The Stone Guest (Dargomyzhsky)
Encyclopedia
The Stone Guest is an opera
in three acts by Alexander Dargomyzhsky
. The libretto
was taken almost verbatim from Alexander Pushkin's like-named play
in blank verse (part of his collection Little Tragedies), with slight changes in wording and the interpolation of two songs indicated in the play. It was first performed at the Mariinsky Theatre
, Saint Petersburg
, 16 February 1872 (Old Style
).
According to the composer's wishes, the last few lines of Tableau 1 were composed by César Cui
, and the whole was orchestrated by Nikolai Rimsky-Korsakov
. Many years later, Rimsky-Korsakov revised his own orchestration of the opera, rewrote a few of Dargomyzhsky's own original passages, and added an orchestral prelude. This version, completed in 1903 and first performed in 1907 at the Bolshoi Theatre
, is now considered the standard version.
adapted from the source in order to accommodate expectations of opera audiences for arias, duets, choruses, etc. Consequently, the resulting musical drama consists almost entirely of solo speeches by characters sung in turn, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera distinct from the literary genre of spoken drama. Tchaikovsky
in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word; I want truth" (Taruskin 1981, 258), Tchaikovsky wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.
Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed
. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes.
In addition, the opera was novel for its time in its use of dissonance
and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness" in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative
" for its balance between the lyric and the naturalistic.
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
in three acts by Alexander Dargomyzhsky
Alexander Dargomyzhsky
Alexander Sergeyevich Dargomyzhsky was a 19th century Russian composer. He bridged the gap in Russian opera composition between Mikhail Glinka and the later generation of The Five and Tchaikovsky....
. The libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
was taken almost verbatim from Alexander Pushkin's like-named play
The Stone Guest
The Stone Guest is a poetic drama by Alexander Pushkin based on the Spanish legend of Don Juan. The Stone Guest was written in 1830 as part of his four short plays known as The Little Tragedies...
in blank verse (part of his collection Little Tragedies), with slight changes in wording and the interpolation of two songs indicated in the play. It was first performed at the Mariinsky Theatre
Mariinsky Theatre
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. The...
, Saint Petersburg
Saint Petersburg
Saint Petersburg is a city and a federal subject of Russia located on the Neva River at the head of the Gulf of Finland on the Baltic Sea...
, 16 February 1872 (Old Style
Old Style and New Style dates
Old Style and New Style are used in English language historical studies either to indicate that the start of the Julian year has been adjusted to start on 1 January even though documents written at the time use a different start of year ; or to indicate that a date conforms to the Julian...
).
According to the composer's wishes, the last few lines of Tableau 1 were composed by César Cui
César Cui
César Antonovich Cui was a Russian of French and Lithuanian descent. His profession was as an army officer and a teacher of fortifications; his avocational life has particular significance in the history of music, in that he was a composer and music critic; in this sideline he is known as a...
, and the whole was orchestrated by Nikolai Rimsky-Korsakov
Nikolai Rimsky-Korsakov
Nikolai Andreyevich Rimsky-Korsakov was a Russian composer, and a member of the group of composers known as The Five.The Five, also known as The Mighty Handful or The Mighty Coterie, refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev , César...
. Many years later, Rimsky-Korsakov revised his own orchestration of the opera, rewrote a few of Dargomyzhsky's own original passages, and added an orchestral prelude. This version, completed in 1903 and first performed in 1907 at the Bolshoi Theatre
Bolshoi Theatre
The Bolshoi Theatre is a historic theatre in Moscow, Russia, designed by architect Joseph Bové, which holds performances of ballet and opera. The Bolshoi Ballet and Bolshoi Opera are amongst the oldest and most renowned ballet and opera companies in the world...
, is now considered the standard version.
Style
As an opera, The Stone Guest is notable for having its text taken almost exactly from the literary stage work which inspired it, rather than relying on a librettoLibretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
adapted from the source in order to accommodate expectations of opera audiences for arias, duets, choruses, etc. Consequently, the resulting musical drama consists almost entirely of solo speeches by characters sung in turn, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera distinct from the literary genre of spoken drama. Tchaikovsky
Pyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский ; often "Peter Ilich Tchaikovsky" in English. His names are also transliterated "Piotr" or "Petr"; "Ilitsch", "Il'ich" or "Illyich"; and "Tschaikowski", "Tschaikowsky", "Chajkovskij"...
in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word; I want truth" (Taruskin 1981, 258), Tchaikovsky wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.
Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed
Through-composed
Through-composed music is relatively continuous, non-sectional, and/or non-repetitive. A song is said to be through-composed if it has different music for each stanza of the lyrics. This is in contrast to strophic form, in which each stanza is set to the same music...
. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes.
In addition, the opera was novel for its time in its use of dissonance
Consonance and dissonance
In music, a consonance is a harmony, chord, or interval considered stable, as opposed to a dissonance , which is considered to be unstable...
and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness" in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
" for its balance between the lyric and the naturalistic.
Roles
| Role | Voice type | Premiere Cast 16 February 1872 (Old Style Old Style and New Style dates Old Style and New Style are used in English language historical studies either to indicate that the start of the Julian year has been adjusted to start on 1 January even though documents written at the time use a different start of year ; or to indicate that a date conforms to the Julian... ) (Conductor: Eduard Nápravník Eduard Nápravník Eduard Francevič Nápravník was a Czech conductor and composer, who settled in Russia and is best known for his leading role in Russian musical life as the principal conductor of the Imperial Mariinsky Theatre in Saint Petersburg for many decades... ) |
|---|---|---|
| Don Juan | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Fyodor Komissarzhevsky Fyodor Petrovich Komissarzhevsky Fyodor Petrovich Komissarzhevsky was a Russian opera singer and teacher of voice and stagecraft. A leading tenor at the Mariinsky Theatre in St. Petersburg, he created many roles in Russian operas, including the Pretender in Mussorgsky's Boris Godunov and the title role in Tchaikovsky's Vakula... |
| Leporello, his servant | bass Bass (voice type) A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C... |
Osip Petrov Osip Petrov Osip Afanasievich Petrov was a Russian operatic bass-baritone of great range and renown whose career centred on St Petersburg.He started his career by singing in a church chorus... |
| Donna Anna | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
Yuliya Platonova |
| Don Carlos | baritone Baritone Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or... |
Ivan Melnikov |
| Laura | mezzo-soprano Mezzo-soprano A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above... |
Mariya Ilyina |
| A Monk | bass | Vladimir Sobolev |
| First Guest | tenor | Vasily Vasilyev (Vasilyev II) |
| Second Guest | bass | Mikhail Sariotti |
| Statue of the Commander | bass | Vladimir Sobolev |
Recordings
- Fedoseyev
- VHS 1979, (DVD 2010) Live performance, Vladimir Atlantov (Don Juan), Tamara Milashkina (Donna Anna), Alexander Vedernikov (Leporello), Tamara Sinyavskaya (Laura), Vladimir Valaitis (Don Carlos), Vladimir Filippov (A Monk/Statue of the Commander), Andrei Sokolov, Petr Glubokiy (Laura's Guests). Orchestra and Chorus of the Bolshoi Theatre, Mark ErmlerMark ErmlerMark Fridrikhovich Ermler was a Russian conductor.-Biography:Mark Ermler was born in Leningrad in 1932. His parents were Vera Bakun, a film set designer, and Friedrich Ermler, a film director. He began to study piano at age 5....
.