Who wrote the song queen of spades. Opera P
In 1840, in the family of the head of the Kamsko-Votkinsky plant, Ilya Petrovich Tchaikovsky, a well-known mining specialist in his time, a son was born, who was named Peter.
The boy grew up sensitive, receptive, impressionable. When he was four years old, his father brought an orchestra (mechanical organ) from St. Petersburg, and the music of Mozart, Rossini, Donizetti sounded in distant Votkinsk ...
The family was financially secure. The future composer was able to get a solid home education. Since childhood, Pyotr Ilyich was fluent in French, read a lot and even wrote poetry. Music was part of the homework. Alexandra Andreevna Tchaikovskaya played well and sang well herself. Performed by his mother, Tchaikovsky especially liked to listen to Alyabyev's Nightingale.
The years of childhood, lived in the city of Votkinsk, remained for life in the memory of the composer. But for Tchaikovsky
turned eight years old, and the family from Votkinsk moved to Moscow, from Moscow to St. Petersburg, and then to Alapaevsk, where Ilya Petrovich got the job of a plant manager.
In the summer of 1850 he sent his wife and two children (including the future composer) to St. Petersburg.
In the St. Petersburg School of Jurisprudence, Tchaikovsky studies general disciplines and specializes in jurisprudence. Music lessons continue here as well; he takes piano lessons, sings in the school choir, led by the outstanding Russian choir conductor G. E. Lomakin.
Attending symphony concerts and the theater also played an important role in Tchaikovsky's musical development. Operas by Mozart (Figaro, Don Giovanni, The Magic Flute), Glinka (Ivan Susanin) and Weber (The Magic Shooter) all his life he considered unsurpassed examples of operatic art.
Common artistic interests brought Tchaikovsky closer to many pupils of the school; some of his school friends later became enthusiastic admirers of the composer. The poet A. N. Apukhtin belongs to them, on whose verses Tchaikovsky subsequently wrote wonderful romances.
Every year the young jurist became convinced that his true vocation was music. He began to compose at the age of fourteen, and at seventeen he wrote the first romance "My genius, my angel, my friend" (to the words of A. A. Fet).
By the time I graduated from college (in 1859) with all my heart,
all his thoughts were in art. But his dreams were not yet destined to come true. In the winter, Tchaikovsky took the place of junior assistant to the clerk, and the dull years of service in one of the departments of the Ministry of Justice flowed.
In the official field, Tchaikovsky achieved little. “They made an official out of me, and then a bad one,” he wrote to his sister.
In 1861, Tchaikovsky began attending the public music classes of Anton Grigoryevich Rubinstein, the great Russian pianist and outstanding composer, founder of Russia's first conservatory. A. G. Rubinshtein advised Tchaikovsky in a friendly way to devote his life entirely to his beloved work.
Tchaikovsky did just that: he left the service. In the same year, 1863, Tchaikovsky's father resigned; he could no longer help his son, and the young musician knew a life full of hardships. He lacked funds even for the most necessary expenses, and simultaneously with classes at the St. Petersburg Conservatory (which was opened in 1862), he gave lessons and accompanied in concerts.
At the conservatory, Tchaikovsky studied with A. G. Rubinshtein and N. I. Zaremba, studying music theory and composition. Among the students, Tchaikovsky stood out for his solid training, exceptional capacity for work, and most importantly, his creative determination. He did not limit himself to mastering the conservatory course and did a lot himself, studying the works of Schumann, Berlioz, Wagner, Serov.
The years of the young Tchaikovsky's studies at the conservatory coincide with the period of social upsurge in the 1960s. The democratic ideals of that time were also reflected in the work of the young Tchaikovsky. Starting from the very first symphonic work - the overture to the drama by A. N. Ostrovsky "Thunderstorm" (1864) - Tchaikovsky forever links his art with folk songs and fiction. In this work, for the first time, the main theme of Tchaikovsky's art is put forward - the theme of man's struggle against the inexorable forces of evil. This theme in the major works of Tchaikovsky is resolved in two ways: the hero either dies in the struggle with opposing forces, or overcomes the obstacles that have arisen in his path. In both cases, the outcome of the conflict shows the strength, courage and beauty of the human soul. Thus, the features of Tchaikovsky's tragic worldview are completely devoid of features of decadence and pessimism.
In the year of graduating from the conservatory (1865), Tchaikovsky's dream comes true: having completed his musical education with honors, he receives a diploma and the title of a free artist. For the final act of the conservatory, on the advice of A. G. Rubinshtein, he wrote music for the anthem of the great German poet Schiller "Ode to Joy". In the same year, the orchestra conducted by Johann Strauss, who came to Russia on tour, publicly performed Tchaikovsky's Characteristic Dances.
But perhaps the happiest and most significant event for Tchaikovsky at that time was his
meeting with Nikolai Grigorievich Rubinshtein - brother of the director of the St. Petersburg Conservatory.
They met in St. Petersburg - Tchaikovsky - still a little-known musician and N. G. Rubinstein - an illustrious conductor, teacher, pianist and musical and public figure.
Since that time, N. G. Rubinshtein has been closely following the work of Tchaikovsky, rejoices at each new achievement of the young composer, and skillfully promotes his works. Taking up the organization of the Moscow Conservatory, N. G. Rubinshtein invites Tchaikovsky to take the position of teacher of music theory there.
From this time begins the Moscow period of the life of P. I. Tchaikovsky.
Tchaikovsky's first major work composed in Moscow was the first symphony entitled Winter Dreams (1866). Pictures of nature are captured here: a winter road, a "foggy land", a blizzard. But Tchaikovsky does not just reproduce pictures of nature; first of all, he conveys the emotional state that these paintings evoke. In the works of Tchaikovsky, the image of nature is usually merged with a subtle, penetrating revelation of the inner world of man. This unity in the depiction of the world of nature and the world of human experiences is also clearly expressed in Tchaikovsky's cycle of piano pieces The Seasons (1876). Outstanding German
pianist and conductor G. von Bülow once called Tchaikovsky "a true poet in sounds." Von Bülow's words can serve as an epigraph to the first symphony and The Four Seasons.
Tchaikovsky's life in Moscow passed in an atmosphere of fruitful communication with major writers and artists. Tchaikovsky visited the "Artistic Circle", where, in the circle of demanding artists, the great Russian playwright A.N. Ostrovsky read his new works, the poet A.N. Pleshcheev, the wonderful artist of the Maly Theater P.M. Sadovsky, the Polish violinist G. Venyavsky, and N. G. Rubinshtein.
The members of the "Artistic Circle" passionately loved the Russian folk song, enthusiastically engaged in collecting, performing, studying it. Among them, first of all, one should name A. N. Ostrovsky, who put a lot of effort into the propaganda of Russian folk songs on the stage of the drama theater.
A. N. Ostrovsky became intimately acquainted with Tchaikovsky. The results of this friendship soon showed: in 1868-1869, Tchaikovsky prepared a collection that included fifty of the most popular Russian folk songs for piano in 4 hands.
Tchaikovsky also repeatedly turned to folk songs in his work. The Russian song “Vanya was sitting on the couch” was developed by Tchaikovsky in the first quartet (1871), the Ukrainian songs “Crane” and “Come out, Ivanka, sleep with the stonefly” - in the second symphony (1872) and in the first concerto for piano and orchestra (1875).
The circle of Tchaikovsky's creations, in which he uses folk melodies, is so wide that to list them is to give a large list of works of various musical forms and genres.
Tchaikovsky, who so deeply and lovingly appreciated the folk song, drew from it that broad chant that marked all his work.
Being a deeply national composer, Tchaikovsky was always interested in the culture of other countries. Old French songs formed the basis of his opera The Maid of Orleans, the motives of Italian street songs inspired the creation of the Italian Capriccio, the well-known duet “My dear little friend” from the opera The Queen of Spades is a masterfully re-toned Czech folk song “I have was a dove.
Another source of the melodiousness of Tchaikovsky's works is his own experience of romance art. The first seven romances by Tchaikovsky, written by the confident hand of the master, were created in November - December 1869: “A tear trembles” and “Do not believe, my friend” (words by A. K. Tolstoy), “Why” and “No, only the one who knew” (to poems by Heine and Goethe, translated by L. A. Mey), “To forget so soon” (words by A. N. Apukhtin), “It hurts and it’s sweet” (words by E. P. Rostopchina), “Not a word oh my friend” (words by A. N. Pleshcheev). Throughout his creative activity, Tchaikovsky wrote more than a hundred romances; they reflected both bright feelings, and passionate excitement, and grief, and philosophical reflections.
Inspiration attracted Tchaikovsky to various areas of musical creativity. This led to one phenomenon that arose by itself due to the unity and organic nature of the composer's creative style: often in his operas and instrumental works one can catch the intonations of his romances and, on the contrary, operatic ariosity and symphonic breadth are felt in romances.
If the Russian song was for Tchaikovsky a source of truth and beauty, if it constantly updated his works, then the relationship between genres, their mutual penetration contributed to the constant improvement of skill.
The largest work that put forward the twenty-nine-year-old Tchaikovsky among the first composers of Russia was the symphonic overture "Romeo and Juliet" (1869). The plot of this work was suggested to Tchaikovsky by M.A. Balakirev, who then headed the community of young composers, which went down in the history of music under the name "The Mighty Handful".
Tchaikovsky and the Kuchkists are two channels of the same current. Each of the composers - be it N. A. Rimsky-Korsakov, A. P. Borodin, M. A. Balakirev, M. P. Mussorgsky or P. I. Tchaikovsky - made a unique contribution to the art of his era. And when we talk about Tchaikovsky, we cannot help but recall the Balakirev circle, about the commonality of their creative interests and recognition of each other. But among the links connecting the Kuchkists with Tchaikovsky, program music is perhaps the most significant link.
It is known that, in addition to the program of the symphonic overture "Romeo and Juliet", Balakirev suggested to Tchaikovsky the plot for the symphony "Manfred" (according to Byron), and both works are dedicated to Balakirev. The Tempest, Tchaikovsky's symphonic fantasy on Shakespeare, was created on the advice of V. V. Stasov and is dedicated to him. Among the most famous software and instrumental works by Tchaikovsky is the symphonic fantasy Francesca da Rimini, which is based on the fifth canto of Dante's Divine Comedy. Thus, the three greatest creations of Tchaikovsky in the field of program music owe their appearance to Balakirev and Stasov.
The experience of creating major program works enriched Tchaikovsky's art. It is significant that Tchaikovsky's non-program music has the fullness of figurative and emotional expressiveness, as if it had plots.
Following the symphony "Winter Dreams" and the symphonic overture "Romeo and Juliet" come the operas "Voevoda" (1868), "Ondine" (1869), "Oprichnik" (1872), "Blacksmith Vakula" (1874). Tchaikovsky himself was not satisfied with his first works for the opera stage. The score of Voyevoda, for example, was destroyed by him; it was restored according to the surviving parts and staged already in Soviet times. The opera Ondine is lost forever: the composer burned its score. And later (1885) Tchaikovsky revised the opera The Blacksmith Vakula (the second
edition is called "Cherevichki"). All these are examples of the composer's great demands on himself.
Of course, Tchaikovsky, the author of Voyevoda and Oprichnik, is inferior in maturity to Tchaikovsky, the creator of Eugene Onegin and The Queen of Spades. Nevertheless, the first operas by Tchaikovsky, staged in the late 60s and early 70s of the last century, retain artistic interest for listeners of our day. They have emotional richness and that melodic richness that are typical of the mature operas of the great Russian composer.
In the press of that time, in newspapers and magazines, prominent music critics G. A. Laroche and N. D. Kashkin wrote a lot and in detail about Tchaikovsky's successes. In the widest circles of listeners, Tchaikovsky's music found a warm response. Among the adherents of Tchaikovsky were the great writers L. N. Tolstoy and I. S. Turgenev.
The many-sided activity of Tchaikovsky in the 60-70s was of great importance not only for the musical culture of Moscow, but for the entire Russian musical culture.
Along with intensive creative activity, Tchaikovsky also conducted pedagogical work; he continued to teach at the Moscow Conservatory (among Tchaikovsky's students was the composer S. I. Taneyev), laid the foundations for musical and theoretical teaching. In the early 1970s, a textbook of Tchaikovsky's harmony was published, which has not lost its significance to this day.
Defending his own artistic convictions, Tchaikovsky not only implemented new aesthetic principles in his works, not only introduced them in the process of pedagogical work, he fought for them and acted as a music critic. Tchaikovsky was worried about the fate of his native art, and he took on the work of a musical reviewer of Moscow.
Tchaikovsky undoubtedly possessed literary abilities. If it was necessary to write a libretto for his own opera, this did not hinder him; he owns the translation of the literary text of Mozart's opera Le nozze di Figaro; By translating the poems of the German poet Bodenstedt, Tchaikovsky inspired A. G. Rubinstein to create famous Persian songs. The gift of Tchaikovsky as a writer is also evidenced by his magnificent legacy of music criticism.
The debut of Tchaikovsky as a publicist was two articles - in defense of Rimsky-Korsakov and Balakirev. Tchaikovsky authoritatively refuted the negative judgment of the reactionary critic about Rimsky-Korsakov's early work Serbian Fantasy and predicted a brilliant future for the twenty-four-year-old composer.
