วีดีโอ

ABOUT THE CONCERT “The book sings...” Maxim Gorky For his first attempt at opera Dmitry Kabalevsky selected the novel Colas Breugnon by Romain Rolland. Maxim Gorky, who caught the subtle musicality of the novel, wrote to the author: “Whata wonderful book you have produced, my dear friend! Here, truly, isa work of Gallic genius...” In order to get into the very atmosphere of the tale Kabalevsky immersed himself ina study of French musical folklore. By almost not quoting genuine folk melodies, the composer attaineda high truthfulness to them. This was also noted by Romain Rolland to whom Kabalevsky sent the score of the opera. “You have captured very well the essence of folk songs and assimilated them in your work. On the whole your opus is one of the finest that I am aware of in new Russian music written for the stage.” Following traditions, Kabalevsky intersperses solo arias and monologues with ensembles and chorus scenes. The dynamism of the musical dramaturgy and the transparent plot is achieved through the leitmotif development and the inclusion of well-developed symphonic episodes. Later the opera’s overture and the orchestral entr’actes compriseda popular symphonic suite. In Rolland’s novel, the master wood carver Colas Breugnon, now an old man, remembers his younger years. A series of novella-like memoirs is not connected with the general plot. In the opera (libretto by Vladimir Bragin) the events are concentrated and set in the present. The plot unfolds in the small town of Clamecy in Burgundy (the opera’s other title is The Master from Clamecy). The dramatic conflict emerges between the young Colas and the imperious Duke who initially succeeds in drawing the trusting artist to his side by appearing asa patron. However, on discovering that Colas has joineda popular resistance movement the Duke mercilessly burns the artist’s wooden sculptures. The colourful episodes of rural life and the lyrical duets of Colas and his beloved Selina are set off by courageous crowd scenes and tableaux of folk calamities. The opera’s premiere took place on 22 February 1938 at the Maly Opera in Leningrad under the baton of Boris Khaikin. A quarter ofa century later Dmitry Shostakovich recalled: “A production with temperament and absolutely charming music! I was gripped by its freshness, sparkling joie de vivre and youthful infectiousness... And, next to that, in comparison are the darkly evil ‘plague scenes’, and then comes the victorious song of the resistant people in the spirit of the music of the masses of the French Revolution...” The second version of Colas Breugnon (premiered at the Maly Opera on 16 April 1970) received the Lenin Prize, the highest award of the Soviet Union. Iosif Raiskin

I was in that production! I played the Tsaritsa, a cameo.

@@SaraConr Thank you for a life changing event!

Thank you. That made my day.

"Synopsis The sculptor Colas Breugnon recalls his experiences at the end of his life. When he was young he fell in love with Selina, who was also admired by the miller Gifflard. While Colas was summoned to visit the Duke of Asnois in his castle, Gifflard spoke ill of Colas to Selina. She therefore married Gifflard out of jealousy. The desperate Colas then married Jacqueline who had long felt a hitherto unrequited love for Colas - but he could not forget Selina. The plague has broken out in Clamecy, brought in by the soldiers of the Duke, and.Colas and his wife Jacqueline have contracted the illness. Colas survives but Jacqueline weakens, confessing to him before she dies that she had always known about his love for Selina. Gifflard and the ducal troops pillage and burn Clamecy. When Colas attempts to file a case against Gifflard with the Duke, Gifflard blames Colas for inciting the citizens against the Duke. Enraged, the Duke orders the destruction of all the statues made by the master sculptor. Colas is appalled but promises the Duke nevertheless to redeem his sins by producing a sculpture of the Duke in full armour. On revealing the finished sculpture in front of the castle the citizens of Clamecy see the Duke in majestic pose sitting backwards on a donkey. Their laughter drives the Duke back into the castle." (source: boosey.com)

Well, Maxim Berezovsky was the guy who did even earlier, in 1770s.

В Большом зале Петербургской филармонии (зале Дворянского собрания) Третья исполнялась дважды (дирижировал Барри Колмэн,США,были даны два концерта подряд; в программу так же вошли 4 концерт для ф-но с оркестром и увертюра к опере "Дмитрий Донской"), в Академической (б.Императорской) Капелле однажды исполнили 4-ю симфонию,ре-минор,дирижировал Александр Чернушенко (вместе с симфонией прозвучал опять же 4 фп. концерт и "Иван Грозный"). Исполнения Шестой симфонии на моей памяти в СПб-ге не было,хотя в целом музыка А.Рубинштейна у нас звучит нередко.