Too little is known of Russian opera in this country. It is true that Tschaikowsky's "Pique-Dame," Rubinstein's "Nero," Moussorgsky's "Boris Godounoff," Borodin's "Prince Igor," Rimsky-Korsakoff's fascinating "Coq d'Or" have been performed here; while one act of Serge Rachmaninoff's "Miser Knight" was given by Henry Russell at the Boston Opera House with that excellent artist George Baklanoff in the title rôle. But according to Mr. Rachmaninoff thirteen operas of Rimsky-Korsakoff still await an American production and this represents the work of only one composer. Who will undertake the further education of the American public in this respect?
RUSSLAN AND LUDMILLA
MICHAEL IVANOVICH GLINKA'S second opera is based upon one of Pushkin's earliest poems. The poet had hardly agreed to prepare a dramatic version of his fairy tale for the composer when he was killed in a duel incurred owing to the supposed infidelity of his wife. As a result of his untimely end, Glinka employed the services of no less than five different librettists. This, of course, weakened the story.
The opera opens with an entertainment held by the Grand Duke of Kieff in honour of his daughter Ludmilla's suitors. Of the three, Russlan, a knight, Ratmir, an Oriental poet, and Farlaf, a blustering coward. Russlan is the favoured one. A thunderclap followed by sudden darkness interrupts the festivities. When this is over, Ludmilla has disappeared. Her father, Svietosar, promises her hand in marriage to anyone who will rescue her.
The second act takes place in the cave of Finn, the wizard, to whom Russlan has come for advice. The knight hears that the abduction is the work of Tchernomor the dwarf. Finn warns him against the interference of Naina, a wicked fairy. He then starts out on his search. The next scene shows Farlaf in consultation with Naina. The fairy advises him to neglect Ludmilla until she is found by Russlan, then to carry her off again. The next scene shows Russlan on a battlefield. In spite of the mist he finds a lance and shield. When the atmosphere grows clearer he discovers a gigantic head, which by its terrific breathing creates a storm. Russlan subdues the head with a stroke of his lance. Under it is the magic sword which will make him victorious over Tchernomor. The head then explains that its condition is due to its brother, the dwarf, and reveals to Russlan the means to be made of the sword.
In the third act, at the enchanted palace of Naina, Gorislava, who loves Ratmir appears. When the object of her passion appears he slights her for a siren of Naina's court. Russlan, too, is imperilled by the sirens, but he is saved from their fascination by Finn.
The fourth act takes place in the dwelling of Tchernomor. Ludmilla, in despair, refuses to be consoled by any distraction. She finally falls asleep, only to be awakened by Tchernomor and his train. The arrival of Russlan interrupts the ensuing ballet. Forcing Ludmilla into a trance, Tchernomor meets Russlan in single combat. The knight is victorious, but unable to awaken Ludmilla from her sleep. He carries her off.
In the fifth act, Russlan with a magic ring, the gift of Finn, breaks Tchernomor's spell and restores Ludmilla to consciousness.
PRINCE IGOR
Opera in four acts and a prologue by Borodin. Libretto suggested by Stassoff, written by the composer.