Customer Reviews

Glinka: Ruslan And Lyudmila

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After Mikhail Ivanovich Glinka enjoyed the success of his first opera "A Life for the Tsar" (1836), he set his sights on his next operatic project, "Ruslan and Ludmilla" (based on Alexander Pushkin's mock-epic story). The score, which Glinka started in 1838, was finished by 1842. The premiere took place on November 27th of that year and unlike the premiere of "A Life for the Tsar", Ruslan and Ludmilla" generated more of a mixed response from the audience and the critics alike. While some praised Glinka's use of Russian and Caucasian folk music and his vivid and imaginative orchestration, others criticized the work for its lack of drama.

Yet on the other hand, "Ruslan and Ludmilla" became a very important work for the next generation of composers. Tchaikovsky called the work "the tsar of operas" whereas Mily Alexeyevich Balakirev and his group (the Russian Five or Moguchaya Kuchka) used the opera in advocating the essence of nationalism in writing Russian music. Balakirev effectively pointed out the orientalism in "Ruslan and Ludmilla" in furthering the cause against western cosmopolitanism. In fact, "Ruslan and Ludmilla" was Balakirev's bible of sorts and generations of composers after the 1880s understood the importance of Glinka's work for the sake of Russian art thanks largely to Balakirev (although "A Life for the Tsar" was the first to use Russian folksongs).

Curiously, compared to "A Life for the Tsar", "Ruslan and Ludmilla" fared less well in recordings, even though performances of these operas are few & far in between. The 1952 recording featuring Kyrill Kondrashin and the Bolshoi was among the earliest recording of the score (Samuel Samosud recorded it earlier, in 1937, and it is considered by many to be finest version ever, even with cuts made during that performance). This gem of the work had to had to wait until 1983 for another recording, that of Yuri Simonov and the Bolshoi (again, with minor cuts). A twelve year gap separates that from the 1995 Kirov production with Gergiev on the podium. And it is this maestro who, like Kondrashin earlier, remains totally faithful to the full edition of the score.

As for the performance, Gergiev and the Kirov Orchestra and Chorus come up huge, with plenty of excitement & absolute vividness. Only Kondrashin and the Bolshoi places a bit more of an élan in that vintage recording while Simonov's take is memorable to say the least. The singers overall are spectacular in this Philips recording. Anna Netrebko is probably the best Ludmilla currently on record while Vladimir Ognovienko (in Ruslan) gives the character more of a purpose (in finding the abducted Ludmilla). Irina Bogachova (as Naina) and Galina Gorchakova (as Gorislava) sing with warmth and intimacy with such professionalism and admiration for Glinka's fantastical score (as with the rest of the cast).

But the legendary though largely forgotten singers in the Kondrashin/Bolshoi recording scores even higher. The steller cast of great singers, which includes Ivan Petrov (Ruslan), Vera Firsova (Ludmilla), Georgi Nelepp (Finn), Aleksei Krivchenya (Farlaff) Yevgenya Verbitskaya (Ratmir), and Sergey Lemeshev (Bayan), sang with a marginally greater sense of panache & artistry than the current version here. That recording was re-issued briefly by Voce della Luna label (VL 2006-3) under Jem Music Corporation from the original Melodiya recording) and it's to me the most special of the recordings ever made.

That said, the Philips album, with great sound and presentation, is highly recommended. But for me, the Kondrashin/Bolshoi recording takes first place.

As a country, we have been truly unfortunate when the proletariat such as moskvich came to power in 1917 and has effectively wiped out the intelligencia. Had it not been for people like this, the two theaters could enjoy a fruitful working relationship, utilizing the talent of Mariinskiy (Kirov) and the experience of Bolshoi. Truly a shame.
The recording at hand has much overlooked bass Vladimir Ognovenko as Ruslan and the talented and beautiful Anna Netrebko as Lyudmila. Ognovenko's bass at first would seem too sonorous for the role of youthful Ruslan, but he manages a fiery rendition of "Dai Perun mne mech bulatnyi" cabaletta where he shows that a bass can be cast in parts other than "dads, bads, and priests". This Ruslan also has the best Farlaf (cowardly knight) on record - Gennadiy Bezzubenkov. Ratmir is sang by Larissa Diadkova, whom Opera News rightfully calls The Enchantress. Even the supporting roles are done by great singers, e .g. Michail Kit as Vladimir, Lyudmila's father.
I would like to recommend folks who are relatively new to Russian opera to read a translation of Alexander Pushkin's poem prior to listening to the recording. You'll find the most fascinating aspect of it - Chernomor, the evil wizard is played by... the orchestra. Enjoy!

