Summary Yuri A. Shaporin. Decembrists
DECABORTS
Opera in four acts (nine scenes)
The libretto is Sun. Christmas
Characters:
Rileyev Pestel Bestuzhev (Marlinsky) Kakhovsky Prince Trubetskoy Yakubovich Prince Shchepin-Rostovsky | } | Decembrists | Baritone Bass Bass Tenor Baritone Baritone Tenor |
Olga Mironovna, the mother of Shchepin-Rostovsky Orlova, an impoverished landowner Elena, her daughter Marya Timofeevna, housekeeper Schepino-Rostov Landowner Stesha, Gypsy Nastenka, daughter of Ryleeva Rostovtsev Nicholas I Count Benckendorff Governor-General Metropolitan Old soldier Hourly Butler Night watchman The The second man Police officers | Mezzo soprano Mezzo soprano Soprano Soprano Tenor Mezzo soprano Without speeches Tenor Bass Bass Bass Tenor Bass Bass Baritone Bass Tenor Bass Bass, baritone |
Time: 1825-1826 years.
HISTORY OF CREATION
The idea of the opera originated with the composer in 1925, the centennial anniversary of the Decembrist uprising. The basis for the first version of the libretto was the play “Polina Geble” by AN Tolstoy (co-author P. Ye. Schegolev, 1925), based on a historical fact: Janet Paule, the daughter of a French emigrant, obtained permission to marry the condemned Decembrist Annenkov and followed him to Siberia. The central place in the libretto was occupied by an amorous drama, the Decembrist movement served only as its background. The subsequent versions of the libretto (second and third) were made by the poet Su. Christmas. The ideological intention deepened
PLOT
The estate of Princess Shchepina-Rostovskaya, famous for its cruelty and tyranny. Serfdom arbitrariness causes pain in the soul of the son of a landowner – an officer of Dmitry Shchepin. He himself became a victim of family despotism. At the whim of his mother, Shchepin must part with his beloved – Elena, a girl from a poor and ignorant family. Dostoev’s sad thoughts are interrupted by Pestel. He came to send a letter to Ryleyev. Pestel advises Schepin to accelerate his departure for St. Petersburg, the decisive hour is approaching in the struggle for liberation.
On the day of the fair, members of the secret society gather in the courtyard between St. Petersburg and Moscow in a tavern: Kakhovsky, Trubetskoi, Shchepin, Yakubovich and Rostovtsev. In order not to arouse suspicions of the police, Yakubovich invites the gypsies. Bestuzhev brings news of the death of Alexander I and calls for an immediate uprising. It was decided to go to Petersburg to Ryleyev. Shchepin lingers: at the market hustle and bustle he noticed Elena, who secretly left her home in the hope of seeing her beloved.
Life on the motley fairground is full of key. Muzhiks-petrushers play a puppet show, sarcastically ridiculing the “master”. The police ordered to stop the rumor: the king died. Shchepin goes to the empty area; all day he looked in vain for Elena. The case helps them meet. But the hour of the joyful meeting is brief: Shchepin must hurry to Petersburg.
The night came on the 14th of December. In the house of Ryleeva the participants of the uprising met. Trubetskoi brings the disturbing news about Nicholas, who was appointed for tomorrow, but Ryleyev’s ardent speech dispels the fluctuations that have arisen. An unidentified traitor Rostovtsev tries to stop the conspirators, calling them insane, but the Decembrists drive the traitor angrily. There is a tense silence. From the Neva the roll of the watchmen comes. The morning is approaching, and with it the hour of the uprising. Rileyev and his associates swear to replace the banner of despotism with a banner of holy liberty.
Morning in the Winter Palace. Nikolay watches with excitement and fear from the window, as rebel troops and people flock to the Senate Square. The governor-general receives orders to prepare guns.
The first to go to the square was the Life Guards Moscow Regiment under the command of Bestuzhev and Shchepin. The gathered people sympathetically meet the soldiers. The clergy headed by the metropolitan, and then the governor-general, Miloradovich, are trying to persuade the rebels to disperse. However, their efforts are futile. Kakhovsky kills the general with a pistol shot. The naval guard crew is ready to help the insurgents. But Trubetskoi, who was commissioned to command the troops, was afraid of popular unrest, and changed it. And in the meantime shots of cannons were heard. At the command of Bestuzhev and Schepina, the regiments are attacking the artillery battery. But the forces are too unequal.
On the occasion of the suppression of the insurrection, a magnificent ball-masquerade is arranged in the house of one of the courtiers. Here, Elena entered the mask, hoping to beg the tsar’s permission to share his fate with the convicted Shchepin. She tries to talk to Dmitry’s mother, but she renounces her son. Elena is pursued by a masked knight. Having learned in him the emperor, Elena appeals to him with a request; the tsar is ready to fulfill it, but warns that from Siberia Elena will never return.
