Talk:Mazeppa (opera)

Pavel Borisov (1850-1904): БОРИСОВ , Павел Борисович [1850-23.VI (6.VII). 1904] - русский артист оперы (баритон). в 1876 окончил Петерб. консерваторию по классу Д. Кор-си. Пел в Харькове, Киеве, Одессе и др. городах России, а также в Англии и Италии. в 1882-93 и в 1898-99 выступал в качестве "первого баритона" в Большом театре. Обладал сильным голосом широкого диапазона. Партии: Мефистофель ("Фауст"), Амонасро ("Аида"), Нелюско ("Африканка" Мейербера), Мазепа (о. п. Чайковского); был единственным исполнителем партии Демона в опере "Тамара" Фитингофа-Шеля. с 1894 Б. преподавал пение в Одессе.

Alexandra Krutikova: КРУТИКОВА , Александра Павловна (1851- 1919) - русская артистка оперы (меццо-сопрано). Пению училась первоначально у П. Вартеля в Париже, в 1872 окончила Петерб. консерваторию по кл. Г. Нис-сен-Саломан. в том же году впервые выступила на оперной сцене в Петербурге, до 1876 пела в Мариин-ском театре. Партии: Ваня ("Иван Сусанин"), боярыня Морозова ("Опричник" Чайковского), Гений добра ("Демон"), Федор ("Борис Годунов"), Груня ( Вражья сила" Серова) и др. в 1876-78 совершенствовалась у Муцио в Париже и Гамбоджи в Милане, сезон 1878-79 пела в Севилье. Возвратившись на родину, выступала в Харькове, Киеве и Одессе, в 1880-1901-в Большом театре. К. обладала голосом обширного диапазона (исполняла также партии контральто). Певица виртуозно владела своим голосом, обладала изящной и легкой колоратурой, пела драм. и лирич. партии. Партии: Ольга, Любовь, Солоха, Графиня ("Евгений Онегин", "Мазепа", "Черевички", "Пиковая дама" Чайковского), Церлина ("Дон Жуан"), Ортруда ("Лоэнгрин"), Амнерис и др. Лит.: Александра Павловна Крутикова, "ЕИТ". Сезон 1901-1902, приложение 1; А. П. Крутикова, "Русская муз. газета", 1901, "ј5;Антарова К. Е., Моя работа над ролью графини в "Пиковой даме", в сб.: Чайковский и театр. М.-Л., 1940.

Dmitri Usatov: УСАТОВ , Дмитрий Андреевич [10(22).II.1847- 10. (23). VIII.1913] - рус. артист оперы (тенор), педагог. в 1873 окончил Петерб. консерваторию (класс К. Эверарди). Пел на провинциальных сценах. в 1880-89 - солист Большого театра (Москва), где был первым исполнителем партий в операх Чайковского: Ленский; Андрей ("Мазепа"), Вакула ("Черевички"). Обладал красивым голосом приятного тембра. Др. партии: Альфред, Альмавива; Элеазар ("Маккавеи" Рубинштейна), Собинин ("Иван Сусанин"),- Баян ("Руслан и Людмила"), Рауль ("Гугеноты"), Фауст; Беппо ("Корделия" Соловьева) и др. Уйдя со сцены, вел педагогич. работу. Был вок. педагогом Ф. И. Шаляпина (1892-94, Тифлис). В. Бр. УСАЧ‚В , Александр Артемьевич [6(18).VIII.1863- 21.1.1937] - рус. сов. актер. Засл. арт. Республики (1934). в 1888-91 учился на драм. курсах при Петерб. театр. училище (класс Н. Ф. Сазонова). в 1891- 1937 - актер Александрийского театра (ныне - Ле-нингр. театр драмы им. Пушкина). Дебютировал в роли Молчалина ("Горе от ума"). Актер по преимуществу комедийный, точный в деталях, подробностях, У. был также виртуозным исполнителем маленьких ролей. У. вносил в исполнение своих ролей тонкий юмор, яркую жизненность и реализм, использовал приемы гротеека. Роли: Вурм ("Коварство и любовь"), Добчинский, Хлестаков, Шпекин ("Ревизор"), Репетилов, Загорецкий, князь Тугоуховский ("Горе от ума"), Шприх ("Маскарад"), Яша ("Вишневый сад"), Счастливцев; Патлен ("Адвокат Патлен"), Син Бин у ("Бронепоезд 14-69"), Коко, Петрищев ("Плоды просвещения"), Хотяков ("Рельсы гудят" Киршона), Костюк ("Ярость" Яновского), Захаров ("Страх"), Печенегов ("Враги") и др. Соч.: Повесть об одном актере. Л.. 1935. Лит.: Данилов С., Мастер эпизодической роли, "Рабочий и театр", 1937, ј 3; Ю р ь e в Ю., Записки, т. 1- 2, Л.-М., 1963. С. Г.

