Повезло, смотрел вживую 25 марта 1989-го, 5-й спектакль. Мне 13 было. Впечатления ошеломляющие. Я на тот момент не привык к такому условному театру, из золотого фонда Большого на тот момент видел почти всё, но это были традиционные спектакли. А тут игра театр в театре, музыканты на сцене, декорации Левенталя.... Музыка! Запись и половины не передаёт того, что было на самом деле. Например, когда тень Млады забирает Яромира, было полное ощущение, что они летят. Так свет был поставлен. Интересен не только жанр, взятый из Франции 17-18 веков(хотя бы Галантные Индии Рамо вспомнить)- опера-балет, но и сюжет, да и история создания. Вначале Младу писали на либретто директора Императорских театров Гедеонова(и по совместительству дяди Бородина, который по реальному отцу- Гедеонов Александр Лукич, но поскольку незаконно рождённый,то приписали Сашу к дворовому человеку Порфирию Бородину) в конце 60-х 19 века композиторы Могучей кучки Бородин, Мусоргский, Кюи, Римский Корсаков, а балетные сцены Людвиг Минкус. Такой совместный проект, но из смерти Гедеонова не состоялся, композиторы рассовали уже написанные фрагменты музыки в свои разные произведения. Корсаков же вернулся к этому сочинию почти 25 лет спустя,и 12 лет после написания 3-й оперы- Снегурочка,уже будучи маститым автором. Предложение получил от нового директора театров Всеволожского, к тому времени Римский Корсаков ознакомился с операми Вагнера, и оркестровый стиль оперы-балета обусловлен его сочинениями, расширенный состав оркестра, использование редких инструментов (флейты пана, цитры, арабские арфы,малая литавра,с которыми он ознакомился на выставке в Париже) . Сюжет же из легенд полабских славян-лютичей и бодричей (ободритов), живших на юге Балтики и вдоль Эльбы, которую славяне называли Лаба, к 10 веку практически все эти племена были или уничтожены или ассимилированы германцами. Позднее всех пала Аркона(в 13 веке) ,чьим князем здесь показан Яромир, столица располагалась на острове Руян(тот самый пушкинский Буян) , который теперь носит название Рюген.
I've enjoyed Mlada since the 70s, but only sonically of course. (I used to order LP sets from a San Francisco-based Melodiya imorter.) This is absolutely amazing to see and hear, and I like their story-within-a-story concept. I'm sure this video will generate many new fans from the ranks of us "ordinary folk" for ballet phenomenon Nina Ananiashvili. Брава, Нино!!
Act I. Song of Voislava, p. 7 Duet of Voislava and Sviatokha/Morena, p. 19 Yaromir, p. 29 Act II Market Sc. 1 Priest, Horses, Sc. 4, p.93 Indian Dance, 112 1:07:30 沒有唱歌 Kolo, 119 (folk dances, shadow of Mlada) 1:30:00 Act III [Fantastic Kolo] Duet of Mlada and Yaromir, p. 156 Infernal Kolo with Chernobog, Kaschei, Witches' fete, Scene III, 168 1;40;00 Cleopatra, p. 187 1:46:30 Act. IV Final Chorus in the Temple 2:24:30
omg lol I'm in the same class For future people in this class: Act I. Song of Voislava, p. 7, 9:05 Duet of Voislava and Sviatokha/Morena, p. 19, (actually p.17) 17:20 Yaromir, p. 29 23:31 Dream of Yaromir, p. 46, 31:20 Act II Market Sc. 1 Priest, Horses, Sc. 4, p.93 Indian Dance, 112 1:07:30 Kolo, 119 (folk dances, shadow of Mlada) 1:30:00 Act III [Fantastic Kolo] Duet of Mlada and Yaromir, p. 156 Infernal Kolo with Chernobog, Kaschei, Witches' fete, Scene III, 168 1:39:16 Cleopatra, p. 187 1:46:301:46:30 Act. IV Final Chorus in the Temple 2:24:30
This is not an opera that I have warmed up to yet. Some good music. I saw it once before, and this is much the better production. The singers, dancers were excellent. Thanks for the posting.
