Khovanshchina Mariinsky Theater summary. Cultural Revolution

M.P. Mussorgsky “Khovanshchina” (first production – 1886)

Genre: folk musical drama. Just like Boris Godunov, the opera has several editions, owned by Rimsky-Korsakov, Stravinsky, Lamm, Shebalin, Shostakovich.

In this opera the socio-political views of the composer were most clearly manifested.

I. Historical basis and libretto of “Khovanshchina”. Mussorgsky himself wrote the opera's libretto. In it, he addresses one of the most difficult eras in the history of Russia - the period of Peter I’s struggle for the throne. The opera has a “compressed” time frame: the events of three Streltsy riots shown in one example. The opera features historical characters - Streshnev, Golitsyn, Khovansky, Sophia. There are also fictional heroes - Dositheus, Martha, Emma.

II. Dramaturgy. There are three forces at work in the opera - the Streltsy, the schismatics (they belong to the “old” Rus') and the Petrine followers (the new statehood). The emphasis is on the development of negative forces, namely, archers and schismatics. These groups have their own leaders: the archers are ruled by Khovansky, the schismatics are ruled by Dosifey. Mussorgsky shows their differences. Khovansky is a symbol of destructive power, since he carries negative human qualities. Dositheus is a spiritual ruler, an ideal person, but his fate also turns out to be tragic. The people drawn into political games are the suffering side.

The Petrovites, acting as a third force, symbolize the new Russia, and at the same time are the cause of the death of the Streltsy and schismatics.

II. The musical language of opera. The composer develops the principles of “Boris Godunov”: the song style is combined with recitative-arioso. The structure of the opera's musical language is quite complex. Its components:

1. Recitative-ariotic style associated with solo fragments and characterizing certain characters.

2. Song style based on various genres of musical folklore.

3. Traditions of Russian sacred music (stylization of the schismatic chant, quotation from the schismatic hymn).

4. In his characterization of the Peter the Great, Mussorgsky stylizes the music of the 3rd century.

IV. Musical embodiment of dramatic spheres.

Image of the Sagittarius develops “descending”: the action of the opera covers one Streltsy riot, from victory to the tragic denouement (Streltsy execution).

Sagittarians represent a spontaneous, spiritless force. They feel their power, but lack a driving idea, and this determines their defeat. The musical characteristics of the Streltsy are based on the leittheme and large choral fragments.

Exposition of the image – Act I, chorus “Hey, you warriors” in the spirit of a soldier’s marching song. This choir is based on the theme, similar intonations will be used in the theme of Ivan Khovansky.

The turning point in the development of the image of the archers was the news of the arrival of Peter’s troops. The drawn-out chorus “Ah, there was no sadness,” which opens this scene, sounds majestic and confident. The choir of Streltsy wives is a reaction to the choir of Streltsy, it is based on the intonations of the chanting. The Streltsy chorus “Dad, Dad, come out to us” reveals anxiety and uncertainty. The scene ends with the sad prayer “Lord, do not let your enemies be offended.” The denouement of the image is the scene of the Streltsy execution, striking in its tragedy. A double choir sounds - Streltsy (prayer) and Streltsy wives (intonation of chanting). In the orchestral part, the intonations of the Streltsy theme appear, and then the Petrovtsy theme.

Ivan Khovansky, the leader of the Streltsy, is revealed through a leitmotif (intonationally close to the leittheme of the Streltsy) and through monologues. The first monologue sounds grandiose and pompous. The second shows internal uncertainty, the inability to make a decision. With his inactivity, he actually betrays the archers. The denouement of the development of the image is the 1st scene of Act IV. Khovansky is shown in his estate as a cruel tyrant master. Mussorgsky recreates the atmosphere of serf life through peasant songs and rituals. Genuine folk themes “Near the river on a meadow” and the majestic “The swan floats, floats” are used. Khovansky's remarks show that he is unable to understand the situation.

Andrey Khovansky – a lyrical image developing towards tragedy. He is exhibited as a person far from politics, living for his own pleasure (Act I). This image is tragically interpreted in the 2nd scene of Act IV, when Andrei learns about the death of his father and the execution of the archers. The denouement comes in Act V (Andrei's song).

The image of schismatics. Raskolniks like effective force first appear in Russian music precisely in “Khovanshchina”. As the drama unfolds, the schismatics remain true to themselves, this image remains almost unchanged.

Exposition – choir “To shame, to shame.” The most striking characteristic is Act V, the scene of preparation for death and self-immolation, where the genuine schismatic theme “The Enemy of Men” is used.

