Valery Gergiev - Conductor
Stars: Jevgenij Akimov, Sergei Alexashkin, Olga Borodina.
This is not a popular opera. The synopsis books mention it's usually only performed in Russia. (Which Russian operas ARE frequently performed outside of Russia? Is that a language thing? Oh, maybe not.)
This has the largest quantity of music I love in 1 opera outside of Bizet, Puccini and Wagner. I think I remember old commercials for classical music turned into love songs, shilled by George Sanders, where some of this was used. But much more: the music of the film (and prior musical play) Kismet ('55, Minnelli, MGM) uses the gorgeous stuff from here, mostly the Polovtsian dances.
We get actual dancing here: the Kirov Ballet is credited, along with the Kirov Opera. Although it's the ballet company, no toe shoes were involved. The dancing is made to seem of the period/people: 1185/Turkic nomadic tribe. (Igor is from Putivl, now in Ukraine.) Here are the large pockets of dance: disc1: ch10, ch22-3; disc2: nada.
Of note: the Polovtsian women watching the women dancers in ch10 are costumed, lit and composed like a beautiful painting. Deep shadows, vivid colors, exotic jewelry accenting their lines. I like the look of the production overall, too.
The tenor, Jevgenij Akimov, has a very high, beautiful voice. He doesn't get enough to do.
Next time, make sure you study the faces of Igor and his brother-in-law. With the big beards, they look too similar.
Next time, make sure you study the faces of Igor and his brother-in-law. With the big beards, they look too similar.
My rating may improve with subsequent viewings. I'd recommend studying the synopses before watching next time, because I missed some major event in the Prologue (why not just Act 1?)
The problem as I perceive it now: this is long, not much happens other than the ballets, where the prettiest music resides as well. Since Borodin died before completing this, I wonder if the good stuff is really Rimsky-Korsakov's, or perhaps the other collaborator.
Side note: the protocol seems different for Russian audiences: they don't even applaud at the end of a scene, only when the curtain goes down. And we see the audience at the end; they seem happy with the result. Contrast that with the Met, or Euro venues, where we get curtain calls for the big stars at scene break, and even brief applause when a star first enters. Then again, maybe they had a special protocol that day because the perf was being filmed.
The problem as I perceive it now: this is long, not much happens other than the ballets, where the prettiest music resides as well. Since Borodin died before completing this, I wonder if the good stuff is really Rimsky-Korsakov's, or perhaps the other collaborator.
Side note: the protocol seems different for Russian audiences: they don't even applaud at the end of a scene, only when the curtain goes down. And we see the audience at the end; they seem happy with the result. Contrast that with the Met, or Euro venues, where we get curtain calls for the big stars at scene break, and even brief applause when a star first enters. Then again, maybe they had a special protocol that day because the perf was being filmed.
live opera, cond. Gergiev; 6+