@@jgesselberty I saw a production of this at Lincoln Center nearly 30 years ago and I think this is close to the original concept - but they seem to be a little carried away in the mythological fantasy of it. The Procession does have humorous moments, and I think that was intended.
Here is a link to the Wikipedia article for the opera, which includes links at the bottom to the original Russian/French piano-vocal score and to the Russian libretto: en.wikipedia.org/wiki/Mlada_(Rimsky-Korsakov). This particular production, as far as I can tell, presents all of the music, but takes considerable liberty with the staging, as compared to the original text (e.g., the statues and dolls are not mentioned in the original libretto). Besides that, the original score assigns all three stanzas of Lumir's song to be sung by Lumir, which is not the case in this production. In any case, right now it is the time for Kupala Night, which is a major part of the temporal background for the plot. Enjoy!
Mstivoy, prince of Rethra: Gleb Nikolsky, bass Voyslava, his daughter: Makvala Kasrashvili, soprano Yaromir, prince of Arkona: Oleg Kulko, tenor Shade of Princess Mlada/Shade of Cleopatra: Maria Aniashvili, silent role Lumir, Czech singer: Elena Zaremba, mezzo soprano Morena, goddess of the underworld, appearing in the first act in the form of the old woman Svyatokhna: Galina Borisova, mezzo-soprano The Moor from the Caliphate: V. Bukin, tenor The Novgorodian: V. Kudryyavsky, tenor Wife of the Novgorodian: N. Lebedeva, mezzo-soprano Tiun: S. Statnik, bass High Priest of Radegast: Anton Djadpaparidze, baritone
Бесподобно, гениальный Николай Андреевич Римский - Корсаков! И вокально удобная музыка и прекрасные зрелищные балетные номера.Хочется посмотреть запись с Марией Гавриловой в роли Войславы. Нигде нет.Маквала Касрасшвили переигрывает, верхние ноты у неё звучат тускло и широко, нет блеска в голосе. Почему не ставят сейчас эту оперу? Есть сценическая постановка "Мариинского", а другие театры?
Касрашвили не переигрывает, это так харАктерно ставил Покровский. Есть видео репетиции, где он именно этого и требует. За всю историю было всего 3 постановки, 1897,1913 и вот эта-1988. Как сказали мои друзья в Мариинке, в этом-2024 году к 180-ти летию Римского Корсакова планируют иметь в постановке все 15 опер, доставлять будут и Младу.
As the curtain rises, Princess Voislava, accompanied by young men and women, is preparing to celebrate the Festival of Kupala (Summer Solstice) and the arrival of Prince Yaromir whom she expects to propose marriage to her. Prince Yaromir really loved and was to marry Princess Mlada. The jealous Voislava, egged on by her father, Prince Mstivoy - who would like having the wealthy Prince Yaromir in the family - murdered Mlada by putting poison on her engagement ring. Voislava complains that Lada, the Goddess of Love (equivalent to Venus), is now unresponsive to her prayers. An old woman comes on stage and suggests to Voislava that instead she offer her prayers to Morena, the Goddess of the Underworld - a rather more menacing version of the Greek Persephone, wife of Pluto. At first Voislava is afraid, but is won over. Then the old woman is transformed into a manifestation of the Goddess of Death and frightens the other celebrants off the stage. Yaromir arrives and is graciously welcomed, presenting a gift to his hosts. Voislava vamps him and, under Morena’s curse, he begins to succumb, praising Voislava’s beauty and eventually falling into a drunken sleep. In his dream, the Goddess Lada appears, grants him a vision of the murdered Mlada, and promises to protect them both. He awakens, bewildered by what he has seen but determined to resist Voislava and remain true to Mlada. In Act II the villagers gather in the public square as merchants from far distant lands hawk their wares. Czech refugees beg for help in repelling the German invaders who have occupied their homeland and are forcing them to worship false gods. We hear the familiar “Procession of the Nobles” as Mstivoy, Yaromir, and Voislava (carrying a ritual axe) enter with their retinues, garlanded with flowers. Lithuanians and Indians* dance their native dances. The ram horn crowned High Priest