Ryleev languishes in the dark casemate of the Peter and Paul Fortress. Soon the execution, but even at the hour of death the convicts do not bow their heads before the executioners, they do not lose faith in the triumph of high truth.
On the Siberian road the Decembrists go to penal servitude1. At the hour of the night rest, the sentry tells Bestuzhev and Schepin about the execution of their five friends. From a distance comes the ringing of the road bell. This is Elena, who has caught up with the party of convicts. At dawn, when the exiles gathered in the way, people crowded around the roadside. “Our sorrowful work will not be lost!” From the spark a flame will kindle, “Bestuzhev said to the people.
MUSIC
The “Decembrists” of Shaporin are a heroic epic, which historically truthfully and with great artistic force recreates the images of the Decembrists – “heroes of the pure steel” (Herzen). Passionate thirst for liberty, civic valor, asceticism but the name of freedom – these beautiful aspirations of the “firstborn of freedom” came to life in the romantically sublime system of Shaporin’s music. With the collective portrait of the Decembrists, created by heroic male choruses and ensembles, the most exhilarating pages of the opera
In the orchestral introduction there are two sections. Tense-dramatic music conveys the atmosphere of rebellion; it is replaced by a broad melody of the inspired hymn.
The first picture (the first act) – “In the estate.” Girls’ Choir “Ah, talent” is sustained in the spirit of sad, lingering peasant songs. Enthusiastic feeling and soft elegiacity is filled with Schepin’s arioso “Her soul has been for a long time dear to me.” Severely pathetic aria Pestel “About Motherland” is imbued with strong-willed inflexibility and firm confidence in victory.
In the center of the second picture – “On the Mail Route” – anthem of the Decembrists “Comrade, believe!” to the words of Pushkin’s poem “To Chaadayev.” The melody, sung by Kakhovsky and picked up by the quintet of male voices, conveys the spiritual ascent of the participants. The picture ends with the song of the folk store “Oh, you, versts”, which Bestuzhev sings.
In the third picture – “Fair” – contrast contrasted with a wide choral scene and lyric duet. In the motley alternation of episodes, various groups of people are colorfully outlined: peasants passing with a dashing song “Eh, in Taganrog” (an old soldier’s song), merry girls singing a lyrical household waltz “Walk, walk around in circles, carousel”, gypsies with fervent tunes “We’ve built beer beer.” The poetic, noble and elegant music of the duet Shchepina and Elena is covered with dreams of happiness.
The fourth picture (the second act) – “At Ryleyev” – one of the most powerful and impressive in the opera – is imbued with high dramatic pathos. The initial heroic chorus of “Friends, Already Comes” and Kakhovsky’s song “When the Stream from High Mountains” is introduced into the excited atmosphere of the meeting. Rileyev’s aria “O my Russia” is of a manly, sorrowful character; its middle part is a passionate call for freedom. The song “Our Fatherland suffers” (the words of the Decembrist P. Katenin), which grows into an optimistic hymn “Comrade, believe!” Is full of courage. (Pushkin’s words).
The fifth picture is “In the Winter Palace”. Monologue of Nicholas “At an Unkind Hour” conveys a feeling of uncertainty and confusion, which is amplified when a victorious sound of the revolutionary march comes from the Senate Square.
The sixth painting – “Senate Square”. The song-march “Behind the Danube” is akin to the old soldier’s tunes. As a symbol of the people’s grief, the melody of the initial chorus of the opera “Ah, talent” arises and spreads. Dramatism intensifies in the sorrowful arioso of the old soldier “Oh, brothers.”
The seventh painting (the third act) is “The Masquerade Ball.” The brilliant mazurka and the parade polonaise are opposed by the sincere lyrics of the heartfelt waltz that characterizes Elena.
The eighth picture is Kazemat. The music of Pestel’s aria “High Truth Speech” speaks of the hero’s spiritual stamina. As a symbol of loyalty to the freedom-loving aspirations, the melody of the Decembrist hymn is born.
The ninth picture (the fourth act) – “On the Siberian road.” Sincerely Sergeyitch’s song “Oh, the weather”; with a heavy thought of the soldier’s share the musical picture of the raging element echoes. Ballad Sergeyitch “Once I’m at night” creates an image full of deep drama. Opera ends with the life-affirming song of Bestuzhev “Our sorrowful work will not be lost” (A. Odoevsky’s words), whose music, in harsh, majestic tones, sings the immortal feat of the Decembrists.
1 In the production of the Theater. S. Kirov, the last picture goes in a different stage version: the action takes place in the courtyard of the Peter and Paul Fortress.
(1 votes, average: 5.00 out of 5)