沙皇萨尔坦的故事

二幕歌剧
俄语演唱
(俄英文字幕)

Credits

作曲:尼古拉·里姆斯基-科萨科夫
编剧及作词:弗拉基米尔·别利斯基(改编自亚历山大·普希金的同名童话)

导演:达丽娅·潘捷列叶娃
布景设计:彼得·奥库涅夫
编舞:奥莉加·基塔叶娃
灯光设计:弗拉基米尔·斯捷尔林
合唱团总监:拉丽莎·什韦伊科弗丝卡娅
合唱团指挥:安娜·皮皮娅
首席钢琴伴奏者:叶弗格妮娅·阿基希娜,玛丽纳·列皮纳

SYNOPSIS

事件部分发生在特穆塔拉坎、部分在布洋岛。

序幕
三个姐妹坐在一间小屋里一边纺线,一边分享她们成为皇后的梦想,而且成为皇后以后她们都会做些什么。她们没有注意到沙皇听着她们在讲话。他喜欢米利特丽萨的愿望为他生一个强壮的男孩子。萨尔坦进入房间,并宣布这三个姐妹都必须住在皇宫里,大的将作为女厨师、中的作为女织工、小的作为皇后。姐妹们嫉妒米利特丽萨,并在巴巴里哈的帮助下,决定破坏她的幸福。

第一幕
沙皇去打仗了,与此同时年轻的皇后有了一个儿子。大姐们和巴巴里哈给沙皇写了一封信:“皇后在夜里生了个不是儿子,也不是女儿。不是老鼠也不是青蛙,而是一种未知的动物。”然后她们把信使灌醉后,把沙皇的命令也取代了:"沙皇命令他的男仆把皇后和她的孩子扔进水的深渊,不浪费时间。在人们的哭声和哀号声中,装有米利特丽萨和王子的木桶被扔进了大海。
海浪将木桶扔到布洋岛的荒凉海岸上,米利特丽萨和长大的王子从里面走了出来。做好弓箭后,桂东开始出海寻找猎物。听到天鹅鸟的叫声和追着它的巨大风筝,桂东杀死了这个恶棍。天鹅答应王子以善报善,就消失了。
清晨童话般的棒棒糖镇从迷雾中出现。镇里的居民欢天喜地地欢迎桂东,并请求他享国。

第二幕
桂东现在是王子了,但他对他的父亲念念不忘。他悲伤地照看着开往萨尔坦王国的船。一只天鹅从海中出现,承诺协助他。桂东把自己变成一只大黄蜂,飞去追赶那艘船。
在特穆塔拉坎的宫院 。悲伤的萨尔坦坐在他的宝座上,旁边是女厨师、女织工和巴巴里哈。一艘船靠近岸边。沙皇邀请船主进来,请他们喝酒,并向他们提问。客人们向他讲述了美丽的棒棒糖镇 、水晶屋里的松鼠、三十三位海上骑士和强大的桂东王子。萨尔坦很惊讶,并希望访问这个神奇的城市。女织工和女厨师试着劝阻他,为此大黄蜂蜇她们每个人的眉毛。巴巴里哈试着转移他的注意力,告诉他所有奇迹中最奇妙的奇迹,就是美丽的公主,为此大黄蜂蜇了她的眼睛。惊慌起来了。
桂东想起了巴巴里哈的话的时候,继续梦见美丽的公主。他请求天鹅鸟帮助他。天鹅鸟回答说她就是那个美丽的女孩。皇后为孩子们祝福。
萨尔坦的船到达布洋岛,沙皇和他的随从登陆了。挂东王子在宫殿里迎接他,让他坐在自己身边。客人们惊讶的目光下松鼠、海上骑士和他们的叔叔切尔诺莫尔,以及耀眼的天鹅公主出现了。萨尔坦激动地要求见皇后。米利特里萨出现了。萨尔坦得知桂东王子是他的儿子。女厨师和女织工恳求宽恕。巴巴里哈沙希望逃走。萨尔坦高兴得原谅了女阴谋者,并为全世界的人举办了一场宴会。

About the production

Nikolay Rimsky-Korsakov is called the greatest storyteller in the history of Russian music and The Tale of Tsar Saltan – his most joyful opera. Based on Pushkin’s theme, it was composed to coincide with the centenary of the genius of Russian poetry, so the composer tried to follow the original Pushkin’s text as closely as possible. And, indeed, the poetic lines of the immortal fairy tale literally tickle one’s imagination, prompting the musical solution: the magical squirrel sings: “In the grove or in the garden…” and the Swan Princess “speaks the Russian language.”

Rimsky-Korsakov wanted to compose music which would match Pushkin’s fairy tale – something Russian, lubok- and fair-like. The composer was so successful in incarnating this vision that after the opera premiere he became known as “the musical Pushkin”. Rimsky-Korsakov preserved both long, bylina-like name of the poem and Saltan’s peculiar features, such as naivety, good-natured humour, fast “dancing” rhythm, folklore storytelling techniques and national ethnic flavour.

The compositional method itself, which the author perceived as “grid drawing,” is a detailed artistic illustration akin to the art of ethnic embroidery or craftsmen’s palekh miniatures. Here, indeed, Rimsky-Korsakov could give rein to his love for filigree precision and careful drawing of “tasty bits,” his talent for colourful and inventive instrumentation. Apt description of the characters creates folklore-like rich and vivid images. The symphonic fragments, which brought Rimsky-Korsakov a resounding success before the opera had even premiered, are magnificent: the orchestra intermezzo Three Wonders, depicting wonders found in the City of Ledenets (a squirrel cracking golden nuts, thirty-three sea-knights (bogatyrs) headed by Chernomor and the beautiful Swan Princess), as well as the famous Bumblebee Flight which has become one of the main “hits” of music classics.

The producers who staged “The Tale About Tsar Saltan” on the Primorsky Stage – director Daria Panteleeva and designer Piotr Okunev – have created the performance with a thorough knowledge and respect for Russian fairy-tale traditions. On the stage, we can see accurately reconstructed signs of Russian life: delicate lace of wooden architecture and bright national class- and character-specific costumes seem to have stepped out of classical illustrations of folk tales.

Nadezhda Koulygina

全球首演:1900年10月21日,莫斯科私立俄国歌剧院
符拉迪沃斯托克:2014年10月11日

演出时长:3小时(含一次中场休息时

Age category: 6+
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