Prince Igor

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia

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Important Info

Type: Opera

City: Saint Petersburg, Russia

Starts at: 13:00

Acts: 2

Intervals: 1

Duration: 3h 45min

Sung in: Russian

Titles in: English,Russian

Ticket delivery: E-Tickets

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Cast

Performers

Orchestra: Mariinsky Orchestra

Chorus: Mariinsky Chorus

Creators

Composer: Alexandre Borodine

Music Director: Valery Gergiev

Principal Chorus Master: Andrei Petrenko

Musical Preparation: Irina Soboleva

Revival director: Irkin Gabitov

Lighting Designer: Vladimir Lukasevich

Set Director: Vyacheslav Okunev

Costume designer: Vyacheslav Okunev

Overview

The famous Russian chemist Alexander Borodin wrote his largest musical work - a great opera based on a plot from Russian history - for almost eighteen years. He carved out time for creativity, being distracted from a huge number of other, more pressing matters: teaching, experiments in the laboratory, publishing scientific articles. It is not surprising that the opera remained unfinished, although excerpts from it were performed during the author's lifetime - in concerts.
Borodin had a scenario plan, but there was no ready-made libretto, which implied the usual musical forms. The composer himself adapted The Tale of Igor's Campaign, writing musical and poetic text almost simultaneously. Along the way, he studied other sources about the relationship between Ancient Rus' and the steppe, about princely civil strife, about campaigns, battles and cooperation between Prince Igor and the Polovtsian khans. An enlightened amateur, author of symphonies, quartets, romances, while creating the opera, Borodin was guided by a well-known European model - a great French opera with numerous choirs, dramatic scenes, extended monologues, ballet numbers. But, sharing the hobbies of his comrades in the Mighty Handful circle, he sought to saturate the melody with specifically Russian intonations and oriental motifs.
"Prince Igor" is an opera about the clash of two cultures, about the suffering of people involved in the war, about Russian unrest, betrayal and betrayal, about love and devotion. Here, relatives are escorted to the battle, they languish in the unknown, mourn those who have not returned. However, Borodin does not paint the world in black and white, the opponents of Prince Igor - the Polovtsy - got not only a hard, warlike march and barbaric frantic dances, but also lingeringly spicy bewitching tunes.
Since the opera was left unfinished, the authors of the performance must decide how to put the puzzle together from the available material. Most of the productions are based on the version by Rimsky-Korsakov and Glazunov made for the Mariinsky Theater (1890) after the composer's death and which has become canonical. But today the theater deviates from this version, offering a different sequence of pictures. After the prologue, where Igor's squad goes on a campaign, an overture sounds, written by Glazunov based on the memoirs of the performance of the overture by Borodin himself. Her battle episode depicts a battle for the public, after which Prince Igor is captured. The next picture takes the listeners to the camp of nomads, where Khan Konchak offers the prince to be not an enemy, but a dear guest and entertains him with songs and dances of slaves. After the intermission comes the second Polovtsian act, usually omitted during productions, but important because of Igor's aria "Why didn't you fall on the battlefield" (Mariinsky ordered the orchestration of this Borodin's autograph to St. Petersburg composer Yuri Falik). Then the action is again transferred to Putivl: the lament of Yaroslavna and the choir of the villagers, which, in the version of Rimsky-Korsakov, opened the fourth act of the opera, now precede two scenes from the first - the scene at Prince Galitsky and the scene of Yaroslavna with her rebel brother. The finale of the first act, with the sinister strikes of the tocsin and with the expectation of a Polovtsian raid, also becomes the finale of the work, where the protagonist, who has escaped from captivity, suddenly appears on the last chords.
If musically, today's version of the opera takes into account the bills opened in the 1995 production, then the set design reproduces the performance of the Kirov Theater in 1954. Sketches of scenery and costumes for it were created by artists Nikolai Melnikov and Nina Tikhonova. This is an example of a grand style, where ancient Russian churches, fortress walls, tents of the Polovtsy, the princess's tower appear on the stage almost in full size. The picturesque scenery captivates with the richness of the palette and illusory credibility. The famous "Polovtsian Dances" are choreographed by Mikhail Fokine - the same one that was first shown as part of Diaghilev's Russian Seasons in 1909 in Paris. Diaghilev, sensitive to the West's request for Russian exoticism, then introduced the public only to the second act of the opera, the most "barbaric". The success turned out to be such that "Polovtsian Dances" were invariably included in the program of all Diaghilev's seasons until 1929.
Today, one of the most important operas of the Russian repertoire appears at the Mariinsky as the heir to the searches that are rich in the Russian tradition of the twentieth century, and as a work capable of new versions and work with the author's text.