Dosifey– the leader of the schismatics is a collective image that embodies the best spiritual qualities of a shepherd and mentor. He is rooting for Russia and strives to reconcile all warring forces (conspiracy scene, act II). The exposition of the image is the aria of Act I. A detailed description of the hero is given in Act V.

Marfa embodies best qualities Raskolnikov - a strong character, strong will. In the heroine, two equally strong feelings are fighting - love for Andrei and love for God. For her, these are mutually exclusive feelings that can only be reconciled in one fire with Andrei. The duality of the heroine is reflected in the characterization. As a woman from the people, overwhelmed by human feelings, she is endowed with melody in the folk spirit. However, her part also contains the intonations of schismatic hymns. The most detailed characteristics: the fortune telling scene from Act II; the song “The Baby Was Coming” from Act III; the scene with Dositheus, where the idea of a fire first appears (“Like God’s candles”); a cruel story about the death of the archers in the 1st scene of Act IV; the final scene of Martha and Andrei from Act V.

Petrovtsy shown somewhat schematically. Their theme is close to military brass music of the 18th century.

Themes:

Iaction:

Orchestral introduction – p.5, Ts.1

Choir of Streltsy “Goy, you are warriors” - p.34, Ts.41

Choir “Glory to the Swan” (the magnification of Khovansky) – p.87, Ts.98

Aria of Dositheus “The time of darkness has come” - p.118, Ts.129

IIaction

Scene of Martha’s fortune telling “Secret Powers” - p.148, Ts.183

“You are threatened with disgrace” - p.152, Ts.190

IIIaction

Choir of schismatics “To shame, to shame” - p.201, Ts.259

Martha’s song “The Baby Was Coming” - p.205, Ts.265

Scene of Martha and Dositheus “Like candles of God” - p.227, Ts.301

“Terrible torture, my love” - p.229, Ts.303

Streltsy Choir “Ah, there was no sadness” - p.241-242, Ts.320

Choir of Streltsy Wives “Oh, damned drunkards” - p.250, Ts.331

Choir of archers “Dad, dad, come out to us!” - p.280, Ts.370

Arioso by Khovansky “Remember, children” - p.285, Ts.376

IVaction

1st picture

Choir of peasant women “Near the river on the meadow” - p.287, Ts.381

Chorus of peasant women “The swan is swimming, the swan is swimming” - p.315. Ts.443

2nd picture

Monologue of Dositheus “The decision of the inexorable fate has been completed” - p.321, Ts.445

Streletsky wives “Give no mercy” - p.336, Ts.480

Prayer of the archers “Lord, our God” - p.337

Vaction

Choir “Enemy of Men” - p.357, Ts.514

Andrei Khovansky's song “Where are you, my will?” - p.362, Ts.524

Iaction Red Square in Moscow. It's getting light. Boyar Shaklovity, the protege of Princess Sophia, dictates a denunciation to the clerk Peter: the chief of the Streltsy, Prince Ivan Khovansky, planned to place his son on the throne and establish him in Rus' old order. They stop at the pillar that the archers erected in memory of their recent victory. newcomers; They learn with horror about the cruel reprisal against the boyars who were disliked by the archers. Meanwhile, the archers greet their leader, Ivan Khovansky. The prince’s son Andrei is also here, who is pursuing Emma, a girl from German settlement. The schismatic Martha, Andrei's recent lover, comes to her defense. This scene is caught by the returning Ivan Khovansky. He himself liked Emma, but Andrei is ready to kill her rather than give her to his father. Dosifei, the head of the schismatics, imperiously removes the knife raised over the girl.

IIaction The office of Prince Vasily Golitsyn, the chancellor and favorite of Princess Sophia. The prince is immersed in gloomy thought, he is overcome by fear of the future. Martha, who appears under the guise of a fortune teller, predicts the prince's disgrace. The superstitious Golitsyn is confused. To keep the prophecy a secret, he tells the servant to drown the fortune teller. But Martha manages to escape. Peter's opponents gather in Golitsyn's house. The conversation between Golitsyn and Khovansky, hidden rivals who hate and fear each other, turns into a quarrel, which is stopped by Dosifei. He calls on them to humble their arrogant pride and think about saving Rus'. An excited Marfa runs in. She talks about the attempt on her life and miraculous salvation, which came from the Peter the Great. The conspirators hear Peter's name with alarm. But even more terrible was the news brought by Shaklovity: Tsar Peter found out about the conspiracy, branded it Khovanshchina and ordered to end it.