of Radegast (Earth Fertility God of sowing and reaping, similar to Sator or Saturn) reveals that the God is perturbed; on stage only Voislava and Mstivoy know that Mlada’s death was not natural. The people are called upon to redouble their gifts of food to the song birds of the forest. The warriors lay out their spears in a grid on the ground and the priestesses of the white and black horses enter and dance upon them. The maidens wearing crowns of flowers dance in a circle and the youths are invited to choose wives. Voislava again has just about got Yaromir enchanted when all of a sudden the ghost of Mlada runs through the gathering and Yaromir follows after her, swearing he will go with her anywhere. There is general confusion as Voislava curses the Goddess Morena for her weakness, then Mstivoy commands with his whip that the fertility festival continue. The people resume their dancing and as the youths undress the curtain discretely falls. At the beginning of Act III the ghost of Mlada runs on stage followed by Yaromir to a moonlit temple on the sacred mountain. But now they cannot see each other, so Mlada dances with the spirit of Yaromir and Yaromir sings a love song to a statue of Mlada. They go off separately and abruptly the scene changes to the gates of the Underworld, as the imprisoned spirits come out and dance wildly. The evil Kastchei, known to us from Stravinsky’s Firebird, dances to some music unsurprisingly reminiscent of that Stravinsky ballet. Morena manifests in the body of the old woman and defiantly refuses to give up, summoning Cleopatra** to entrap Yaromir. The scene changes abruptly again to an Egyptian palace with Cleopatra and her courtiers dancing to strange exotic music. In a fantastic cultural mélange, onstage musicians in eighteenth century dress play the solo parts in the orchestral music walking nonchalantly among the costumed ancient Egyptians dancing as represented on Egyptian wall paintings. There is a miniature Yaromir present, and the ghost of Mlada attempts to shield him. As Cleopatra’s dance grows in passion so does the representation of Yaromir until he is a giant, and then the lights go out and he is seen lying flat while Cleopatra dances around him. Dawn comes and the palace vanishes; we see Yaromir lying on the ground under a huge tree. He wakes and determines to ask the Priest of Radegast about his strange dream. In Act IV Yaromir appears at the temple of Radegast, presents a valuable amber necklace to the high priest, and implores him to interpret his strange dream. The Priest assures Yaromir that the Gods will answer his request. Lada appears on stage followed by a procession of the spirits of the ancestors, the great kings and queens of the land, who all tell Yaromir that Mlada was murdered by Voislava and he must avenge her. Voislava appears with Mstivoy and Yaromir determines to kill her. But not so fast: The goddess Morena disarms Yaromir. Voislava admits her guilt and urges Yaromir to forget his dead fiancée and marry her, join their kingdoms and reign in power and wealth. Again struggling under the curse of Morena, he almost gives in, but the priestesses give him a magic sword and he strikes Voislava down. But Morena magically restores her life! Voislava rises up and screams Morena’s defiance to the Gods of Light, calling down floods and tempests. Huge waves of water engulf the stage as the people cry for deliverance and flee for their lives. The scene changes to a quiet paradisal space where the spirits of Yaromir and Mlada appear as two innocent children. The adult Mlada and Yaromir now enter, able at last to touch, and they and the chorus of priestesses dance and sing of their love and happiness as the Goddess Lada blesses them and ascends on a cloud into the starry sky.
Потому что сначала записали фонограмму, оркестр и солисты кстати тоже, а потом под фонограмму видео. При этом пели вживую. Если приглядеться, видно, что иногда губами в фонограмму не попадают.
I rather enjoy seeing this production ev en though I dont understand a word of it as sung --- or, for that matter the credits as posted. Can anyone translate the opening credits or tell me where I can find them in print? Thank youj.