Anna Petrova

History

Premiere of this production: 04 November 1890, Mariinsky Theatre, Saint Petersburg

Prince Igor is an opera in four acts with a prologue, written and composed by Alexander Borodin. The composer adapted the libretto from the Ancient Russian epic The Lay of Igor's Host, which recounts the campaign of Rus' prince Igor Svyatoslavich against the invading Cuman ("Polovtsian") tribes in 1185.

Synopsis

ACT I

PROLOGUE
A Square in the Ancient Russian City of Putivl
Prince Igor, together with his son Vladimir and his army of warriors, is getting ready for a campaign against the nomadic Polovtsians who are launching devastating attacks on Russia’s virginal lands. The people greet Igor and the warriors and wish them victory.
Suddenly it gets dark – a solar eclipse begins. The people, the princes and the boyars regard this as an ill omen, an inauspicious sign, and advise Igor to put off the campaign. The Prince’s wife Yaroslavna also implores him to stay at home. But Prince Igor is unbending. He is certain that his cause is just – he will defend Russia.
The prince bids farewell to his wife and tenderly consoles her, giving assurances that she need not worry about him and should await his victorious return. He entrusts Yaroslavna to the care of her brother, Prince Vladimir Galitsky, whom he appoints as his deputy in Putivl.
Unnoticed, two warriors, Skula and Yeroshka, leave Igor’s army; it is their intention to join the service of Prince Galitsky.
After being blessed, Igor and his detachment set off for the campaign.

OVERTURE
Evening in the Polovtsian Camp
The Polovtsian maidens are trying to amuse Konchakovna, the daughter of Khan Konchak, with songs and dances. All her thoughts are focussed on the captive youth – Prince Vladimir.
Konchakovna impatiently waits for a moment when she can see him.
Igor’s son Vladimir appears, and is charmed by Konchakovna.
But Prince Igor does not wish even to hear of Vladimir’s marriage. Konchak, however, agrees to marry his daughter to the Russian prince.
Prince Igor cannot sleep. He is oppressed by gloomy thoughts. It is not easy to overcome the shame of defeat and captivity. It is hard to accept the thought of his native land being enslaved. Igor passionately yearns for freedom in order to liberate Russia. He tenderly recalls his beloved wife Yaroslavna.
Suddenly Ovlur, a baptized Polovtsian, comes to him. He offers Igor his help to escape from captivity. But the latter refuses – a Russian prince ought not to flee.
The Polovtsian Khan Konchak bestows high honours on Igor as his honoured guest. He promises to free him if he agrees never to raise his sword against the Polovtsians again. But Igor rejects Konchak’s proposal and does not hide his intentions: once free he will assemble his forces and make war against the Polovtsians once more.
The pride and valour of the Russian prince delight Konchak.
On the Khan’s orders, the captive women and warriors entertain Igor to dispel his gloomy thoughts with dances glorifying the mighty Konchak.

ACT II

The Polovtsian Camp
Khan Gzak, sent on a campaign by Konchak, returns with captive Russians and rich plunder. Knowing of the disaster that has befallen his native Putivl, Prince Igor regrets his deeds and calls on the Russian princes to unite together. To save their native land, Igor conceives a plan to escape. Konchakovna raises the alarm. But Igor and Ovlur manage to take cover. The wrathful Polovtsians demand the death of his son Vladimir, but Konchak not only grants him pardon, but decides that Konchakovna may marry Vladimir into the bargain.

The City Walls of Putivl
In the morning, Yaroslavna, having abandoned all hopes of Igor’s return, mourns his loss. Addressing the wind, the sun and the River Dnepr, she awaits their answer: where is Igor and what has happened to him? Yaroslavna’s lament is repeated by the mournful song of the villagers who lament the destruction and scorching of the land.

The Court of Prince Vladimir Galitsky
Prince Galitsky is feasting at a lavishly laid table, with his servants led by Skula and Yeroshka. His power is limited – he would like to send Yaroslavna to a nunnery and become the Prince of Putivl by dethroning Prince Igor.
Agitated maidens run into the courtyard. They beg Prince Galitsky to liberate their girlfriend who was taken by warriors into a chamber for amusement. But the prince drives the maidens out to the amusement of the drunken crowd.
The drinking-bout reaches its culmination. Skula and Yeroshka, bribed by Prince Galitsky, together with the warriors whose boldness grows from the revelry incite the people to mutiny: “We shall depose Igor and elevate Vladimir to the throne! What do we have to fear?”

