Semyon Kotko: Comp

The opera is peopled with characters that are strictly good or bad and it extols the peasant-hero who is victorious over the forces that would crush the Bolshevik utopia. Prokofiev toned down the propaganda element of the story (the libretto was written by the author of the story, Valentin Katayev, that was titled "I am the son of working people"). Semyon Kotko was received with some enthusiasm when it premiered in 1940 but it was withdrawn early in 1941 and not performed until 1958. Since this opera was intended to help the composer find acceptance by the Soviet leadership it could be considered music written to show the composer's desire for acceptance, not reflecting his true desires for the opera. However, this is not the case. It is clear for the opening bars that the music of Semyon Kotko is rich in expression and drama and is connected to the tradition of Mussorgsky and Tchaikovsky in treating the characters with their own vocal style. Until the mid-second act, the story is concerned with young love instead of the tragedy of war. Semyon Kotko has returned from war to resume his old life and marry his sweetheart Sofya. Sofya's father, Tkachenko, a rich peasant or kulak, early on, is more like the opera buffa's reluctant father than the sinister figure he becomes later.

The entry of the German army in the story moves the action into the political realm as the German soldiers seek to round up the Communists in Semyon's village and are abetted by Tkachenko who believes the Russian revolution will fail and the Tsar will be restored to power. The German's hang three of the townspeople and burn a part of the village. Eventually, the partisans re-take the village, Semyon and Sofya are reunited and Tkachenko goes off to his execution. The music is some of the finest by Prokofiev. The lyricism of the first act wonderfully describes the relationship between Semyon and Sofya while the burning of the village and hanging of the Bolsheviks in act three is vividly expressed. This is an opera of lyricism and drama that the Kirov has effectively brought to life in this recording, and which they performed at the Met in 2003. This music deserves to be considered among Prokofiev's great works, with the Fifth and Sixth Symphonies and Cinderella, rather than be relegated as a purely political piece written to curry favor.

I was fortunate to see this live in the summer of 2003, performed by Gergiev and the Kirov Opera at the Lincoln Center Festival. The vivid production alone would have made an impact, but the fact is that this opera has some of Prokofiev's most striking, not to mention listenable music. In Act III, for example, when the small village in the story is destroyed, the score reaches a terrifying climax (among other memorable sequences) with a starring role for Olga Savova, who is just one standout in the committed cast.

Perhaps it's the opportunity to bring to life a seldom-done score, but everyone sings with go-for-broke intensity, and the orchestra -- wow, this orchestra -- is up to its usual high standard. The sound quality is also quite good, as are most of these in this Philips series. The libretto includes a few photographs from the Kirov production as well.

It is almost unthinkable that this score might still be lounging around in some library, waiting for a guide like Gergiev to show us that there is something valuable within. For those who love Prokofiev, unusual opera or are just admirers of the conductor's impressive output with the Kirov, this can be easily recommended.

It is usually said that great performers can make decent pieces sound like masterpieces and this is also true of this recording. The Kirov solois are perfectly suited for their parts and I would suspect that Gergiev picked each soloist personally. The recording doesn't contain any of the Kirov-stars, but that isn't necessary for the piece to succeed, because it is a true ensemble-opera. Viktor Lutsiuk has a colourful voice. When he goes very high he sometimes sounds a bit strained but this also suits his poor character well. Evgeny Akimov is a magnificent Milka and Gennady Bezzubenkov brings his character into life. The disc contains some rising young stars of the Kirov. Especially Evgeny Nikitin is very good as Remeniuk. He has a rich bass-voice, which clearly has a lot of potential. It just needs to become a bit louder before he can perform Godunov.

Gergiev and the Kirov orchestra have much less material to show their exceptional sound but their ability to follow singers is very admirable. Gergiev also finds the small richness of the score. The recorded sound is also better then on other Kirov recordings. It's very mellow and vivid and not as dry as the recordings made in the Mariinsky Theatre. This is a very important recording, and if you are a fan of Prokofiev you should buy this recording because it brings new aspects into Prokofiev's career. But if you want to make a first acquaintance with his operas, I think you should start with Love for the Three Oranges and Fiery Angel. The Kirov has recorded both of them.