Повезло, смотрел вживую 25 марта 1989-го, 5-й спектакль. Мне 13 было. Впечатления ошеломляющие. Я на тот момент не привык к такому условному театру, из золотого фонда Большого на тот момент видел почти всё, но это были традиционные спектакли. А тут игра театр в театре, музыканты на сцене, декорации Левенталя.... Музыка! Запись и половины не передаёт того, что было на самом деле. Например, когда тень Млады забирает Яромира, было полное ощущение, что они летят. Так свет был поставлен.
Интересен не только жанр, взятый из Франции 17-18 веков(хотя бы Галантные Индии Рамо вспомнить)- опера-балет, но и сюжет, да и история создания. Вначале Младу писали на либретто директора Императорских театров Гедеонова(и по совместительству дяди Бородина, который по реальному отцу- Гедеонов Александр Лукич, но поскольку незаконно рождённый,то приписали Сашу к дворовому человеку Порфирию Бородину) в конце 60-х 19 века композиторы Могучей кучки Бородин, Мусоргский, Кюи, Римский Корсаков, а балетные сцены Людвиг Минкус. Такой совместный проект, но из смерти Гедеонова не состоялся, композиторы рассовали уже написанные фрагменты музыки в свои разные произведения.
Корсаков же вернулся к этому сочинию почти 25 лет спустя,и 12 лет после написания 3-й оперы- Снегурочка,уже будучи маститым автором. Предложение получил от нового директора театров Всеволожского, к тому времени Римский Корсаков ознакомился с операми Вагнера, и оркестровый стиль оперы-балета обусловлен его сочинениями, расширенный состав оркестра, использование редких инструментов (флейты пана, цитры, арабские арфы,малая литавра,с которыми он ознакомился на выставке в Париже) . Сюжет же из легенд полабских славян-лютичей и бодричей (ободритов), живших на юге Балтики и вдоль Эльбы, которую славяне называли Лаба, к 10 веку практически все эти племена были или уничтожены или ассимилированы германцами. Позднее всех пала Аркона(в 13 веке) ,чьим князем здесь показан Яромир, столица располагалась на острове Руян(тот самый пушкинский Буян) , который теперь носит название Рюген.
А я впервые буду сейчас смотреть 🙌🏻
Хоры из оперы
Действие I
сцена 1 Хор девушек "Солнце растопило снег" 07:38
сцена 3 "Из дебрей глубоких" 22:19
сцена 4 Хор светлых духов "Сомкни зенницы, витязь мой" 32:50
сцена 5 Хор оруженосцев "На праздник веселый тебя ожидают" 39:38
Действие II
сцена 1 Хор торговцев "Добро пане Радегасте" 43:43
сцена 2 "Из чехов мы, из дальних стран" 48:49
сцена 3 "Слава" 54:25
сцена 4 хор народа "Над славянскою землею ты царишь" 58:25
сцена 6 "Ой княжна красавица приходи играть" 1:10:50
Коло «Ой ли праздничной порой» 1:11:45
Действие III
сцена 3 Хор злых духов «Тенемос, Бегемот, Аксафат» 1:38:27
Адское коло «Буц! Чух!» 1:39:16
Действие IV
сцена 1 Идоложертвенный хор «О Радегаст!» 2:01:34
сцена 3 Хор призраков «Вещают князю Яромиру» 2:13:15
сцена 7 Боги и светлые духи «Приди наш витязь дорогой» 2:24:49
I've enjoyed Mlada since the 70s, but only sonically of course. (I used to order LP sets from a San Francisco-based Melodiya imorter.) This is absolutely amazing to see and hear, and I like their story-within-a-story concept. I'm sure this video will generate many new fans from the ranks of us "ordinary folk" for ballet phenomenon Nina Ananiashvili. Брава, Нино!!
So full of triumphant majesty and grandeur! For me the most magnificent part is The Procession Of The Nobles (51:58) but I think many would agree.
Act I.
