Summary Uzeir Abdul Huseyn-oglu Hajibeyov. Ker-oglu
COVER-ANGLE
Opera in five acts
Libretto by M. S. Ordubadi and G. Ismailov
Characters:
Alah, the old man, the horse-driver at Gasan Khan Rovshen (later Ker-ogly), his son Nigar, beloved Rovshan Eyvaz, her brother Hasan Khan | Bass Tenor Soprano Tenor Baritone | ||
Ibrahim Khan Gamza-bey | } | Approximate Gasan Khan | Bass Tenor |
Ehsan-pasha Polad, servant of Hasan Khan Jester Gasan Khan The court singer | Tenor Tenor Tenor Soprano | ||
Nadir Veli | } | The peasants | Tenor Tenor |
Leaders Glashaati – 1st, 2nd, 3rd | Tenor Tenor |
The peasants, the guests of the khan, the nobles, the soldiers of Ker-ogly, the warriors of the khan, the dancers, the suite of Hasan Khan.
The action takes place in Azerbaijan in the late 16th century.
HISTORY OF CREATION
The plot of the opera is based on the popular folk epic “Ker-ogly”, preserved in the repertoire of folk singers to the present day. It reflects the events of the late XVI – early XVII century, when the Azerbaijani people had to fight both against local feudal lords and against Iranian-Turkish conquerors. The hero of the epic is a passionate fighter for the freedom and happiness of the people of Ker-oglu (which means the son of a blind man). Folk fantasy endowed him with heroic strength and selfless courage. But Ker-ogly is not only a brave leader of the rebels. He is also an inspired ashug, that is, a folk singer improvising to the accompaniment of a saz (string folk instrument). Poetic aspects of his soul are revealed in the
Gadzhibekov worked on the opera from 1932 to 1936. The composer aspired, in his words, “to create a national opera in form, using the achievements of modern musical culture.” In this he was helped by a profound knowledge of Azerbaijani folklore: at the same time he was working on the fundamental scientific research “Foundations of Azerbaijani Folk Music” (completed in 1945). Working on “Ker-ogly,” the composer also studied the music of the era in which the action of the opera unfolded; ballet scenes, according to the author, “written in the style of music of the XVII century.”
The opera premiered on April 30, 1937 in Baku at the Akhundov Opera and Ballet Theater. A year later, the opera was shown in Moscow at the decade of Azerbaijani art. The work was also included in the repertoire of the opera houses of Turkmenistan, Armenia and Uzbekistan.
PLOT
Spring morning. Peasants work in the green fields of southern Azerbaijan. It’s not good for them. The people are exhausted by overwork and unceasing chastening, chastimy his powerful ruler – cruel Gasan Khan. Here is the Khan himself with his associates. When he appears, the peasants are dispersed with whips. Hasan-khan demands to catch the best horse for him. But the old herdsman Ala had already stolen his horses in pasture for his misfortune. In vain he tries to explain that he did it without malicious intent, – the khan orders to blind the old man. Alia Rovshen’s son is informed of his misfortune by his beloved Nigar. Now you are Ker-oglu (the son of a blind man), “the old herdsman said sadly to his son. Grief and anger embrace the peasants. Rovshen, who adopted a new name – Ker-oglu, calls on the people to take revenge on the khan for all his atrocities and raise an uprising. The peasants are determined to start a fight. Having elected Ker-oglu as their leader, they go to the mountains. Nigar, at the request of the beloved, remains to inform the rebels about all the plans of the enemy.
In luxurious lodgings Hasan Khan honors with a guest – the Turkish pasha Ehsana. Alarmed by the rebel raids, they decided to end the recent hostility and conclude a military alliance. The fun is interrupted by the appearance of tax collectors. In fear, they report that Ker-oglu and his detachment took away all the collected taxes. Having conferred with generals, Hasan-khan decides to send a large army to the rebels. But the jester Telkek says that only one cunning is needed. If you kidnap his favorite horse from Ker-ogly, he will always look for her. And then it will not be difficult to grab a rebel. Everyone liked the clever plan. For its implementation is taken by the rich dignitary Hamza-bey. But he sets the condition-in return Hasan-khan should give him the beautiful Nigar. Appearing at the request of the Khan, Nigar learns of the insidious design.
