Our first Tchaikovsky Mazeppa

[lennygoran]

Our first Tchaikovsky Mazeppa

It was cold out there so we decided to watch it on this used DVD from either Amazon or Ebay-I forget which. It was great-just the way I like them-traditional, wonderful singing-a nice set with maybe a few too many people on the stage at times, fine acting and lovely costumes. Regards, Len


Tchaikovsky - Mazeppa / Putilin, Aleksashkin, Diadkova, Loskutova, Lutsiuk, Gergiev, Kirov Opera

Mazeppa, opera in 3 acts, libretto by Viktor Burenin (1884)
Mazeppa Nikolai Putilin
Kochubey Sergei Alesashkin
Lyubov Larissa Diadkova
Mariya Irina Loskutova
Andrey Viktor Lutsiuk
Orlik Viacheslav Luhanin
Kirov Opera Orchestra, Chorus, and Ballet/Valey Gergiev
Recorded at the Mariinsky Theater, St. Petersburg, Russia, 1996
Video direction, Brian Large. Stage Producer, Irina Molostova
Booklet in English, Français, Deutsch. Synopsis, no texts. Photos of the staging.
Originally recorded in two channel stereo, DRSS reprocessed for surround sound.
Subtitles: English, French, German, Italian, Spanish, and Chinese. Menus in English.
DTS and Dolby Digital 5.1 sound. NTSC anamorphic 16:9 region 0 [all-regions]
No PAL version available. DVD [format 9]

Read more: http://www.musicweb-international.com/c ... z7ChpMlvPr

The Music Web review:
My first experience with Mazeppa was a student production of one scene by the University of Southern California music school. It was the hit of the season and everybody wondered about this Tchaikovsky opera, but there was no recording available in any medium, so we were left unable to follow up on our interest. After years of searching I found a copy of the Melodiya recording on LP, but the sound was bad monophonic and the lack of the text prevented me from developing a serious interest.

One cannot discuss a performance of this particular opera without justifying the opera itself. For various reasons, and with the occasional exception of Yevgeny Onyegin, all Tchaikovsky’s operas are counted as failures both musically and dramatically. Not having the typical prejudices of most opera critics, and most particularly not worshipping at the shrines of the soprano cult, I find it difficult to understand why this opera is not, along with Pikovaya Dama, counted among the finest. The story is from an epic poem by Pushkin, "Poltava" set in the 1680s and about the seemingly endless wars involving Poland, Sweden, the Cossacks, and Russia. The libretto by Viktor Burenin was commissioned by the Tsar probably as a patriotic pageant to demonstrate how futile and terrible are opposition to the authority of the Tsar. It’s a good libretto even in translation; one is touched by the dramatic irony when, immediately following the dungeon scene, Mariya and Mazeppa sing repeatedly of what "torture" is absence of the beloved; and in the final scene, the dying Andrey implores Mariya to "wake up" from her madness as she sings to him to him to "go to sleep"—a lullaby. Act II Scene 2 where Mazeppa tricks Mariya into consenting to the death of her father is masterfully done, as is the following scene where Mariya’s mother is able to make plain to her daughter the horror of what is to come, and Mariya’s acceptance of her guilt begins to unravel her sanity. It must be noted that, although it could not be spoken on stage in 1884, like Brunnhilde at the beginning of Götterdämmerung, Mariya was already pregnant at the beginning of this opera. That is why she can no longer engage in the ritual flower dances of the virginal maidens.

Ivan Stepanovich Mazeppa (1644-1709) was the appointed governor (Hetman) of the Russian province of Ukraine, who intrigued with the Swedes to secure independence for his people and the Ukrainian throne for himself. He joined the Swedes against Peter the Great at the Battle of Poltava, but the Russians were totally victorious and Mazeppa fled to Moldavia and death. Perhaps it is difficult for modern Westerners to identify with these characters as they switch their loyalties among the ruling powers so easily as the fortunes of war and the desire for survival keep changing the stakes. In the midst of this, the barely teen-aged Mariya Kochubey falls into an Othello/Desdemona-like affair with the elderly Mazeppa, so we know right off no good can come of this. The characters bemoan fate and their inescapable destiny even as they make freely, one by one, the choices that lead them to their fall. The gradual dramatic progression as we move from what should be a happy betrothal to universal disgrace, death and destruction is brilliantly underscored by the music. Right up to the end of act II, I would be ready to insist that this is one of the greatest operas ever written. Act III opens with a terrific Tchaikovsky tone poem describing the battle of Poltava complete with his usual generous quotations from Russian hymns, and a full marching band playing on stage.