IIIaction Streletskaya settlement in Zamoskvorechye. Martha has a hard time dealing with Prince Andrei's betrayal. Dositheus tenderly consoles her. The awakened drunken archers indulge in wild, reckless fun. He is interrupted by a frightened jackass. A disaster has struck: mercilessly beating the inhabitants of the settlement, Peter's reiters (hired horsemen) are approaching. Sagittarians are stunned. They ask Khovansky to lead the regiments into battle. But, fearing Peter, the prince calls on the archers to submit and go home.

IVaction Golitsyn's servant warns Khovansky, who has taken refuge on his estate near Moscow, that his life is in danger. Khovansky flares up with anger - who would dare touch him in his own patrimony? Shaklovity appears with an invitation from Princess Sophia to privy council. Khovansky orders ceremonial clothes to be served. However, as soon as the prince leaves the chamber, Shaklovity’s mercenary strikes him with a dagger.

Peter also dealt with other conspirators: Prince Golitsyn was sent into exile under escort, the reiters were ordered to surround the schismatic monasteries. Only Andrei Khovansky does not know about the collapse of the conspiracy. He does not believe Martha, who told him about this, and blows the horn in vain, summoning his regiment. However, seeing the archers going to execution, Andrei realizes that everything is lost, and in fear asks Martha to save him. The archers are already bowing their heads over the scaffolds, but at the last moment, boyar Streshnev, sent by Peter, announces a decree of pardon.

Vaction A clearing in a deep forest. Moonlight night. Dositheus mourns alone; he is aware of the doom of the schismatics and his responsibility for their fate. Filled with courageous determination, he appeals to the brethren to burn in fire in the name of the holy faith, but not to give up. The schismatics are ready to burn themselves. And when, having made their way through the thicket, Peter’s soldiers burst into the clearing, they see the schismatic monasteries engulfed in flames. Together with the brethren, Andrei also dies, who was carried away into the fire by Martha, dreaming of being united in death with her beloved.

Khovanshchina is the last, unfinished opera by Modest Petrovich Mussorgsky. It was not performed during the composer's lifetime, then it was orchestrated by Rimsky-Korsakov and subsequently repeatedly arranged and orchestrated by other composers. The first production of the opera was made in 1886 in St. Petersburg by an amateur music and drama group (conductor E. Yu. Goldstein). One of the most famous first productions - this is, of course, at the Russian Private Opera S.I. Mamontova with F. Chaliapin in leading role(Conductor E. D. Esposito)

History of creation

When exactly did the composer decide to dedicate the opera to one of the most terrible, bloody periods in the history of his homeland? There is reason to believe that this idea, albeit vaguely, began to dawn at the moment when, having finished the first edition of “Boris Godunov”, on a wave of creative upsurge, Mussorgsky was looking for a new operatic plot.

Work on " Khovanshchina"stretched out over long years, occurred intermittently and was not completely completed. Only certain fragments of the opera are orchestrated; in the clavier of the finale there are variations, inconsistencies, and the last bars of the chorus of schismatic self-immolation are unfinished...

This time, the implementation of the plan required particularly intense, gigantic, in fact, triple labor. It must be said that the issue of schism and Streltsy riots was literally in the air. At this time, Surikov's paintings will appear" The morning of the Streltsy execution" And " Boyarina Morozova", "Nikita Pustosvyat"Perova, novel" Great Schism"D. Mordovtseva. For the current historical literature Mussorgsky watched closely. And he collected material with the enthusiasm and meticulousness of a true scientist. Rarely does a musician spend so much energy and effort preparing to create a libretto! Mussorgsky, fired up by Khovanshchina, felt an urgent need to penetrate the atmosphere of a distant era, to become as close to its collisions, characters, and vocabulary. After all, before giving full play to his musical imagination, he had to construct a plot, motivate the relationships between the characters, and provide them with speech appropriate to the social rank, upbringing and temperament of each.

As you know, operatic drama requires laconicism and density of plot outline, and Mussorgsky had to combine the events of two, even three Streltsy riots - 1682, 1689 and 1698. But the chronologically free “condensation” of real historical events carried out in "Khovanshchina" with maximum tact. Nevertheless, the libretto was overly swollen. The composer's imagination rushed forward uncontrollably, overtaking both the final design of the libretto (fixed only in 1879) and the crystallization of the general musical and dramatic concept. This “folk musical drama”, opera-chronicle, opera-epic cannot be accommodated into the mainstream of the traditions of Russian epic opera, founded by Glinka’s “Ruslan”, and later developed by Rimsky-Korsakov, Borodin - the degree of conflict, the intensity of the struggle between groups, clashes and emotional experiences The characters here are much higher. This is understandable: Mussorgsky is a born tragic artist. Almost all the characters in “Khovanshchina” are outwardly prominent, convex and internally complex and multi-valued. Mussorgsky has no equal in the art of psychological analysis.