The second article (“Voice from the Moscow Musical World”) was written in connection with the fact that the high-ranking “patrons” of art, headed by Grand Duchess Elena Pavlovna, expelled Balakirev from the Russian Musical Society. In response to this, Tchaikovsky angrily wrote: “Balakirev can now say what the father of Russian literature said when he received the news of his expulsion from
Academy of Sciences: "The Academy can be dismissed from Lomonosov... but Lomonosov cannot be dismissed from the Academy!"
Everything advanced and viable in art found Tchaikovsky's ardent support. And not only in Russian: in his homeland, Tchaikovsky promoted the most valuable thing that was in the French music of that time - the work of J. Bizet, C. Saint-Saens, L. Delibes, J. Massenet. Tchaikovsky was equally fond of both the Norwegian composer Grieg and the Czech composer A. Dvorak. These were artists whose work corresponded to the aesthetic views of Tchaikovsky. He wrote about Edvard Grieg: "Mine and his natures are in close inner relationship."
Many talented Western European composers wholeheartedly accepted his favor, and now one cannot read Saint-Saens's letters to Tchaikovsky without excitement: "You will always have a faithful and faithful friend in me."
We should also recall the importance of Tchaikovsky's critical activity in the history of the struggle for the national opera.
The seventies for the Russian opera art were the years of rapid prosperity, which took place in a sharp struggle with everything that hindered the development of national music. A long struggle unfolded for the musical theater. And in this struggle Tchaikovsky played a big role. For Russian opera art, he demanded space, freedom of creativity. In 1871, Tchaikovsky began to write about the "Italian Opera" (that was the name of the Italian
opera troupe, constantly touring in Russia).
Tchaikovsky was far from denying the operatic achievements of Italy, the cradle of operatic art. With what admiration Tchaikovsky wrote about the joint performances on the stage of the Bolshoi Theater by wonderful Italian, French and Russian singers: the gifted A. Patti, D. Artaud, E. Noden, E. A. Lavrovskaya, E. P. Kadmina, F. I. Stravinsky . But the rules established by the directorate of the imperial theaters prevented the creative competition of representatives of two national cultures - Italian and Russian. The position of the Russian opera was adversely affected by the fact that the aristocratic public demanded above all entertainment and refused to recognize the successes of their national composers. Therefore, the directorate issued unheard of privileges to the entrepreneur of the Italian opera troupe. The repertoire was limited to works by foreign composers, and Russian operas and Russian artists were in the fold. The Italian troupe became a purely commercial enterprise. In pursuit of profit, the entrepreneur speculated on the tastes of the "most illustrious parterre" (Tchaikovsky).
With exceptional perseverance and consistency, Tchaikovsky exposed the cult of profit, incompatible with genuine art. He wrote: “Something ominous seized my soul when, in the midst of a performance in one of the boxes of the benoir, a tall, skinny figure of the ruler of Moscow pockets, Señor Merelli, appeared. his face
breathed calm self-confidence and from time to time a smile of contempt or cunning self-satisfaction played on his lips ... "
Condemning the entrepreneurial approach to art, Tchaikovsky also denounced the conservatism of tastes, supported by certain sections of the public, dignitaries from the Ministry of the Court, officials from the office of the imperial theaters.
If the seventies were the heyday of Russian opera, then Russian ballet at that time was going through an acute crisis. G. A. Laroche, figuring out the causes of this crisis, wrote:
"With very few exceptions, serious, real composers keep themselves away from ballet."
Favorable conditions were created for artisan composers. The stage was literally filled with ballet performances, in which music played the role of a dance rhythm - nothing more. Ts. Pugni, staff composer of the Mariinsky Theatre, managed to compose more than three hundred ballets in this "style".
Tchaikovsky was the first Russian classical composer to turn to ballet. He could not have achieved success without mastering the best achievements of Western European ballet; he also relied on the wonderful traditions created by M. I. Glinka in the dance scenes from Ivan Susanin, Ruslan and Lyudmila.
Did Tchaikovsky, when he created his ballets, think that he was implementing a reform in Russian choreographic art?
No. He was overly modest and never considered himself an innovator. But from the day Tchaikovsky agreed to fulfill the order of the directorate of the Bolshoi Theater and in the summer of 1875 began writing the music for Swan Lake, he began to reform the ballet.
The element of dance was no less close to him than the sphere of song and romance. It is not for nothing that the first among his works to be famous were the “Character Dances”, which attracted the attention of I. Strauss.
Russian ballet in the person of Tchaikovsky found a subtle lyric thinker, a real symphonist. And Tchaikovsky's ballet music is deeply meaningful; it expresses the characters of the characters, their spiritual essence. In the dance music of the former composers (Puni, Minkus, Gerber) there was neither great content, nor psychological depth, nor the ability to express the image of the hero in sounds.
It was not easy for Tchaikovsky to innovate in the art of ballet. The premiere of Swan Lake at the Bolshoi Theater (1877) could not bode well for the composer. According to N. D. Kashkin, "almost a third of Tchaikovsky's music was replaced by inserts from other ballets, and, moreover, the most mediocre." Only at the end of the 19th - beginning of the 20th century, thanks to the efforts of choreographers M. Petipa, L. Ivanov, I. Gorsky, artistic productions of Swan Lake were carried out, and the ballet received worldwide recognition.
1877 was perhaps the most difficult year in the life of the composer. All his biographers write about this. After an unsuccessful marriage, Tchaikovsky leaves Moscow and goes abroad. Tchaikovsky lives in Rome, Paris, Berlin, Vienna, Geneva, Venice, Florence... And he never stays anywhere for a long time. Tchaikovsky calls his way of life abroad wandering. Creativity helps Tchaikovsky get out of a spiritual crisis.
For his homeland, 1877 was the year of the beginning of the Russian-Turkish war. Tchaikovsky's sympathies were on the side of the Slavic peoples of the Balkan Peninsula.
In one of his letters to his homeland, Tchaikovsky wrote that in difficult moments for the people, when because of the war every day “many families are orphaned and reduced to begging, it is ashamed to plunge deep into their private petty affairs.”
1878 is marked by two of the greatest creations that were created in parallel. Those were - the fourth symphony and the opera "Eugene Onegin" - they were the highest expression of the ideals and thoughts of Tchaikovsky in that period.
There is no doubt that the personal drama (Tchaikovsky even considered suicide), as well as historical events, influenced the content of the fourth symphony. Having finished this work, Tchaikovsky dedicated it to N. F. von Meck. At a critical moment in Tchaikovsky's life
Nadezhda Filaretovna von Meck played a big role, providing moral support and material assistance, which contributed to the independence of Tchaikovsky and was used by him in order to devote himself entirely to creativity.
In one of his letters to von Meck, Tchaikovsky outlined the content of the fourth symphony.
The main idea of the symphony is the idea of a conflict between man and hostile forces. As one of the main themes, Tchaikovsky uses the "rock" motif that pervades the first and last parts of the symphony. The theme of fate has a broad collective meaning in the symphony - it is a generalized image of evil, in an unequal struggle with which a person enters.
The Fourth Symphony summed up the instrumental work of the young Tchaikovsky.
Almost at the same time with him, another composer - Borodin - created the Bogatyr Symphony (1876). The appearance of the epic "Bogatyrskaya" and the lyric-dramatic fourth symphony was a real creative victory for Borodin and Tchaikovsky, the two founders of the classical Russian symphony.
Like the members of the Balakirev circle, Tchaikovsky highly valued and loved opera as the most democratic genre of musical art. But unlike the Kuchkists, who turned to the themes of history in their operas (Rimsky-Korsakov’s The Maid of Pskov, Mussorgsky’s Boris Godunov, Borodin’s Prince Igor), where the main character is the people, Tchaikovsky is attracted
stories that help him reveal the inner world of a simple person. But before finding these "his" stories, Tchaikovsky went a long way of searching.
Only in the thirty-eighth year of his life, after Ondine, Voyevoda, The Blacksmith Vakula, did Tchaikovsky create his operatic masterpiece, writing the opera Eugene Onegin. Everything in this opera boldly violated the generally accepted traditions of opera performances, everything was simple, deeply truthful and, at the same time, everything was innovative.
In the fourth symphony, in Onegin, Tchaikovsky came to the full maturity of his skill. In the further evolution of Tchaikovsky's operatic work, the dramaturgy of operas becomes more complex and enriched, but everywhere the deep lyricism and exciting drama inherent in him, the transfer of the most subtle shades of spiritual life, and the classically clear form remain everywhere.
In 1879, Tchaikovsky completed the opera The Maid of Orleans (libretto written by the composer based on a drama by Schiller). A heroic page in the history of France was connected with the new opera - an episode from the Hundred Years War in Europe of the XIV-XV centuries, the feat of Joan of Arc - the heroine of the French people. Despite the diversity of external effects and theatrical techniques, which clearly contradict the aesthetic views of the composer himself, there are many pages in the opera "The Maid of Orleans" full of real drama and lyrically penetrating. Some of them can be safely attributed to the best examples of Russian opera art: for example, the wonderful
Joanna's aria "Forgive me, dear fields, forests" and the entire third picture, saturated with powerful emotional power.
Tchaikovsky reached the pinnacle of operatic art in works on the themes of Pushkin. In 1883 he wrote the opera "Mazepa" based on the plot of Pushkin's "Poltava". The harmony of the compositional plan of the opera, the brightness of dramatic contrasts, the versatility of images, the expressiveness of folk scenes, the masterful orchestration - all this cannot but testify that after the opera The Maid of Orleans Tchaikovsky stepped forward significantly and that Mazeppa is an outstanding work that enriched the Russian art of the 80s.
In the field of symphonic creativity during these years, Tchaikovsky created three orchestral suites (1880, 1883, 1884): "Italian Capriccio" and "Serenade for String Orchestra" (1880), a large program symphony "Manfred" (1884).
The ten-year period, from 1878 to 1888, which separates "Eugene Onegin" and Tchaikovsky's fourth symphony from the fifth symphony, was marked by important historical events. Recall that at first it was a time of a revolutionary situation (1879-81), and then a period of reaction. All this, albeit in an indirect form, was reflected in Tchaikovsky. We learn from the composer's correspondence that he, too, did not escape the yoke of reaction. “At present, even the most peaceful citizen has a hard life in Russia,” Tchaikovsky wrote in 1882.
Political reaction could not undermine the creative forces of the best representatives of art and literature. It is enough to list the works of L. N. Tolstoy ("The Power of Darkness"), A. P. Chekhov ("Ivanov"), M. E. Saltykov-Shchedrin ("Judushka Golovlev", "Poshekhonskaya old times"), brilliant paintings by I. E. Repin (“They didn’t wait”, “Ivan the Terrible and his son Ivan”) and V.I. Surikov (“Morning of the Streltsy Execution”, “Boyar Morozova”), point to Mussorgsky’s “Khovanshchina”, Rimsky-Korsakov’s “Snow Maiden” and "Mazepa" by Tchaikovsky to recall the great achievements of Russian art and literature of the 80s.
It was at this time that Tchaikovsky's music won and brought worldwide fame to its creator. The author's concerts of Tchaikovsky, the conductor, are held with great success in Paris, Berlin, Prague, in cities that have long been centers of European musical culture. Later, in the early 90s, Tchaikovsky's performances in America were triumphant - in New York, Baltimore and Philadelphia, where the great composer was met with exceptional hospitality. In England, Tchaikovsky is awarded an honorary doctorate from the University of Cambridge. Tchaikovsky is elected to the largest musical societies in Europe.
In April 1888, Tchaikovsky settled near Moscow, not far from the city of Klin, in Frolovsky. But here Tchaikovsky could not feel quite at ease,
how he turned out to be an unwitting witness to the predatory destruction of the surrounding forests, and moved to Maidanovo. In 1892 he moved to Klin, where he rented a two-story house, now known throughout the world as the Tchaikovsky House Museum.
In the life of Tchaikovsky, this time was marked by the highest achievements of creativity. During these five years, Tchaikovsky created the fifth symphony, the ballet The Sleeping Beauty, the operas The Queen of Spades, Iolanthe, the ballet The Nutcracker and, finally, the brilliant sixth symphony.
The main idea of the fifth symphony is the same as the fourth - the opposition of fate and the human desire for happiness. In the fifth symphony, the composer returns to the theme of rock in each of the four movements. Tchaikovsky introduces lyrical musical landscapes into the symphony (he composed in the most picturesque surroundings of Klin). The outcome of the struggle, the resolution of the conflict is given in the finale, where the theme of fate develops into a solemn march, personifying the victory of man over fate.
In the summer of 1889, Tchaikovsky completed the ballet The Sleeping Beauty (based on the fairy tale by the French writer Ch. Perrault). In the autumn of the same year, when the new ballet was being prepared for staging at the Mariinsky Theater in St. Petersburg, the director of the imperial theaters, I. A. Vsevolozhsky, commissioned Tchaikovsky's opera The Queen of Spades. Tchaikovsky agreed to write a new opera.
The opera was composed in Florence. Tchaikovsky arrived here on January 18, 1890, settled in a hotel. After 44 days - on March 3 - the opera "The Queen of Spades" was completed
in the clavier. The process of instrumentation proceeded very quickly, and soon after the completion of the score, The Queen of Spades was accepted for production by the Mariinsky Theater in St. Petersburg, as well as at the Kyiv Opera and the Bolshoi Theater.