A Chamber in Yaroslavna’s Terem Palace. Alarm
The Princess feels uneasy. Troublesome dreams and gloomy presentiments remain with her day and night. She has had no news from the Prince for a long time. And she sees the strife and plotting around her by the princes, even her own brother Vladimir has conceived some evil deed, hoping to dethrone Prince Igor and become the Prince of Putivl.
The sudden arrival of the girls whom Prince Galitsky has driven out from the court distracts Yaroslavna from her sad thoughts. The girls implore the Princess to defend them from their offender. Yaroslavna accuses her brother of treason and treachery, but she cannot reason with him. Called on by the Princess to answer, Prince Galitsky conducts himself impertinently, claiming power in Putivl.
The boyars arrive with gloomy news: Igor’s armed force has been defeated and the Prince himself imprisoned with his son; the Russian princes wallow in dissent, while hordes of Polovtsians march on Russia. Disturbed by what she has heard, Yaroslavna wishes to interrogate the messengers herself. Meanwhile, Prince Galitsky and his servants seize the moment and stir up a rebellion. The alarm bell is heard, heralding danger – the Polovtsians are approaching Putivl. The boyars and the people are filled with resolve to defend their lands.

Time: The year 1185
Place: The city of Putivl (prologue, Acts 1 and 4); a Polovtsian camp (Acts 2 and 3)

Prologue
The cathedral square in Putivl

Prince Igor is about to set out on a campaign against the Cumans/Polovtsy and their Khans who have previously attacked the Russian lands. The people sing his praise and that of his son, the other leaders and the army (Chorus: "Glory to the beautiful Sun"). A solar eclipse takes place to general consternation. Two soldiers Skula and Yeroshka desert feeling sure that Vladimir Yaroslavich, Prince Galitsky, will offer them work more to their liking. Although Yaroslavna, Igor's wife, takes the eclipse for a bad omen, Igor insists that honour demands that he go to war. He leaves her to the care of her brother, Prince Galitsky, who tells of his gratitude to Igor for sheltering him after he was banished from his own home by his father and brothers. The people sing a great chorus of praise (Chorus: "Glory to the multitude of stars") as the host sets out on their campaign against the Polovtsy.

Act 1
Scene 1: Vladimir Galitsky's court in Putivl

Galitsky's followers sing his praise. Skula and Yeroshka are now working as gudok-players. They entertain the followers and all sing of how Galitsky and his men abducted a young woman and how she pleaded to be allowed to return to her father without being dishonoured. The prince arrives and sings of how, if he were Prince of Putivl, he would drink and feast all day while dispensing judgment and have the prettiest maidens with him all night (Galitsky's Song). The treasury would be spent on himself and his men while his sister would be praying in a monastery. A group of young women beg the prince to restore their abducted friend. He threatens them and drives them away, saying how she now lives in luxury in his quarters and does not have to work. The prince returns to his rooms having sent for wine for his followers. The gudok players and the prince's followers mock the women. They wonder what might happen if Yaroslavna hears of what happens, but then realise she would be helpless with all her men gone to war. They sing of how they are all drunkards and are supported by Galitsky. The men decide to go to the town square to declare Galitsky the Prince of Putivl, leaving just the two drunk musicians behind.

Scene 2: A room in Yaroslavna's palace

Yaroslavna is alone worrying about why she has not heard from Igor and his companions (Yaroslavna's Arioso). She sings of her tearful nights and nightmares and reminisces about when she was happy with Igor by her side. The nurse brings in the young women who tell Yaroslavna of their abducted friend. They are reluctant at first to reveal the culprit but eventually name Galitsky and talk of how he and his drunken followers cause trouble around Putivl. Galitsky enters and the women run away. Yaroslavna questions him as to the truth of their story and he mocks her saying she should treat him as a guest in her house. She threatens him with what Igor will do on his return, but Galitsky replies that he can seize the throne whenever he wants. Yaroslavna accuses him of repeating the betrayal that he carried out against their father, but he replies that he was only joking and asks if she has a lover now her husband is away. She threatens him with sending him back to their father. He replies that he will return the girl but will take another later and leaves. The council of boyars arrive to inform Yaroslavna that the Polovtsy under Khan Gzak are about to attack Putivl. Igor's army has been utterly destroyed and he has been wounded and captured with his son and brother. After a moment of faintness, Yaroslavna orders messengers sent to the city's allies, but the Boyars report that the roads are cut, some towns are in revolt and their princes will be captured. The Boyars say that they will organise the defence but Galitsky returns with his followers to demand that a new Prince be chosen. His retinue say it should be him as he is Yaroslavna's brother and Igor's brother-in-law. The boyars refuse. The argument is interrupted by the sight of flames and the sound of crying women. Some of the boyars flee; some join the battle, others guard the Princess. They call the attack God's judgment.

