Abdrazakov, Dyka, Petrenko, Noseda, Metropolitan Opera - Borodin: Prince Igor (2014)

Dmitri Tcherniakov’s acclaimed new production of Borodin’s Russian epic—the opera’s first Met staging in nearly a century—stars Ildar Abdrazakov in the title role of the tormented prince who leads his army against the Polovtsians. The stellar all-Russian-language cast also includes Oksana Dyka as his wife, Yaroslavna, Anita Rachvelishvili as Konchakova, Sergey Semishkur as Igor’s son, Vladimir, Mikhail Petrenko as Prince Galitzky, and Štefan Kocán as Khan Konchak. Gianandrea Noseda conducts the Met’s vast musical forces in this colorful score, which includes the celebrated Polovtsian Dances.

Composer: Alexander Borodin
Performer: Anita Rachvelishvili, Oksana Dyka, Ildar Abdrazakov, Sergey Semishkur, …
Conductor: Gianandrea Noseda
Orchestra/Ensemble: Metropolitan Opera Chorus, Metropolitan Opera Orchestra

Reviews: The Metropolitan Opera’s new Prince Igor is a mishmash of old and new, a production that manages to be both a psychological study and a historical portrayal, with visuals ranging from stunning to drab. The traditional version of the score has been trimmed by director Dmitri Tcherniakov and conductor Gianandrea Noseda, who scrapped several sections, including the overture and ending, and tacked on a new ending of their own. Plus, the original source material has been shuffled around. But cutting and pasting maneuvers aren’t so unusual for this opera, left unfinished by Alexander Borodin at the time of his sudden death in 1887.

Borodin – who was actually a chemist, not a professional composer – left behind notes and sketches, some of them only in shorthand, after working on the opera for nearly eighteen years. Two younger composers, Rimsky-Korsakov and Glazunov, then edited and added onto and orchestrated and stitched together what was left. The Met’s new version has eliminated Rimsky-Korsakov and Glazunov’s additions (though their orchestration is still employed) and opted for pensive storytelling that keeps the drama simmering through all four-and-a-half hours.

Mr Tcherniakov’s production opens with a video projection substituting for the curtain, showing a black and white close-up of a blinking face, as the orchestra briefly introduces us to Prince Igor. We are then abruptly introduced to everyone else as the stage is revealed and the chorus dives into “Glory to the beautiful sun”. Judging by Elena Zaitseva’s beautiful costumes, the action of the opera has been shifted from 1185, perhaps to the 19th century. The men are clad in neat uniforms with rifles slung over their shoulders. The women wear unostentatious dresses. Their voices crescendo and accelerate (but not in a distracting way) through Mr Noseda’s briskly conducted prologue, in which we learn that Prince Igor is preparing his army for a military campaign against the Polovtsians.
We also learn of the importance of light to this story, as after singing praise to the sun, the people of Putivl witness a solar eclipse that they interpret as a bad omen. Gleb Filshtinsky’s lighting in combination with the windy sound effects envelop the spare set – white balcony and bare floors beneath a wood truss roof – in an ominous atmosphere. This, Mr Tcherniakov’s first set, serves as the backdrop for not only the prologue, but the three scenes of the second act and the third act as well. The radically different first act is like a breath of fresh air in the otherwise dramatically conventional production.

After the prologue, the opera house is plunged back into silence and darkness, save for a continuation of S. Katy Tucker’s video projection, once again in black and white, which pans across faces of breathless soldiers. We watch the scenes of explosion, hysteria, and fear through Igor’s eyes as the silence is broken by a woman singing from the orchestra pit. When the bedraggled close-up of Igor dissolves and the stage is revealed, it is covered from end to end in bright red poppies. In the scenes that follow, the grey-scale glimpses of Igor’s psychological state are contrasted with the vivid flowers of his present, as a prisoner in the Polovtsian steppes. Even the best opera glasses would be no match for the intensity of this close-up introspection.

