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Queler Leads Rip-roaring Rimsky "Bride" to Open Opera Orchestra's Season |
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by Bruce-Michael Gelbert |
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| Alexey Markov courtesy of Cohn Dutcher Associates |
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Maestra Eve Queler got her Opera Orchestra of New York (OONY) season of opera-in-concert at Carnegie Hall off to a rip-roaring start on October 15 with a revival of Nicolai Rimsky-Korsakov rarity "Tsarskaya Nyevyesta" (The Tsar's Bride, 1899), realized by an outstanding ensemble.
Queler kicked off the evening by showing off the combined choral forces of the Alumni of the Yale Russian Chorus, West Point Cadet Glee Club, and Western Connecticut State University Opera Ensemble by leading them in an a cappella "Star Spangled Banner." The choristers went on to impress in the fearsome Oprichniks' fugue in praise of their comrade, Gryanznoi's hospitality, exultant chorus to the traditional Russian "Slava" (Glory) melody, rousing folk tune-like country song, xenophobic and superstitious cries of heresy and witchcraft against a foreign doctor, and so on. The Opera Orchestra itself shone in the overture introducing the drama, intrigue and spectacle ahead; interlude between the heroine, Marfa's celebration of her happiness and her jealous rival, Lyubasha's venting of bitterness; and other instrumental passages.
Young Alexey Markov, who made a Metropolitan Opera debut last season in Prokofiev's "War and Peace" and portrayed the formidable Grigorii Grigorievich Gryaznoi here, grabbed attention immediately, singing the opening aria, "Kuda tî, udal prezhnaya" (Where are you, valor of the past), expressively in a baritone at once imposing and ingratiating. Markov capped his accomplishment with some of the opera's final words, confessing, in a gripping scene, to his contribution toward causing Marfa's madness with, he thinks, a love potion gone awry, and sorrowfully surrendering to the Tsar's men, pleading Marfa for forgiveness, and bidding her farewell.
As Marfa, beloved of Lykov, her intended; desired by Gryaznoi; and chosen as Tsar Ivan IV ("the Terrible")'s latest bride, soprano Olga Makarina radiantly rhapsodized, in high-lying aria "V Novgorade mî radam s Vanei zhîli" (In Novgorod, we lived next door to Vanya), about her love for Lykov. Makarina mined Marfa's mad scene, "Ivan Sergeyevich, xochesh f sat paidom?" (Ivan Sergeyevich, a garden! Let's talk a walk!), for its pathos, her singing sensitive or soaring as needed.
Much attention focused on Olga Borodina, returning to the role of Lyubasha, Gryaznoi's mistress, which she had sung with OONY on March 5, 1995. Borodina hauntingly delivered, in round mezzo-soprano sound, Lyubasha's mournful a cappella air, "Snarazhai skarei, matushka radimaya" (How soon, mother dearest), and passionately conveyed her message of reproach, "Vet'ya adna teba lublu" (It is I alone who really loves you), and subsequent vow of vengeance. She added to these achievements her agitated outburst, as she first spotted her rival; plangent lament about lost love driving her to the desperate measure of poisoning Marfa; and venomous confession of her deed.
Tenor Yeghishe Manucharyan, as Ivan Sergeievich Lykov, lyrically limned the marvels he had seen in his travels-"Inoye fso, i ludi, i zemla" (Yes, everything is strange: land, people)-and, singing caressingly, prematurely expressed relief, in the propulsive "Tucha nenasnaya mima pramchalasa" (The stormy clouds have drifted by), that the Tsar has not chosen Marfa for a bride.
Of particular note, among the ensembles that Queler coordinated, was a grand third act sextet and chorus, celebrating, in vain, Marfa and Lykov's betrothal, led off by Markov, with contributions from Makarina, Manucharyan, bass Christophoros Stamboglis as Vasilii Stepanovich Sobakin, Marfa's father, mezzo Mzia Nioradze as Dunyasha, Marfa's friend, and soprano Meagan Miller as Domna Ivanova Saburova, Dunyasha's mother.
Bass Djoré Nance, as Grigorii Lukianovich Malyuta Skuratov, head of the Oprichniki, made the ominously solemn announcement of the Tsar's selection of Marfa as his new wife. Stamboglis sonorously poured out a father's grief over his ailing daughter's sorry state. Miller made the most of Domna Saburova's narrative about the Tsar choosing a bride from among a number of young women. John Easterlin and Christin-Marie Hill took other roles with distinction.
OONY's season at Carnegie Hall under Queler continues with Wagner's early "Rienzi," on March 19, 2009 at 7:30 p.m., with Leonid Zakhozhaev, Lauren Flanigan, Katharine Goeldner, and Daniel Mobbs, and Cherubini's "Medea," on April 21 at 7:30 p.m., with Aprile Millo, John Ketilsson, Gabriela Garcia, and Alexander Kisselev. For ticket information and purchase, go to www.oony.org, call OONY at 212/799-1982 or CarnegieCharge at 212/247-7800, or visit the Carnegie Hall box office at 57th Street at Seventh Avenue. Ticket prices range from $25 to 125.
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