Composed: 1836 Premiered: 1836, St Petersburg Libretto by Baron Yegor Fyodorovich Rozen and others Background The years of turmoil following the death of Tsar Fyodor I in 1598 might finally be coming to an end. The revolt of the ‘False Dmitri’ in 1605 has led to Polish intervention. In 1613, after an interregnum of nearly three years, Mikhail ...
‘Ruslan and Ludmilla’ Composed: 1837–42 Premiered: 1842, St Petersburg Libretto by Konstantin Bakhturin, Valerina Shirov and various others, after Alexander Pushkin Act I Everyone celebrates the marriage of Lyudmila to the knight Ruslan. Her rejected admirers Farlaf and Ratmir are also present. As Lyudmila’s father Svyetozar blesses the couple, a thunderbolt is heard and darkness falls. When ...
(Mekh’-a-il E-va-no’-vich Glin’-ka) 1804–57 Russian composer Known as the ‘father of Russian music’, Glinka was the initial force behind nineteenth-century Russian nationalism. He grew up in a cosseted environment, and his early exposure to music was confined largely to the folksongs sung by his nurse, the traits of which were later absorbed into his melodic style. After a couple of ...
1804–57, Russian As the composer of A Life for the Tsar (1836), Glinka became the founder of Russian historical opera. A Life for the Tsar told the story of Ivan Susanin, a popular Russian hero who, in 1612, saved the life of the future tsar and founder of the Romanov dynasty, Michael Romanov. Although French and ...
(Sâr’-ga E-va-no’-vich Ta-na’-yof) 1856–1915 Russian composer Taneyev studied in Moscow with Nicolai Rubinstein and Tchaikovsky, a lifelong friend. He gave the Moscow premieres of all Tchaikovsky’s piano concertos and in 1878 succeeded him at the Conservatory, becoming director, 1885–89. His music was, like Tchaikovsky’s, cosmopolitan, especially skilful in his use of Bachian counterpoint (about which he ...
1873–1938, Russian Almost entirely self-taught as a singer, Chaliapin began singing in Tbilisi and St Petersburg. He made a name for himself singing both Boris and Valaam from Modest Mussorgsky’s (1839–81) Boris Godunov (1874). Although best known for singing the Russian repertoire, Chaliapin performed in a wide range of operas, including those by Gioachino Rossini (1792–1868) and ...
1813–69, Russian Alexander Dargomïzhsky belonged to an aristocratic family in St Petersburg. He entered government service, but resigned his post in 1843. The musical training he received in his youth enabled him to build a reputation as a pianist and his acquaintance with during the winter of 1833–34 with Mikhail Ivanovich Glinka (1804–57) involved him in the movement to ...
(Fre’-drikh fun Flo’-to) 1812–83 German composer Flotow was a prolific composer of operas. He studied at the Paris Conservatoire (1828–30) and was influenced by the major opera composers of the day, including Rossini, Meyerbeer and Donizetti, and later by his friendships with Charles Gounod (1818–93) and Jacques Offenbach (1819–80). His early operas are in the French lyric style, but ...
1882–1971, Russian Stravinsky, who was born in Oranienbaum, Russia, and died in New York, is one of the most important composers of the twentieth century. A master of style, he could create sound palettes as extreme and varied as any written during his lifetime, even if these extremes stemmed from his refusal to associate ...
1775–1832, Spanish The Spanish tenor, composer and teacher Manuel Garcia founded a remarkable family of eight singers in four generations. He was best known for interpretations of Rossini – notably Otello – and created the part of Norfolk in Elisabetta, regina d’Inghilterra. The role of Count Almaviva in Il barbiere was written for Garcia. After some six years ...
Following the social and political upheaval of the French Revolution and the Napoleonic Wars, Europe enjoyed a short period of relative stability with Napoleon’s exile, the restoration of the Bourbon monarchy in France and the establishment of the Vienna Peace Settlement in 1815. However, in the early 1820s a number of minor revolts broke out in Naples and ...
The 1860s saw a number of major reorganizations in European politics. Italy became a united country under the king of (former) Piedmont-Sardinia, Victor Emmanuel II, in 1861 and its new national government tried to retain the kingdom’s liberal ideals, such as removing instances of operatic and intellectual censorship. However, Italy’s liberalism was not aspired to by other ...
Few non-performing or non-composing figures have had as much effect on the development of twentieth-century music as Serge Diaghilev (1872–1929). Born in Russia, he became enamoured early of Russian national music, memorizing Ruslan i Lyudmila (‘Ruslan and Ludmilla’, 1842) by Mikhail Ivanovich Glinka (1804–57) as a child. Though he studied composition with Nikolai Rimsky-Korsakov (1844–1908), Diaghilev abandoned it to concentrate ...
Contemporary music whose ancestry lies in the Western classical tradition finds itself in a curious position. Nothing illustrates this better than the fact that we are not entirely sure what to call it. The label ‘classical’ seems anachronistic, especially when applied to composers who have challenged some of the fundamental assumptions of the classical tradition. ‘Concert music’ is similarly problematic ...
Glinka, the ‘father of Russian music’, was the first composer to forge a distinctively Russian style. Previously, during the reigns of Peter the Great and Catherine the Great in the eighteenth and early nineteenth centuries, music at the Imperial court had been directed by leading Italian opera composers such as Baldassare Galuppi (1706–85), Giovanni Paisiello (1740–1816) and Domenico ...
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