Song of Voislava, p. 7
Duet of Voislava and Sviatokha/Morena, p. 19
Yaromir, p. 29
Act II
Market Sc. 1
Priest, Horses, Sc. 4, p.93
Indian Dance, 112 1:07:30 沒有唱歌
Kolo, 119 (folk dances, shadow of Mlada) 1:30:00
Act III
[Fantastic Kolo]
Duet of Mlada and Yaromir, p. 156
Infernal Kolo with Chernobog, Kaschei, Witches' fete, Scene III, 168 1;40;00
Cleopatra, p. 187 1:46:30
Act. IV
Final Chorus in the Temple 2:24:30
omg lol I'm in the same class
For future people in this class:
Act I.
Song of Voislava, p. 7, 9:05
Duet of Voislava and Sviatokha/Morena, p. 19, (actually p.17) 17:20
Yaromir, p. 29 23:31
Dream of Yaromir, p. 46, 31:20
Act II
Market Sc. 1
Priest, Horses, Sc. 4, p.93
Indian Dance, 112 1:07:30
Kolo, 119 (folk dances, shadow of Mlada) 1:30:00
Act III
[Fantastic Kolo]
Duet of Mlada and Yaromir, p. 156
Infernal Kolo with Chernobog, Kaschei, Witches' fete, Scene III, 168 1:39:16
Cleopatra, p. 187 1:46:301:46:30
Act. IV
Final Chorus in the Temple 2:24:30
Изумительный спектакль!
Mysterious song of Lumir at 49:04 This song composed in phrygian mode that sounds very metaphysical and even creepy.
pro trick : you can watch series at Flixzone. Been using it for watching all kinds of movies lately.
@Jaxtyn Maddox Yup, I have been using flixzone for since november myself =)
This is not an opera that I have warmed up to yet. Some good music. I saw it once before, and this is much the better production. The singers, dancers were excellent. Thanks for the posting.
Glorious! The Procession of the Nobles!!!!
Is the best Opera, made by Rimsky-Korsakov. Best musik.
Procession of the Nobles starts at 51:58
The music is wonderful, but the staging is beyond the ridiculous.
@@jgesselberty I saw a production of this at Lincoln Center nearly 30 years ago and I think this is close to the original concept - but they seem to be a little carried away in the mythological fantasy of it. The Procession does have humorous moments, and I think that was intended.
Here is a link to the Wikipedia article for the opera, which includes links at the bottom to the original Russian/French piano-vocal score and to the Russian libretto: en.wikipedia.org/wiki/Mlada_(Rimsky-Korsakov). This particular production, as far as I can tell, presents all of the music, but takes considerable liberty with the staging, as compared to the original text (e.g., the statues and dolls are not mentioned in the original libretto). Besides that, the original score assigns all three stanzas of Lumir's song to be sung by Lumir, which is not the case in this production.
In any case, right now it is the time for Kupala Night, which is a major part of the temporal background for the plot. Enjoy!
Mstivoy, prince of Rethra: Gleb Nikolsky, bass
Voyslava, his daughter: Makvala Kasrashvili, soprano
Yaromir, prince of Arkona: Oleg Kulko, tenor
Shade of Princess Mlada/Shade of Cleopatra: Maria Aniashvili, silent role
Lumir, Czech singer: Elena Zaremba, mezzo soprano
Morena, goddess of the underworld, appearing in the first act in the form of the old woman Svyatokhna: Galina Borisova, mezzo-soprano
The Moor from the Caliphate: V. Bukin, tenor
The Novgorodian: V. Kudryyavsky, tenor
Wife of the Novgorodian: N. Lebedeva, mezzo-soprano
Tiun: S. Statnik, bass
High Priest of Radegast: Anton Djadpaparidze, baritone
@@robertlambeaux897 www.ebay.fr/itm/Mlada-1992-DVD-Bolshoi-Opera-Ballet-by-Rimsky-Korsakov-Region-2-3-4-5-Lazarev/184289755960?hash=item2ae8868338:g:0OIAAOSwRwReuvix
Thanks a lot! But the ballerina is Nina Ananiashvili.