A significant genre-style feature and the main thing that makes it similar " Khovanshchina"with Russian epic operas, a huge number and exclusively important function choral episodes. A choral, collective portrait sometimes exhausts the characteristics of a particular group (Aliens and schismatics, for example, are always only a choir), but it can also serve as the source, the foundation of a portrait of its leader. This is how the archers and their leader Ivan Khovansky are related. A certain “pairing” of characters contrastingly opposed to each other, which in principle is not new for opera classics (Don Giovanni - Leporello, Carmen - Michaela, etc.), is also noticeable in Khovanshchina ( Marfa- Susanna, Dosifey- Khovansky).

Heartfelt and touching chorus " Dad, Dad, come out to us" - one of the best, most moving pages of the opera. The quiet prayer of the archers sounds even more humble " Lord, do not let your enemies be offended", which they sing a cappella at the end of the curtain. But the most powerful, integral and definitely the most dear image to the composer is Martha. It is not for nothing that the “love funeral” and the fortune-telling scene were the musical “firstborns of “Khovanshchina.” Mussorgsky, as if with a magnifying glass, illuminated the moral purity of Marfa with the part Dosithea: “you are my sick child,” “my killer whale,” the invariably restrained and strict Dosifei calls her, and his affectionate addresses are covered with sincere, soft lyricism. Opera classics have never seen such a heroine XIX century, perhaps even the opera of the 20th century does not know.

Musicologists have often compared Marfa to female images Borodin, Tchaikovsky, Rimsky-Korsakov: Yaroslavna, Kuma, Lyubasha; but those are different, more feminine, more one-dimensional. Yaroslavna is, first of all, the keeper of family foundations. Kuma is somewhat melodramatic, Lyubasha is obsessed with a feeling of jealousy and, jealous of Gryazny, commits a crime. Marfa's psychological depth and complexity is comparable only to some of Dostoevsky's heroines. Martha is given an abundance of melodies of extraordinary beauty, sometimes burningly passionate, sometimes mournful, but always filled with proud strength.

The beginning of the 20th century, when the minds of many active people in Russia were dominated by the ideas of God-seeking and conciliarism, Khovanshchina was read as a mystery opera, strikingly in tune with the then sentiments of the domestic intelligentsia. In the St. Petersburg (1911) and Moscow (1912) productions of F. Chaliapin, which were a huge success, the schismatic line and schismatic choirs came to the fore. After October 1917, such an interpretation, of course, became unacceptable, even odious. Today Khovanshchina is staged, although not often, but regularly, including on foreign stages.

Interesting Facts

A number of texts" Khovanshchiny "is documented reliable. For example, the texts of the anonymous denunciation of the Khovanskys, "who encroached on the kingdom", the inscriptions on the pillar erected by the archers in honor of their victory, the royal charter granting mercy to the convicted archers, were subjected to only minor abbreviations.
In his longest message in 1876, Stasov praises the talent and originality of the music, approves of Act I and the picture in the monastery, but sharply criticizes the remaining acts, and the whole “ I would suggest this: is it not possible that Martha was not only a schismatic, an accomplice of Golitsyn, but also a young widow, bursting with life, and Golitsyn’s mistress?" Replying to Stasov, on June 15, 1876, Mussorgsky reported that he had suspended and was reconsidering his work. What damage could have been caused to the opera, how much further its completion would have been delayed, if the author had tried to follow the instructions received!
In 1959, a new orchestral version of “Khovanshchina” appeared, performed by D. Shostakovich for the film adaptation of the opera. Dmitry Dmitrievich, who, as is known, idolized the genius of Mussorgsky, opened the bills of Rimsky-Korsakov's orchestration. He replaced the Korsakov ending of Act II with eleven-bar fanfares of the Preobrazhentsev, and on his own introduced a monumental Epilogue to the opera, where the chorus of the Aliens sounds " Oh, dear Mother Rus'", and extensive conduct" Dawn on the Moscow River"

Arioso" Apparently you didn’t smell the prince"and interspersed with the ending" Did you hear, in the distance behind this forest the trumpets were broadcasting the proximity of Peter's troops?"were absent from the original author's clavier; but the entire final scene of Martha was repeatedly performed by D. Leonova during the composer's lifetime, and Rimsky-Korsakov may have had a manuscript or reproductiontormented him from memory.