The Queen of Spades premiered at the Mariinsky Theater on December 19, 1890. The outstanding Russian singer N. N. Figner sang the part of Herman, and his wife M. I. Figner was an inspired performer of the part of Lisa. Prominent artistic forces of that time took part in the performance: I. A. Melnikov (Tomsky), L. G. Yakovlev (Eletsky), M. A. Slavina (Countess). Conducted by E. F. Napravnik. A few days later, on December 31 of the same year, the opera was staged in Kyiv with the participation of M. E. Medvedev (German), I. V. Tartakov (Eletsky) and others. A year later, on November 4, 1891, the first production of The Queen of Spades took place. » in Moscow on the stage of the Bolshoi Theatre. The main roles were entrusted to a remarkable galaxy of artists: M. E. Medvedev (German), M. A. Deisha-Sionitskaya (Liza), P. A. Khokhlov (Eletsky), B. B. Korsov (Tomsky), A. P. Krutikova (Countess), conducted by I. K. Altani.
The first productions of the opera were distinguished by great thoroughness and were a huge success with the public. How many stories like the "small" tragedy of Herman and Lisa were during the reign of Alexander III. And the opera made me think, sympathize with the offended, hate everything dark, ugly, which interfered with the happy life of people.
The Queen of Spades opera was in tune with the mood of many people of Russian art in the 1990s. The ideological similarity of Tchaikovsky's opera With works of fine art and literature of those years is found in the work of great Russian artists and writers.
In the story "The Queen of Spades" (1834), Pushkin created typical images. Having drawn a picture of the ugly mores of secular society, the writer condemned the noble Petersburg of his time.
Long before Tchaikovsky, the plot conflict of The Queen of Spades was used in the opera by the French composer J. Halévy, in the operetta of the German composer F. Suppe, and in the drama of the Russian writer D. Lobanov. None of the listed authors managed to create any original work. And only Tchaikovsky, turning to this plot, created a brilliant work.
The libretto for the opera The Queen of Spades was written by the composer's brother, playwright Modest Ilyich Tchaikovsky. The original source was processed in accordance with the principles of creativity, the desires and instructions of the composer; he took an active part in compiling the libretto: he wrote poetry, demanded the introduction of new scenes, shortened the texts of opera parts.
The libretto clearly indicates the main dramatic stages in the development of the action: Tomsky's ballad about three cards marks the beginning of a tragedy that reaches its climax
in the fourth picture; then comes the denouement of the drama - first the death of Lisa, then Herman.
In Tchaikovsky's opera, Pushkin's story is supplemented and developed, and the accusatory motifs of Pushkin's story are strengthened.
From The Queen of Spades, Tchaikovsky and his librettist left intact the scenes in the countess's bedroom and in the barracks. At the request of Vsevolozhsky, the action of the opera was transferred from St. Petersburg during the time of Alexander I to St. Petersburg during the time of Catherine the Great. The same Vsevolozhsky advised Tchaikovsky to introduce the interlude "The Sincerity of the Shepherdess" (the third picture). The music of the interlude is written in the style of Mozart, a composer beloved by Tchaikovsky, and the words are taken from the texts of Karabanov, a little-known and long-forgotten poet of the 18th century. In order to emphasize everyday coloring more strongly, the librettist turned to the legacy of more famous poets: Tomsky’s playful song “If only lovely girls” was written to the text of G. R. Derzhavin, V. A. Zhukovsky’s poem was chosen for the duet of Lisa and Polina, the words of another poet XIX century - KN Batyushkov used for Pauline's romance.
It should be noted the difference that exists between the image of Herman in Pushkin's story and in Tchaikovsky's opera. Herman Pushkin does not cause sympathy: he is an egoist who has a certain fortune and strives with all his might to increase it. Herman Tchaikovsky - controversial and complex. Two passions struggle in him: love and the thirst for wealth. The inconsistency of this image,
his inner development - from love and gradually darkening the mind obsession with profit to death and rebirth at the time of the death of the former Herman - provided the composer with exceptionally grateful material for translating Tchaikovsky's favorite theme in the opera genre - the theme of opposing man, his dream of happiness to a hostile fate.
The contrasting features of the image of Herman, who is the central figure of the entire opera, are revealed with great realistic power in the music of his two ariosos. In the poetically penetrating monologue "I don't know her name" - Herman appears engulfed in ardent love. In the arioso “What is our life” (in a gambling house), the composer brilliantly conveyed the moral decline of his hero.
The librettist and composer also revised the image of Liza, the heroine of the story The Queen of Spades. In Pushkin, Liza is represented by a poor pupil and a downtrodden old countess. In the opera, Liza (here she is the granddaughter of a wealthy countess) actively fights for her happiness. According to the original version, the performance ended with the reconciliation of Lisa and Yeletsky. The falsity of such a situation was obvious, and the composer created the famous scene at the Kanavka, where the artistically complete truthful end of the tragedy of Lisa, who commits suicide, is given.
The musical image of Lisa contains features of warm lyricism and sincerity with features of tragic doom typical of Tchaikovsky. At the same time, the complex inner world of the heroine Tchaikovsky expresses
without the slightest ostentation, preserving full natural vitality. Lisa's arioso "Ah, I am weary of grief" is widely known. The exceptional popularity of this dramatic episode is due to the fact that the composer managed to put into it all his understanding of the great tragedy of a Russian woman, lonely mourning her fate.
Some characters absent from Pushkin's story are boldly introduced into Tchaikovsky's opera: this is Lisa's fiancé and Herman's rival, Prince Yeletsky. The new character escalates the conflict; two contrasting images appear in the opera, brilliantly captured in Tchaikovsky's music. Let us recall Herman's arioso "Forgive me, heavenly creature" and Yeletsky's arioso "I love you". Both heroes turn to Lisa, but how different their experiences are: Herman is embraced by fiery passion; in the guise of a prince, in the music of his arioso - beauty, self-confidence, as if he was talking not about love, but about calm affection.
Very close to Pushkin's primary source is the opera characterization of the old countess - the imaginary owner of the secret of three cards. Tchaikovsky's music depicts this character as an image of death. Minor changes have been made to minor characters like Chekalinsky or Surin.
The dramatic concept determined the system of leitmotifs. The leitmotif of Herman's fate (the theme of three cards) and the deeply emotional theme of love between Lisa and Herman are most widely deployed in the opera.
In the opera The Queen of Spades, Tchaikovsky brilliantly combined the melodic richness of vocal parts with the development of musical material. The Queen of Spades is the highest achievement of Tchaikovsky's operatic work and one of the greatest peaks in world opera classics.
Following the tragic opera The Queen of Spades, Tchaikovsky creates a work of optimistic content. It was Iolanta (1891) - Tchaikovsky's last opera. According to Tchaikovsky, the one-act opera Iolanta should go in the same performance as the ballet The Nutcracker. With the creation of this ballet, the composer completes the reform of musical choreography.
Tchaikovsky's last work was his sixth symphony, performed on October 28, 1893 - a few days before the composer's death. Conducted by Tchaikovsky himself. On November 3, Tchaikovsky fell seriously ill and died on November 6.
Russian musical classics of the second half of the 19th century gave the world many famous names, but the brilliant music of Tchaikovsky distinguishes him even among the greatest artists of this era.
The creative path of Tchaikovsky runs through a difficult historical period of the 60s-90s. In a relatively short period of creativity (twenty-eight years), Tchaikovsky wrote ten operas, three ballets, seven symphonies and many works in other genres.
Tchaikovsky impresses with his versatile talent. It is not enough to say that he is an opera composer, creator of ballets, symphonies, romances; he achieved recognition and fame in the field of software-instrumental music, created concerts, chamber ensembles, piano works. And in any of these types of art, he performed with equal force.
Tchaikovsky became widely known during his lifetime. He had an enviable fate: his works always resonated in the hearts of listeners. But in our time he really became a folk composer. The remarkable achievements of science and technology - sound recording, radio, film and television made his work available in the most remote corners of our country. The great Russian composer became the favorite composer of all the peoples of our country.
The musical culture of millions of people is brought up on the creative legacy of Tchaikovsky.
His music lives among the people, and this is immortality.
O. Melikyan
THE QUEEN OF SPADES
Opera in 3 acts
PLOT
BORROWED FROM THE STORY
A. S. PUSHKINA
Libretto
M. TCHAIKOVSKY
Music
P. I. TCHAIKOVSKY
CHARACTERS
Count Tomsky (Zlatogor) | |
Prince Yeletsky | |
Chekalinsky | |
Chaplitsky | |
Steward | |
mezzo-soprano |
|
Polina (Milovzor) | contralto |
Governess | mezzo-soprano |
Boy Commander | not singing |
Characters in the interlude |
|
Milovzor (Polina) | contralto |
Zlatogor (gr. Tomsk) | |
Nannies, governesses, nurses, walking
guests, children, players, etc.
The action takes place in St. Petersburg
at the end of the 18th century.
INTRODUCTION.
STEP ONE
PICTURE ONE
Spring. Summer garden. Area. Nurses, governesses and wet nurses sit on benches and walk around the garden. Children play with burners, others jump over ropes, throw balls.
Burn, burn bright
To not go out
One two Three!
(Laughter, exclamations, running around.)
Have fun, cute kids!
Rarely the sun of you, dear ones,
Fills with joy!
If, darlings, you are at will
Games, pranks are up to,
Then a little to your nannies
You bring peace then.
Warm up, run, dear children,
And have fun in the sun!
nurses
Bye, bye, bye!
Sleep, dear, rest!
Do not open your clear eyes!
(Drumbeats and children's trumpets are heard.)
Here are our soldiers coming - soldiers.
How slim! Step aside! Places! One, two, one two...
(Boys in toy weapons enter; the boy commander is in front.)
boys (marching)
One, two, one, two
Left, right, left right!
Friendly, brothers!
Don't stumble!
Boy Commander
Right shoulder forward! One, two, stop!
(Boys stop)
Listen!
Musket in front of you! Take it for granted! Musket to the leg!
(The boys follow the command.)
boys
We are all gathered here
To the fear of Russian enemies.
Evil enemy, beware!
And with a villainous thought, run, or submit!
Hooray! Hooray! Hooray!
Save the Fatherland
We got our share.
We will fight
And enemies into captivity
Pick up without an account!
Hooray! Hooray! Hooray!
Long live the wife
wise queen,
She is the mother of all of us,
Empress of these countries
And pride and beauty!
Hooray! Hooray! Hooray!
Boy Commander
Well done boys!
boys
We are glad to try, your honor!
Boy Commander
Listen!
Musket in front of you! Right! On guard! March!
(The boys leave, drumming and trumpeting.)
Nurses, nurses, governesses
Well done, our soldiers!
And indeed let fear into the enemy.
(Other children follow the boys. The nannies and governesses disperse, giving way to other walkers. Chekalinsky and Surin enter.)
Chekalinsky
How did the game end yesterday?
Of course, I blew terribly!
I'm out of luck...
Chekalinsky
Did you play again until morning?
I'm terribly tired
Damn it, I wish I could win at least once!
Chekalinsky
Was Herman there?
Was. And, as always,
From eight to eight in the morning
Chained to the gambling table
sitting,
And silently blew wine
Chekalinsky
But only?
Yes, I watched the game of others.
Chekalinsky
What a strange man he is!
As if in his heart
Villainy, at least three.
Chekalinsky
I heard that he is very poor...
Yes, not rich. Here it is, look:
As the demon of hell is gloomy... pale...
(Herman enters, thoughtful and gloomy; Count Tomsky is with him.)
Tell me, Herman, what's the matter with you?
With me? Nothing...
You are sick?
No, I'm healthy!
You have become something else...
Something dissatisfied...
It used to be: restrained, thrifty,
You were cheerful, at least;
Now you are gloomy, silent
And - I can not believe my ears:
You, a new passion of grief,
As they say, until the morning
Do you spend your nights playing?
Yes! To the goal with a firm foot
I can't go on like before.
I don't know what's wrong with me.
I'm lost, indignant at weakness,
But I can't control myself anymore...
I love! I love!
How! Are you in love? In whom?
I don't know her name
And I can't find out
Not wanting an earthly name,
Call her...
Sorting through all the comparisons,
I don't know who to compare...
My love, the bliss of paradise,
I would like to keep a century!
But the thought is jealous that another should possess it
When I don't dare to kiss her footprint,
It torments me; and earthly passion
In vain I want to appease
And then I want to hug everything,
And then I want to hug my saint ...
I don't know her name
And I don't want to know...
And if so, get to work!
We find out who she is, and there -
And make an offer boldly
And - it's on hand!
Oh no! Alas, she is famous
And it can't belong to me!
That's what pisses me off and gnaws at me!
Let's find another ... Not alone in the world ...
You do not know me!
No, I can't stop loving her!
Oh, Tomsky, you don't understand!
I could only live in peace
While passions dozed in me ...
Then I could control myself.
Now that the soul is in the power of one dream,
Goodbye peace! Poisoned as if intoxicated
I'm sick, sick... I'm in love.
Is that you Herman?
I confess I wouldn't trust anyone
How can you love so much!
(Herman and Tomsky pass. Walkers fill the stage.)
Choir of Walkers
Finally, God sent a sunny day!
