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Tsars Bride Comp


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Product Details

  • Audio CD (Oct. 12 1999)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Universal Music Group
  • ASIN: B00002DF34
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: #151,963 in Music (See Top 100 in Music)

Disc: 1
1. The Tsar's Bride: Overture
2. The Tsar's Bride: Act I: Scene 1: 'S uma neydyot krasavitsa' (Gryaznoy)
3. The Tsar's Bride: Act I: Scene 2: 'Da vot i gosti' (Gryaznoy, Lykov)
4. The Tsar's Bride: Act I: Scene 3: 'Khozyain! Prikazal by ty' (Gryaznoy, Lykov)
5. The Tsar's Bride: Act I: Scene 3: Dance And Chorus: 'Kak za rechen'koy yar khmel' (Gryaznoy)
6. The Tsar's Bride: Act I: Scene 4: 'Zdorovo, krestnitsa' (Lyubasha, Gryaznoy)
7. The Tsar's Bride: Act I: Scene 5: 'Bomeli' (Gryaznoy, Lyubasha)
8. The Tsar's Bride: Act I: Scene 6: 'Zachem ty' (Gryaznoy, Lyubasha)
9. The Tsar's Bride: Act II: Scene 1: 'Vot Bog privyol'
10. The Tsar's Bride: Act II: Scene 2: 'Ish' vercher-to kakoy' (Marfa)
See all 14 tracks on this disc
Disc: 2
1. The Tsar's Bride: Act II: Scene 4: 'Razvedala' (Lyubasha, Marfa, Lykov)
2. The Tsar's Bride: Act II: Scene 5: 'Vot do chego ya dozhila' (Lyubasha)
3. The Tsar's Bride: Act II: Scene 5: Allegro vivo:' Proshchay, Ivan Sergeich' (Marfa, Lykov, Lyubasha)
4. The Tsar's Bride: Act II: Scene 6: 'To ne sokoly'
5. The Tsar's Bride: Act III: Introduction
6. The Tsar's Bride: Act III: Scene 1: 'Chto Gospoda gnevit' (Lykov, Gryaznoy)
7. The Tsar's Bride: Act III: Scene 2: 'Skazhi, boyarin' (Lykov)
8. The Tsar's Bride: Act III: Scene 2: Arietta: 'Chto sdelal by' (Gryaznoy)
9. The Tsar's Bride: Act III: Scene 3: 'A vot i myod'
10. The Tsar's Bride: Act III: Scene 3: Arioso: 'Vot, batyushka, vpustili' (Lykov)
See all 21 tracks on this disc

Customer Reviews

4.2 out of 5 stars
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Most helpful customer reviews