This is the way The Procession Of The Nobles should be heard!!! 51:58
Бесподобно, гениальный Николай Андреевич Римский - Корсаков! И вокально удобная музыка и прекрасные зрелищные балетные номера.Хочется посмотреть запись с Марией Гавриловой в роли Войславы. Нигде нет.Маквала Касрасшвили переигрывает, верхние ноты у неё звучат тускло и широко, нет блеска в голосе. Почему не ставят сейчас эту оперу? Есть сценическая постановка "Мариинского", а другие театры?
Касрашвили не переигрывает, это так харАктерно ставил Покровский. Есть видео репетиции, где он именно этого и требует. За всю историю было всего 3 постановки, 1897,1913 и вот эта-1988.
Как сказали мои друзья в Мариинке, в этом-2024 году к 180-ти летию Римского Корсакова планируют иметь в постановке все 15 опер, доставлять будут и Младу.
As the curtain rises, Princess Voislava, accompanied by young men and women, is preparing to celebrate the Festival of Kupala (Summer Solstice) and the arrival of Prince Yaromir whom she expects to propose marriage to her. Prince Yaromir really loved and was to marry Princess Mlada. The jealous Voislava, egged on by her father, Prince Mstivoy - who would like having the wealthy Prince Yaromir in the family - murdered Mlada by putting poison on her engagement ring. Voislava complains that Lada, the Goddess of Love (equivalent to Venus), is now unresponsive to her prayers. An old woman comes on stage and suggests to Voislava that instead she offer her prayers to Morena, the Goddess of the Underworld - a rather more menacing version of the Greek Persephone, wife of Pluto. At first Voislava is afraid, but is won over. Then the old woman is transformed into a manifestation of the Goddess of Death and frightens the other celebrants off the stage. Yaromir arrives and is graciously welcomed, presenting a gift to his hosts. Voislava vamps him and, under Morena’s curse, he begins to succumb, praising Voislava’s beauty and eventually falling into a drunken sleep. In his dream, the Goddess Lada appears, grants him a vision of the murdered Mlada, and promises to protect them both. He awakens, bewildered by what he has seen but determined to resist Voislava and remain true to Mlada.
In Act II the villagers gather in the public square as merchants from far distant lands hawk their wares. Czech refugees beg for help in repelling the German invaders who have occupied their homeland and are forcing them to worship false gods. We hear the familiar “Procession of the Nobles” as Mstivoy, Yaromir, and Voislava (carrying a ritual axe) enter with their retinues, garlanded with flowers. Lithuanians and Indians* dance their native dances. The ram horn crowned High Priest of Radegast (Earth Fertility God of sowing and reaping, similar to Sator or Saturn) reveals that the God is perturbed; on stage only Voislava and Mstivoy know that Mlada’s death was not natural. The people are called upon to redouble their gifts of food to the song birds of the forest. The warriors lay out their spears in a grid on the ground and the priestesses of the white and black horses enter and dance upon them. The maidens wearing crowns of flowers dance in a circle and the youths are invited to choose wives. Voislava again has just about got Yaromir enchanted when all of a sudden the ghost of Mlada runs through the gathering and Yaromir follows after her, swearing he will go with her anywhere. There is general confusion as Voislava curses the Goddess Morena for her weakness, then Mstivoy commands with his whip that the fertility festival continue. The people resume their dancing and as the youths undress the curtain discretely falls.
At the beginning of Act III the ghost of Mlada runs on stage followed by Yaromir to a moonlit temple on the sacred mountain. But now they cannot see each other, so Mlada dances with the spirit of Yaromir and Yaromir sings a love song to a statue of Mlada. They go off separately and abruptly the scene changes to the gates of the Underworld, as the imprisoned spirits come out and dance wildly. The evil Kastchei, known to us from Stravinsky’s Firebird, dances to some music unsurprisingly reminiscent of that Stravinsky ballet. Morena manifests in the body of the old woman and defiantly refuses to give up, summoning Cleopatra** to entrap Yaromir. The scene changes abruptly again to an Egyptian palace with Cleopatra and her courtiers dancing to strange exotic music. In a fantastic cultural mélange, onstage musicians in eighteenth century dress play the solo parts in the orchestral music walking nonchalantly among the costumed ancient Egyptians dancing as represented on Egyptian wall paintings. There is a miniature Yaromir present, and the ghost of Mlada attempts to shield him. As Cleopatra’s dance grows in passion so does the representation of Yaromir until he is a giant, and then the lights go out and he is seen lying flat while Cleopatra dances around him. Dawn comes and the palace vanishes; we see Yaromir lying on the ground under a huge tree. He wakes and determines to ask the Priest of Radegast about his strange dream.
