CDN$ 113.87 + CDN$ 3.49 shipping
In Stock. Sold by thebookcommunity_ca
+ CDN$ 3.49 shipping
Used: Like New | Details
Condition: Used: Like New
Comment: Item is gift quality and like new. May have some shelf wear.
Have one to sell? Sell on Amazon

Image Unavailable

Image not available for
Colour:
  • Kashchey The Immortal
  • Sorry, this item is not available in
      

Kashchey The Immortal


Price: CDN$ 113.87
Only 1 left in stock.
Ships from and sold by thebookcommunity_ca.
4 used from CDN$ 35.92


Product Details

  • Audio CD (Oct. 12 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Universal Music Group
  • ASIN: B00002DF39
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: #225,672 in Music (See Top 100 in Music)

1. Tableau One: Dni bez prosveta
2. Tableau One: Ya vishu devu krasoty chudesnoy
3. Tableau One: Temny yeyo ochi
4. Tableau One: Vy, gusli samogudy
5. Tableau Two: Nastala noch
6. Tableau Two: Glukhaya noch
7. Tableau Two: Pit'yo prokhladnoe
8. Tableau Two: Zasnul
9. Tableau Three: Bayu, bay, Kashchey sedoy
10. Tableau Three: Mereshchitsja
11. Tableau Three: Prosti, lyubimy korolevich moy
12. Tableau Three: Konets zlomu tsarstvu

Customer Reviews

5.0 out of 5 stars
5 star
4
4 star
0
3 star
0
2 star
0
1 star
0
See all 4 customer reviews
Share your thoughts with other customers

Most helpful customer reviews

By A Customer on March 21 2000
Format: Audio CD
I have had an interest in Russian and Eastern Eureopean composers and their operas for years, largely because of the efforts of the Metropolitan Opera and conductors like the great Charles Mackerras. Now, thanks still to the Met, there is another great conductor, Maestro Valery Gergiev. This past Saturday, I listened glued to the radio to the Met broadcast of Lady Macbeth of Mtsenk. It was after that broadcast, conducted by Maestro Gergiev, that I moved from a fan to a fanatic. I have since purchased Kashchey and can't put it down! I have been a fan of Rimsky-Korsakov since twenty years ago I played Procession of the Nobles in my high school concert band. I can't wait to immerse myself in the other Gergiev/Kirov/Phillps compliations. A review of a Phillips recording would not be complete without saying something about the recording company - UNBEATABLE. Thanks to all parties involved for changing my life and enhancing the greastest of all art forms. Thanks too, Amazon.com for providing these recordings, many of which you can't find in stores, and for allowing listeners to express their views
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Audio CD
The operas of Nikolai Andreyevich Rimsky-Korsakov (1844-1908) has really been propping up since the 1940s, thanks to conductors such as Nikolai Golovanov, Vassily Nebolshin, Yevgeni Svetlanov, Vladimir Fedoseyev, and finally Valery Gergiev. There recordings were important since they give us the idea of the true essence of the composer: his operas. Forget Cappricio Espanol, Scherharazade, and the Russian Easter overture. His most important and influential contributions were in his operas and Rimsky-Korsakov was among the giant of middle-to-late 19th century opera (as with Wagner, Massenet, Verdi). Rimsky-Korsakov made the most contributions in Russian opera, as a composer and as editor/completist of operas of Dargomyzhsky, Mussorgsky, and Borodin.
Kashchey the Immortal of 1901 (premiered by 1902), as with the Invisible City of Kitesh, and the Golden Cockeral, departs from the idiom of the late 19th Century where folkmusic dominated. Instead, the idiom, not only Wagnerian, is advanced and not far from the Scriabinian mysticism so much alive and longlasting. There's something else, however. The late operas began to symbolize the growing discontent with the Tsarist Regime (especially the Golden Cockeral) and his students began to use his operas in denouncing Tsar Nicholas II. Alexander Glazunov, for example, conducted Kaschchey the Immortal by 1906 with student singers and student orchestra of the St. Petersburg Conservatory as a form of defiance against the Tsar, before the police distrupted the performance and dispersed the musicians and the audience alike.
Read more ›
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Audio CD
This is a real rarity and it is good to have a performance as strong and well sung as this - I can't imagine that it will get staged in the West that often. Kaschey is a sorcerer familiar from Russian folklore (and Stravinsky's ballet 'The Firebird')- here played with nasal intensity and some humour by tenor Konstantin Plushnikov. In the original folktale (and in Stravinsky) his death is hidden away in an egg, here it is hidden away in his heartless daughter's tears - this role, Kascheyevna is the most interesting and reflects Rimsky's current interest in Wagner, a woman who finds redemption through love and who of course cries at the end and turns into a weeping willow (magical orchestral passage here). The singing is consistently excellent and makes you marvel at the vocal talent coming out of Russia at present. Larissa Diadkova as Kascheyevna and Marina Shaguch as the captured Tsarevna give wonderful, full throated performances.
And the music? Strange - there are lots of Wagnerian echoes, but also some extraordinarily piquant orchestral moments and very advanced (for the time) harmonic writing - a grotesque chorus of snowflakes where Rimsky depicts wind blowing through the strings of an Aeolian harp is especially memorable, and there is sensuous, but calculated music for Kascheyevna - verging close to russian Debussy at times. Parts of the opera are very intense and belie Rimsky's reputation as a light-weight confectioner. Unfortunately there are some weak moments where the conventional apparatus of opera takes over - an obligatory reunion love duet with a one-dimensional Knight, who is a hero (and nothing much else) and who is accompanied by a stock fanfare wherever he goes.
Read more ›
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.
Format: Audio CD
I can hardly add much from the well written reviews that are prior to mine. All I can add is that this recording is a gem. The singers are magnificent and Kostantin Pluzhikov is wonderful in his characterization of Kashchey. As one would expect, the orchestra is first rate. Kashchey the Immortal is a good introduction to the operas of Rimsky Korsakov and in these days when such one-act operas are never performed, it is good to be able to hear it on disc.
Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again.

Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 6 reviews
22 of 23 people found the following review helpful
Gergiev continues on with his crucial mission in bringing the composer’s most important body of works to the forefront. Dec 18 1999
By David Anthony Hollingsworth - Published on Amazon.com
Format: Audio CD
The recordings of Nikolai Rimsky-Korsakov’s operas have been propping up since the 1940s, thanks to conductors such as Nikolai Golovanov, Vassili Nebolsin, Yevgeni Svetlanov, Vladimir Fedoseyev, and finally Valery Gergiev. There recordings have been of great importance if we’re going to continue to get a more rounded picture of Russian music, its genealogy, and its development for the past 150 years since Glinka, Dargomyzhsky, and Serov. And these recordings continue to be of importance if we’re going to get the true essence of this composer: his operas. Forget Capriccio Espanol, Scheherazade, and the Russian Easter overture for the moment. It was his operas (fifteen in all) that became his most important and interesting of his overall oeuvre. Not only did he complete fifteen operas from his own pen, he was responsible (mostly) in editing those of Dargomyzhsky, Mussorgsky, and Borodin into performing editions we know today.

Even though Rimsky-Korsakov’s works for the stage are social commentaries of sorts, the idiom grew from the folkloristic (May Night, Snow Maiden), to the Post-Wagnerian mysticism and super-naturalism (Kashchey the Immortal, Invisible City of Kitezh, and the Golden Cockerel) that began to color even the later pieces of Scriabin. There's something else, however. The late operas became to symbolism of the growing discontent with the Tsarist regime (especially the Golden Cockerel) and his students began to use his operas in denouncing Tsar Nicholas II. Alexander Glazunov, for instance, conducted Kaschchey the Immortal in 1906 with student singers and orchestra of the St. Petersburg Conservatory as a form of defiance against the Tsar. Soon enough, the police disrupted the performance and dispersed the musicians and the audience alike.