We won't have to wait long for a day like this again.
For many years we do not see such days, | Simultaneously |
|
What a joy! What happiness! | ||
Young people Sun, sky, air, nightingale melody |
Are you sure she doesn't notice you?
I bet I'm in love and miss you...
If I had lost my gratifying doubt,
Would my soul endure the torment?
You see: I live, I suffer, but at a terrible moment,
When I know that I'm not destined to master it,
Then only one remains...
Die! (Prince Yeletsky enters. Chekalinsky and Surin go to him.)
Chekalinsky (prince)
You can be congratulated.
Are you the groom?
Yes, gentlemen, I'm getting married; bright angel gave consent
Combine your fate with mine forever! ..
Chekalinsky
Well, goodbye!
I am glad with all my heart. Be happy, prince!
Yeletsky, congratulations!
Thanks, friends!
Prince(with feeling)
Happy day, | Simultaneously |
|
unhappy day, |
Tomsk(prince)
Tell me who will you marry?
Prince, who is your bride?
(The Countess enters with Lisa.)
Prince(pointing to Lisa)
She is? She is his fiancee! Oh my God!...
Lisa and the Countess
He's here again!
So who is your nameless beauty!
I'm scared! | Simultaneously |
|
I'm scared! |
What does he want by following me? | Simultaneously |
|
I'm scared! I'm scared! | ||
I'm scared! My God, how embarrassed she is! I'm scared! | ||
So what was he talking about? |
I'm scared.
(Count Tomsky approaches the Countess. The Prince approaches Lisa. The Countess looks intently at Herman)
Countess,
Let me congratulate you...
Tell me who is this officer?
Which the? This? Herman, my friend.
Where did he come from? How terrible he is!
(Tomsky accompanies her to the back of the stage.)
Prince (shaking hands with Lisa)
Heaven's enchanting beauty,
Spring, marshmallows light rustle,
The fun of the crowd, hello friends, -
Promise in the future for many years
We are happy!
Rejoice, friend!
You forgot that behind a quiet day
Thunderstorm happens. What is the creator
He gave happiness tears, a bucket - thunder!
(Distant thunder. Herman sinks down on the bench in gloomy thought.)
What a witch this countess is!
Chekalinsky
Scarecrow!
No wonder she was nicknamed "The Queen of Spades".
I can not comprehend why she does not ponte?
How? Is it an old woman?
Chekalinsky
An octogenarian hag!
So you don't know anything about her?
No, really, nothing.
Chekalinsky
Oh, so listen!
The Countess many years ago in Paris was known as a beauty.
All the youth went crazy for her,
Calling "Venus of Moscow."
Count Saint-Germain - among others, then still handsome,
Captivated by her. But unsuccessfully he sighed for the countess:
All night long the beauty played and, alas,
Pharaoh preferred love.
Once at Versailles, "au jeu de la Reine" Vénus moscovite played to the ground.
Among those invited was the Comte Saint-Germain;
Watching the game, he heard how she
Whispered in the midst of excitement: “Oh, my God! Oh my God!
Oh my god, I could play it all
When would it be enough to put again
Count, choosing a good minute when
Stealthily leaving the full hall of the guests,
The beauty sat alone in silence,
Lovingly over her ear whispered words sweeter than the sounds of Mozart:
"Countess, countess, countess, at the price of one, "rendezvous" want,
Perhaps I'll call you three cards, three cards, three cards?
The countess flared up: "How dare you!"
But the count was not a coward ... And when in a day
The beauty has come again, alas,
Penniless au jeus de la Reine
She already knew three cards.
Boldly placing them one after the other,
Returned her ... but at what cost!
Oh cards, oh cards, oh cards!
Since she called those cards to her husband,
Another time, their handsome young man recognized them.
But on the same night, only one remained,
A ghost appeared to her and said menacingly:
"You will receive a fatal blow
Three cards, three cards, three cards!”
Chekalinsky
Se nonè vero, e ben trovato.
(Thunder is heard, a thunderstorm is coming.)
Funny! But the countess can sleep peacefully:
It is difficult for her to find an ardent lover.
Chekalinsky
Listen, Herman, here's a great opportunity for you,
To play without money. Think!
(Everyone laughs.)
Chekalinsky, Surin
"From the third, who passionately, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
(They leave. A strong thunderclap. A thunderstorm is playing out. Walkers hurry in equal directions. Exclamations, shouts.)
Choir of Walkers
How quickly the storm came... Who could have expected?...
What passions... Blow after blow louder, more terrible!
Run quickly! Hurry up to the gate!
(Everyone scatters. Thunderstorm intensifies.)
(From a distance.)
Ah, hurry home!
Run here quickly!
(Strong thunderclap.)
Hermann (thoughtfully)
"You will receive a fatal blow
From the third, who passionately, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
Oh, what do I care about them, even though I possess them!
Everything is now dead... I am the only one left. I'm not afraid of the storm!
In myself all the passions awoke with such deadly force,
That this thunder is nothing in comparison! No, prince!
As long as I'm alive, I won't give it to you.
I don't know how, but I'll take it!
Thunder, lightning, wind, I solemnly give you
I swear: she will be mine, or I will die!
(Runs away.)
PICTURE TWO
Lisa's room. Door to the balcony overlooking the garden. Liza at the harpsichord. Polina is next to her. Girlfriends.
Lisa and Polina
It's already evening ... the edges of the clouds have faded,
The last ray of dawn on the towers is dying;
The last shining stream in the river
With the extinct sky is fading away.
All is quiet: the groves are sleeping; peace reigns around;
Stretched out on the grass under the bowed willow,
I listen how it murmurs, merging with the river,
A stream overshadowed by bushes.
How merged with the coolness of plants aroma!
How sweet in the silence at the shore of the jets splashing!
How quiet is the wind of marshmallows on the waters,
And flexible willow flutter!
Chorus of girlfriends
Charming! Charming!
Wonderful! Pretty! Ah, wonderful, good!
More, mesdames, more, more.
Sing, Fields, we have one.
One?
But what to sing?
Chorus of girlfriends
Please what do you know.
Ma chère, darling, sing us something.
I'll sing my favorite romance...
(Sits down at the harpsichord, plays and sings with deep feeling.)
Wait... How is it? Yes, I remembered!
Dear friends, playful in carelessness,
To the tune of a dance, you frolic in the meadows!
And I, like you, lived in happy Arcadia,
And I, in the morning of days, in these groves and fields
Tasted moments of joy:
Love in golden dreams promised me happiness,
But what happened to me in these joyful places?
Grave!
(Everyone is touched and excited.)
So I decided to sing a tearful song like that?
Well, why? And without that you are sad something, Liza,
On such a day! Think about it, you're engaged, ah, ah, ah!
(To girlfriends.)
Well, why are you hanging your noses? Let's have fun
Yes, Russian in honor of the bride and groom!
Well, I'll start, and you sing along to me!
Chorus of girlfriends
And really, let's have a fun, Russian!
(Girlfriends clap their hands. Lisa, not taking part in the fun, stands thoughtfully by the balcony.)
Pauline (friends sing along)
Come on, little Mashenka,
You sweat, dance
Ay, lyuli, lyuli,
You sweat, dance.
Your white little hands
Pick it up by the side.
Ay, lu-li, lu-li,
Pick it up by the side.
Your quick little legs
Don't be sorry, please.
Ay, lyuli, lyuli,
Don't be sorry, please.
(Polina and some friends start dancing.)
If mother asks: "fun!"
Ay, lu-li, li-li, "fun!" speak.
And to the answer aunt:
Like, “I drank until dawn!”
Ay, lu-li, lu-li, li-li,
Like, “I drank until dawn!”
Well done will reproach:
"Go away, go away!"
Ay, lu-li, lu-li,
"Go away, go away!"
(The countess' governess enters.)
Governess
Mesdemoiselles, what's all the fuss about here? The Countess is angry...
Ah ah ah! Aren't you ashamed to dance in Russian!
Fi, quel genre, mesdames!
The young ladies of your circle need to know decency!
You should have taught each other the rules of the world.
You can only rage in girls' rooms, not here, mes mignonnes.
Is it not possible to have fun without forgetting the bonton?...
It's time to leave...
They sent me to call you to say goodbye ...
(The ladies disperse.)
Pauline (approaching Lisa)
Lise, why are you so boring?
I'm boring? Not at all! Look what a night!
As after a terrible storm, everything was suddenly renewed.
Look, I will complain to the prince about you.
I'll tell him that on the day of the engagement you were sad...
No, for God's sake, don't speak!
So please smile now...
Like this! Now goodbye. (They kiss.)
I will accompany you...
(They leave. The maid comes and puts out the fire, leaving one candle. At the time when she goes to the balcony to close it, Liza returns.)
You don't have to close. Leave.
You wouldn't catch a cold, young lady.
No, Masha, the night is so warm, so good!
Can you help me get undressed?
No I myself. Go to sleep.
It's late, lady...
Leave me, go...
(Masha leaves. Liza stands in deep thought, then weeps softly.)
Where are these tears, why are they?
My girlish dreams, you betrayed me!
This is how you justified yourself in reality! ..
I have now entrusted my life to the prince - the chosen one by heart,
Being, mind, beauty, nobility, wealth,
Worthy of a friend not like me.
Who is noble, who is handsome, who is stately like him?
Nobody! And what?...
I am full of longing and fear, trembling and crying.
Why are these tears, why are they?
My girlish dreams, you cheated on me...
It's hard and scary! But why deceive yourself?
I'm alone here, everything is sleeping quietly around ...
Oh listen, night!
You alone can believe the secret of my soul.
She is gloomy, like you, she is like a look of sad eyes,
Peace and happiness have been taken from me...
Queen of the night!
Like you, beauty, like a fallen angel, he is beautiful.
In his eyes the fire of scorching passion,
Like a wonderful dream, it beckons me.
And my whole soul is in his power.
Oh night!
(Herman appears at the door of the balcony. Liza steps back in horror. They look at each other in silence. Liza makes a movement to leave.)
Stop, I beg you!
Why are you here, crazy man?
What do you need?
Say goodbye!
(Liza wants to leave.)
Don't leave! Stay! I myself will leave now
And I won't come back here again... One minute!
What are you worth? The dying man is calling to you.
Why, why are you here? Get away!
I will scream.
Shout! (pulling out pistol) Call everyone!
I'm going to die anyway, alone or with others.
(Lisa lowers her head.)
But if there is, beauty, there is at least a spark of compassion in you,
Wait, don't go!
After all, this is my last, death hour!
I learned my verdict today.
You, cruel, give your heart to another!
(Passionately and emphatically.)
Let me die, blessing you, not cursing,
Can I live a day when you are a stranger to me!
I lived by you;
Only a feeling and a stubborn thought alone possessed me.
I will die, but before saying goodbye to life,
Give me just a moment to be with you alone,
In the midst of the wonderful silence of the night, let me revel in your beauty.
Then let death and with it - peace!
(Liza stands, looking sadly at Herman.)
Stop like that! Oh how good you are!
Get away! Get away!
Gorgeous! Goddess! Angel!
(Herman kneels.)
I'm sorry, heavenly creature, that I disturbed your peace.
Sorry! but do not reject a passionate confession,
Do not reject sadly.
Oh sorry, I'm dying
I bring you my prayer:
Look from the heights of heavenly paradise
To the death fight
Soul, tormented by the torment of love for you,
Oh, take pity and my spirit with caress, regret,
Warm your tears!
(Lisa is crying.)
You cry! What do these tears mean?
Do not drive and regret?
(Takes her hand, which she does not take away)
Thank you! Gorgeous! Goddess! Angel!
(He falls on Liza's hand and kisses her. Noise of footsteps and a knock on the door.)
Countess (Behind the door)
Lisa, open up!
Lisa (in dismay)
Countess! Good God! I died!
Run!.. It's too late!.. This way!..
(The knocking intensifies. Liza points out to Herman the curtain. Then she goes to the door and opens it. The Countess enters in a dressing gown, surrounded by maids with candles.)
What are you not sleeping? Why are you dressed? What is this noise?
Lisa (confused)
I, grandmother, walked around the room ... I can’t sleep ...
Countess (gestures to close the balcony)
Why is the balcony open? What kind of fantasies are these?
Look you! Don't be stupid! Now go to bed (tap with stick)
Do you hear?...
Me, grandma, now!
Can't sleep!.. Have you heard this! Well times!
Can't sleep!... Now lie down!
I obey. Sorry.
Countess (leaving)
And then I hear a noise; you're disturbing your grandmother! Let's go...
And don't you dare do anything stupid here!
"Who, passionately loving,
Will come to probably learn from you
Three cards, three cards, three cards!”
Grave cold blew around!
Oh terrible ghost! Death, I don't want you!
(Lisa, having closed the door behind the countess, goes to the balcony, opens it, and gestures for Herman to leave.)
Oh spare me!
Death a few minutes ago
It seemed to me salvation, almost happiness!
Now it's not! She's scary to me!
You opened the dawn of happiness to me,
I want to live and die with you.
Mad man, what do you want from me,
What can I do?
Decide my fate.
Have pity! You are ruining me!
Get away! I ask you, I command you!
So, it means that you pronounce the death sentence!
Oh, God... I'm getting weak... Please go away!
Say then: die!
Good God!