Some elements of the libretto are missing. The content of this synopsis somehow to be incorporated to the article (meladina 07:53, 1 September 2006 (UTC)):[reply]

Mazeppa (synopsis)

Composer: Peter Ilyich Tchaikovsky

ACT I. In the garden of Kochubei’s farmstead, on the banks of the Dnieper, peasant girls pass by in boats, inviting Maria, Kochubei’s daughter, to join their fortune-telling games. She demurs; her father is entertaining an important guest — the Cossack chieftain Mazeppa, ruler of the Ukraine. When they are gone, she reflects that girlish pursuits hold no charm for her since the elderly Mazeppa has bewitched her heart. Andrei, overhearing her passionate declaration, offers comfort and understanding, but when she thanks him for his friendship, he replies that it is not friendship but love that inspires his sympathy. She asks his forgiveness, and they lament the fatal passions that rule them both. Bidding her a tearful farewell, Andrei rushes away.

In Kochubei’s house, the assembly hails the guest of honor. After a group of folk dancers regales them with a Hopak, Mazeppa draws his host aside to ask for his daughter’s hand. When Kochubei, appalled, points out the gulf between their ages, Mazeppa replies that the passions of a mature heart burn slowly but steadily, assuring Kochubei that Maria returns his love. The proud father refuses his consent and orders Mazeppa to leave his house. Mazeppa, affronted, calls his in guard and demands submission, but Kochubei defies him, backed by Andrei and the guests, who condemn Mazeppa’s sinful desires. Maria, torn between love and duty, throws herself between her beloved and her father; Mazeppa, preparing to leave, forces Maria to choose between them. After an agonizing moment, she runs into his arms. With his guard holding back the horrified company, he leads her away.

A group of women comforts Lyubov as she laments the loss of her child. Sending them away, she urges Kochubei to wreak vengeance on Mazeppa. Kochubei reveals that in an unguarded moment Mazeppa has let slip hints of a treasonous plan to align himself with the Swedes to overthrow the Tsar. Kochubei plots to betray Mazeppa to Peter the Great. Andrei, saying his life is of no value without Maria, volunteers to brave the Tsar’s disbelief by denouncing his trusted hetman. Kochubei and Lyubov exult that their enemy will die at the hands of executioners.

ACT II. Kochubei, imprisoned and awaiting execution, laments that the Tsar has taken Mazeppa’s slanderous word over his loyal one and turned him over to his enemy; Kochubei, who has made a false confession under torture, regrets the loss of his honor more than his life. When Mazeppa’s henchman Orlik enters, demanding to know where Kochubei has hidden his treasure, Kochubei replies that, since Mazeppa has stolen his and his daughter’s honor, the only treasure left him is vengeance, which rests with God. As Orlik summons the torturers again, Kochubei falls senseless.

In a room in his palace, Mazeppa resolves to kill Kochubei and Andrei, but his soul is troubled by guilty visions, and he wonders how Maria will react when she learns of her father’s fate. Orlik comes to report Kochubei’s refusal to cooperate, and Mazeppa sends him to prepare for the execution. Alone, he reflects on the rejuvenating effects of Maria’s love. She enters to complain of his recent neglect, remaining unconvinced by his avowals that he loves her more than glory or power. To assuage her fears, he confides his revolutionary plans, saying he may soon ascend the throne of an independent Ukraine. Maria is swept away by visions of his glory; when he warns that failure will mean the gallows, she vows to die with him and reaffirms her love. When Mazeppa asks whether he is dearer to her than her father, Maria, perturbed, assures him of her devotion; they embrace, asking one another’s forgiveness. Left alone, Maria envisions her parents in distress. Lyubov enters unexpectedly and implores her to save her father’s life. Maria, at first uncomprehending, finally realizes what has happened and, overcome by guilt, falls in a faint. Reviving quickly, she hurries away with Lyubov to plead for Kochubei’s life.

