Rimsky-Korsakov: The Tale of Tsar Saltan (2017)

Eduard Tsanga

Irina Churilova

Varvara Solovyova

Vladimir Bel&apos;sky

Aleksandr Pushkin

Anna Matison

Rimsky-Korsakov: The Tale of Tsar Saltan

Enchanting fairytale

&apos;The Tale of Tsar Saltan&apos; (2017)

Opening thoughts: Rimsky Kosakov&apos;s &apos;The Tale of Tsar Saltan&apos; is a wonderful opera, the story itself is a very strong example of why this reviewer loves Russian fairy/folk tales so much and the music is glorious and shows how much of a master of orchestration Rimsky Korsakov was. All his operas deserve to be much better known, as does Russian opera in general, and regardless of my serious misgivings with Valery Gergiev as a person his early and mid career showed an immensely gifted conductor who contributed heavily to making Russian opera better known and more accessible internationally and doing it also in the original language.

This is a very good production. It is not perfect by all means, with a few things that are easy to criticise understandably, but the numerous good things are so good. Of my opera viewings in the past few months or so, this production of &apos;The Tale of Tsar Saltan&apos; is one of the better ones easily and a strong example of why the opera and Russian opera in general deserves to be performed a lot more. And in a way that is accessible, in good taste and as close to original intentions as possible, which is where the production scores highly in.

Bad things: Sure, there are issues. The ballet dancing is static and less than athletic in parts, which is surprising actually for Mariinsky. It can be said though that this is nitpicky with it not being a crucial aspect of the opera anyway.

Also did think that some of the acting was on the stolid side with occasional moments of overdone melodrama. Particularly with the chorus, the leads get away with it as their roles call for animated theatricality often but less so the chorus.

Good things: However, so much is great here in this production of &apos;The Tale of Tsar Saltan&apos;. It does appeal visually, having a lot of colour and atmosphere that fits the story beautifully. Some might say it&apos;s too simple and artificial, as well as old fashioned, this reviewer disagrees and appreciates that the production didn&apos;t try to do too much visually (so no projections, overlong technical scene changes or revolving/rotating sets) and let the story and its atmosphere speak. While having never had anything against newer stagings, there has always been a preference for traditional and more faithful productions.

The staging is always tasteful with nothing taking me out of the setting, the drama was always coherent (which is always important in opera, theatre and ballet) and it sticks to the spirit of the original story very well with none of its magic lost. Indicating also somebody who loved the opera and story and understood it and what it needs. Having struggled recently watching the bizarre and distasteful Bayreuth &apos;Tannhauser&apos;, regardless of how good it was musically, recently that was a much needed refreshment.

Musically, the production is outstanding. The orchestra bring out every ounce of spirited energy and nuance out of Rimsky Korsakov&apos;s gorgeous score, relishing the lushness and complexity of the orchestration. The chorus sing beautifully and with precision and engagement with the drama, even if there is a stand there and sing quality and lack of individuality. This production also boasts some of Gergiev&apos;s best and most polished work in recent years, have found his work hit and miss this past decade (especially with his Munich tenure and the leaden Metropolitan Opera &apos;Der Fliegende Hollander&apos;) but when he hit he really hit and he conducts with fire and sensitivity here.

Can&apos;t fault the lead cast either, the singing is fantastic across the board and the acting style fits the roles and the type of characters (with it being a fairytale any theatricality was appropriate) ideally. Irina Churilova and Albina Shagimuratova are particularly animated and heartfelt.

Concluding thoughts: In conclusion, very, very good, with plenty of enchantment, good taste and perfect musical values, and nearly great.

8/10.

'The Tale of Tsar Saltan' (2017)

Opening thoughts: Rimsky Kosakov's 'The Tale of Tsar Saltan' is a wonderful opera, the story itself is a very strong example of why this reviewer loves Russian fairy/folk tales so much and the music is glorious and shows how much of a master of orchestration Rimsky Korsakov was. All his operas deserve to be much better known, as does Russian opera in general, and regardless of my serious misgivings with Valery Gergiev as a person his early and mid career showed an immensely gifted conductor who contributed heavily to making Russian opera better known and more accessible internationally and doing it also in the original language.

This is a very good production. It is not perfect by all means, with a few things that are easy to criticise understandably, but the numerous good things are so good. Of my opera viewings in the past few months or so, this production of 'The Tale of Tsar Saltan' is one of the better ones easily and a strong example of why the opera and Russian opera in general deserves to be performed a lot more. And in a way that is accessible, in good taste and as close to original intentions as possible, which is where the production scores highly in.

Bad things: Sure, there are issues. The ballet dancing is static and less than athletic in parts, which is surprising actually for Mariinsky. It can be said though that this is nitpicky with it not being a crucial aspect of the opera anyway.

Also did think that some of the acting was on the stolid side with occasional moments of overdone melodrama. Particularly with the chorus, the leads get away with it as their roles call for animated theatricality often but less so the chorus.

Good things: However, so much is great here in this production of 'The Tale of Tsar Saltan'. It does appeal visually, having a lot of colour and atmosphere that fits the story beautifully. Some might say it's too simple and artificial, as well as old fashioned, this reviewer disagrees and appreciates that the production didn't try to do too much visually (so no projections, overlong technical scene changes or revolving/rotating sets) and let the story and its atmosphere speak. While having never had anything against newer stagings, there has always been a preference for traditional and more faithful productions.

The staging is always tasteful with nothing taking me out of the setting, the drama was always coherent (which is always important in opera, theatre and ballet) and it sticks to the spirit of the original story very well with none of its magic lost. Indicating also somebody who loved the opera and story and understood it and what it needs. Having struggled recently watching the bizarre and distasteful Bayreuth 'Tannhauser', regardless of how good it was musically, recently that was a much needed refreshment.

Musically, the production is outstanding. The orchestra bring out every ounce of spirited energy and nuance out of Rimsky Korsakov's gorgeous score, relishing the lushness and complexity of the orchestration. The chorus sing beautifully and with precision and engagement with the drama, even if there is a stand there and sing quality and lack of individuality. This production also boasts some of Gergiev's best and most polished work in recent years, have found his work hit and miss this past decade (especially with his Munich tenure and the leaden Metropolitan Opera 'Der Fliegende Hollander') but when he hit he really hit and he conducts with fire and sensitivity here.

Can't fault the lead cast either, the singing is fantastic across the board and the acting style fits the roles and the type of characters (with it being a fairytale any theatricality was appropriate) ideally. Irina Churilova and Albina Shagimuratova are particularly animated and heartfelt.

Concluding thoughts: In conclusion, very, very good, with plenty of enchantment, good taste and perfect musical values, and nearly great.

8/10.

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