- Khovanshchina
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- For the 1960 Soviet film based on this opera, see Khovanshchina (film).
Modest Mussorgsky 
Operas- Salammbô (1866)
- Marriage (1868)
- Boris Godunov (1872)
- Khovanshchina (1880)
- The Fair at Sorochyntsi (1880)
Khovanshchina (Russian: Хованщина, Hovánščina, sometimes rendered The Khovansky Affair) is an opera (subtitled a 'national music drama') in five acts by Modest Mussorgsky. The work was written between 1872 and 1880 in St. Petersburg, Russia. The composer wrote the libretto based on historical sources. The opera was unfinished and unperformed when the composer died in 1881.
Like Mussorgsky's earlier Boris Godunov, Khovanshchina deals with an episode in Russian history, first brought to the composer's attention by his friend Vladimir Stasov. It concerns the rebellion of Prince Ivan Khovansky, the Old Believers, and the Streltsy against Peter the Great, who was attempting to institute Westernizing reforms to Russia. Peter succeeded, the rebellion was crushed and (in the opera, at least) Khovansky's followers committed mass suicide.
Nikolai Rimsky-Korsakov completed, revised, and scored Khovanshchina in 1881–1882. Because his extensive cuts and "recomposition", Dmitri Shostakovich revised the opera in 1959 based on Mussorgsky's vocal score, and it is the Shostakovich version that is usually performed. In 1913 Igor Stravinsky and Maurice Ravel made their own arrangement at Sergei Diaghilev's request. When Feodor Chaliapin refused to sing the part of Dosifei in any other orchestration than Rimsky-Korsakov's, Diaghilev's company employed a mixture of orchestrations which did not prove successful. The Stravinsky-Ravel orchestration was forgotten, except for Stravinsky's finale, which is still used.
Although the setting of the opera is the Moscow Uprising of 1682, its main themes are the struggle between progressive and reactionary political factions during the minority of Tsar Peter the Great and the passing of old Muscovy before Peter's westernizing reforms. It received its first performance in the Rimsky-Korsakov edition in 1886.
Though not as well known as Boris Godunov, this opera is, in some ways, more accessible. The pace of the action is slow, but there is more in the way of traditional vocal writing compared to the earlier opera's use of a more speech-like style. The plot of Khovanshchina is difficult to follow, but the story is grittier and the characters are more believable. There are also some fiery set-pieces, in particular the "Dance of the Persian Slaves" and the spectacular mass suicide of the Old Believers in the final scene.
Contents
Performance history
Autograph vocal score of Khovanshchina,
featuring "Dawn on the Moscow River" (1874)The St. Petersburg and world premiere took place on 21 February (9 February O.S.), 1886 using the Rimsky-Korsakov version. Also in St. Petersburg on 27 October 1893 the opera was presented by artists of the Russian Opera Society.
The Russian Private Opera presented the Moscow premiere at the Solodovnikov Theater on 12 November 1897 conducted by Michele Esposito, with scene designs by Konstantin Korovin, Apollinary Vasnetsov, and Sergey Malyutin. There were 1910 and 1911 productions in the two cities, the first by the Zimin Opera in Moscow and conducted by Palitsīn scenes by Matorin, while the second was at St. Petersburg's Mariinsky Theatre and conducted by Albert Coates.
In 1913 the opera reached Paris where Emil Cooper (Kuper) conducted a performance at the Théâtre des Champs-Élysées of a Diaghilev production. The orchestration was made collaboratively by Igor Stravinsky and Maurice Ravel. However, Feodor Chaliapin was unwilling to sing Dosifei to any orchestration other than Rimsky-Korsakov's. So the Parisians heard some hybrid version which appeared unsuccessful, and this orchestration was forgotten. Only the finale, which was composed by Stravinsky, has survived and was published in 1914. Occasionally it replaces the finale of Dmitri Shostakovich's version in some productions, such as Claudio Abbado's 1989 production in Vienna.
That same year it was presented in London at the Theatre Royal Drury Lane and, finally, in 1931, in New York.