In this DVD, singing and acting are exceptional in every role. The staging is grand and realistic with hundreds of costumed singing extras on stage as required. The dancing in the party scene is everything you could hope for with wild leaps, spins and jumps. The audience is very well behaved with applause only after the ends of the acts, and only a very occasional discreet cough. Costumes, lighting, and video direction are superb. One particularly brilliant effect occurs right at the end of Act II when Kochubey is beheaded off stage left. As we hear the axe fall, a red spotlight suddenly comes on from the left as though the blood of the martyrs had erupted in flames from their bodies. As the red light strikes Mariya, frozen with horror at having watched as her father is killed, her horrific grimace turns suddenly to a wild grin as her mind snaps and she falls to the ground in hysterical laughter. We are probably also to infer that the shock has caused her to miscarry her unborn child, therefore at that single moment she has, in her eyes, and in the eyes of the Church, become a double murderess. It took me ten minutes to get my emotions under control before I could go on with the opera.

The last scene of Act III opens with one of those incredible concatenations of coincidence which Iris Murdoch employed at the end of her novels to get every principal character into one room. The opera then becomes a sung dramatic dialogue with the orchestra providing background support. In this recording the emphasis is more on the words of the drama, hence there is little full voice singing in contrast to the other recordings. Mazeppa and Andre fight, Andre is shot, Mariya in white robes enters caressing a bouquet of flowers at her breast and singing to it as to a child. Mazeppa tries to reach out to her, but in her madness she does not recognize him, and he flees without her. Andre revives long enough to say goodbye, but she does not hear him, continuing to sing her lullaby to her flower bouquet as the curtain falls.

This is the first time I’ve had a chance to watch Gergiev conducting. The charisma of the man, the brooding air of intense male power, is utterly overwhelming! In his decision to become a great conductor, the world lost a very great actor.

Järvi’s timings are almost identical to Gergiev’s, 167 as opposed to 169 minutes (the DVD includes 5 minutes of curtain calls and credits). Järvi’s Mazeppa, Sergei Lieferkus, is a magnificent artist, however I prefer Nicolai Putilin. One example of Putilin’s artistry is at those times when Mazeppa describes himself as an old man, he will introduce into his declamation the merest amount of waver to suggest age, yet without in any way afflicting the musicality of his tone or his diction. Larissa Diadkova plays Lyubov, Mariya’s mother, in both Järvi’s and Gergiev’s recordings, but she is such a fine actress that seeing as well as hearing her performance greatly enhances one’s appreciation. Viacheslav Luhanin as Orlik in the Gergiev production has little to sing, but his stage manner is so menacing and sinister that he manages to steal every scene he is in, and in this production it is he, not Mazeppa, who shoots Andrey. Gorchakova. Järvi’s Mariya, has a renowned voice but Irina Loskutova is singing in a real stage production, singing for the audience not just for the microphone, and the result is that her interpretation is much more dramatic. The same is true of the tenors; in Gergiev’s stage production, Viktor Lutsiuk makes a valid attempt to sound at least a little bit like he really is dying when he is supposed to be, yet never loses his control or beauty of tone, whereas in the studio production, Järvi’s tenor Sergei Larin understandably tends to strive for a beautiful, forward sound at all times. In short, the Gergiev has an advantage over the studio productions just because it is a live production.

The stereo sound is very clear and wide ranged, only slightly compressed, and effectively presents well the brilliant orchestral interludes, during which we look very closely at the orchestra players. It is remarkable that six years after the breakup of the Soviet Union, rampant individualism has manifested as the orchestral players display a variety of styles in hair and dress — and play beautifully in spite of having a camera in their face.

