“How can you think me capable of taking offence at anything you may say, especially with regard to my music? I cannot always agree with you, but to be offended because your views are not mine would be impossible. On the contrary, I am invariably touched by the warmth with which you speak of my compositions, and the originality and independence of your judgment pleased me from the first. For instance, I am glad that, in spite of my having composed six operas, when you compare Opera with Symphony or Chamber music, you do not hesitate to speak of it as a lower form of art. In my heart I have felt the same, and intend henceforth to renounce operatic music; although you must acknowledge opera possesses the advantage of touching the musical feeling of the masses; whereas symphony appeals only to a smaller, if more select, public....”
Christmas and the New Year found Tchaikovsky still in Moscow, awaiting the rehearsals for Mazeppa. As usual, when circumstances detained him for any length of time in town, he suffered under the social gaieties which he had not the strength of will to decline. Laroche was staying in the same hotel as Tchaikovsky, and was in a hypochondriacal condition. “He needs a nurse,” says Tchaikovsky in one of his letters, “and I have undertaken the part, having no work on hand just now. When I depart, he will relapse into the same apathetic state.”
At last, on January 15th (27th), the rehearsals for the opera began, and with them a period of feverish excitement. The preparations for Mazeppa had been so long postponed that they now coincided with the staging of the work in Petersburg. Tchaikovsky declined the invitation to be present at the rehearsals there, feeling he could safely entrust his opera to the experienced supervision of Napravnik.
The first performance at Mazeppa in Moscow took place on February 3rd (15th), under the direction of H. Altani. The house was crowded and brilliant. The audience was favourably disposed towards the composer, and showed it by unanimous recalls for him and for the performers. Nevertheless, Tchaikovsky felt instinctively that the ovations were accorded to him personally, and to such of the singers who were favourites with the public, rather than to the opera itself. The ultimate fate of Mazeppa, which attracted a full house on several occasions, but only kept its place in the repertory for a couple of seasons, confirmed this impression. The failure may be attributed in some degree to the quality of the performance. Some of the singers had no voices, and those who were gifted in this respect lacked the necessary musical and histrionic training, so that not one number of the opera was rightly interpreted. Only the chorus was irreproachable. As regards the scenery and dresses, no opera had ever been so brilliantly staged. The Moscow critics were fairly indulgent to the opera and to its composer. To Nadejda von Meck, Tchaikovsky wrote: “The opera was successful in the sense that the singers and myself received ovations.... I cannot attempt to tell you what I went through that day. I was nearly crazed with excitement.”
To E. Pavlovskaya.[98]
“Moscow, February 4th (16th), 1884.
“Dear and superb Emilie Karlovna,—I thank you heartily, incomparable Maria, for your indescribably beautiful performance of this part. God give you happiness and success. I shall never forget the deep impression made upon me by your splendid talent.”
After informing a few friends of his intended journey—amongst them Erdmannsdörfer—Tchaikovsky left Moscow just at the moment when the public had gathered in the Concert Hall to hear his new Suite.
The Suite (No. 2 in C) had such a genuine and undisputed success under Erdmannsdörfer’s excellent direction on February 4th (16th), that it had to be repeated by general request at the next symphony concert, a week later. The Press was unanimous in its enthusiasm, and even the severe Krouglikov was moved to lavish and unconditional praise.
The Petersburg performance of Mazeppa, under Napravnik, took place on February 7th (19th). The absence of the composer naturally lessened its immediate success, but the impression was essentially the same as in Moscow: the opera obtained a mere succès d’estime. As regards acting, the performance of the chief parts (Mazeppa and Maria) was far less effective than at its original production. On the other hand, the staging and costumes excelled in historical fidelity and brillancy even those of the Moscow performance. Comparing the reception of Mazeppa in the two capitals, we must award the palm to the Petersburg critics for the unanimity with which they “damned” the work.