1 of 1 people found the following review helpful By "sfdcan" on June 27 2003
Format: Audio CD
I think back to the day I first listened to this recording with nostalgia. This is the first Russian opera that I have listened to and I consider myself extremely lucky to have chosen this one. The music is simply gorgeous and there are some stunning vocal talents on display here.
Please forgive my superficial cliche when I say that the music sounds very "Russian" in a mesmerising way. Unlike Prokofiev and Shostakovich, which tend to be more dissonant and atonal (perhaps more typical of 20th Century music forms), this opera is heart-renchingly melodious. Again, by comparison, this is not the Bellini/Donizetti influence on other Russian compositions such as Glinka's Ruslan and Lyudmila (which sounds very "Italian" in my view). The dramatic force of the opera has been relayed by other reviewers. I only add that the haunting slavic chords do not disappoint: check out the Introduction in Scene 1 of Act 4. On to the singers.
Of ALL the Russian sopranos I have heard, Shaguch is my favourite. Her technique may not be perfect: her singing is described by some as initially "edgy" or "breathy", though this is not as off-putting as it sounds and she settles very well into her roles soon enough. But where the role calls for an innocent, young voice, MOST off-putting for me is the heavy, full rich vocals that are so RAMPANT within many recordings of Russian opera. What's worse is that this is often accompanied by a violent wobble that is forever beyond me. Shaguch, sounding every bit as Russian as she is/should, has a beautiful, youthfully sweet and compelling voice, with a moving vibrato (NOT wobble). Her interpretation of the role is immediately convincing and her mad scene is the stuff of legends!
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Format: Audio CD
This is a magnificent recording and provides a great introduction to the operas of Rimsky-Korsakov. The story reminds one of Verdi or Bellini might have written in that the story revolves around betrayal, love and jealousy. The story is loosely based on an event from the reign of Ivan IV (the Terrible) whose third wife, the daughter of a Novgorod merchant) died following her wedding. The Tsar is never on stage but his eye falls upon Marfa, whom he surprisingly selects as his bride. Marfa is betrothed to Ivan Lukov but is desired by Grigory Gryaznoy, who wants to discard his current lover, Luybasha. Lyubasha is equally determined to hang onto Gryaznoy. There follows plots and counter-plots with a sinister German named Bomelius dispensing love potions and poisons.
The music is perfectly suited for the intrigue and double-dealing of the story. The famous overture sets the tone for the opera of excitement and is rousingly performed by the Kirov Orchestra. The cast in this recording is superb: Olga Borodina is terrific as Luybasha and Dmitri Horostovski makes an excellent Gryaznoy, a part that is difficult to bring off as a sympathetic villain. Marina Shaguch is great in the role of Marfa, the mad scene being particularly well sung. Valery Gergiev conducts with sensitivity for the drama of the opera and allows the singers full expression of their characters. The Kirov Opera Chorus is on top form.
The Tsar's Bride is popular in Russia but is rarely performed in western countries. I hope that it discovered by opera companies in the US but until then, we have the superb recording.
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Format: Audio CD
This is by and large a great performance, particularly Olga Borodina as Lyubasha, great conducting and choral singing - true, Marina Shaguch is'nt as consistent as I've heard her, and is no match in terms of charisma and opulence for Galina Vishnevskaya on the old 70's recording, but she suggests the passive character of Marfa well. Sobakin (Bezzubenkov) and Griaznoi (Hvorostovsky) give characterful performances of great vocal stature.
BUT .... not one of the previous reviews mentions the music! This is one of Rimsky's most performed operas simply because it has a more conventional story with love interest and vengeance (and doesn't have the incredible scenic demands of his other operas, flying swans, invisible cities, melting snow-maidens etc.) It has to be said that much of the music is conventional and uninspired - Rimsky was a peculiar opera composer in that he was not touched by portraying the human condition, he excelled in depicting the legendary and fantastical. There are fine pages in 'The Tsar's Bride', a spirited overture, Marfa's two arias, which are gorgeously melodic and memorable, a few choruses, and he does manage to make the final scene work, but there is much in-between that is manufactured. If you are new to Rimsky's operas, and are curious, don't start with this one - hear him at full stretch re-inventing a fairy-tale Russia in Sadko or Kitezh, not trying to be Tchaikovsky, or a Russo-Italian halfway between bel-canto and verismo. The quality of the music in those latter works is much superior to this - Gergiev has taken 'Snow Maiden' into the Kirov's repertoire - hopefully they'll record that.
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Format: Audio CD
Out of all the four new operatic releases by Gergiev and Kirov this year, this one by far is the newest of the crop. There is much impressive about this new recording, but something missing, in the whole effort really cutting to the heart of the matter. Gergiev plays the work in the most Imperial, patrician manner possible. As Rimsky-Korsakov wrote this opera, in a way, as a tribute to his fallen rival, Tchaikovsky, there is some merit in that. At the same time, the brilliance and panache of the execution of so much of the music takes over to the extent of glibly covering some of the most elemental facets of this enigmatic work. One's taste for a saltier approach to especially some of the choral passages, and to the wild anguish of the final scene, remains unfulfilled. Most impressive in the cast is Olga Borodina as Lyubasha, just leaving to the imagination what her Amneris at the Met must have been like this season, in (in a number of subtle ways) a similar enough Verdi opera. Impassioned, voluptuous in tone to full measure, and incisive with the words, she is about all that anyone could ask, and almost surpassing Irina Arkhipova on the 1970's Bolshoi set. Dmitri Hvorostovsky is also good and sympathetic as Gryaznoy, but a little effortful at delivering the earthier and more venal aspects of the character. In the effort, he comes out sounding just a tad bit too earnest for his own good. Marina Shaguch is the strident Marfa, perfectly adequate in relaxed passages, of which there are few in this part, and only finally coming into her own in her final aria. She is heard to better effect in Kaschhey the Deathless, also released by Philips last month. Evgeny Akimov is the thin, reedy sounding Lykov, not matching tone in duet with Shaguch well. The remainder of the cast is simply adequate, with the exception of the Petrovna (minor role) of Lyubov Sokolova, who is well above that. Five stars for Borodina, two to three for the rest.
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