Paul Shoemaker

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Here are some more reviews of people from Amazon who agree with me. Regards, Len

Dr. John W. Rippon
5.0 out of 5 stars A Restored Gem!
Reviewed in the United States on April 10, 2008
Verified Purchase
Mazeppa is truly a great find. It is yet another restored Russian gem given new brilliance by conductor Valery Gergiev and the Kirov. I had only been familiar with Tchaikovsky's "Eugene Onegin" and "Queen of Spades" in various productions and came to cherish each as great opera. The only other of his operas I had seen was "Maid of Orleans" which was not as sucessful as the others. So I thought Mazzeppa would be another "ho-hum" of historical interest and no more. What a surprise! This is a majestic epic of the wild times in Russian history and the legendary hero of Ukrainian history. It is full of drama, blood and thunder that would be found in the later Prince Igor, Boris and Khovanshchina. The orchestration of Mazeppa is grand and lush as you'd expect from the master symphonist, the characters are well drawn and develop. There is even a "mad scene" a la Donizetti-Bellini Italian school. This is a true gem with wonderful music for the ear and grand drama for the eye.

Charles D. novak
5.0 out of 5 stars A HIDDEN GEM
Reviewed in the United States on September 6, 2005
MAZEPPA by Pyotr ILyich Tchaikovsky now out on DVD is a real find and treat. This 1996 performance by the Kirov Opera at the Marinsky Theater is a near perfect production in the traditional mode. The singing is excellent and the score begs for more then one hearing. I watched it twice the same day when my DVD copy arrived in the mail. I've also already purchased my ticket to see the Metropolitan Opera production of this seldom performed work during its 2005-06 season. Conductor Valery Gergiev once again proves his command of Russian opera and he keeps the proceedings moving swiftly without a baton in his hand. His orchestra is first rate! Of the singers, I would single out Larissa Diadkova as Lybov, the wife and Nokolai Putilin as Mazeppa. With colorful costumes, a first rate dance scene in act one and fantastic sound by the engineers of EuroArts, you can't go wrong buying this DVD. I could have done without the Marinsky Marching Band that opens the last act, but I quibble. You will fall in love with this music at first hearing. Move over PIQUE DAME, BORIS and EUGENE. Here comes MAZEPPA !! BUY THIS ONE!

Alain Blouin
5.0 out of 5 stars A spotless performance of a superior opera
Reviewed in the United States on March 7, 2005
Before this recording came out, I had heard about this opera. It's story seemed very capable of providing great musical moments. When I saw this dvd at my local store, I knew I was going to buy it. I bought it, and I definitely don't regret my decision.

Regarding the recording itself, it is of great quality. The image, sound quality and singing were all great. I personally didn't find Loskutova too old for her role. Aside from a few moments in the second act, she looked the part quite well (her mad scene was also quite convincing). The one singing Andreï, however, could've demonstrated a little bit more passion. As for the staging, it is, I think, perfectly adequate.

This opera was composed a little after Tchaikovsky's major operatic masterpiece "Eugene Onegin". You can easily recognize at some points the similarities between both works, even though they treat very different subjects (Eugene Onegin is very intimistic, whereas Mazeppa is a dramatic "grand opera", like Meyerbeer's "Les Huguenots"). One little gripe I have about this work of art is that since it lasts quite longer than Eugene (almost 3 hours), you don't always find the sweeping melodies that make Tchaikovsky's music what it is in some scenes. The first act, quite frankly, lacked vitality at some points. However, from the start of act 2 to the end of the opera, it just gets better and better. Kochubey and Iskra's last prayer before the execution at the end of the second act was extremely moving. This duet is definitely something worthy of the composer of the "Pathétique" symphony, and a good enough reason to buy this dvd (as well as the whole third act).

[maestrob]

Sounds like a winner, Len! Another gem I must seek out!

We're on a Russian opera kick, it seems these days!

[lennygoran]

We're on a Russian opera kick, it seems these days!

Brian, yeah-wonderful operas done traditionally with some wonderful singing and ones we've not seen before-what more could I ask for! Regards, Len

PS-with captions and great bargain prices!