In Act IV Yaromir appears at the temple of Radegast, presents a valuable amber necklace to the high priest, and implores him to interpret his strange dream. The Priest assures Yaromir that the Gods will answer his request. Lada appears on stage followed by a procession of the spirits of the ancestors, the great kings and queens of the land, who all tell Yaromir that Mlada was murdered by Voislava and he must avenge her. Voislava appears with Mstivoy and Yaromir determines to kill her. But not so fast: The goddess Morena disarms Yaromir. Voislava admits her guilt and urges Yaromir to forget his dead fiancée and marry her, join their kingdoms and reign in power and wealth. Again struggling under the curse of Morena, he almost gives in, but the priestesses give him a magic sword and he strikes Voislava down. But Morena magically restores her life! Voislava rises up and screams Morena’s defiance to the Gods of Light, calling down floods and tempests. Huge waves of water engulf the stage as the people cry for deliverance and flee for their lives. The scene changes to a quiet paradisal space where the spirits of Yaromir and Mlada appear as two innocent children. The adult Mlada and Yaromir now enter, able at last to touch, and they and the chorus of priestesses dance and sing of their love and happiness as the Goddess Lada blesses them and ascends on a cloud into the starry sky.
Thank you . I'll follow and enjoy much better
@@robertlambeaux897 So glad you appreciate it.
Thanks for taking the time to do this!
Какая ни будь постановка -- а МУЗЫКА -то ХОРОША! Ради музыки и включили ролик.Римский-Корсаков Николай Александрович!, одно слово...
Николай Александрович??? Какая прелесть!!! 😂
Он Андреевич...
34:15 instrumental dream sequence
Please correct me if I'm wrong but I've heard that both Rimsky AND Korsakov had a hand in composing this.
What a great joke!!! 😂
🤣🤣
1:30:11 the ghost pixie's celestial singing voice!
You know I put legend here?
Хор - ни единого слова понять нельзя
Потому что сначала записали фонограмму, оркестр и солисты кстати тоже, а потом под фонограмму видео. При этом пели вживую. Если приглядеться, видно, что иногда губами в фонограмму не попадают.
Wonderous - thanks for posting
Any video of this opera with english subtitles? i really want to understand the story
Here is a link to the PDF of the libretto in Russian, Latin-alphabet transliteration, and English: www.frankhamilton.org/jg/Mlada.pdf
Браво
1:46:41 Mood Whiplash! In Heaven again.
At what minute does act 3 start?
Act 3 starts at 1:25:07
Спасибо большое!
I rather enjoy seeing this production ev en though I dont understand a word of it as sung --- or, for that matter the credits as posted.
Can anyone translate the opening credits or tell me where I can find them in print?
Thank youj.
What a wacky production! Extraordinary imagination... Curious film, with the fake audience and soundtrack miming...
At 1:25:07 sounds Wagnerian!
In the palace Triglav in Heaven
Such gorgeous music but such a silly story and even sillier production.
1:38:17 «Адское коло»
Thanks
eng subs?
1:30:20 The Ride of the Valkyries 🤓
Act 1 - 5:07
Such a shame this is in MONO
Spasibo
0:32:48 singing pas deux
Я не говорю по-русски.
Nor I. Does the DVD of this, available from Amazon, have subtitle options, I wonder?
SEM LEGENDA NÃO DA MESMO QUE SEJA EM ESPANHOL POR ISSO NINGUÉM VE ÓPERAS;;COMO ENTENDER?? BALLÉ NÃO PRECISA =11=11=208=
балетные сцены ни в дугу.
Why are they recording the audience wearing 19th century clothes? They're not part of the opera!
2:24:47
57.03