(Herman wants to leave.)
Not! Live!
(Impulsively embraces Lisa; she puts her head on his shoulder.)
Gorgeous! Goddess! Angel!
Love you!
ACT TWO
PICTURE THREE
A masquerade ball in the home of a wealthy metropolitan nobleman. Big hall. On the sides, between the columns, lodges are arranged. The guests are dancing contradans. Singers sing in the choirs.
Choir of singers
Joyfully! fun!
Gather on this day, friends!
Throw away your troubles
Jump, dance boldly!
Beat with your hands,
Click your fingers loudly!
Move your black eyes
Stan you are talking!
Fertik hands you to the sides,
Do easy jumps
Chobot on Chobot knock,
Whistle boldly!
Owner with his wife
Welcome good guests!
(The manager enters.)
Steward
The owner asks dear guests
Welcome to look at the sparkle of entertainment lights.
(All guests go to the garden terrace.)
Chekalinsky
Our Herman hung his nose again.
I guarantee you that he is in love;
It was gloomy, then it became cheerful.
No, gentlemen, he is passionate,
What do you think?
Hope to learn three cards.
Chekalinsky
Here's the weirdo!
I do not believe you have to be ignorant for this!
He's not stupid!
He told me himself.
Chekalinsky (to Surin)
Come on, let's go tease him!
(Pass.)
However, he is one of those
Who once thought
Gotta get it all done!
Poor fellow!
(The hall is empty. Servants enter to prepare the middle of the stage for an interlude. The Prince and Liza pass.)
You are so sad dear
As if you have grief...
Trust me.
No, after, prince.
Another time... Please!
(Wants to leave.)
Wait... for a moment!
I must, I must tell you!
I love you, I love you beyond measure,
I can't think of living a day without you
I am a feat of unparalleled strength,
Ready to do for you now
But know: your heart is free
I don't want to embarrass anything
Ready to hide for you
And appease the ardor of jealous feelings.
I am ready for everything, for everything for you!
Not only a loving spouse -
Servant helpful sometimes,
Wish I could be your friend
And a comforter always.
But now I see clearly, I feel now,
Where did you take yourself in your dreams?
How little trust you have in me,
How alien I am to you and how far away!
Ah, I am tormented by this distance.
I sympathize with you with all my heart,
I mourn your sadness
And I cry your tears
Ah, I am tormented by this distance,
I sympathize with you with all my heart!
I love you, I love you beyond measure...
Oh honey, trust me!
(They leave.)
(Herman enters without a mask, holding a note in his hands.)
Hermann (is reading)
After the performance, wait for me in the hall. I need to see you...
I would rather see her and throw this thought (sits down).
Three cards to know - and I'm rich!
And I can run with her
Get away from people.
Damn! This thought is driving me crazy!
(Several guests return to the hall; Chekalinsky and Surin are among them. They point to Herman, creep up and, leaning over him, whisper.)
Chekalinsky, Surin
Are you the third
Who love passionately
Will come to learn from her
Three cards, three cards, three cards...
(They are hiding. Herman gets up frightened, as if not realizing what is happening. When he looks around, Chekalinsky and Surin have already disappeared into the crowd of young people.)
Chekalinsky, Surin, several people from the choir
Three cards, three cards, three cards!
(They laugh. They mingle with the crowd of guests).
What's this? Brad or mockery?
Not! What if...
(He covers his face with his hands.)
I'm crazy, I'm crazy!
(thinks.)
Steward
The owner asks dear guests to listen to the pastoral
Under the title: "The sincerity of the shepherdess!"
(The guests sit down in the prepared places.)
Choir of shepherds and shepherdesses
(During the choir, Prilep alone does not take part in the dances and weaves a wreath in sad thoughtfulness.)
Under the thick shade
Near a quiet stream
We came today in a crowd
Have fun, sing, have fun
And round dances
enjoy nature,
Weave flower wreaths...
(Shepherds and shepherdesses dance, then retire to the back of the stage.)
My pretty little friend
Dear shepherd,
Who do I sigh
And I want to open the passion
Ah, did not come to dance,
Ah, did not come to dance!
(Milovzor enters.)
Milovzor
I'm here, but boring, languid,
Look how thin!
I won't be humble anymore
I hid my passion for a long time ...
Zlatogor
How cute, how beautiful you are!
Say: which of us -
Me or him
Forever love agree?
Milovzor
I heartily agreed
I bowed to love
Whom does it command
To whom does it burn?
I don't need any estates
No rare stones
I'm with a sweetheart in the fields
And I'm glad to live in a hut! (to Milovzor.)
Well, sir, good luck,
And you be calm!
Here in seclusion
Rush to the reward
Such beautiful words
Bring me a bunch of flowers!
Prilepa and Milovzor
The end of suffering has come
love admiration
The time will come soon
Love! Hide us.
Choir of shepherds and shepherdesses
The end of suffering has come -
The bride and groom are worthy of admiration,
Love! Hide them!
(Cupid and Hymen with a retinue enter to marry young lovers. Prilepa and Milovzor, holding hands, dance. Shepherds and shepherdesses imitate them, make round dances, and then they all leave in pairs. At the end of the interlude, some of the guests get up, others talk animatedly, remaining Herman comes up to the front of the stage.)
Hermann (thoughtfully)
"Who passionately and passionately loving" ... -
Well, don't I love?
Of course yes!
(Turns around and sees the countess in front of him. Both shudder, stare at each other.)
Surin (in mask)
Look, your mistress!
(Laughs and hides.)
(Lisa enters wearing a mask.)
Listen, Herman!
You! Finally!
How happy I am that you came!
Love you!
No place here...
That's not why I called you.
Listen: - here is the key to the secret door in the garden:
There's a ladder. On it you will climb into the bedroom of your grandmother ...
How? To her bedroom?
She won't be there...
In the bedroom near the portrait
There is a door for me. I'll be waiting.
You, I want to belong to you alone.
We need to decide everything!
See you tomorrow, my dear, welcome!
No, not tomorrow, I'll be there today!
Lisa (scared)
But honey...
Let it be!
After all, I am your slave!
Sorry...
(Hides.)
Now it's not me
Fate wants it that way
And I will know three cards!
(Runs away.)
Steward (excitedly)
Her Majesty is now pleased to welcome ...
Guest choir
(There is great animation in the choir. The steward divides the crowd so that a passage for the queen is formed in the middle. Among the guests, those who made up the choir in the interlude participate in the choir.)
(Everyone turns towards the middle doors. The steward makes a sign to the choirboys to start.)
Choir of guests and singers
Hail to this, Ekaterina,
Hail, tender mother to us!
(Men become in a pose of a low court bow. Ladies squat deeply. Pages appear.)
Vivat! viva!
PICTURE FOUR
Bedroom of the Countess, illuminated by lamps. Herman enters through a hidden door. He looks around the room.
It's just like she told me...
What? Am I afraid?
Not! So decided:
I'll get the old woman's secret!
(thinks.)
And if there is no secret
And it's all just empty nonsense
My sick soul?
(Goes to Liza's door. Stops at the portrait of the Countess. Midnight strikes.)
And, here it is, "Venus of Moscow"!
Some secret power
I am connected with her, rock.
I'm from you
Are you from me
But I feel that one of us
Die from another.
I look at you and hate
And I can't get enough of it!
I would like to run away
But there is no power...
An inquisitive gaze cannot be torn off
From a terrible and wonderful face!
No, we can't separate
Without a fatal meeting.
Steps! Here they go! Yes!
Ah, come what may!
(She hides behind a boudoir curtain. A maid runs in and hastily lights candles. Other maids and hangers-on come running after her. The Countess enters, surrounded by bustling maids and hangers-on.)
Chorus of hangers-on and maids
Our benefactor,
How did you like to walk?
Light is our lady
Do you want to sleep, right?
Tired, tea? So what:
Who was better there?
Were maybe younger
But more beautiful - none!
(They escort the countess into the boudoir. Liza enters, followed by Masha.)
No, Masha, follow me!
What is the matter with you, young lady, you are pale!
There is nothing...
Masha (guessing)
Oh my god! Really?...
Yes, he will come...
Be quiet! He can be,
It's already there waiting...
Watch over us, Masha, be my friend.
Oh, how could we not get it!
He said so. my spouse
I chose him. And an obedient, faithful slave
Became the one who was sent to me by fate.
(They leave. The hangers-on and the maids bring the countess in. She is in a dressing gown and a nightcap. They put her to bed.)
Maids n hangers
Benefactor, our light lady,
Tired, tea. Wants, right, to rest!
Benefactor, beauty! Lie down in bed.
Tomorrow you will be more beautiful than the morning dawn!
Benefactor, lie down in bed, rest!
Full of lying to you! Tired!..
I'm tired... no urine...
I don't want to sleep in bed!
(She is seated in a chair and surrounded by pillows.)
Oh, this world has disgusted me.
Well times! They don't know how to have fun.
What manners! What a tone!
And I wouldn't look...
They don't know how to dance or sing!
Who are the dancers? Who sings? girls!
And it happened: who danced? Who sang?
Le duc d'Orléans, le duc d'Ayen, duc de Coigny..
La comtesse d'Estrades, la duchesse de Brancas...
What names! and even, sometimes, the Marquise of Pampadour herself!
I sang in their presence... Le duc de la Vallière
He praised me. Once, I remember, in Chantylly, y Prince de Condé
The king heard me! I see everything now...
Je crains de lui parler la nuit,
J'ecoute trop tout ce qu'il dit;
Il me dit: je vous aime, et je sens malgré moi,
Je sens mon coeur qui bat, qui bat...
Ja ne sais pas pourquoi...
(As if waking up, looks around)
Why are you standing here? Get on up!
(The maids and hangers-on disperse. The countess falls asleep, singing the same song. Herman comes out from behind the shelter and stands opposite the countess. She wakes up and silently moves her lips in horror.)
Don't be scared! For God's sake don't be scared!
For God's sake don't be scared!
I won't harm you!
I have come to beg you for mercy alone!
(The Countess looks at him silently as before.)
You can make up the happiness of a lifetime!
And it won't cost you anything!
You know three cards.
(Countess rises.)
For whom do you keep your secret.
(Herman kneels.)
If you ever knew the feeling of love
If you remember the ardor and rapture of young blood,
If at least once you smiled at the caress of a child,
If your heart ever beat in your chest,
Then I beg you, with the feeling of a wife, mistress, mother, -
All that is sacred to you in life. Say, say
Tell me your secret! What do you need it for?
Maybe it is associated with a terrible sin,
With the destruction of bliss, with a diabolical condition?
Think you're old, you won't live long
And I'm ready to take your sin upon myself!
Open up to me! Tell!
(The Countess, straightening up, looks menacingly at Herman.)
Old witch! So I'll make you answer!
(Takes out a pistol. The Countess nods her head, raises her hands to shield herself from the shot, and falls dead. Herman goes up to the corpse, takes his hand.)
Full of childishness! Would you like to assign me three cards?
Yes or no?...
She is dead! It came true! I didn't know the secret!
Dead! But I didn't know the secret... Dead! Dead!
(Liza enters.)
What's the noise here?
(Seeing Herman.)
Are you, are you here?
Shut up!.. Shut up!.. She's dead,
I didn't know the secret!
How dead? What are you talking about?
Hermann (pointing to the body)
It came true! She is dead, but I did not know the secret!
(Liza rushes to the corpse of the countess.)
Yes! Dead! Oh my God! And did you do it?
I didn't want her to die...
I just wanted to know three cards!
So that's why you're here! Not for me!
You wanted to know three cards!
You didn't need me, but the cards!
Oh my god, my god!
And I loved him, I died because of him!
Monster! Killer! Monster.
(Herman wants to speak, but she gestures imperiously towards a hidden door.)
Killer, Fiend! Away! Away! The villain! Away! Away!
She is dead!
(Hermann runs away. Lisa lands on the Countess's corpse, sobbing.)
ACT THREE
PICTURE FIVE
Barracks. Herman's room. Late evening. Moonlight now illuminates the room through the window, then disappears. Howl of the wind. Herman is sitting at the table near the candle. He reads the letter.
Hermann (is reading)
I don't believe you want the Countess dead... I am exhausted by the consciousness of my guilt before you. Calm me down. Today I'm waiting for you on the embankment, when no one can see us there. If you do not come before midnight, I will have to admit a terrible thought, which I drive away from me. I'm sorry, I'm sorry, but I suffer so much! ..
Poor thing! Into what abyss did I drag her with me!
Ah, if only I could forget and fall asleep.
(He sinks into an armchair in deep thought and seems to be dozing. Then he gets up in fright.)
What's this? singing or howling wind? I won't understand... (Sits down on a chair, covering his face with his hands.) | Simultaneously |
|
Backstage chorus of singers I pray to the Lord that he will heed my sorrow, |
(A knock on the window. Herman raises his head and listens. The howl of the wind. Someone looks out of the window and disappears. Again a knock on the window. A gust of wind opens it and a shadow appears from there again. The candle goes out.)
Hermann (horrified)
I'm scared! Scary! There... there are steps...
They open the door... No, no, I can't stand it!
(He runs to the door, but the ghost of the countess stops him. Herman steps back. The ghost approaches.)
Ghost of the Countess
I came to you against my will, but I was ordered to fulfill your request. Save Lisa, marry her, and three cards, three cards, three cards win in a row. Remember: three, seven, ace!