The Shostakovitch version was first presented on 25 November 1960 at the Kirov Theater, conducted by Sergey Yeltsin, in an edition by Pavel Lamm, with set design by Fedorovsky.
Khovanshchina has appeared on stage at the Metropolitan Opera in New York City for 32 performances (through 1999) since its first performance there in 1950, in a production (sung in English) that featured Risë Stevens and Jerome Hines, although excerpts were performed by the Met as early as 1919. Of that number, 27 performances have been staged since 1985 in the noteworthy production by August Everding and Ming Cho Lee.[1] Performances of Khovanshchina by visiting Russian companies have also appeared at the Met. More recently, it was performed by Welsh National Opera in both Wales and England as well as at the Bayerische Staatsoper in Munich under Kent Nagano in 2007.
Khovanshchina is not seen on stage often, especially in the West. It has been recorded several times.
Affiche for a performance at the Solodovnikov Theatre (Moscow, 1897)
Roles
Role Voice type Premiere cast
21 February (9 February O.S.), 1886
St. Petersburg
(Conductor: Eduard Goldshteyn)Moscow cast
Zimin Opera, 1910
(Conductor: Palitsyn)St. Petersburg cast
Mariinsky Theatre, 1911
(Conductor: Albert Coates)Prince Ivan Khovansky, head of the Streltsy bass Anton Bedlevich Zaporozhets Vasily Sharonov Prince Andrey Khovansky, his son tenor Pyotr Inozemtsev Andrey Labinsky Prince Vasiliy Golitsin tenor Yekab Karklin Anton Sekar-Rozhansky Ivan Yershov Dosifey, head of the schismatics (Old Believers) bass Vasily Petrov Feodor Chaliapin Boyar Fyodor Shaklovity bass-baritone Sokolov Nikolay Shevelyov P. Andreyev Marfa, a schismatic mezzo-soprano Selyuk Vera Petrova-Zvantseva Yevgeniya Zbruyeva Susanna, an old schismatic soprano Scrivener tenor Emma, a maiden from the German quarter soprano Antonova Pastor baritone Varsonofyev, a retainer of Golitsin bass Kuzka, a strelets (musketeer) tenor Streshnev, a Boyar tenor Chorus: Streltsy, schismatics, serving girls and Persian slaves of Prince Ivan Khovansky, Peter's poteshniye (soldiers), people Instrumentation
Shostakovich Orchestration:
- Strings: Violins, Violas, Cellos, Double Basses
- Woodwinds: 2 Flutes, 1 Flute/Piccolo, 2 Oboes, 1 Oboe/English Horn, 2 Clarinets, 1 Clarinet/Bass Clarinet, 2 Bassoons, 1 Bassoon/Contrabassoon
- Brass: 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba
- Percussion: Triangle, Tambourine, Timpani, Bass Drum, Snare Drum, Cymbals, Tam-tam, Bells, Glockenspiel
- Other: Piano, Harp, Celesta
- On/Offstage: Unspecified numbers of Horns, Trumpets, Trombones
Synopsis
Time: The year 1682
Place: Moscow
Background and Theme: The principal theme of Khovanshchina is stated outright in the choral number "Akh, ty Rodnaya, Matushka Russ" ("Oh poor Motherland"), which laments that Russia is bleeding and dying not because of a foreign enemy, but because of fragmentation within. Something like a three-way civil war is in progress. Tsar Peter is modernizing, and two powerful forces are resisting his changes: the Streltsy and the Old Believers. The Streltsy are decommissioned elite soldiers/guards ("Streltsy" literally means "shooters", just like "musketeers"), past their prime and on indefinite furlough. They are fanatically loyal to Prince Ivan Khovansky. The Old Believers are Russian Orthodox Christians who have left the state-sponsored church because it went along with Tsar Peter's changes. Their leader is Dosifey. Fortunately for Tsar Peter, these two factions despise each other, as the Streltsy are rowdy degenerates and the Old Believers are pious ascetics. Each of the three principal basses in the opera believes himself to represent the "true" Russia against her internal enemies: Prince Ivan Khovansky by noble birth and military prowess, Dosefei by religion, and Shaklovity by supporting Tsar Peter.[2]
Act 1
Moscow, Red Square
Shaklovity, a Boyar and agent for Tsar Peter, dictates a letter to the Tsar, warning of a rebellion planned by Prince Ivan Khovansky (captain of the Streltsy Guards) and the Old Believers. He conceals himself as Prince Ivan arrives. Prince Ivan promises an adoring crowd that he will defend the "young Tsars", by whom he means Tsar Peter's conservative rivals within the royal family. He and the crowd exit. Prince Andrey, Ivan's son, chases in Emma, a German girl, intending to assault her. Marfa, an Old Believer, interferes. Andrey threatens to kill Emma, but Prince Ivan returns, and decides to capture Emma himself. The ensuing quarrel between father and son is interrupted by the arrival of Dosifey, the leader of the Old Believers. Dosifey reproves everyone for being so quarrelsome and un-Christian. Marfa leaves with Emma.