Military rebel camp in the fortress Chenley-bel, located in the inaccessible mountains. Ker-ogly with a group of soldiers returns from another successful campaign. With them came the replenishment – the poor from Armenia, Georgia, Kurdistan. In the midst of the celebrations on the occasion of a new victory, Hamza-bey appears in the square, disguised as a beggar. He begs to give him shelter – the Khan completely ruined him. Learning that the stranger was a groom, the trusting Ker-ogly instructs him to take care of his horse Kyr-atom. In vain friends warn him – suddenly this is a spy of Hasan Khan! But Ker-ogly is calm – in this case Nigar would have warned him. It’s getting dark. A thunderstorm begins. Taking advantage of the bad weather and the lack of people, Hamza-bey leads Kir-ata and disappears in the dark. The guards raise the alarm, but it’s too late.
Satisfied with luck, Hasan-khan enjoys feasting with his nobles. Suddenly he sees a young ashug with a saz in his hands in the hall. This is the disguised Ker-oglu. Hasan-khan is indignant at the impudence of the stranger, who did not even bow. But the beautiful singing of ashug leads him, as well as all those present, into rapture. To find out if the stolen horse is here, Ker-ogly suggests singing a song about the famous Kyr-ata. Khan is surprised, but agrees. After listening to the song, he boasts that this horse is in his stable. Ashug expresses doubt, and Hasan-khan tells his servant Polad to bring Kyr-ata. Ker-ogly sings a new song. But at that moment, Hamza-bey appears. He immediately learns in Ashug Ker-oglu and orders the servants to grab and tie him tighter. Hasan-khan rejoices. Introduce Nigar, promised to Hamza-bey. At the sight of Kerensky’s beloved, contradictory feelings are seized. After all, Nigar did not warn him of anything… perhaps she is a traitor? Hasan-khan is reported to have caught a young man who was rushing to denounce Chenley-bel. Caught – Eyvaz, brother of Nigar. Khan calls the executioners to get the name of the one who sent him from the informer. Then Nigar boldly admits – it was she who did it. The girl throws words of contempt and hatred in the face of the nobles. This Hamza-bey can not stand it. With a knife he rushes to Nigar. But then Ker-oglu manages to break the chain that held him. He kills Hamza-bey with a fist blow. Then, taking advantage of the general confusion, jumps to Kyr-ata and instantly disappears. There is no limit to the wrath of the Khan. He orders the execution of Nigar, her brother and groom, Polad. brother of Nigar. Khan calls the executioners to get the name of the one who sent him from the informer. Then Nigar boldly admits – it was she who did it. The girl throws words of contempt and hatred in the face of the nobles. This Hamza-bey can not stand it. With a knife he rushes to Nigar. But then Ker-oglu manages to break the chain that held him. He kills Hamza-bey with a fist blow. Then, taking advantage of the general confusion, jumps to Kyr-ata and instantly disappears. There is no limit to the wrath of the khan. He orders the execution of Nigar, her brother and groom, Polad. brother of Nigar. Khan calls the executioners to get the name of the one who sent him from the informer. Then Nigar boldly admits – it was she who did it. The girl throws words of contempt and hatred in the face of the nobles. This Hamza-bey can not stand it. With a knife he rushes to Nigar. But then Ker-oglu manages to break the chain that held him. He kills Hamza-bey with a fist blow. Then, taking advantage of the general confusion, jumps to Kyr-ata and instantly disappears. There is no limit to the wrath of the Khan. He orders the execution of Nigar, her brother and groom, Polad. He kills Hamza-bey with a fist blow. Then, taking advantage of the general confusion, jumps to Kyr-ata and instantly disappears. There is no limit to the wrath of the Khan. He orders the execution of Nigar, her brother and groom, Polad. He kills Hamza-bey with a fist blow. Then, taking advantage of the general confusion, jumps to Kyr-ata and instantly disappears. There is no limit to the wrath of the Khan. He orders the execution of Nigar, her brother and groom, Polad.
The heralds call the people on the square – the execution is being prepared. A murmur is heard in the crowd. Hasan-khan, who appeared with his friends, orders that the scaffold be encircled by troops and that Nigar be executed first. But the crime is not destined to happen. Suddenly Ker-ogly bursts at the head of a large detachment, and after a short battle the khan’s squad is routed. The people glorify their hero.
MUSIC
“Ker-ogly” – a monumental folk-heroic opera, full of detailed mass scenes. Its dramatic plot is embodied with epic latitude. The music of the opera is closely connected with Azerbaijani folklore. The Azerbaijani folk instruments – zurna, tar, kamancha and others are introduced into the symphony orchestra, which emphasizes the national color. The national character is combined with the masterful use of expressive means and forms of classical opera.