Vasiliy Nikolaevich Nikitskiy

Like many people, I am familiar with the overture to Ruslan and Lyudmila but have never heard the opera. Mikhail Glinka's reputation as the father of Russian opera rests on just two works: A Life for the Tsar and Ruslan. Of the two, Ruslan is Glinka's masterpiece, but it was not recognized for what it was at its premiere in 1842. The lukewarm greeting poisoned Glinka's mind against writing another opera and it is said that he left Russian in disgust for Germany never to return. The orchestration is very colorful and vividly creates the mood of the story. Glinka included parts for piano, harp, tambourine, glockenspiel and glass harmonica.

Glinka poured all of his genius into this charming magic-opera, based on a mock epic by Pushkin. What makes the opera fun are the fantastic elements in the story with no less than three magicians trying to turn events in their favor. The story is a bit convoluted but here goes a synopsis: Lyudmila is about to be married to Ruslan when the sorcerer Chernomer abducts her. Ruslan, and two other former suitors Ratmir and Farlaf, set out to rescue her. A good sorcerer named Finn helps Ruslan and Farlaf, a cowardly knight, happens upon the sorceress Naina who agrees to help him defeat Ruslan. Ruslan himself has an adventure confronting an enormous head that is the brother of Chernomer that is guarding a sword that was predicted to be the weapon that would kill Chernomer. Ruslan kills the head and takes the sword. Naina attempt to Ratmir and Ruslan to her magic castle to kill them but she is thwarted by Finn who breaks her spell. Ratmir and Ruslan join forces to save Lyudmila. When Ruslan confronts Chernomer, Lyudmila, is put under a magic sleeping spell. Ruslan has no difficulty dispatching the wizard with the sword but the spell cannot be broken. The sleeping Lyudmila is adducted, yet again, by Farlaf, who is, likewise, unable to break the spell. Finn comes to the rescue by giving Ratmir a magic ring that wakens Lyudmila when it touches her. The opera ends with general rejoicing.

This recording of the opera by Valery Gergiev and the Kirov is a live performance, which lends some additional excitement to the action. The audience is quiet except for applause between the scenes and at the end of the acts. This is a dream cast with Anna Netrebko as Lyudmila, Vladamir Ognovienko as Ruslan, Galina Gorchakova as Gorislava, the lover of Ratmir, Larissa Diadkova as Ratmir and Konstantin Pluzhnikov as Finn. The Kirov Orchestra is simply superb in their energetic playing and beautiful phrasing. This is definitely an opera to have.

What a fantastic recording. I love Russian opera...and this recording marks the 11th in my Russian opera series...and is quite different. I was quite shocked...after all Glinka was the father of Russian opera. Although it laid the foundations for Tchaikovsky, Moussorgsky, Rimsky-Korsakov, Borodin, Prokofiev, etc...it is much different from their works.

This is Belcanto, something I was not expecting- exciting and beautiful...you can definitely hear the Donizetti influence here. Even Bellini and Rossini. Quite thrilling in fact. Very entertaining...one wonderful melody after another....glorious. Music is beautiful, cast is wonderful. You just can't go wrong with Gergiev at the helm of the Kirov.

Most recommend in the Russian canon, along with Boris Godounov and Lady Macbeth of Mtsenk!

Known as the father of Russian opera, Ruslan & Lyudmila's historical importance in the development of Russian art music cannot be underestimated. I am not quite sure that this alone qualifies it as a masterpiece, but it is still a fabulously inventive and rather captivating work. This set was also Anna Netrebko's first big recording and among the things that first drew wide international attention to her. And she is indeed fabulous in the role as Lyudmila; her tone is clean and clear and pure, but remarkably expressive nonetheless - a really outstanding performance.

The other roles may not be as distinctive, but are generally very good or at least agreeable. Vladimir Ognovienko has a full bass-baritone voice for Ruslan, and characterizes the role well even if the actual singing isn't always very distinctive. I was perhaps more taken with Gennadi Bezzubenkov's well sung Farlaf and (not the least) Larissa Diadkova's Ratmir. Galina Gorchakova's Gorislava is also generally brilliant, but some of the other roles, such as Yuri Marusin's Bayan, are a little flat and wearisome (but at least Marusin is intermittently very convincing).