Act 2
Summer study of Prince Vasily Golitsin
Golitsin, a nervous progressive nobleman, hires Marfa to tell his fortune in secret. She predicts that he will fall from power. After she leaves, Golitsin orders his servants to kill her. Prince Ivan Khovansky disrespects Golitsin by entering without waiting to be announced, and complains loudly that Golitsin has been interfering with his friends in the nobility. A quarrel ensues, each making insulting remarks about the other's military campaigns, but Dosifey enters and draws their attention away from their argument by criticising both of them—Golitsin for his modern views, and Prince Ivan for letting the Streltsy get drunk and run around making trouble all the time. Marfa, who has been saved by the Tsar's guards, reappears, followed by Shaklovity, who menacingly announces that the Tsar has been warned of the planned rebellion, and has issued orders to arrest the Princes Khovansky. At this unlikely moment, the curtain falls.
Act 3
The Streltsy Quarter, south of the Moscow River
Marfa is overheard singing of her love, by Susanna, a fellow Old Believer. Susanna scolds Marfa until Dosifey appears and drives Susanna away. Marfa admits to Dosifey that she loves Andrey Khovansky (the one she restrained from assaulting Emma). Dosifey tells her to pray for relief. They exit and Shaklovity, who until now had been presented as a purely threatening character, sings a haunting prayer for troubled Russia's protection from the Streltsy (he refers to them as "mercenaries") and from the rebellious powers they obey. Hearing them coming he exits; some of the Streltsy enter and sing a drinking chorus. The scribe arrives and informs them that Hungarian troops are invading, and that Tsar Peter's bodyguard fought with the foreigners against the Streltsy—Russian soldiers and foreign soldiers killing other Russian soldiers together. Ivan Khovanski enters and begs their forgiveness for the defeat.
Act 4
Scene 1: A richly furnished chamber in Ivan Khovansky's mansion
Prince Ivan Khovansky is warned by a servant of Golitsin that he is in danger, but he ignores the warning and watches his servant girls dance. Shaklovity enters and kills him, scornfully imitating the servants' song.
Scene 2: Moscow. The square before the Cathedral of Vasiliy the Blessed
Golitsyn is led into exile. Dosifey mourns the conspirators' downfall and the success of Tsar Peter. Marfa offers sanctuary to Andrey with the Old Believers. The Streltsy are led to their execution. Peter, through an agent, intervenes to pardon them (which is not in agreement with historical fact).