Opera "Khovanshchina" ( summary which is described in this article) is a folk musical drama by Modest Petrovich Mussorgsky. It consists of five acts and six scenes. The following are very famous from opera: musical numbers: “Dawn on the Moscow River” (introduction); “Secret powers, great powers (Act II, scene of Martha’s fortune-telling); “The Baby Was Coming” (III century, Martha’s song); “The Streltsy Nest Sleeps” (III stage, Shaklovity’s aria); “Golitsyn’s Train” (intermission to stage IV); “Dances of the Persians” (IV d.).

Libretto of the opera "Khovanshchina". Summary

Something fatal weighed on Modest Petrovich Mussorgsky.

None of his operas were completed by the composer himself. "Marriage", "Boris Godunov", " Sorochinskaya fair" was completed and orchestrated by M. M. Ippolitov-Ivanov, N. A. Rimsky-Korsakov, Ts. A. Cui, D. D. Shostakovich and other composers. The opera Khovanshchina is no exception. It was completed and orchestrated by N. A. Rimsky-Korsakov.

The libretto was written by the composer himself. He took the historical events of 1682 as the basis for the plot. This was the short reign of Prince Ivan Khovansky in Moscow, who was appointed by Sophia after Streltsy riot. At that time, Peter was ten years old. The composer, wanting to show the transition of power from the princess to the new ruler, adds and skillfully interweaves the events of 1689. In music, he tries to convey forces hostile to Peter. This:

Sagittarius, led by Prince Ivan Khovansky.
Sophia's favorite is Prince Golitsyn.
Old Believers, led by Dosifei.

Prince Khovansky wants to achieve royal power. Sagittarians are presented as a dark mass, used in the interests of others. Old Believers are shown as courageous and fearless people who are ready to self-immolate for the sake of faith.

A large role in the development of action is assigned to the people. The choirs are very diverse. Individual images are quite clearly personified:

Golitsyn is narcissistic and crafty.
Ivan Khovansky is domineering and arrogant.
Dositheus is majestic.
Martha is passionate, strong, ready for heroism.
Andrei Khovansky is weak and restless.
Fyodor Shaklovity is patriotic.
Kuzka is a reckless and cheerful young Sagittarius.
The clerk is selfish and cowardly.

Characteristics of the first action

Opera "Khovanshchina". Summary of I d.

In Moscow on Red Square there is a stone pillar on which there are copper plaques with inscriptions. On the right is the Clerk's booth. The opera begins with the orchestral introduction “Dawn on the Moscow River.” To the sounds of this excellent symphonic picture, the inhabitants of the Kremlin wake up, the life of the Streltsy, Kuzka and other inhabitants is shown. The Clerk appears and sits down in his booth. Boyar Fyodor Shaklovity comes to him with a proposal to scribble a denunciation, while warning him of punishment if he spills the beans.

The clerk is eager for payment and agrees without much hesitation. They make a denunciation to Peter against the Khovanskys, after which Shaklovity is removed from the stage. People come and ask to read the inscriptions on the recently appeared pillar. The clerk rudely refuses. But when people lifted the booth and carried it to the post, he agreed to read it. At this time, the sounds of trumpets are heard. These are the archers greeting Prince Ivan Khovansky. The figure of Andrei Khovansky appears from the depths of the stage. He approaches Emma and wants to hug her, but the girl refuses him. She accuses him of killing her parents and driving out her lover. The schismatic Martha comes to Emma's defense. Andrei rushes at her with a knife, but the brave girl fights him back. Prince Ivan Khovansky appears. Because of the ladies, father and son begin to act like rivals. Andrei, in anger, wants to kill Emma and swings a knife at her. Dosifei, who entered, intercepts his hand. He sings his mournful monologue, “The time has come.”

Act two

Opera "Khovanshchina". Summary of II d.

Reading in his office love letter from Sophia. He is overcome by a feeling of anxiety for the future. The nobleman Varsonofyev's minion comes to him and says that the pastor is persistently asking to see him. He asks to stand up for Emma and build a church in the German settlement. Golitsyn refuses him two requests. Varsonofyev appears again and speaks of the arrival of the sorceress. It was Martha who came disguised as a fortune teller. The fortune telling scene begins. The famous aria “Secret Powers” sounds. The girl predicts his disgrace. The superstitious prince is afraid that she will let it slip and orders his servant to drown her. Marfa overhears their conversation and hides. Suddenly, Ivan Khovansky enters Golitsyn. An argument arises between them. In the midst of a quarrel, Dositheus appears and persuades the princes to make peace. The choirs of the people sound. Suddenly Marfa runs in and asks Golitsyn to have mercy on her. Dositheus turns to her with words of consolation.

