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Summary Alexander Sergeevich Dargomyzhsky. Stone Guest

STONE GUEST

Opera in three acts

The text of Alexander Pushkin

Characters:

Don Juan

Leporello

Donna Anna

Don Carlos

Laura

Monk

1st guest

2nd guest

Statue of the Commander

Tenor

Bass

Soprano

Baritone

Mezzo soprano

Bass

Tenor

Bass

The action takes place in Spain.

HISTORY OF CREATION

The idea to write an opera for the full unchanged text of Pushkin’s Stone Guest (1830) arose in Dargomyzhsky in 1863, but at the time, according to his own words, he “recoiled before the colossal nature of this work.” However, the idea was so exciting and innovative that the composer gradually began to write individual scenes of the planned opera. Unsure of success,

he first considered his work as an experience, creative “intelligence,” and in one of the letters he reported: “I’m amusing myself with Pushkin’s Don Juan.” I try an unprecedented thing: writing music for the Stone Guest scenes the way they are, without changing a single word. ” Meanwhile, the composition of the opera was progressing, although not fast enough because of the progressive heart disease of the composer. In April 1868, Dargomyzhsky could already tell his friends that the “Stone Guest” was ready for three-quarters, and in November that the opera was nearing completion. Already in the process of creation, the new creation of Dargomyzhsky evoked a keen interest of contemporaries, especially the youth grouped around Balakirev – Rimsky-Korsakov, Cui, Mussorgsky – and Stasov. They were genuine enthusiasts of this work. At musical evenings in the composer’s house the scenes just written were performed and discussed, and the atmosphere of sincere interest and approval facilitated the work on the opera. Still, the author did not succeed in

completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. and in November, that the opera is nearing completion. Already in the process of creation, the new creation of Dargomyzhsky evoked a keen interest of contemporaries, especially the youth grouped around Balakirev – Rimsky-Korsakov, Cui, Mussorgsky – and Stasov. They were genuine enthusiasts of this work. At musical evenings in the composer’s house the scenes just written were performed and discussed, and the atmosphere of sincere interest and approval facilitated the work on the opera. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. and in November, that the opera is nearing completion. Already in the process of creation, the new creation of Dargomyzhsky evoked a keen interest of contemporaries, especially the youth grouped around Balakirev – Rimsky-Korsakov, Cui, Mussorgsky – and Stasov. They were genuine enthusiasts of this work. At musical evenings in the composer’s house the scenes just written were performed and discussed, and the atmosphere of sincere interest and approval facilitated the work on the opera. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. grouped around Balakirev – Rimsky-Korsakov, Cui, Mussorgsky – and Stasov. They were genuine enthusiasts of this work. At musical evenings in the composer’s house the scenes just written were performed and discussed, and the atmosphere of sincere interest and approval facilitated the work on the opera. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. grouped around Balakirev – Rimsky-Korsakov, Cui, Mussorgsky – and Stasov. They were genuine enthusiasts of this work. At musical evenings in the composer’s house the scenes just written were performed and discussed, and the atmosphere of sincere interest and approval facilitated the work on the opera. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov. Still, the author did not succeed in completing it. After the death of Dargomyzhsky, in accordance with his desire, “Stone Guest” was completed on the author’s sketches of Cui (in the clavier) and orchestrated by Rimsky-Korsakov.

The first performance of the opera took place on February 4 (16), 1872, at the Mariinsky Theater in St. Petersburg.

MUSIC

Having conceived an opera for the full text of Pushkin’s “Stone Guest”, Dargomyzhsky set himself a pioneering task at that time, which required the renewal of operatic principles. The composer concentrated his attention on the truthful musical transmission of the Pushkin text. Except for two songs by Laura, the opera is written in a flexible melodized recitative, subtly reflecting the tiniest shades of feelings, thoughts, character and habits of the characters. By moments the recitative passes into the singing of the arious plan. Orchestral accompaniment is sensitive, “comments” and complements the meaning of vocal parts. This musical detail makes the “Stone Guest” an original example of a chamber opera.

The first act is preceded by a short orchestral prelude. The impatient, energetic phrases of Don Juan are answered by the grouchy remarks of Leporello. When Don Juan remembers about the deceased beloved Inese, the music is painted in softly-light watercolor tones, the orchestra hears a flexible languid melody. The state of sweet melancholy is imbued with an arioso of Don Juan. The appearance of a monk is accompanied by concentrated choral harmonies; the speech of a pious old man is power and strict. Crystally transparent chords of woodwinds characterize Donna Anna.

In a different vein, the second picture is solved – a bright genre scene. The bravura orchestral introduction introduces the atmosphere of a merry party at the house of Laura. Her two songs “Wore the Fog of Grenada” in the rhythm of the temperamental hots and the ardent serenade “I’m here, Inesilia” are marked by Spanish color. Laura’s arioso breathes peace and quiet, “How quiet the sky is”. With the advent of Don Juan, the flow of music changes dramatically. She becomes nervous, nervous, impetuous. The scene of the quarrel is accompanied by a dramatic increase, which reaches the highest tension in the orchestral episode of the duel, saturated with graphic details, sharp dissonant harmonies. Then the music returns to its original course, a tinge of gentle languor appears in it. The act ends with a complete love delight in the orchestral “afterword.”

The second act is a great dialogue scene. The composer sensitively reveals the psychological vicissitudes of the conversation between Don Juan and Donna Anna. The first orchestral phrase accurately depicts the dual appearance of the hero dressed as a monk: strict choral sounds are heard, but the passionate accompaniment “betrays” Don Juan. Enlightened harmonies announces the arrival of Donna Anna; the music of her party is full of charm, purity and gentleness. The initial phrases of Don Juan sound insinuating; he faked the tone of Donna Anna, but gradually the breath of a living feeling breaks through the shell of humility. The music becomes more and more agitated, agitated; ardent enthusiasm is replaced by bitter hopelessness, passionate plea – bright hope. The speech of Donna Anna is also changing, acquiring an increasingly direct character. The final scene (invitation, facing the statue) is based on the sinister theme of the commander; at the end, it sweeps through the orchestra like a fierce whirlwind that promises to perish.

The beginning of the third act is sustained in the tones of a calm conversation. The first dramatic rise occurs when Don Juan opens his name. Then the music takes on a lyrical tone, revealing the gentle charming image of Donna Anna. Gradually, the music penetrates anxiety: a gloomy shadow, like a harbinger of a catastrophe, is in the basses of the commander’s leitmotif. The sensation of horror is constantly growing, and the moment the commander drags Don Juan, an avalanche of ominous sounds falls upon the listener. Ends the opera quietly and enlightened.

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Summary Alexander Sergeevich Dargomyzhsky. Stone Guest

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