Overture, based on the musical material of the opera, concisely expresses its idea. Music evolves from the insurgent call-up leitmotif to the melody of the victorious final chorus; in the middle section the themes of the main characters – Ker-oglu and Nigar – are heard.
The first act is framed by choral scenes in which there is a turning point in the mood of the people, first slaughtered, suppressed, then raising the banner of the uprising. The woeful chorus of “Dal Fields” precedes the desperate story of Nigar “Bede! To us Khan”. The motif of the orchestral introduction to this choir in the future acquires the significance of the leitmotif. The wild and spiteful appearance of Hasan Khan outlines his bellicose arioso “Only a whip admits.” In another arias of Hasan Khan “All the people I’m nobler” transferred his ecstasy of his own greatness. Sadly, the aria of Ala “No insidious goal” resounds meekly; it repeats itself at the end of the act, in the scene with Rovshan. Arioso Nigar “Cruel Gasan Khan” is full of angry protest. The next aria of Nigar “Rovshen, my beloved” is painted in dreamy, and then in a gusty-passionate enthusiastic tone. The light, mobile dance of the peasants prepares the joyful arioso of Rovshen “Only saw”, written in the style of ashug songs. The duet of Nigar and Rovshena “We have lit our revenge” with a heroic and enthusiastic spirit. The duet is close in the mood of Arioso Rovshena “Where to take forces,” indignant and recruiting, sustained in a march-like rhythm. The act ends with the hymnal choir “Who Knew”.
The second act is devoted to the depiction of Hasan Khan and his entourage. The joyful excitement of the khan, who anticipates an alliance with the pasha, is expressed in his aria “In my dear porcelain.” The melody of the middle part of the aria again sounds in the related duet of Hasan-khan and Ehsan-pasha “Fire is stronger than friendship” (in the second section). Serene dances – smooth and impetuous – are contrasted by a chorus of frightened collectors of tributes “Tribute from the peasants”, permeated with an emotionally pulsating rhythm. In the center of the act are the couplets of the jester “At Ker-ogly glorious there is a horse” in the character of a fervent dance. Nigar’s penetrating aria “Like a light smoke” is fanned with a deep melancholy and dream of meeting with a loved one.
The third act is a large-scale chorus scene. The initial choir “Chenley-bel, fortress” is endowed with a harsh and courageous force. Battle song Ker-ogly with the chorus “Let the thunder roar” distinguishes the oratorically elevated recitative, characteristic of the ashug art. The next arioso of Ker-ogly “All of us brothers” is marked by sincere warmth and passionate conviction. Arioso grows into a temperamental choir “Who Knew the Pain of the Shackles,” the melody of which is picked up by Ker-oglu in a monologue with the chorus “There is no oppression in Chenli-whale!” The music, in which the joyful consciousness of the rebels with their strength is embodied, is opposed by the pitiful lamentations of Hamza-bek. In the aria of Ker-ogly “I am devoted to you” there is a bright sadness and a deep passionate feeling. The merry dance and the solemn oath of Ker-oglu with a chorus in the character of the majestic hymn are followed by an orchestral episode, which depicts a picture of a thunderstorm. The act ends with indignant remarks of the choir.
In the fourth act, the characteristics of the khan and his entourage are compared with the musical portraits of Ker-oglu and Nigar. Opening action melancholic love song khanende (singer) with the chorus “Wine is burning in a glass” is framed by dance melodies. Three songs of Ker-ogly, full of inspiration and noble grace, are sustained in the nature of the ashug art: the first – “Only saw”, already sounded in the first act, the second – “I sing to you” (the tale of the horse Kyr-ate) and the third – Again with you. ” In the aria of Hasan Khan “Though He Looked in Heaven” a malevolent celebration and complacency were expressed. The accusatory monologue of Nigar “You are a mob of executioners” breathes with desperate determination and courage.
In the fifth act, there are two contrasting sections: the first embodies the gloomy atmosphere of the impending execution, the second draws the victorious triumph of the people. Initially, the deliberately primitive and soulless sounding of the ensemble “You Will Be a Khan” (Hasan Khan and his entourage), the grandiose recitatives of the nobles are confronted emotionally by the expressive woeful choruses of the people “Every day there are only torments” and “Do not cut, oh khan.” Arioso Ker-ogly “O Nigar” is warmed by warmth and tenderness. The opera ends with cheerful dancing and a jubilant chorus “A great holiday has come.”
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