The applause increased steadily to the end of the work, and composer and singers were frequently recalled. At the same time, no one would have ventured to predict that the opera would even now be holding its own in the repertory, for there was no question of a great ovation.
The critics not only unanimously condemned the libretto, but did not approve of the music. One remarked: “As regards instrumentation, Tchaikovsky is certainly a great poet; but in the actual music he not only repeats himself, but does not shrink from imitating other composers.” Another thought this “the weakest of all his efforts at opera.” A third called the work “a card problem,” and declared that, musically speaking, “the accessories prevailed over the essential ideas, and external brilliance over the inner content.”
A few days after the first performance of Pique Dame in St. Petersburg, Tchaikovsky went through the same experience in Kiev, with this difference, that the reception of the opera in the southern city far surpassed in enthusiasm that which had been accorded to it in the capital.
“It was indescribable,” he wrote to his brother on December 21st (January 2nd, 1891). “I am very tired, however, and in reality I suffer a great deal. My uncertainty as to the immediate future weighs upon me. Shall I give up the idea of wandering abroad or not? Is it wise to accept the offer of the Opera Direction,[151] for the sextet seems to point to the fact that I am going down-hill? My brain is empty; I have not the least pleasure in work. Hamlet[152] oppresses me terribly.”
To Ippolitov-Ivanov.
“Kamenka, December 24th, 1890 (January 5th, 1891).
“In Petersburg I frequently saw the Intendant of the Opera, and tried to throw out a bait with regard to your Asra. I shall be able to go more closely into the matter in January, but I can tell you already there is little hope for next year. Rimsky-Korsakov’s Mlada is being considered, and I am commissioned to write a one-act opera and a ballet.... In this way I am involuntarily a hindrance to the younger composers, who would be glad to see their works performed at the Imperial Opera. This troubles me, but the temptation is too great, and I am not yet convinced that the time has come for me to make room for the younger generation.... As I have also asked Kondratiev—at Arensky’s request—to persuade the Direction into giving a performance of his Dream on the Volga, I must warn you that you will meet with great difficulties in gaining your end.... No one knows better than I do how important it is for a young composer to get his works performed at a great theatre, therefore I would be willing to make some sacrifice, if I were sure it would be of any use. But supposing I were to relinquish my commission to compose an opera and a ballet. What would be the result? They would rather put on three foreign operas than risk a new Russian one by a young composer.”
To Modeste Tchaikovsky.
“Kamenka, January 1st (13th), 1890.
“Do you sometimes give a thought to King René’s Daughter?[153] It is very probable that I shall end by going to work in Italy. In that case the libretto ought to be in my hands by the end of January. And the ballet? I shall spend a fortnight at Frolovskoe.”