The singing and conducting were brilliant, particularly during the final bits, as a befuddled Igor staggered under the weight of his memories, surrounded by dancers and with the chorus escalating the tension from boxes to the sides of the stage. Itzik Galili’s choreography felt distracting and disjointed, but perhaps this was only an accurate accompaniment to Igor’s bewilderment and the frenzy of the orchestration. The Polovtsian slaves, all with long hair and flesh-colored pajama-type outfits, twirled and thrashed their way across the poppy field, at times flapping their arms up and down like children pretending to be butterflies. Despite the at times spastic choreography, this act was by far the strongest of the evening.
The singing during this act also surpassed that of the other sections. Sergey Semishkur as Prince Igor’s son implored us with a voice that melted like butter. Igor’s aria was likewise moving: one of Ildar Abdrazakov’s many shining moments. Stefan Kocan rumbled convincingly as Khan Konchak, and his daughter, Konchakovna, was searingly portrayed by Anita Rachvelishvili. Her wild dark tresses provided a contrast with Igor’s straight-laced wife Yaroslavna, sung emotively by Oksana Dyka. Ms Dyka’s Act II aria was enrapturing, with sadness seeping into her voice and movements, as she wondered when or if her beloved Igor would return to Putivl. Moments later, her voice was raw but strong with indignation as she confronted the slimy Prince Galitsky, a casual rapist trying to replace Igor. Prince Galitsky was sung persuasively and powerfully by Mikhail Petrenko. During Acts II and III, the more traditional set returns, and Mr Petrenko was exuberant as he caroused with his cronies in his “palace” (which seems more like a frat house).

Mr Petrenko’s convincing Galitsky, in combination with the surprisingly realistic explosion at the end of Act II, made Igor’s return in Act III all the more triumphant. In this new version, Igor returns to Putivl amid rubble and destruction, with a choir singing, quiet and hymn-like, offstage. Instead of ringing church bells, he bangs a metal pipe against some of the fallen debris, and instead of the bombastic praise of the chorus – lauding their returned hero – the finale was more tranquil, even peaceful. Mr Noseda’s conducting, which had been brisk and even blustering before, became solemn and resolute.

I was left wondering why the video projections had been limited to the first act, and why those stunning poppies were paired with the conventional all-purpose sets of the others. Although the most impressive directing may have been reserved for the first act, the music was beautiful throughout: majestic and harrowing chords vibrating and modulating beneath the tale of Prince Igor’s campaign.

Tracklisting:

