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Nicolai Rimsky-Korsakov: The Maid Of Pskov

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It was a strange situation, probably unique in the history of opera: two composers who are now world-famous shared an apartment. Either of them worked on an opera at this time. These operas were both about a tyrannical Russian tsar, and not only the action but also the music of the two operas had very much in common. There are scenes sounding like plagiarisms of one another. But it is really difficult, if not impossible, to tell which is the original and which is the copy. In fact, the composers didn't mind. They even helped each other.

The two composers in question are Modest Mussorgsky and Nikolai Rimsky-Korsakov, and the "twin operas" are "Boris Godunov" and "The Maid of Pskov", also known as "Ivan the Terrible". The time when the composers lived together was 1871/72. Rimsky was the first to finish his work, and he was also the first to get it performed (in 1873), while Mussorgsky had to wait one year longer, but when Diaghilev introduced both operas to the West at the beginning of the 20th century, he presented them in reverse order, and "The Maid of Pskov" seemed but a feeble imitation of "Boris". Outside Russia it never caught on. Nor did any of Rimsky's other 14 operas, not even his last, "The Golden Cockerel" (usually known by the French name under which it was produced by Diaghilev, "Le Coq d'or").

Inside Russia, however, especially in St. Petersburg, "The Maid of Pskov" was never forgotten, although it was always ranked below "Boris Godunov". And this is probably how it is: "Boris Godunov" is a masterpiece of the highest rank, to many the greatest of Russian operas, and if Rimsky's "Maid of Pskov" cannot match "Boris", no other opera can. "Boris" apart, however, "The Maid of Pskov" is still a very attractive example of a history-based opera, the genre so beloved by 19th-century Russians, and of high musical merit. Whoever likes this kind of opera will also appreciate "The Maid of Pskov" with its magnificent choruses (especially the so-called "Veche" scene, which certainly is on par with "Boris Godunov"), with Olga's Arietta in the second act, with the soliloquy of the guilt-ridden Tsar Ivan in the last act and with the end, when Ivan bows over the dead body of his illegitimate daughter with the chorus singing a touching hymn and the orchestra transfiguring the scene in a climactic postlude.

Unlike "Boris Godunov", "The Maid of Pskov" contains some genuine love interest, and the female roles are more rewarding. Of course it is strikingly unoperatic that the two characters dying in the course of the action are just shot dead and fall silent without as much as a single moan.

Gergiev's recording with soloists, chorus and orchestra from the Mariinsky (or Kirov) Theatre in St. Petersburg maintains the high standard set by this outstanding opera conductor in previous recordings of other Russian operas. It adheres to the composer's score (in its final 1895 version) quite faithfully. The optional prologue (also known as "Boyarïnya Vera Zheloga") and the extra aria for Ivan, devised for Shalyapin in 1898, are omitted. The opera was recorded live; thus, one hears the otherwise silent crowd trooping onto the stage at the beginning of the "veche" scene.

Still, it is quite a pity that this recording is not available on LD. The reviewer has seen "The Maid of Pskov" twice on the Mariinsky stage and he was greatly impressed, even deeply moved.

The Maid is the closest cousin to Moussorgski's opera Boris Godounov. Aside from sometimes sounding similar, they were written at the same table with Korsakov often times sitting across from Moussorgski. The two were roommates and friends, so the likelihood of them not sharing musical ideas is fairly remote. Though not quite Godounov (couldn't resist the pun) The Maid of Pskov (Pskovitjanka) is great in its own right, especially this final rewrite by the composer. When Korsakov began the work he had not yet developed his full orchestral skills, so I'm sure the rewrite was more than justifiable.

The story is centered about the illegitimate daughter of Ivan the Terrible. It begins with the townsfolk hearing that their "little father" Ivan has awoke on the wrong side of bed and is in the process of wiping out Russian towns he thinks aren't loyal. Like Boris Godounov (the most original and arguably the greatest Russian opera) the opera succeeds in showing a very human side of the Tsar. The magic begins when Ivan looks into his daughter's eyes and sees his lover from youth (now dead).

Everyone in this cast is great. Vladimir Ognovienko (bass) is impressive as Ivan and his interchanges with Galina Gorchakova (soprano) as Olga his daughter (the maid) make this recording a great success. Vladimir Gaiusin (tenor) is a truly wonderful Mikhail and has an excellent duet with Olga. However, the voice and rich character provided by Gennady Bezzubenkov (bass-baritone) carries the bulk of the opera as Price Yuri of Pskov and stepfather to Olga. Having the Philips label guarantees great audio. This is a live performance from the Kirov and therefore has convincing dramatics. And since Russian audiences don't clap, cough, or sneeze until the end of a performance it has the impact of a studio recording.