In a field near a scaffold, an unruly mob awaits the execution. A drunken Cossack sings a song, berated by the crowd, which bows subserviently to Mazeppa when he rides by. Kochubei and Iskra are brought in. They kneel in repentant prayer, then mount the scaffold. As the crowd surges forward, Maria and Lyubov rush in, only to see the axes fall. Maria collapses in her mother’s arms.

ACT III. In the ruins of Kochubei’s farmstead, now a battlefield, Andrei, thirsting for vengeance, regrets that he has pursued Mazeppa in vain. Surveying the place where his childhood love for Maria blossomed, he laments his lost dream of happiness, wishing for oblivion and peace. He withdraws as Mazeppa and Orlik ride in, fleeing the victorious Russians. When Orlik leads the horses off, Mazeppa, now branded a traitor, bemoans the downturn in his fortunes. Andrei comes forward to berate him for destroying the happy home that once stood on the battleground and challenges him to a duel to the death. Mazeppa replies that his grey hairs and his misfortunes should command respect, but when Andrei, unmoved, rushes at the old man with his sabre, Mazeppa draws his pistol and shoots. Andrei falls wounded. Mazeppa, calling for Orlik, is stopped by the appearance of Maria, mad with grief over her father’s death. She fails to recognize Mazeppa, who tries briefly to bring her to her senses before abandoning her at Orlik’s urging to save himself. Alone, Maria comes upon the wounded Andrei. Imagining him to be a sleeping child, she cradles him in her arms and sings him a lullaby. Andrei, coming to, tries in vain to penetrate her delirium, but his eyes grow dim, and he dies with a last farewell on his lips, as Maria gently rocks him in her lap.

Right! Have added everything in up to the end of the scene with Kochubey in Mazeppa's dungeon. This summary says Kochubey falls senseless, but the libretto ends the scene:

КОЧУБЕЙ О, ночь мучений!

As there's no stage direction, and I believe that translates to something like "Oh night of horror" or "Night of torture" (if I remember rightly), I'm presuming that the summary is taking the mention of him having passed out before revealing the location of his treasures later in the act as having happened now, and so have ignored it as not necessarily happening on stage. (indeed, it would be somewhat odd to happen right after Kochubey's exclamation). Adam Cuerden 14:42, 2 September 2006 (UTC)[reply]

Scoring

I have removed the notes of key from the brass instruments (it's still valid for the woodwinds), because by the time Tchaikovsky was writing, the old "crooks", which were used before the introduction of valves to change the notes available, were only being used as composer notation - in other words, the trumpeteer used whatever trumpet he wanted - usually C in the orchestra and Bb in military bands - and was expected to be able to transpose in his head. Hence, the fact that Tchaikovsky wrote several keys for his trumpets is merely composer shorthand, and doesn't affect the instrument itself. Likewise the horns.

However, the clarinets still did and do come in Bb or A, and so that distinction is still valid. Adam Cuerden 20:42, 2 September 2006 (UTC)[reply]

Fair use rationale for Image:Tchaikovsky Mazeppa Deutsche Grammophon.jpg

Image:Tchaikovsky Mazeppa Deutsche Grammophon.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 06:38, 24 January 2008 (UTC)[reply]

Fair use rationale for Image:Tchaikovsky Mazeppa.jpg

Image:Tchaikovsky Mazeppa.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:38, 24 January 2008 (UTC)[reply]

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Historical basis of the plot needs expansion

Currently it's just three cameo portraits of the historical figures. It needs a general context of the battles involved, and probably a short biography of both Mazepa (the historical spelling) and Peter the Great. Deliusfan (talk) 14:53, 17 March 2022 (UTC)[reply]