Notes & Reviews:
The aria is tenderly sung by Ekaterina Kudriavchenko, who handles with great sensitivity this portrayal of a figure familiar from many Russian novels and operas, the suffering heroine. Lyubasha is potently sung by Nina Terentieva, somewhat in the charged manner of another Marfa, that of Mussorgsky's Khovanshchina. She suggests banked fires of passion, sings her unaccompanied song caressingly, and rounds with both dignity and rage on the slimy Bomelius (Vladimir Kudriashov) even as she consents to his advances for the sake of his potions, snarling at him the word "nemets": translated by the libretto as "monster". Gryaznoy's opening aria is also a difficult one, for Rimsky gives him a melodic line that presents him as a character of some sympat hy, if we do not know that he is regretting that he is now getting too old for the rapes he used to enjoy so much and is casting his eyes on the innocent Marfa instead of his mistress Lyubasha.Vladislav Verestnikov rightly handles this with a kind of blunt strength that does not give away too much. Later, he suggests an increasing and destructive tension, while also a certain magnificence.
Recording information: 1992.
ReviewsThere are currently no reviews, be the first one!
Works DetailsRimsky-Korsakov, Nikolai : The Tsar's Bride
- Conductor: Andrey Chistiakov
- Ensemble: Bolshoi Theatre Orchestra
- Running Time: 12 min. 54 sec.
- Period Time: Post Romantic
- Form: Opera/Operetta
- Written: 1898