Where this set really scores is with the orchestral playing, however. The overture is red-hot and exhilarating, though perhaps not as exuberant as some versions - Gergiev drives the music here and elsewhere with passion, spirit and momentum, but not always with a lot of fun. Still the attention to detail is admirable, and Gergiev and the Kirov orchestra (and chorus) are superb not only in the faster music, but also admirably sensitive and passionate in the more reflective movements - and we do indeed get lots of fairy tale charm. The sound quality is good (it is a live performance, however, although you rarely hear much intrusive noise). But don't let the small caveats mentioned in passing deter you; this set is probably the best around of this fascinating opera (I have not heard the Kondrashin version championed by some other reviewers, though) and a great success; strongly recommended.

Glinka: Ruslan And Lyudmila is a recording under the direction of Valery Gergiev who leads Kirov Chorus and Orchestra from St Peterburg on this Phillips Classics Productions recording from 1996. The sound quality is quite remarkable and it verily feels as if one is watching this live in St Petersburg and not at home. The booklet is 175 pages long and includes lyrics in Russian, English, German and French. Deborah Calland has written a well-written essay entitled "The Tsar of Operas Glinka's 'Rusland and Lyudmilla" and we also get a synopsis. The booklet also contains many fine photographs from the time of the recording. Russian is a very melodic language and listening to the singers is truly a pleasure. Highly recommended. 5/5.

Before I listened to this recording, I didn't know about this opera. I had listened to the most famous overture. But I saw this recording in a CD shop(Sorry, Amazon!), I wanted to buy it. Because Gergiev is one of my favorite conductor, Gorchakova is one of my favorite soprano! I think this set is worth buying. Maybe, many people doesn't know about this opera like me, but this opera is very colorful and very charming. I love it. I hope Gergiev and Kirov opera will record a lot of Russian opera many people doesn't know. Bravo! Bravo! Bravo!

.... I would like to point out that the only good thing about this Leningrad version is the conducting of Gergiev, which is, by the way not better than Simonov's and especialy Kondrashin's. That is obvious, since Gergiev is an Osetian, and not a Slav in any way, and there is nothing worse than foreigners trying to uncover the Russian soul. Since the whole Mariinsky company has one bass, Bezzubenkov, they try to feature him in most recordings. There was a very good singer from Kazakhstan, Bulat Minzhelkiyev, but he died a few years ago. Ognovenko, who without question is much more a baritone than bass, sounds not like Ruslan, but more like Liudmila's great-grandfather, since every time he opens his mouth, we get an impression that we hear a ninety year old. Without question, for him the best role to sing would be Pimen is Boris Godunov. Netrebko, who looks very well, and is, without question a very charming girl, just can not fully understand Liudmila's character. She sing all right, but her acting skills are far from the level of her Moscow collegues. On the other hand, the character roles are sung very well by Pluzhnikov, who can't help sounding a little like Shuiskiy, and Bogachova. Gorchakova, one of the most over-rated singers in the world today, is nothing compared to Vishnevskaya, Milashkina, Kasrashvili and Kalinina. The Gorislava of Nina Fomina on the Bolshoi version is far better. When you listen to this version, you get an impression, that you are listening to a very bad Russian-language version of a mixture of Mozart and Rossini. All of the singers on this set lack the russian "matalic" vibrato. In fact, this sounds like cheao Italian bel-canto. The truth is, the modern Kirov is a theater of one conductor. Unfortunately, after the so called democrats got control over power in the country, the Bolshoi lost a lot of money, which he got from the cultural communist, and a coucasian businessman known as Gergiev quicly invited some singers to his theater and took them a few trips abroad. The Bolshoi singers are even now on a higher level. As I said earlier, the Kirov does not have good basses - Bolshoi has Nesterenko, Matorin, Glubokiy, Mikhailov and Nizenko. The only worthy baritones in Lenngrad are Putilin and Gerello, while Moscow has Redkin, Bukin, Vedeneyev, Murzayev and Nechayev. The tenors in the Kirov are not that bad - they have Galuzin, Marusin and the young Akimov, but the Bolshoi has Tarashenko, Maisuradze and a very young Andrey Dunayev, and of course Zurab Sotkilava still appears on the stage. If you are interested at the real jewels of Russian vocal music, buy the "Russian Season" Bolshoi recordings.