名誉被马泽帕玷辱,他的亲爱的女儿被马泽帕从他身边夺走。科丘白只渴望报仇。

第四场景
马泽帕宫殿里的一个房间
马泽帕偷偷接待瑞典国王的大使。欧立克到来,马泽帕将判处科丘白死刑的命令书给他。

玛丽亚进入。她责备马泽帕,她说,马泽帕对她已冷了心。嫉妒的猜疑折磨着她的灵魂。马泽帕不情愿地向她说出自己冷心的真正原因:他透露反对俄国沙皇的阴谋的秘密。

马泽帕想知道,如果玛丽亚必须作出选择,她会选择谁?父亲还是他?玛丽亚感到困惑。她表示,她对马泽帕的爱无限,但她不理解这种提供的选择。马泽帕走出屋子。

玛丽亚的母亲出现。她潜入了马泽帕的宫殿。她告诉女儿,她父亲检举马泽帕的计划没有成功。玛丽亚不知道她父亲被判处死刑,柳博芙对这一事感到震惊。她们一起赶去中止处决。

第五场景
向刑场的路上
众人在等待死刑犯到来。在人群中,一个醉的哥萨克人唱歌跳舞。刽子手、马泽帕和欧立克到来,然后,科丘白和伊斯克拉被拉到处刑台。

他们彼此道别,同人民和自己的生活告别。

玛丽亚和柳博芙跑入刑场。但死刑已完了,她们迟到了。

第三幕
第六场景
波尔塔瓦大会战 -- 交响音画。

第七场景
科丘白故居及花园
在战斗最激烈的时候,俄罗斯士兵追击瑞典士兵。俄罗斯士兵中有安德烈。他停步,回忆到自己的幸福的往事。马泽帕和欧立克出现,他们在逃离波尔塔瓦战场。安德烈一看到马泽帕就向他扑去。不过,马泽帕赶过安德烈,并且用枪打死他。马泽帕和欧立克溜掉。

失去理智的玛丽亚跑来,她如梦如醉。由于他父亲被处死,她很痛苦。玛丽亚认识不到垂死的安德烈,她想使他入睡,于是给他唱摇篮曲。

ABOUT THE PRODUCTION

Pushkin wrote Poltava in two weeks, while it took Tchaikovsky two years to compose Mazepa. Writing a monumental military and historical opera based around Pushkin’s famous poem did not come easily to the lyrical composer. No wonder he began working with Maria and Mazepa’s expansive duet: he was perturbed first and foremost by the psychology rather than the politics. The duet features a soprano and a baritone – a rare case for the genre of opera, where the role of the female protagonist’s beloved is, as a general rule, given to a tenor. Here this is impossible: Maria is young and Mazepa is old. The story seems improbable, though it is historically accurate. The third corner of the love triangle is occupied by Andrei – a figure who with Pushkin is nameless and insignificant, although he is vital in the opera. And yet the fervour of the passions in Mazepa is connected primarily not with a romantic triangle arranged according to the principle “being in love – not being in love” but with the relationship between a young girl and her two fathers – her birth father and her godfather, who sacrilegiously becomes his god-daughter’s lover. In this second much more intense triangle the two older men have clashed for Maria’s soul, one of them loses and pays with his life, while the girl’s mind is touched – this gave Tchaikovsky the opportunity to end the opus with the heroine’s quiet mad scene, typical of romantic opera. The drama of love and treachery unfolds against a backdrop of a broad historic panorama with vivid Ukrainian national colour with which Tchaikovsky was well acquainted: the composer’s sister lived in Ukraine. On the stage there are often a great many people, the folk stroll around, dance, sing and pray. The victorious Battle of Poltava of 1709 is picturesquely depicted by Tchaikovsky in a dazzling symphonic entr’acte to Act III.

The historic scale peculiar to Mazepa is presented at the Mariinsky Theatre in all its grandeur. In 2019 the theatre commemorated a remarkable anniversary: Mazepa was performed for the five hundredth time. The current production is a full revival of the 1950 production. A recipient of the Stalin Prize, stage director Ilya Shlepyanov and the acclaimed Soviet theatre designer Alexander Konstantinovsky created a benchmark of the “grand style” that entirely corresponds with the music of this opera. Here the young maids are black-browed and the Cossacks wear harem pants; their attire is adorned with pearls and trimmed with sable. The powerful operatic empire of Mazepa delights admirers of traditional theatre in particular; although as an authentic and carefully restored historical monument of the mid-20th century, this is a production that is of interest to any audience. Mazepa is a long-lived production which at its venerable age has lost none of its charisma or its power, just like its titular hero. 

Khristina Batyushina

世界首演:1884年2月3日,莫斯科大剧院
马林斯基剧院的首演: 1884年2月6日
首演: 1950年2月22日,基洛夫(马林斯基)剧院。
最后复演: 2009年5月15日
马林斯基剧院滨海分院的首演:2022年9月30日,符拉迪沃斯托克

演出时长:3小时55分钟
演出有两次中场休息

Age category: 6+
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