Act 5
A pine forest, a secluded monastery, a moonlit night
Dosifey and his followers have taken refuge in a hermitage in the forest. Although he is weighed down by the sorrows and sufferings of the brethren, he remains defiant and determined to win a "crown of glory" in fire and flame ("Here, in this holy place"). He exhorts the brethren to don white clothing and light candles, preparing for immolation. They enter the hermitage. [Andrey enters, singing of his lost love, still seeking Emma. Marfa sings to Andrey, reminding him of their love, and assuring him that she will not leave him, but will burn with him. Dosifey and the brethren return, dressed in white and carrying candles. They build a funeral pyre. Offstage trumpet calls herald the approach of Tsar Peter's soldiers. Marfa sings to Andrey of the hopelessness of their situation. The trumpet calls sound again. Dosifey exhorts the brethren to remain strong one last time. Marfa lights the pyre. The schismatics sing a final hymn ("God will save me"). As Dosifey, Marfa, Andrey, and the Old Believers perish in the flames, Peter's soldiers arrive in a vain attempt to capture them.]
Principal arias and numbers
Introduction: "Dawn on the Moscow River", Вступление: «Рассвет на Москве-реке» (Orchestra)
Scene 1- Chorus: "Make a wide path for the White Swan", «Белому лебедю путь просторен» (Streltsï, People)
- Chorus: "Glory to the White Swan", «Слава лебедю» (People)
Scene 2
- Aria: Marfa's Divination "Mysterious powers", Гадания Марфы «Силы потайные» (Marfa, Golitsïn)
Scene 3
- Song: "A maiden wandered", «Исходила младёшенька» (Marfa)
- Aria: "The Streltsy nest sleeps", «Спит стрелецкое гнездо» (Shaklovitïy)
Scene 4
- Ballet: "Dance of the Persian Slaves", «Пляски персидок» (Orchestra)
- Chorus: "A young swan swims", «Плывет, плывет лебедушка» (Maidens, Shaklovitïy)
Scene 5
- Introduction "The Departure of Golitsïn", Вступление «Поезд Голицына» (Orchestra, Chorus)
- Chorus: "Show them no mercy", «Не дай пощады» (Streltsï Wives, Streltsï)
- March: "March of the Preobrazhensky Regiment", «Марш преображенцев» (Orchestra)
Scene 6
- Aria: "Here, in this holy place", «Здесь, на этом месте» (Dosifey)
Recordings
This is a list of studio recordings. A comprehensive list of all recordings may be found here.
Rimsky-Korsakov Version 1882
- 1946, Khaykin, Kirov Orchestra and Chorus
- 1951, Nebolsin, Bolshoy Theater Orchestra and Chorus
- 1954, Baranovich, Belgrade National Opera Orchestra and Chorus
- 1974, Khaykin, Bolshoy Theatre Orchestra and Chorus
- 1975, Margaritov, Sofia National Opera Chorus and Orchestra
- 1988, Ermler, Bolshoy Theater Orchestra and Chorus
Shostakovich Version 1959
- 1986, Tchakarov, Sofia National Opera Chorus and Orchestra
- 1989, Abbado, Orchestra of the Vienna Staatsoper (final scene Stravinsky version)
- 1991, Gergiev, Kirov Chorus and Orchestra
Videotaped performance
Public Media, Inc. has published a performance on video conducted by Claudio Abbado, with Nicolai Ghiaurov, Anatoly Kocherga, Paata Burchuladze, and Heinz Zednik. ISBN 0-7800-0051-X
References
- ^ Met History: Khovanshchina
- ^ Professor Irina Ilyovna Vinogradev, insert booklet, Khovanshchina, live performance from Moskva 1984, CDs published by Okudzhava Records, Leningrad
External links
Laurence Olivier Award for Best New Opera Production 1993–2000 Stiffelio – Royal Opera, London (1993) · La damnation de Faust – Royal Opera, London (1994) · Khovanshchina – English National Opera (1995) · Billy Budd – Royal Opera, London (1996) · Tristan und Isolde – English National Opera (1997) · Paul Bunyan – Royal Opera, London (1998) · La clemenza di Tito – Welsh National Opera (1999) · Hansel and Gretel – Welsh National Opera (2000)
Complete list · (1993–2000) · (2001–2025) Categories:- Operas by Modest Mussorgsky
- Russian-language operas
- Musical compositions completed by others
- Unfinished operas
- 1886 operas
- Operas
- Operas set in Russia
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