Act 2
Evening in the Polovtsian Camp

Polovtsian maidens sing comparing love to a flower that droops in the heat of the day and is revived by night. They dance together (Dance of the Polovtsian Maidens). Konchakovna joins in the singing hoping that her own lover will join her soon (Konchakovna's Cavatina). The Russian prisoners arrive from their day's work and express their gratitude when fed by Konchakovna and the maidens. Their guards retire for the night leaving just Ovlur, a Christian, in charge. Vladimir, son of Igor, sings of his hope that his love will soon join him now that the day is fading (Vladimir's Cavatina). His love is Konchakovna. She comes and the two sing of their love and their desire to marry (Love Duet). While her father will consent to the marriage, they know that his will not. They part when they hear Igor coming. He sings of his disgrace and torment at being captured with his followers dead (Prince Igor's Aria). Only his wife, he feels, will be loyal. He hopes for the chance to regain his honour. Ovlur urges Igor to escape and the prince agrees to think about it. Khan Konchak asks him if all is well (Konchak's Aria) and he replies that the falcon cannot live in captivity. Konchak says that as Igor did not ask for mercy he is not a prisoner but an honoured guest equal to a Khan. Igor reminds him that he too knows what it is to be a captive. Konchak offers Igor freedom if he will promise not to wage war on him again, but he refuses saying he cannot lie. Konchak regrets that they were not born to be allies. They would then have captured all of Russia. He summons the Polovtsian slaves to entertain Igor and himself and offers Igor his choice of them. As the slaves dance the Polovtsy sing of Konchak's glory (Polovtsian Dances).

Act 3
The Polovtsian camp

The Polovtsian army returns in triumph singing the praise of Khan Gzak (Polovtsian March). Konchak sings of the sack of Putivl and other victories and confidently predicts that they will soon capture all of Russia. Igor and his son Vladimir have their worst fears confirmed by the new captives. Vladimir and the other prisoners urge Igor to escape, but he is at first reluctant, singing of his shame and saying that it is the duty of the other Russian princes to save the homeland (Igor's Monologue, Mariinsky edition only). Ovlur now arrives to say that he has prepared horses for Igor and Vladimir and Igor now agrees to escape. The distressed Konchakovna comes, challenging Vladimir to show his love by either taking her with him or by staying. Igor urges his son to come, but Vladimir feels unable to leave Konchakovna who threatens to wake the camp. Eventually Igor flees alone and Konchakovna sounds the alarm. She and her father refuse to let the Polovtsy kill Vladimir. Instead Konchak orders the death of the guards and marries Vladimir to his daughter. As for Igor, Konchak thinks more of him for his escape.

Act 4
Dawn in Putivl

Yaroslavna weeps at her separation from Igor and the defeat of his army, blaming the very elements themselves for helping the enemy (Yaroslavna's Lament). Peasant women blame not the wind but Khan Gzak for the devastation. As Yaroslavna looks around to acknowledge the destruction, she sees two riders in the distance who turn out to be Igor and Ovlur. The two lovers sing of their joy of being reunited and of the expectation that Igor will lead the Russians to victory against the Khan. Unaware of Igor's return, Skula and Yeroshka, the drunken gudok players, sing a song that mocks him. Then they notice him in the distance. After a moment of panic about what will happen to them, Skula says that they should rely on their cunning and decides on a plan that will save them. They ring the church bells to summon a crowd. Although people at first treat them with suspicion, the gudok players manage to convince the crowd that Igor has returned and the boyars that they are loyal followers of the true prince and not Galitsky. All joyously celebrate Igor's return.

Venue Info

Mariinsky Theatre - Saint Petersburg
1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.