Briefly the third act

Opera "Khovanshchina". Brief Contents III d.

The choir of schismatics sounds. They sing a fanatical anthem. The figure of Martha stands out from the crowd. She sings the lyrical song “The Baby Came Out.” Dositheus calms her down. On the other side of the stage is Fyodor Shaklovity. He sings “The Streltsy Nest Sleeps.” The drunken archers wake up and continue to have fun. The wives run in and scold them. The Clerk's cry is heard behind the stage. He appears and says: “Trouble, trouble, the Reiters are coming.” Frightened archers call Ivan Khovansky and are eager to fight. But he declares: “Tsar Peter is terrible.” And he leaves.

Characteristics of the fourth act

Brief summary of the opera “Khovanshchina”. 1 painting IV d.

Mansions of Prince Ivan Khovansky. Rich refectory. Prince for dining table. The peasant women entertain him with songs and dances.

Before this, Golitsyn warned Ivan about the upcoming danger. But he didn’t believe him. Khovansky orders various dishes to be served to him and orders the girls to dance. Shaklovity appears and reports that Sophia is calling him to a secret council. The prince does not want to go at first. He is offended by the princess. But still he orders me to bring him clothes. When Ivan Khovansky comes out, Shaklovity’s mercenary kills him. He utters a terrible cry and falls dead. The peasant women are running away. Shaklovity bursts into laughter.

Brief summary of the opera “Khovanshchina”. 2 picture IV d.

The scene is the square in front of the Reuters. Golitsyn is being taken into exile. Martha appears. Dosifey asks her to take Andrey back. She agrees. Andrei Khovansky asks Marfa about Emma, he doesn’t believe what’s happening. When he sees the archers with his own eyes, then he realizes that he was mistaken. He begs to be saved. Petra heads towards the Kremlin.

Act five

Mussorgsky's opera Khovanshchina. Summary of V d.

Dositheus slowly enters. He is very thoughtful. He is overcome by a feeling of sorrow for the doom of the schismatics. He does not want to surrender to his enemies and calls on everyone to burn at the stake for their faith. Martha saved Andrei from Peter’s men that time. But now their death is inevitable. She tells him to get ready for her. Martha lights a fire with her candle.

She is full of determination and is not afraid to die for her faith. Peter's guards appear in the clearing, they see flames. Martha, Andrei, Dosifei and other schismatics burn in the fire. The newcomers look at the fire and mourn for Rus'.

Thus, Mussorgsky’s opera “Khovanshchina” reflects the historical events of past years. Researchers compare this musical composition with a huge fresco. The composer managed to show the catastrophe of what was happening through grotesque, symbolism and irrationality. There are no main characters here. None of them are showing for a long time. Integrity, the general idea, is important here.

M.P. Mussorgsky opera "Khovanshchina"

“Khovanshchina” is an inexhaustible palette of riotous colors, furiously unleashing all its power on the viewer and leaving not the slightest chance to resist, to stay on their feet - so that all attention is riveted on the stage from the beginning to the very end of the opera. Based on the work controversial events the first Streltsy riot of 1682, Modest Petrovich Mussorgsky put all his originality into the music, with confident strokes of his composer's talent, reflecting in the sound both the raging crowd and the calm islands of reason in the midst of raging passions. Unfortunately, the work was not performed during the author’s lifetime, so he never knew what influence it had on his contemporaries, and how it sank into the souls of fans of his talent, being a reflection of the rebellious inner world of Modest Petrovich...

In a letter dated 1872 and addressed to V.V. To Stasov, Mussorgsky wrote: “I ask you to consider this epistole in numbering order No. 1, for other epistoles will appear in succession, of different tastes and flavors, but on the subject of Streltsy. Let this be the memory of our new labor, dashing labor.” From that moment on, painstaking work on the opera began, full of heavy creative torment and tossing.