Gergiev’s pioneering work in uncovering most of Rimsky-Korsakov's operas cannot and should not be overlooked. And his performance of Kashchey the Immortal with the Kirov Orchestra & Chorus is exemplary in its vividness and artistry. The casting, moreover, is ideal from top to bottom. Konstantin Pluzhnikov (as Kaschey the Immortal) sings with command and faithfulness of the character while Marina Shaguch brings out the Princess’ vulnerability arrestingly. And I like how conflictive Larissa Diadkova brings out in Kascheyevna. All in all, a very worthwhile issue for those interested in Russian music and in the other, most important aspect of this great composer too often overlooked.
20 of 23 people found the following review helpful
Dark and pithy fantasy. Dec 16 1999
By Julian Grant - Published on Amazon.com
Format: Audio CD
This is a real rarity and it is good to have a performance as strong and well sung as this - I can't imagine that it will get staged in the West that often. Kaschey is a sorcerer familiar from Russian folklore (and Stravinsky's ballet 'The Firebird')- here played with nasal intensity and some humour by tenor Konstantin Plushnikov. In the original folktale (and in Stravinsky) his death is hidden away in an egg, here it is hidden away in his heartless daughter's tears - this role, Kascheyevna is the most interesting and reflects Rimsky's current interest in Wagner, a woman who finds redemption through love and who of course cries at the end and turns into a weeping willow (magical orchestral passage here). The singing is consistently excellent and makes you marvel at the vocal talent coming out of Russia at present. Larissa Diadkova as Kascheyevna and Marina Shaguch as the captured Tsarevna give wonderful, full throated performances.
And the music? Strange - there are lots of Wagnerian echoes, but also some extraordinarily piquant orchestral moments and very advanced (for the time) harmonic writing - a grotesque chorus of snowflakes where Rimsky depicts wind blowing through the strings of an Aeolian harp is especially memorable, and there is sensuous, but calculated music for Kascheyevna - verging close to russian Debussy at times. Parts of the opera are very intense and belie Rimsky's reputation as a light-weight confectioner. Unfortunately there are some weak moments where the conventional apparatus of opera takes over - an obligatory reunion love duet with a one-dimensional Knight, who is a hero (and nothing much else) and who is accompanied by a stock fanfare wherever he goes. But Gergiev shapes the piece sensitively and helps the work through the occasional trite or repetitive passage.
Historically it's an interesting piece too, as it was premiered at about the time (1902) mass student unrest was proliferating in Russia - and in fact a performance of it was followed by a political meeting that saw the piece as an allegory of oppression. Kaschey and his moribund kingdom drew parallels with the reign of Tsar Nicholas II, leading to a police raid and a banning of Rimsky's work for some months.
Give this a try; it's short, pungent, strange and beautifully performed.
7 of 7 people found the following review helpful
A Marvelous Fantasy Opera July 6 2001
By David A. Wend - Published on Amazon.com
Format: Audio CD Verified Purchase
I can hardly add much from the well written reviews that are prior to mine. All I can add is that this recording is a gem. The singers are magnificent and Kostantin Pluzhikov is wonderful in his characterization of Kashchey. As one would expect, the orchestra is first rate. Kashchey the Immortal is a good introduction to the operas of Rimsky Korsakov and in these days when such one-act operas are never performed, it is good to be able to hear it on disc.
13 of 16 people found the following review helpful
Underappreciated, Lesser Known Gem March 21 2000
By A Customer - Published on Amazon.com
Format: Audio CD
I have had an interest in Russian and Eastern Eureopean composers and their operas for years, largely because of the efforts of the Metropolitan Opera and conductors like the great Charles Mackerras. Now, thanks still to the Met, there is another great conductor, Maestro Valery Gergiev. This past Saturday, I listened glued to the radio to the Met broadcast of Lady Macbeth of Mtsenk. It was after that broadcast, conducted by Maestro Gergiev, that I moved from a fan to a fanatic. I have since purchased Kashchey and can't put it down! I have been a fan of Rimsky-Korsakov since twenty years ago I played Procession of the Nobles in my high school concert band. I can't wait to immerse myself in the other Gergiev/Kirov/Phillps compliations. A review of a Phillips recording would not be complete without saying something about the recording company - UNBEATABLE. Thanks to all parties involved for changing my life and enhancing the greastest of all art forms. Thanks too, Amazon.com for providing these recordings, many of which you can't find in stores, and for allowing listeners to express their views
Gergiev gives us a successful, interesting "Kastchey" July 22 2014
By jt52 - Published on Amazon.com
Format: Audio CD Verified Purchase
"Kastchey the Immortal", a dark hour-long mini-opera, lies in a nexus of compositions forming one of the important stylistic streams connecting mid-Romanticism with early 20th-century music. The opera is partly constructed through three re-occuring motives, all three presented in the opera's short introductory prologue: a sliding theme built from a chromatic scale, a whole-tone motif, and a theme made from tritones, which represent Kastchey, the evil wizard. Each of these motives is built from symmetrical groups of pitches rather than the asymmetrical scales and modes traditional in western classical music. This move towards symmetrical pitch construction points the way to the innovations of major Eastern European composers of the generation following Rimsky-Korsakov, like Igor Stravinsky (the plot links to "The Firebird" are often noted and the similarities between the opening of the two compositions are also clear) and Bela Bartok, but also ties into the nexus I mention above: the whole tone motive devised by Rimsky-Korsakov strongly reminds me of the "reflection" leitmotif from Richard Wagner's "Ring", the tritone idea strongly reminds me of Franz Liszt's "Dante" sonata, and put together, the music points to Claude Debussy and the earlier music of Rimsky-Korsakov's pupil, Sergei Prokofiev.

So "Kastchey" lies at the heart of an evolving set of ideas - yet it hasn't caught public attention like some of these other works. The issue I believe is that Rimsky-Korsakov's realization of these symmetric ideas doesn't grab the listener in the opera. What does grab me are passages like the duet between Ivan-Korolevich and the Princess in Scene 3 or the Storm King's rousing aria in Scene 2 - stirring stuff. But also written in a more traditional style not fully integrated into the advanced harmonies suggested by the three motifs. So "Kastchey" represents a highly interesting and at times striking effort from Rimsky-Korsakov, but one that sits in between musical epochs, not fully realized and integrated.

Enough about my thoughts about the opera. What about the recording? I have experience with quite a few of the Gergiev/Kirov Opera series from Philips and, purely as a performance, I think this is one of their best. All of the soloists are very capable, including Marina Shaguch in the taxing role of the Princess and Alexander Gergalov as Ivan Korolovich. Gergiev as usual presents an effective and musical orchestral part. This recording dates from 1995 and, perhaps in response to the disappointing sound engineering heard in the earlier releases in this Russian opera series, Philips chose to record it on bespoke tube equipment. This does lead to an improvement, although sonics aren't excellent, but only pretty good.

This release is preferable to the competing Brilliant issue featuring Moscow's Bolshoi company, with its sometimes disappointing lead singing offsetting a nice conducting job from Andrei Christyakov. Christyakov takes a lighter, more wind-heavy view of "Kastchey" while Gergiev is heavier and more Wagnerian. The Gergiev/Kirov CD includes a full libretto and the opera is sung in Russian, naturally (not sure why Amazon is listing the tracks in German). Gergiev and the singers deserve credit for delivering a successful performance of a difficult and adventurous late Rimsky-Korsakov score.


Feedback