Most of the Russian opera repertory is just beginning to see the light of day in the western world. This is great for opera lovers because of the selection and depth. The Maid of Pskov is a perfect example. It is, in many ways, as good or better than much in the Italian and French repertory. Buy it! You will play it time and again.

I do not consider myself an expert on Russian opera recordings as I find many of those I like panned in reviews by cognoscenti. My review is geared to those who enjoy Rimsky-Korsakov's works, Russian opera, or opera in general without too much concern for older recordings buried in archives.

What a relief to finally find a digital recording of this important Rimsky work! Part of the reason he landed a job as professor of composition at the St. Petersburg Conservatory was because he'd already written The Maid of Pskov, some tone poems, and his first symphony (without the aid of formal training, but the conservatory directors didn't know this at the time). Rimsky later revised the work heavily as he became the conservatory's best student, keeping a lesson or two ahead of his students! Since it holds such an important part of Rimsky's career, I had to hear it. While an expert may be able to point out a better performance recorded in the 1940's or 1950's, I'm glad to be able to hear it without pops and other recording glitches.

By the way, if you want to hear the prologue recast as "Boyarina Vera Sheloga", you'll probably have to look for the old Fidelio recording (last released under the Capriccio label).

Nicolai Rimsky-Korsakov: The Maid Of Pskov is a 1997 Philips Classics recording starring the Kirov chorus and orchestra from St Petersburg under the direction of Valery Gergiev. The cast is all Russian which is a good indicator that the performance should be fine. The booklet is close to 180 pages long. Starts with a photograph of the composer. Robert Layton has written the music notes. Marina Malkiel has written the synopsis. All the lyrics are available in Russian, German, English and French. Also included are photographs of the performers from the time of the recording. Sound quality is superb. I very much enjoyed it. Highly recommended. 5/5.

The Maid of Pskov was Rimsky-Korsakov's first opera, though the version usually played (and given here) is his third, much later revision. It is rather clear that despite his efforts Rimsky didn't quite manage to chip away all the problematic parts, but it is nevertheless a very interesting work, and one which is in some ways more forward-looking and daring than several of his later operas (there are touches that are reminiscent of Mussorgsky, for instance, something that the composer mostly avoided later). The plot concerns the antics of Ivan the Terrible and his, as it turns out, illegitimate daughter Olga, the Maid of Pskov. Ivan is as deranged and cruel as any mad king in opera, but he is not really the opera's villain; that honor goes to his main adversary, the Boyar Nikita Matuta. In short, and without going into the details of the plot, this is a dark work with much cruelty and evil, and it ends - expectedly - rather badly.

Gergiev has as usual assembled an overall strong cast. Galina Gorchakova is a splendid, full-voiced Olga, particularly in the more lyrical scenes; her lover Mikhail Tucha is also finely portrayed by Vladimir Galusin. As for Ivan, Rimsky's deranged but pained tsar doesn't really have much humanity to him, so when Vladimir Ognovienko isn't really able to conjure much sympathy for him despite much fine singing the blame must go to the librettist. Nikolay Gassiev's Nikita Matuta is another highlight; his is a dark voice that conveys the mysterious insidiousness of his character well neigh perfectly.

As with most Rimsky operas much of the work's merit stems from the orchestral part. As usual, Rimsky is a marvelous orchestrator, and there are many wonderfully atmospheric and splendidly constructed, imaginative orchestral passages, as well as some magnificent chorus scenes. The performance at hand scores some points in this respect; Gergiev tautly upholds (as you'd expect) the forward momentum and view of the larger lines, while also realizing the colors and atmospheres - though with a sense of bloodlust and urgency that may lose a few of the nuances in the more lyrical parts. The response from the Kirov orchestra (and chorus) is generally excellent. The sound is good and so is the documentation, so overall this is a rewarding and easily recommendable release. I wouldn't rank the Maid of Pskov among Rimsky's very strongest operas (it is no Invisible City, Snow Maiden, Christmas Eve or Sadko), even if it contains elements not generally found in Rimsky's other works, but it is still a rewarding and enjoyable experience.