(Disappears.)
Hermann (repeats with an air of madness)
Three, seven, ace!
PICTURE SIX
Night. Winter Ditch. In the depths of the stage - the embankment and the Peter and Paul Fortress, illuminated by the moon. Under the arch, in a dark corner, all in black, stands Lisa.
Midnight is approaching, but Herman is still absent, still absent...
I know he will come, dispel suspicion.
He's a victim of chance and crime
Can't, can't do!
Oh, I'm tired, I'm tired!
Oh, I'm weary of grief...
Whether at night during the day - only about him
I tormented myself with the thought,
Where have you been joy?
Oh, I'm tired, I'm tired!
Life gave me only joy
I found a cloud, brought thunder,
Everything I love in the world
Happiness, hopes shattered!
Oh, I'm tired, I'm tired!
Whether at night, during the day - only about him.
Ah, I tormented myself with thought,
Where are you, old joy?
A cloud came and brought a thunderstorm
Happiness, hopes shattered!
I'm tired! I suffered!
Longing gnaws at me and gnaws at me.
And if the clock strikes me in response,
That he is a murderer, a seducer?
Oh, I'm scared, I'm scared!
(The clock on the fortress tower.)
Oh time! wait, he'll be here now... (with desperation)
Oh, honey, come, have pity, have pity on me,
My husband, my lord!
So it's true! With a villain
I tied my fate!
Killer, fiend forever
My soul belongs!
With his criminal hand
And my life and honor is taken,
I am the fateful will of the sky
Cursed with the killer. (He wants to run, but Herman enters.)
You are here, you are here!
You are not a villain! Are you here.
The end of suffering has come
And I became yours again!
Away with tears, torment and doubt!
You are mine again and I am yours! (Falls into his arms.)
Hermann (kisses her)
Yes, here I am, my dear!
Oh yes, the suffering is over
I'm with you again my friend!
I'm with you again my friend!
The bliss of goodbye has come.
The bliss of goodbye has come.
The end of our painful torments.
The end of our painful torments.
Oh, yes, suffering has passed, I am with you again! ..
Those were heavy dreams
The deception of a dream is empty!
The deception of a dream is empty!
Forgotten moans and tears!
Forgotten moans and tears!
But darling, we can't delay
The clock is running... Are you ready? Let's run!
Where to run? With you to the end of the world!
Where to run? Where? To the gambling house!
Oh my God, what's wrong with you, Herman?
There are piles of gold for me too,
They belong to me alone!
Oh grief! Herman, what are you talking about? Come to your senses!
Oh, I forgot, you don't know yet!
Three cards, remember what else I wanted to find out then
At the old witch!
Oh my god, he's insane!
Stubborn, didn't want to tell me.
After all, today I had it -
And she called me three cards.
So, did you kill her?
Oh no, why? I just raised my gun
And the old witch suddenly fell!
(Laughs.)
So it's true, with a villain | Simultaneously |
|
Yes, yes, that's true, I know three cards! |
But no, it can't be! Watch out, Herman!
Hermann (in ecstasy)
Yes! I am the third one who passionately loving,
I came to force you to know
About three, seven, ace!
Whoever you are, I'm still yours!
Run, come with me, I'll save you!
Yes! I learned, I learned from you
About three, seven, ace!
(Laughs and pushes Lisa away.)
Leave me! Who are you? I don't know you!
Away! Away!
(Runs away.)
He died, he died! And me with him!
(He runs to the embankment and throws himself into the river.)
PICTURE SEVEN
Gambling house. Dinner. Some people play cards.
Guest choir
Let's drink and have fun!
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
Let our youth drown
In bliss, cards and wine.
They are the only joy in the world,
Life will run like a dream!
Let our joy sink...
Surin (behind the cards)
Chaplitsky
Gnu passwords!
Chaplitsky
No passwords!
Chekalinsky (mosque)
Is it okay to put?
Chekalinsky
I am Mirandole...
Tomsk (prince)
How did you get here?
I haven't seen you at the players before.
Yes, this is my first time here.
You know they say:
Unhappy in love
Happy in the game...
What do you want to say?
I am no longer a fiancé.
Do not ask me!
I'm in too much pain, friend.
I'm here for revenge!
After all, happiness is in love
Brings misfortune in the game ...
Explain what this means?
You'll see!
Let's drink and be merry...
(Players join the diners.)
Chekalinsky
Hey gentlemen! Let Tomsky sing something to us!
Sing, Tomsky, something merry, funny...
I can't sing something...
Chekalinsky
Oh, come on, what nonsense!
Drink and sleep! Tomsky's health, friends!
Hooray!..
Tomsky's health! Hooray!
If dear girls
So they could fly like birds
And sat on the branches
I would like to be a bitch
To thousands of girls
On my branches to sit.
Bravo! Bravo! Ah, sing another verse!
Let them sit and sing
They made nests and whistled,
Bring out the chicks!
I would never bend
I would love them forever
He was the happiest of all the bitches.
Bravo! Bravo! That's the song!
It's nice! Bravo! Well done!
"I would never bend
I would love them forever
He was happier than all the bitches.
Chekalinsky
Now, according to custom, friends, gamers!
So, on rainy days
They were going
Often;
So on rainy days
They were going
Often;
Chekalinsky, Chaplitsky, Narumov, Surin
Bent - God forgive them! -
From fifty
One hundred.
Bent - God forgive them -
From fifty
One hundred.
Chekalinsky, Chaplitsky, Narumov, Surin
And they won
And unsubscribed
Chalk.
And they won
And unsubscribed
Chalk.
Chekalinsky, Chaplitsky, Narumov, Surin
So, on rainy days
They were engaged
Deed.
So, on rainy days
They were engaged
Deed.
(Whistling, shouting and dancing.)
Chekalinsky
For the cause, gentlemen, for the cards!
Guilt! Guilt!
(Sit down to play.)
Wine, wine!
Chaplitsky
Chaplitsky
To hell!
I put on root...
Chaplitsky
From transport to ten.
(Heman enters.)
Prince (seeing him)
My premonition did not deceive me,
(Tomsky.)
I may need a second.
Will you refuse?
Rely on me!
BUT! Herman, friend! So late? Where?
Chekalinsky
Sit down with me, you bring happiness.
Where are you from? Where was? Isn't it in hell?
Look what it looks like!
Chekalinsky
It can't be scarier!
Are you healthy?
Let me put up a card.
(Chekalinsky silently bows in agreement.)
Miraculously, he began to play.
Here are miracles, he began to ponte, our Herman.
(Herman puts down the card and covers it with a bank note.)
Buddy, congratulations on allowing such a long post!
Chekalinsky
And how much?
Forty thousand!
Forty thousand! That's so kush. You are crazy!
Have you learned three cards from the Countess?
Hermann (irritated)
Well, do you hit or not?
Chekalinsky
Goes! Which map?
(Chekalinsky Mosque.)
Won!
He won! Here's the lucky one!
Chekalinsky, Chaplitsky, Tomsky, Surin, Narumov, chorus
Chekalinsky
Do you want to receive?
Not! I'm going to the corner!
He's crazy! Is it possible to?
No, Chekalinsky, don't play with him.
Look, he's not himself.
Chekalinsky
Is it coming? What about the map?
Here, seven! (Chekalinsky Mosque.) My!
Again it! There is something wrong with him going on.
What did you hang up your noses?
Are you scared? (Laughs hysterically.)
Guilt! Guilt!
Herman, what's wrong with you?
Hermann (with glass in hand)
What is our life? - The game!
Good and evil - one dream!
Labor, honesty - fairy tales for a woman.
Who is right, who is happy here, friends?
Today you - and tomorrow I!
So stop fighting
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Cursing, cursing your fate.
What's right? Death is one!
Like the shore of the sea of vanity,
She is a refuge for all of us.
Who is dearer to her from us, friends?
Today you - and tomorrow I!
So stop fighting!
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Cursing your fate.
Is it still going?
Chekalinsky
No, get it!
The devil himself is playing with you!
(Chekalinsky puts the loss on the table.)
And if so, what a disaster!
Anyone?
Is this all on the map? BUT?
Prince (stepping forward)
Prince, what's wrong with you? Stop doing that!
After all, this is not a game - madness!
I know what I'm doing!
We have an account with him!
Hermann (embarrassed)
Do you, do you want?
Me, dream, Chekalinsky.
(Chekalinsky Mosque.)
Hermann (opening map)
Not! Your lady is beaten!
What lady?
The one in your hands is the Queen of Spades!
(The ghost of the countess appears. Everyone steps back from Herman.)
Hermann (horrified)
Old woman!.. You! Are you here!
What are you laughing at?
You drove me crazy.
Damned! What,
What do you need?
Life, my life?
Take her, take her!
(He stabs himself. The ghost disappears. Several people rush to the fallen Herman.)
Unhappy! How terrible, he committed suicide!
He is alive, he is still alive!
(Herman comes to his senses. Seeing the prince, he tries to get up.)
Prince! Prince, forgive me!
It hurts, it hurts, I'm dying!
What's this? Lisa? Are you here!
My God! Why why?
You forgive! Yes?
Don't you curse? Yes?
Beauty, Goddess! Angel!
(Dies.)
Lord! Forgive him! And rest in peace
His rebellious and tormented soul.
(The curtain falls quietly.)
Libretto of the opera "The Queen of Spades"
Editor O. Melikyan
Tech. editor R. Neumann
Corrector A. Rodewald
Signed for publication 1/II 1956
W 02145 Form. boom. 60×92 1 / 32 Paper l. 1.5
Pech. l. 3.0. Uch.-ed. l. 2.62
Circulation 10.000. Zach. 1737
---
17th printing house. Moscow, Shchipok, 18.
Size: px
Start impression from page:
transcript
1 Pyotr Ilyich Tchaikovsky () THE QUEEN OF SPADES Opera in three acts, seven scenes Libretto by M. TCHAIKOVSKY Based on the plot of the story of the same name by A. S. PUSHKIN, using poems by K. Batyushkov, G. Derzhavin, V. Zhukovsky, P. Karabanov, K. Ryleev The idea of the opera arose in 1889, after P. Tchaikovsky's acquaintance with the libretto, originally intended for another composer. The opera, composed in Florence, was completed in rough form in 44 days. The premiere took place on the stage of the Mariinsky Theater in 1890. The Queen of Spades is perhaps the most repertoire opera of Russian classics and (along with Boris Godunov) the most frequently performed Russian opera outside of Russia. (In 1902, the Viennese performance of The Queen of Spades was conducted by G. Mahler.) The brightest performance of MALEGOT in 1935 staged by V. Meyerhold, where both the text of the libretto and the score of the opera was revised, was an event on the domestic stage, and still causing controversy . Among the productions of recent years is the performance of the Mariinsky Theater in 1992. Conductor V. Gergiev.
2 Characters: 2 GERMAN tenor TOMSKY, baritone count ELETSKY, prince baritone CHEKALINSKY tenor SURIN bass CHAPLITSKY tenor NARUMOV bass Countess mezzo-soprano LISA ssoprano POLINA contralto GOVERNANT mezzo-soprano MASHA soprano MANAGER tenor THE BOY-COMMANDER is not interfering soprano MILOVZOR (Polina) contralto ZLATOGOR (Count Tomsky) baritone Nurses, governesses, nurses, walkers, guests, children, players, etc. The action takes place in St. Petersburg at the end of the 18th century.
3 ACT ONE 3 PICTURE ONE A platform in the Summer Garden flooded with spring sunshine. Nurses, governesses and nurses walking or sitting on benches. Children play burners, jump ropes, throw balls. SCENE I. VOICES OF LITTLE GIRLS. Burn, burn bright, So that it does not go out, One, two, three! (Laughter, exclamations, running around.) CHOIR OF NANIES Have fun, dear children! Rarely the sun of you, darlings, Amuses with joy! If, dear, you are on the loose of the Game, you are up to mischief, Then by the smallness of your nannies you bring peace. Warm up, run, dear children, And have fun in the sun! CHOIR OF GOVERNESSES Thank God, At least you can rest a little, Breathe the spring air, See something! Do not shout, spend time without remarks, About suggestions, punishments, forget about the lesson. CHOIR OF NUNNIES Warm up! Run, dear children, And have fun in the sun! CHOIR OF NURSES Bye, bye, bye! Bye, bye, bye! Sleep, dear, rest! Do not open your clear eyes! (Drumbeats and children's trumpets are heard off stage.) CHOIR OF NUNSENSES, NURSES AND GOVERNANTS. Here are our soldiers coming, soldiers. How slim! Step aside! Places! Places! One, two, one, two, One, two, one, two!