Characters:		Description
Prince Khovansky	bass	domineering and cruel Streltsy boss
Prince Golitsyn	tenor	inconsistent and many-sided rival of Khovansky
Andrey	tenor	Khovansky's son, Prince
Shaklovity	baritone	Princess Sophia's closest assistant
Dosifey	bass	philosophical schismatic sage
Marfa	mezzo-soprano	faithful and brave comrade-in-arms of Dositheus
Podyachy	tenor	clerk responsible for communication between government and people

Summary

“Khovanshchina” shows the terrible events of a relatively short time period in 1682, a time of wild and eventful Streltsy revolt and seizure of power, led by Prince Khovansky, the chief of the Streltsy troops. Another contender for the throne is Prince Golitsyn, a European-style man who, at the same time, clings to antiquity. Both princes, hating each other, try to conclude an alliance in the face of new strength in the person of the young Tsarevich Peter. In their plans they also rely on the help of schismatic Old Believers, led by Dosifei. But Khovansky’s plans were not destined to come true. During the feast, he is invited to a council, supposedly on behalf of Princess Sophia, and then Shaklovity stabs the prince with a dagger. Golitsyn is sent into exile as someone who has not lived up to his trust. Streltsy troops, accused of rebellion and accompanied by weeping wives, are to be executed, but Peter has mercy on them. Dosifei, after long, difficult deliberations, decides to call on the Old Believers to burn themselves. Marfa and Andrei Khovansky walk together into the flames of the fire. When Peter's troops appeared, only charred ruins remained.

Duration of the performance
Act I	Act II	III Act	IV - V Act
50 min.	40 min.	50 min.	50 min.

Photo:

Interesting Facts

As is known, Mussorgsky did not have time to finish “Khovanshchina,” and all the more valuable is the work of the Soviet musicologist Pavel Lamm, who was able to restore the complete original text operas. The opera has undergone numerous editions by different composers: ON THE. Rimsky-Korsakov, I.F. Stravinsky in collaboration with M. Ravel, B.V. Asafiev, D.D. Shostakovich.
Mussorgsky very meticulously and thoroughly researched the plot and characters of all the characters, giving each its own specificity and uniqueness. Being a supporter of the “Pushkin school”, he unraveled the psychology of people, sat at night over historical documents, creating whole, complete images from disparate passages. At the same time, he started not only from the “historicity” of the character, but also deeply revealed him inner world, his experiences, complementing them with his creative imagination.
There was an opinion that the opera is the joint fruit of two composers: N.A. Rimsky-Korsakov and M.P. Mussorgsky. Allegedly, Modest Petrovich made only a raw, unfinished thing, but Rimsky-Korsakov designed and gave it a finished look. The son of Rimsky-Korsakov mentions this in his memoirs.
It is interesting that in the 20s of the last century the work was considered religious, a kind of “pathetic tragedy of faith.” Naturally, such blasphemous views were subsequently rejected.
F. Chaliapin, starting from November 12, 1897, was the most famous performer of Dosifey. For the first time, Dosifey's aria performed by him was performed at the Moscow Private Opera by S.I. Mamontova. Then in 1911 in St. Petersburg, on the Mariinsky stage, and in Paris he sang in the first foreign production of S. Diaghileva.
Mussorgsky specially created a special notebook, which he called “Khovanshchina”. It is known that the idea of the opera belonged to Stasov, and Modest Petrovich dedicated this work to him. In the notebook, the composer kept written data from the books he read, relating to events that interested him and historical figures. Initially there were nine main sources, but then the composer expanded his knowledge in this area so much that he stopped making notes, keeping everything in his head.
P. Lamm's opera was divided into 5 acts, where the 4th was divided into 2 scenes. Mussorgsky wanted to make 6 paintings that would be equal in value to acts.
Modest Petrovich independently wrote the libretto of the opera, constantly consulting with Stasov on all issues. At the same time, he was extremely exacting about the quality of the text, repeatedly correcting and redoing the finished material.

Famous arias and numbers:

Introduction “Dawn on the Moscow River” (listen)

Chorus “The Swan is Floating” (listen)

Martha’s aria “The Baby Was Coming” (listen)

Shaklovity’s aria “The Streltsy Nest Sleeps” (listen)

Closing chorus (listen)

Historical accuracy in the images of the characters of “Khovanshchina”

“What a vast, rich world of art, if the target is a person! You come upon unusual, completely unexpected tasks, and not forcefully, but as if they were being done by accident.”

“M.P. Mussorgsky. Literary Heritage"

In Khovanshchina, Mussorgsky conveys historical realities through the eyes of those who directly participated in them. A people who “cannot check with their own eyes what is being cooked up from them.” The suffering side, which under any reigning ruler remains where it was - at the bottom, hopeless and dark. This is what runs through the entire musical narrative as a connecting leitmotif.