Alexander Borodin (1833 - 1887)
Prince Igor
New Edition, Created For The Metropolitan Opera By Dmitiri Tcherniakov And Gianandrea Noseda
1. Opening Credits 1:12
Metropolitan Opera Orchestra, Gianandrea Noseda
2. Introduction By Eric Owens 2:16
Eric Owens
Prologue
3. "Solntsu krasnomu slava!" 4:17
Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
4. "Idyom na bran s vragom Rusi!" 2:24
Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
5. "Knyazya, pora nam vistupat" 4:31
Sergei Semishkur, Ildar Abdrazakov, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
6. "Puskai sebye idut" 1:06
Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda
7. "Pust pridut knyagini" 4:42
Oksana Dyka, Sergei Semishkur, Ildar Abdrazakov, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda
8. "Pora idti nam v put!" 5:41
Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Act 1
Song Of The Polovtsian Maidens
9. "Na bezvodyi, dnyom na solntse" 6:03
Kiri Deonarine, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
10. Dance Of The Polovtsian Maidens 2:17
Metropolitan Opera Orchestra, Gianandrea Noseda
Cavatina Of Konchakovna
11. "Merknyet svyet dnyevnoi" 6:16
Anita Rachvelishvili, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Chorus Of The Polovtsian Guards
12. "Solntse za goroi ukhodit na pokoi" 1:12
Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Recitative And Cavatina Of Vladimir Igorevich
13. "Medlenno dyen ugasal Akh! Gdye ti, gdye?" 5:40
Sergei Semishkur, Metropolitan Opera Orchestra, Gianandrea Noseda
Duet Of Konchakovna And Vladimir Igorevich
14. "Ti li, Vladimir moi?" 4:24
15. "Nu chtozh otyets tvoi?" 1:33
Anita Rachvelishvili, Sergei Semishkur, Metropolitan Opera Orchestra, Gianandrea Noseda
Aria Of Prince Igor
16. "Ni sna ni otdikha izmuchennoi dushe" 7:19
Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda
Scene Of Prince Igor And Ovlur
17. "Pozvol mnye, knyazhe, slovo molvit" 4:27
Mikhail Vekua, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda
Aria Of Khan Konchak
18. "Zdorov-li knyaz?" 7:56
Scene Of Khan Konchak And Prince Igor
19. "Gei! Plennits privesti syuda!" 3:20
Ildar Abdrazakov, Stefan Kocan, Metropolitan Opera Orchestra, Gianandrea Noseda
Polovtsian Dances
20. "Uletai na krilyakh vetra" 11:41
Stefan Kocan, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
21. Introduction To Act 2 By Eric Owens 0:50
Eric Owens
Act 2
Arioso Of Yaroslavna
22. "Nyemalo vremeni proshlo s tekh por" 9:32
Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda
Scene Of Yaroslavna With The Maidens
23. "Tam dyevushki prishli k tebye, knyaginya" 5:24
Oksana Dyka, Barbara Dever, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Scene Of Yaroslavna And Prince Galitsky
24. "Ai! Knyaz! Batyushki!" 7:11
Oksana Dyka, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Scene
25. "Goi! Slava, slava Volodimiru!" 2:18
Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Recitative And Song Of Prince Galitsky
26. "Nateshilsya li, knyaz? … Tolko b mnye dozhdatsya chesti" 4:10
Recitative Of Prince Galitsky
27. "Knyazyu Galitskomu slava!" 1:06
Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Scene With The Maidens
28. "Glyan-ko! Babya-to chto valit syuda" 2:13
Scene
29. "Stoi, rebyata, slukhai!" 1:07
Scene And Song In Honor Of Prince Galitsky
30. "Chto u knyazya da Volodimira" 3:33
Chorus
31. "Da, vot komu bi knyazhit na Putivle!" 2:56
Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Scene Of Yaroslavna And The Boyars
32. "Dobro pozhalovat, boyare" 7:33
Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Scene Of Prince Galitsky's Revolt
33. "Rat pobita vsya, Igor" 3:47
Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Finale
34. "Zvon! Nabat! I vpryam, nabat!" 2:32
Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
35. Introduction To Act 3 By Eric Owens 0:34
Eric Owens
Act 3
Lament Of Yaroslavna
36. "Akh! Plachu ya, gorko plachu ya" 10:43
Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda
Peasants´ Chorus
37. "Okh, nye buini vyeter zavival" 2:58
Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Trio
38. "Vladimir! Uzhel vsyo eto pravda?" 3:21
Anita Rachvelishvili, Sergei Semishkur, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda
Gudok Players´ Song / Scene And Chorus
39. "Ti gudi, gudi, da" 7:47
Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
Recitative Of Yaroslavna / Duet Of Yaroslavna And Prince Igor
40. "Ne mozhet bit Vsyo mnitsya mnye" 2:55
Oksana Dyka, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda
Monologue Of Prince Igor
41. "Zachem nye pal ya na polye brani" 8:39
Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda
Chorus Finale
42. "Kto pyervi radost nam povedal?" 2:53
Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus
43. Flood 5:45
44. Bows & Closing Credits 4:11
Metropolitan Opera Orchestra, Gianandrea Noseda

• The Blu-ray includes a “Backstage at the MET” special with host Eric Owens, featuring:
- Introductions to Act 1, 2 and 3
- Interview: Ildar Abdrazakov
- Panel: Gelb, Tcherniakov; Noseda (+Lidiya)
- Interview: Dyka; Petrenko (+Lidiya)
- Interview: Rachvelishvili
- Interview: Donald Palumbo






Thanks to the original releaser