4 4 Boys in toy armor pretending to be soldiers enter; in front of the boycommander. CHORUS OF BOYS One, two, one, two! Left, right, left, right! Friendly, brothers! Don't stumble! BOY COMMANDER Right shoulder forward! One, two, stop! (The boys stop.) Listen! Musket in front of you! Take it for granted! Musket to the leg! (The boys perform the command.) CHORUS OF BOYS We are all gathered here To fear the Russian enemies. Evil enemy, beware And with a villainous thought Run or submit! Hurrah, hurrah, hurrah! It fell to our lot to save the Fatherland, We will fight And take enemies into captivity Without an account! Hurrah, hurrah, hurrah! Long live the wife, Wise queen, She is the mother of all of us, Empress of these countries And pride and beauty! Hurrah, hurrah, hurrah! BOY COMMANDER. Well done boys! BOYS. We are glad to try, your honor! BOY COMMANDER Listen! Musket in front of you! Right! On guard! March! (The boys leave, drumming and trumpeting.) CHOIR OF NUNSENSES, NURSES AND GOVERNESSES Well, well done our soldiers! And indeed let fear into the enemy. Well, well done! How slim! Well, well done! The boys are followed by other children. The nannies and governesses disperse, giving way to other walkers. Chekalinsky and Surin enter.
5 5 SCENE II. CHEKALINSKY. How did the game end yesterday? SURIN. Of course, I blew terribly! I'm out of luck. CHEKALINSKY. Did you play again until morning? SURIN. Yes, I'm terribly tired ... Damn it, I wish I could win at least once! CHEKALINSKY. Was Herman there? SURIN. Was. And, as always, from eight to eight in the morning, Chained to the gambling table, he sat and silently blew wine. CHEKALINSKY. But only? SURIN. Yes, I watched the game of others. CHEKALINSKY. What a strange man he is! SURIN. As if he had at least three villains in his heart. CHEKALINSKY. I heard that he is very poor.. SURIN. Yes, not rich. SCENE III. Herman enters, thoughtful and gloomy; Count Tomsky is with him. SURIN. Here he is, look. Like a demon of hell, gloomy... pale... Surin and Chekalinsky pass by. TOMSKY. Tell me, Herman, what's the matter with you? With me?.. Nothing... TOMSKY. You are sick? No, I'm healthy. TOMSKY. You have become some other ... Something dissatisfied ... It used to be: restrained, thrifty, You were cheerful, at least; Now you're gloomy, silent And I can't believe my ears: You, a new passion of grief, As they say, until the morning You spend your nights playing. Yes! To the goal with a firm foot
6 I can't go on as before, I don't know what's wrong with me, I'm lost, indignant at weakness, But I can't control myself anymore... I love! I love! 6 TOMSKY. How! Are you in love? in whom? I don’t know her name And I don’t want to know, I don’t want to call her an earthly name ... (With enthusiasm.) Going through all the comparisons, I don’t know with whom to compare ... My love, the bliss of paradise, I would like to keep forever! But the jealous thought that another to possess it, When I dare not kiss her footprint, Torments me; and earthly passion In vain I want to appease And then I want to hug everything, And then I want to hug my saint ... I don’t know her name And I don’t want to know! TOMSKY. And if so, get down to business! We find out who she is, and there And make a bold offer, And deal with it ... Oh no, alas! She is noble and cannot belong to me! That's what torments and gnaws me! TOMSKY. Let's find another... Not alone in the world... You don't know me! No, I can't stop loving her! Ah, Tomsky! You do not understand! I could only live in peace, While passions slumbered in me ... Then I could control myself, Now, when the soul is in the power of One dream, goodbye peace, Goodbye peace! Poisoned like I'm drunk, I'm sick, sick
7 I'm in love! 7 TOMSKY. Is that you, Herman? I confess, I would not have believed anyone that you are capable of loving like that! German and Tomsky pass. Walkers fill the stage. SCENE IV. THE GENERAL CHOIR OF ALL WALKING. Finally, God sent us a Sunny day! What an air! What a sky! May is right here! Oh, what a charm, right, All day long to walk! We can't wait for such a day. Long time for us again. OLD MEN. For many years we do not see such days, And, it happened, we often saw them. In the days of Elizabeth, it was a wonderful time. Summer, autumn and spring were better! OLD WOMEN (simultaneously with the old men). Before, life was better, and such days came every year in early spring. Yes, every year! And now they have a rare Sunshine in the morning, It got worse, right, it got worse, Right, it's time to die! LADIES. What a joy! What happiness! How gratifying, how gratifying to live! How pleasant it is to walk in the Summer Garden, How delightful it is to walk in the Summer Garden! Look, look, How many young people, both military and civilian, Wander a lot along the alleys, Look, look, How many people wander around here, Both military and civilian, How graceful, how beautiful, how beautiful! Look, look! YOUNG PEOPLE (simultaneously with young ladies). The sun, the sky, the air, the nightingale's song And the bright blush on the cheeks of the maidens That spring bestows, with it love Sweetly excites young blood!
8 8 The sky, the sun, the clean air, The sweet nightingale's melody, The joy of life and the scarlet blush on the cheeks of the maidens Now the gifts of a beautiful spring, now the gifts of spring! Happy day, beautiful day, how good, Oh joy, spring brings love and happiness to us! THE GENERAL CHOIR OF ALL WALKING. Finally, God sent us a Sunny day! What an air! What a sky! May is right here! Oh, what a charm, right, All day long to walk! We can't wait for such a day. Long time for us again! SCENE V. Herman and Tomsky enter. TOMSKY. Are you sure she doesn't notice you? I bet that I'm in love and miss you.. If I had lost my gratifying doubt, Would my soul have endured the torment? You see, I live, I suffer, But at a terrible moment, when I find out That I am not destined to master it, Then only one thing will remain ... TOMSKY. What? Die! .. Enter Prince Yeletsky. Chekalinsky and Surin approach him. CHEKALINSKY (to Yeletsky). Can I congratulate you? SURIN. Are you the groom? ELETSKY. Yes, gentlemen, I'm getting married; The bright angel consented to combine His fate with mine forever! CHEKALINSKY. Well, goodbye! SURIN. I am glad with all my heart. Be happy, prince! TOMSKY. Yeletsky, congratulations!
9 ELETSKY. Thanks, friends! 9 Duet. Yeletsky (with feeling) Happy day, I bless you! How everything came together, To rejoice with me together! The bliss of unearthly life is reflected everywhere ... Everything smiles, everything shines, As in my heart, Everything trembles cheerfully, Beckoning to heavenly bliss! What a happy day, I bless you! HERMANN (to himself, simultaneously with Yeletsky). Unhappy day, I curse you! As if everything was connected, To join the fight with me! Joy was reflected everywhere, But not in my sick soul. Everything smiles, everything shines, When in my heart Annoyance infernal trembles. Annoyance hellish trembles, Some torment promises. Oh yes, only torment, torment I promise! TOMSKY. Tell me who will you marry? Prince, who is your bride? The Countess and Lisa enter. Yeletsky (pointing to Liza). There she is. She is?! She is his fiancee! Oh my God! Oh my God! LISA, Countess. He's here again! TOMSKY (to German). So who is your nameless beauty! Quintet LISA. I'm scared! He is again before me, Mysterious and gloomy stranger! In his eyes, a mute reproach Replaced the fire of insane, burning passion... Who is he? Why is he following me? I'm scared, scared, as if I'm in the power of His eyes of sinister fire! I'm scared! I'm scared! I'm scared! Countess (at the same time). I'm scared! He is again in front of me, Mysterious and terrible stranger! He is a fatal ghost, Embraced all over by some kind of wild passion. What does he want by following me? Why is he in front of me again? I'm scared like I'm in control
10 His eyes of sinister fire! I'm scared! I'm scared! I'm scared! 10 GERMAN (at the same time). I'm scared! Here again in front of me, Like a fatal ghost, A gloomy old woman appeared ... In her terrible eyes I read my mute sentence! What does she need? What does she need, what does she want from me? As if I am in the power of Her eyes of sinister fire! Who, who is she! I'm scared! I'm scared! I'm scared! Yeletsky (at the same time). I'm scared! My God, how embarrassed she is! Where does this strange excitement come from? There is languor in her soul, In her eyes there is some dumb fear! In them, a clear day for some reason suddenly came to change the bad weather. What with her? She doesn't look at me! Oh, I'm scared, as if close Some unexpected misfortune threatens, I'm scared, scared! TOMSKY (at the same time). That's what he was talking about! How embarrassed he is by the unexpected news! In his eyes I see fear, Silent fear replaced the fire of insane passion! What about her, what about her? How pale! How pale! Oh, I'm scared for her, I'm scared! I'm scared for her! SCENE VI. Tomsky approaches the Countess, Yeletsky approaches Lisa. The Countess looks at Herman intently. TOMSKY. Countess! Allow me to congratulate you... Countess. Tell me who is this officer? TOMSKY. Which the? This? Herman, my friend. Countess. Where did he come from? How terrible he is! Tomsky sees her off and returns. ELETSKY (offering his hand to Liza).
11 Heaven's bewitching charm, Spring, light rustle of marshmallows, Joy of the crowd, hello friends Promise us many years of happiness in the future! 11 Lisa and Yeletsky leave. Rejoice, friend! You forgot, That there is a thunderstorm after a quiet day, That the Creator gave tears to happiness, a bucket of thunder! A distant thunderclap is heard. Herman, in gloomy thought, sinks onto the bench. SURIN. What a witch is this Countess! CHEKALINSKY. Scarecrow! TOMSKY. No wonder they called her the Queen of Spades! I can't figure out why she doesn't ponte. SURIN. How! Is it an old woman? What are you?! CHEKALINSKY. An octogenarian hag! Ha ha ha! TOMSKY. So you don't know anything about her? SURIN. No, really, nothing! CHEKALINSKY. Nothing! TOMSKY. Oh, so listen! The Countess many years ago in Paris was known as a beauty. All the youth went crazy for her, Calling the Venus of Moscow. Count Saint-Germain among others, Then still handsome, was captivated by her, But he sighed unsuccessfully for the countess: All night long the beauty played And alas! preferred Pharaoh 1 love. Ballad Once Upon a Time at Versailles Ai jeu de la Reine 2 Venus moskovite 3 was played to the ground. Among those invited was the Comte Saint-Germain; Watching the game, he heard her Whisper in the midst of excitement: Oh my God! Oh my God! 1 Pharaoh is a card game that was in vogue at the court of the French queen. 2 In the royal game (fr.) 3 Venus of Moscow (fr.)
12 Oh my God, I could win back everything, When it would be enough to bet again Three cards, three cards, three cards! 12 The Count, having chosen a good moment, when Stealthily leaving the full hall of the guests, Beauty sat alone silently, Lovingly whispered over her ear Words, sweeter than the sounds of Mozart: Countess, Countess! Countess, at the price of one rundez-vous 4 Would you like me to call you Three cards, three cards, three cards? The Countess flared up: How dare you?! But the count was not a coward. And when, a day later, the Beauty appeared again, alas, Without a penny in her pocket, Ai jeu de la Reine She already knew three cards ... Having boldly put them one after another, She returned her ... but at what cost! Oh cards, oh cards, oh cards! Once she called those cards to her husband, Another time the handsome young man recognized them. But on the same night, only one remained, A ghost appeared to her and said menacingly: You will receive a mortal blow, From the third, who, passionately, passionately loving, Will come to learn from you by force Three cards, three cards, three cards, Three cards! CHEKALINSKY. Se non e ver`e ben trovato 5. Lightning flashes, approaching thunder is heard. A thunderstorm starts. SURIN. It's funny! .. But the Countess can sleep peacefully: It is difficult for her to find an ardent lover! CHEKALINSKY. Listen, Herman! Here's a great opportunity for you to play without money. (Everyone laughs.) Think, think! CHEKALINSKY, SURIN. From the third, who, ardently, passionately loving, Will come to learn from you by force Three cards, three cards, three cards! Chekalichsky, Surin and Tomsky leave. There is a strong thunderclap. The storm is playing out. Walkers rush in different directions. 1 CHORUS OF WALKERS. How quickly the storm came, 4 Date (fr.) 5 If not true, then well said. Latin proverb.
13 Who would have expected, what passions! Blow after blow louder, more terrible! Run quickly! Hurry up to the gate! Hurry home! 13 Everyone scatters. The storm is getting stronger. The voices of the walkers are heard from afar. Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry! Strong thunderbolt. HERMANN (thoughtfully). You will receive a mortal blow From the third, who, ardently, passionately loving, Will come to learn from you by force Three cards, three cards, three cards! Ah, what do I have in them Even if I possessed them! Everything is now dead... I am the only one left. I'm not afraid of the storm! In myself all the passions have awakened With such deadly force That this thunder is nothing in comparison! No, prince! As long as I'm alive, I won't give it to you, I don't know how, but I'll take it away! Thunder, lightning, wind! Before you, I solemnly swear: She will be mine, She will be mine, mine, Mine or die! (Runs away.)
14 PICTURE TWO 14 Lisa's room. Liza is sitting at the harpsichord. Around her friends, among them Polina. SCENE I. LISA, POLINA. It's already evening... Clouds have faded edges 6, The last ray of dawn on the towers is dying; The last jet flying in the river With an extinct sky is fading away. Everything is quiet... The groves are sleeping, peace reigns around, Stretched out on the grass under the leaning willow, I listen to how the Stream, merging with the river, murmurs, overshadowed by bushes. How the aroma is merged with the coolness of plants, How sweet is the splashing in the silence at the shore of the jets, How quiet is the breeze of the ether over the waters And the trembling of the flexible willow. CHORUS OF FRIENDS. Charming! Charming! Wonderful! Pretty! Ah, wonderfully good! Also, mesdames. Also, mesdames. More more! LISA. Sing, Fields, we have one! PAULINE. One? but what to sing? CHORUS OF FRIENDS. Please, what do you know, Ma shere 7, dove, sing something to us: POLINA. I'll sing Lisa's favorite romance for you. (Sits down at the harpsichord.) Wait... How is it? (Preludes.) Yes! remembered. (Sings with deep feeling.) Dear friends, dear friends 8, In playful carelessness, To the tune of a dance, you frolic in the meadows. And I, like you, lived in happy Arcadia, And in the morning of days in these groves and fields I tasted a moment of joy, I tasted a moment of joy. Love in golden dreams promised me happiness; But what did I get in these joyful places, 6 Zhukovsky's poems 7 My dear (fr.). 8 Batyushkov's poems.