Images

Prince Khovansky - according to the recollections of people who knew him - is a man “famous mainly for his defeats and complaints about him from his subordinates.” Frivolous, intoxicated with power and cruel, not taking into account anyone's opinion;
Prince Golitsyn is an inconsistent, explosive person, hot-tempered and many-sided. But at the same time it is poetic, not without its own charm and subtlety. An extremely complex image, contradictory and dual;
Podyachiy is a fictitious composite personality that does not have a name or a specific historical prototype. A representative of the orderly class, so unloved by the people. A two-faced, fussy and slippery type, currying favor only with power, adapted to any conditions of existence;
Prince Andrei, Khovansky’s son, is a character who was supposed to show the complex relationship between father and son. Due to lack of time, the author did not devote him important role at the opera;
Shaklovity, the composer, boldly wrote down Princess Sophia’s closest assistant as the sole compiler of the denunciation against the Khovanskys. In the author's interpretation, this character does not have a specific representation. Rather, he can be represented as the embodiment of blind historical force;
Dosifei – the background for creating the image of the schismatic was the book “The Life of Archpriest Avvakum”. She was a kind of muse, but the composer did not blindly copy the image shown in the Life. In the opera, Dositheus is much softer than his predecessor Avvakum, closer to the people, more noble and sublime;
Marfa – light lyrical image, permeated with the features of a harsh nationality. Spiritualized and confident, Martha is a completely fictional character. Helps Dosifei in his political struggle/

Supporting characters of the opera

Emma, Khovansky’s concubine, is, in fact, his slave;
Varsonofyev is a follower of Golitsyn, does not have his own opinion on any issue;
Susanna, Pastor, Sagittarius Kuzka, Golitsyn's minion;
three unnamed archers;
Moscow's diverse newcomers, archers, schismatic Old Believers, Khovansky's slaves, people.

Adhering to historical events, Mussorgsky added quite noticeable distortions to the opera historical facts, but only to help better understand the dramatic conflicts occurring at that time. So, in addition to the main acting persons, fictional minor characters were added, which help to better understand the composer’s intention and greatly enhance the effect on the viewer. Key figure in the development of the plot is the people - how driving force, which sweeps away everything in its path, unstoppable and crushing all obstacles, but at the same time subservient to the authorities. In addition, the composer was quite free with the time frame and added to what was happening on stage those actions that would take place only much later - in 1689. To emphasize the horror of lawlessness and show the impossibility of influencing what is happening to just one person, such a merging of temporary events is completely justified and only proves the skill of Mussorgsky, who managed to harmoniously combine different periods stories with the lives of the main characters.

The opera takes place in Moscow in 1682. At the beginning of the opera, the boyar informs Peter about an incident that recently occurred in the city: the chief of the Streltsy, Ivan Khovansky, is aiming for the throne of Peter, and he wants to put his son on the throne. He is not satisfied with the new order of Peter's laws, which, in his opinion, will lead to devastation and disorder.

Next, the author describes the honoring of Ivan Khovansky by other archers for such a decisive and bold step. In parallel appears love line: Andrey falls in love with Emma, but the most interesting thing is that his father also has an uneasy feeling for the girl from the German settlement. A brawl occurs, but as a result of the arrival of Dosifei, the head of the schismatics, everything is resolved quite favorably.

Next we observe the scene in which Prince Golitsyn is. He is worried about something; the day before, Martha, introducing herself as a fortune teller, prophesied trouble. He doesn’t want to believe it and orders the girl to be drowned, but thanks to circumstances, she manages to escape. After something terrible happens, the conspirators learn that all the tricks and plans have long been known to the king and reprisals should be expected.

Khovansky hid on the estate, believing that he would be absolutely safe there. His belief that there was nothing to worry about was not justified. Khovansky comes to him, ostensibly to give an invitation, but as soon as he leaves, he is struck by a dagger.

Peter also kills Prince Golitsyn. Only Andrei Khovansky remains alive. Taking pity on him, Peter ordered the young man to be pardoned.

The next scene shows a clearing in a forest. Dosifei asks to be burned at the stake for his actions, he blames himself for the deaths of his comrades, and he also understands the inevitability and collapse of all plans. In addition, he encourages everyone to follow his example. Peter's soldiers enter the clearing and see everything engulfed in flames.

This opera very realistically showed the inevitability of changing the tsar’s way of life. All those who opposed Peter's reforms suffered death. Initially, it was clear that Peter’s reforms would not bear fruit, but it was not worth risking human life for his ideas.