Summary Alexander Serov. Enemy Power
THE ENEMIES OF FORCE
Opera in five acts
Libretto by AN Ostrovsky, PI Kalashnikov and NF Zhokhov
Characters:
Ilya, a rich Moscow merchant, living In the monastery with his brother Peter, son of Elijah Dasha, wife of Peter Agafon, father of Dasha, a posad from Vladimir Stepanida, mother of Dashi, a posad from Vladimir Afimya, aunt of Peter Spiridonovna, hostess of the inn Grunya, her daughter Vasya, the young merchant’s son Yeremka, blacksmith in the inn Arriving merchant Leader of the bear Shooter Sagittarius, 1st Hunter 2nd Hunter | Bass Baritone Soprano Tenor Mezzo soprano Mezzo soprano Mezzo soprano Mezzo soprano Tenor Bass Bass Bass Soprano Tenor Bass |
Merchants,
The action takes place in Moscow in the XVIII century.
HISTORY OF CREATION
For many years, Serov cherished the idea of ”a truly Russian opera from the people’s life full of deep drama and inner strength.” He went through a lot of subjects before he stopped on the drama of AN Ostrovsky (1823-1886) “Do not live as you like,” to which, in 1864, he was pointed out by the poet and critic Ap. Grigoryev. Serov managed to be persuaded to participate in the creation of the opera by the author of the play, who wrote a poetic libretto. In the process of work, the composer became convinced that the plot needs to be changed. Ostrovsky’s play ends with a happy ending: Peter, distraught with hatred for his wife, suddenly saw through the sounds of the church boulevard and humbly repented of his sins. Feeling false, the psychological falsity of this ending, Serov
MUSIC
In the opera “Enemy Power” Serov gave a musical and dramatic picture of the people’s way of life, reproduced the morals, types, the situation of Russian urban life of the XVIII century. The drama underlying the opera unfolds against the background of the colorful scenes of the carnival. In the center of the opera is the figure of Peter, a man of weak will and unbridled in his passions. The character of the blacksmith of Yeremka’s joker is complicated, under the outwardly harmless appearance of which hidden insidiousness, cruelty, self-interest. This world of the “dark kingdom” of merchant Russia is depicted musically with a wide use of melodies of Russian folk songs and everyday urban music.
Overture embodies the contrast that permeates the whole opera; its extreme sections, based on the melody of the folk song “Captain’s daughter, do not go for a walk at midnight”, are introduced into the atmosphere of the Shrovetide festivities; middle, lyrical, is associated with a dramatic collision. This contrast is preserved in the first act; the statements of the heroes alternate with the sounds of festive fun coming from the street. Sadness of loneliness permeates the first song of Dasha “Feels, feels zealous.” The majestic speech of the angry elder Ilya is full of dignity. Petrov’s remarks – that dashingly-rude, then mockingly evil – are contrasted with the sad exclamations of Dasha. Monologue of Peter “Eh, my head is riotous” expresses that hatred, then suffering, then sincere love. Aria Dashi “Do they know if they know in the far side,” full of desperate longing, recalls the urban sentimental romance. In the style of folk melodic melody, Vasya’s song “Eh! Exorcise, kindle,” written on folk words is sustained. The act of the pathetic arioso of Dasha, imbued with desperate determination, is coming to an end.
In the second act, the people’s genre principle is represented more modestly – only by the songs of the hostess of the inn and Yeremki, both of which are of a dance character. Folk features are strong in Gruny’s song “Ah, no one likes me”, which characterizes the slyly mocking nature of the heroine. The large dialogical scene of Peter and Grunya subtly conveys the shifts in their moods – the woeful meditations and joyful excitement of Peter, the deceived affection and sincere grief of Grunya. The culmination of the act is a common ensemble, all participants of which are gripped by a feeling of spiritual pain, excitement.
The third act is preceded by an orchestral interlude; his music anticipates the mood of the subsequent song of Grunya “Oh, why are you my bluish darling”; Grunya’s melancholy singing is intertwined in the merry dance choir of girlfriends. In the second half of the act, intense stage action prevails. The final dialogical scene is characterized by psychological depth; the prevailing melodious recitative here includes “islets” of song melodies; Here the image of Yeremka deepens, the composer first lets you feel in him the features of a villain disguised as a good-natured joker; the dance motifs of his party are transformed in moments, acquiring an ominous tone.
In the fourth act drama increases; pictures of festivities emphasize the severity of situations. People’s scenes are written out broadly and vividly; music is permeated with rhythmic dances, melodies of playful, comic songs; in the orchestra you can hear the sounds of balalaika, dudy, and barrel organ; intermittent replicas of various groups, individual characters, shouts of merchants calling people – all this creates an impressive picture of the festive crowd. With it harmonizes the rampant, full of exuberant drunken-cheerful song of Peter and the sailors “As at us that a goat, that for clever was”. The center of the act is a dynamic fight scene. Grunya’s mockingly mocking intonation (“Hello, good fellow”) parodies the greeting song. A bright colorful “spot” is the carnival of the carnival accompanied by the choral song “Wide Carnival”. A collusion scene creates an anxious mood;
The fifth act opens with an orchestral picture of a blizzard night; Passages of violins draw a howling wind, dark, heavy chords emphasize the spooky coloring of the situation. The monologue of Peter is full of feverish excitement; in it alternate fear, furious rage, hatred, passion. In the scene with Dasha, the tension increases steadily. The last pages of the opera – mourning for Dasha – are imbued with deep sorrow.
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