15 In these happy places? A grave, a grave, a grave! Well, why? And without that you are sad something, Liza, On such and such a day, think about it! After all, you are engaged, ah-ah-ah! (To girlfriends.) Well, why are you hanging your noses? Let's have fun, but Russian, In honor of the bride and groom! Well, I'll start, And you sing along to me! CHORUS OF FRIENDS. And really, let's have a fun, Russian! Girlfriends clap their hands. Lisa, not taking part in the fun, stands thoughtfully by the balcony. PAULINE. Come on, little Mashenka, you sweat, dance! POLINA AND THE CHOIR OF FRIENDS. Ay, lyuli, lyuli, lyuli, You sweat, dance! PAULINE. Pick up your white hands Under your sides! POLINA AND THE CHOIR OF FRIENDS Ay, lyuli, lyuli, lyuli, Pick up your sides! PAULINE. Your quick little legs Do not be sorry, please! POLINA AND THE CHOIR OF FRIENDS Ay, lyuli, lyuli, lyuli, Do not be sorry, please! (Polina and her friends start dancing.) If Mommy Vesela asks! speak. POLINA AND THE CHOIR OF FRIENDS Ay, lyuli, lyuli, lyuli Vesela! speak. PAULINE. And to the answer, tyatenko Like, drank until dawn! POLINA AND THE CHOIR OF FRIENDS. Ay, lyuli, lyuli, people Like, drank until dawn! PAULINE. Go away, go away!
16 16 POLINA AND THE CHOIR OF FRIENDS. Ay, lyuli, lyuli, lyuli, Go away, go away! The Governess enters. GOVERNESS. Mesdemoiselles, what's all the fuss about here? The Countess is angry... Ai-ai-ai! Aren't you ashamed to dance in Russian? Fi, quel genre, mesdames * 9 Young ladies of your circle Must know decency! You should have taught each other the Rules of Light. In girls only to rage It is possible, not here, mes mignones 10, Is it not possible to have fun Without forgetting the bonton? Young ladies of your circle It is necessary to know decency, You should inspire each other The rules of the world! It's time to disperse. They sent me to call you to say goodbye. The ladies disperse. POLINA (going up to Lisa). Lisa, why are you so boring? LISA. I'm boring? Not at all! Look, what a night, Like after a terrible storm Everything was suddenly renewed. PAULINE. Look, I'll complain about you to the prince, I'll tell him that on the day of your engagement you were sad., LISA. No, for God's sake, don't speak! PAULINE. Then please smile now. Like this! Now goodbye! (They kiss.) LISA. I'll see you off... Polina and Lisa leave. Masha enters and puts out the candles, leaving only one. As she approaches the balcony to close it, Liza returns. 9 Fi, what genre, ladies. (fr) 10 My darlings (fr.).
17 SCENE III. 17 LISA. No need to close, leave. MASHA. Wouldn't catch a cold, young lady! LISA. No, Masha, the night is so warm, so good! MASHA. Can you help me get undressed? LISA. No I myself. Go to sleep! MASHA. It's too late, young lady... LISA. Leave me, go! Masha leaves. Liza stands in deep thought then softly cries. Where do these tears come from, why are they? My girlish dreams You cheated on me My girlish dreams You cheated on me! This is how you justified yourself in reality! I handed my life now to the prince, Chosen one by heart, being, Mind, beauty, nobility, wealth Worthy of a friend not like me. Who is noble, who is handsome, who is stately, like him? Nobody! And what? I am full of longing and fear, Trembling and crying! Where do these tears come from, why are they? My girlish dreams You cheated on me My girlish dreams You cheated on me! You changed me! (Cries.) And it's hard and scary! But why deceive yourself? I'm alone here, everything is sleeping quietly around ... (Passionately, enthusiastically.) Oh, listen, night! You alone can believe the secret of my Soul. She is gloomy, like you, she is sad, Like the gaze of the eyes, Who has taken peace and happiness from me... Queen of the night! Like you, beauty, like a fallen angel, he is beautiful,
18 In his eyes, the fire of scorching passion, Like a wonderful dream, beckons me, and my whole soul is in his power! O night! O night!.. 18 SCENE IV. Herman appears at the door of the balcony. Liza retreats in mute horror. They silently look at each other. Lisa makes a move to leave. Stop, I beg you! LISA. Why are you here, crazy man? What do you need? Say goodbye! (Liza wants to leave.) Don't go away! Stay! I myself will leave now And I will not return here again ... One minute! .. What is worth to you? The dying man is calling to you. LISA. Why, why are you here? Get away!. Not! LISA. I will scream! Shout! Call everyone! (Pulls out a pistol.) I'll die anyway, alone or with others. (Liza lowers her head and is silent.) But if there is, beauty, in you At least a spark of compassion, Then wait, don't go! LISA. Oh god, god! After all, this is my last, death hour! Today I learned my sentence: You, cruel, give your heart to another! (Passionately.) Let me die, blessing you, And not cursing, Can I live a day when You are a stranger to me! I lived by you; only one feeling And one stubborn thought owned me! I will die. But before you say goodbye to life, Give me at least one moment to be with you, Together in the wonderful silence of the night, Let me get drunk on your beauty! Then let death and peace with it!
19 (Lisa stands, looking sadly at Herman.) Stop like that! Oh how good you are! 19 LISA (weakening voice). Get away! go away! Gorgeous! Goddess! Angel! Forgive me, lovely creature, That I disturbed your peace, Forgive me, but do not reject a passionate confession, Do not reject with anguish! Oh sorry! I, dying, carry my prayer to you; Look from the heights of heavenly paradise At the mortal struggle of the Soul, tormented by the torment of Love for you, oh, take pity And my spirit with caress, regret, Warm your tears! (Liza is crying.) You are crying! You! What do these tears mean? Do not drive and regret? He takes her by the hand, which she does not take away. Thank you! Gorgeous! Goddess! Angel! He leans on Lisa's hand and kisses her. At this time, the sound of footsteps and a knock on the door are heard. COUNTESS (behind the door). Lisa, open up! LISA (confused). Countess! Good God! I'm dead, run! .. Too late! Here! There is a stronger knock on the door. Lisa points Herman to the curtain, goes to the door and opens it. Enter the Countess in a dressing gown, surrounded by maids with candles. Countess. What are you not sleeping? Why are you dressed? What is this noise? LIZA (bewildered) I, grandmother, walked around the room... I can't sleep... COUNTESS (gestures to close the balcony) Look! Don't be stupid! Now go to bed! (He taps with a stick.) Do you hear? LIZA. Me, grandma, now! Countess. Can't sleep!.. Have you heard this! Well times! Can't sleep!.. Lie down now! LISA. I obey! .. Forgive me! Countess (leaving). And I hear noise;
20 You're disturbing your grandmother! (To the maids.) Let's go! (to Lize) And don't you dare do anything stupid here! (Exit with the maids.) 20 HERMANN (to himself). Who, passionately loving, Will come, to surely learn from you Three cards, three cards, three cards! Grave cold blew around! Oh terrible ghost, Death, I don't want you! Lisa, having closed the door behind the Countess, goes to the balcony, opens it, and gestures for Herman to leave. Oh spare me! Death a few minutes ago seemed to me a salvation, almost happiness! Now it's not the same: she's scary to me, she's scary to me! You opened the dawn of happiness to me, I want to live and die with you! LISA. Crazy man, What do you want from me, What can I do?.. Decide my fate! LISA. Take pity, you are ruining me! Leave, I beg you, I command you! So, it means that you pronounce the sentence of death! LISA. Oh God, I'm getting weaker... Go away, please! Say then: die! LISA. Good God! Goodbye! LISA. Heavenly Creator! (Herman makes a motion to leave.) No! Live! Herman hugs Liza; she rests her head on his shoulder. Love you! LISA. I'm yours! Gorgeous! Goddess! Angel!
21 ACT TWO 21 PICTURE THREE SCENE I. Masquerade ball at a rich dignitary. Big hall. On the sides, between the columns, lodges are arranged. Boys and girls in fancy dress dancing country dance. Singers sing in the choirs. CHORUS OF SINGERS. 11 Joyfully, cheerfully on this day Gather together, friends! Throw away your idleness, Jump, dance boldly! Jump, dance boldly, Drop you, drop your idleness, Jump, dance, dance more cheerfully! Beat your hands with your hands, Click loudly with your fingers! Move your black eyes, You all say camp! With a fertik of your hand to your sides, Do light jumps, Chobot on chobot knock, With a bold step, whistle! The Steward enters. MANAGER. The owner asks dear guests to come Look at the sparkle of entertainment lights! All guests are directed to the garden terrace. CHEKALINSKY. Our Herman hung his nose again, I guarantee you that he is in love, That was gloomy, then he became cheerful. SURIN. No, gentlemen, he is passionate, What do you think, what? How? Hope to learn three cards. CHEKALINSKY. Here's the weirdo! TOMSKY. I do not believe you have to be ignorant For this. He's not stupid! SURIN. He told me himself... TOMSKY. Laughing! CHEKALINSKY. (Surina). 11 Poems by Derzhavin
22 Come on, let's go tease him! (They pass.) 22 TOMSKY. And by the way, he is one of those Who, having once thought, Must accomplish everything! Poor fellow! Poor fellow! (Tomsky passes. Servants prepare the middle of the hall for an interlude. Prince Yeletsky and Liza enter.) SCENE II. ELETSKY. You are so sad, dear, As if you have grief ... Trust me! LISA. No, later, prince, another time ... I beg you! (Wants to leave.) Yeletsky. Hold on, for a moment! I must, I must tell you! I love you, I love you beyond measure, I can't imagine living a day without you. And a feat of unparalleled strength Ready to accomplish for you now, But know: I don’t want to constrain your hearts with anything, I’m ready to hide to please you And calm the ardor of jealous feelings, I’m ready for everything, for everything! Not only a loving spouse, A useful servant sometimes, I would like to be your friend And your comforter always. But I clearly see, now I feel, Where I have lured myself in my dreams, How little trust you have in me, How alien and how far I am to you! Ah, I am tormented by this distance, I sympathize with you with all my soul, I grieve with your sadness And weep with your tears... Ah, I am tormented by this distance, I sympathize with you with all my soul! I love you, I love you immensely, I can’t imagine living a day without you, I am a feat of unparalleled strength Ready to accomplish for you now! Oh honey, trust me! Prince Yeletsky and Liza are passing by. Herman enters without a mask, in a suit, holding a note in
23 hand. 23 SCENE III. HERMANN (reading). "After the performance, wait for me in the hall. I must see you..." I would rather see her and give up this thought... (Sits down.) Three cards!.. Know three cards and I'm rich!.. And together with her I can run away from people ... Damn it! .. This thought will drive me crazy! Several guests return to the hall; among them Chekalinsky and Surin. They point to Herman, creep up and lean over him, whispering. SURIN, CHEKALINSKY. Are you not the third one Who, loving passionately, Will come to learn from her Three cards, three cards, three cards? Hiding. Herman gets up frightened, as if not realizing what is happening. When he looks back, Chekalinsky and Surin have already disappeared into the crowd of young people. CHEKALINSKY, SURIN AND SEVERAL GUESTS. Three cards, three cards, three cards! They laugh and mingle with the crowd of guests, which little by little enters the hall. What's this? Brad or mockery? Not! What if?! (He covers his face with his hands.) I'm crazy, I'm crazy! (Thinking.) SCENE IV. MANAGER. The owner asks dear guests to listen to the pastoral under the title: The sincerity of the shepherdess! 12 The guests are seated in the prepared seats. Boys and girls, dressed in the costumes of shepherds and shepherdesses, go out into the meadow. They dance, dance and sing. Prilepa alone does not take part in the dances and weaves a wreath in sad thoughtfulness. CHOIR OF SHEPHERDS AND SHEPHERDS. Under a dense shade, Near a quiet stream, Today we came in a crowd To please ourselves, To sing, have fun And tell round dances, To enjoy nature, Weave flower wreaths. The shepherds and shepherds retire to the back of the stage. 12 The plot and most of the verses of this pastoral are borrowed from the poem of the same name by P. Karabanov.
24 24 CLIPS. My dear little friend, Dear shepherd boy, About whom I sigh And I wish to reveal my passion, Ah, I didn’t come to dance, MILOVZOR (entering). I'm here, but boring, tomen, Look how thin I've lost! I won't be modest anymore, I hid my passion for a long time, I won't be modest anymore, I hid my passion for a long time. I will not be modest, I hid my passion for a long time! PRILEPA. My dear little friend, Dear shepherd boy, How I miss you, How I suffer for you, Oh, I can't say! Ah, I can't tell! I don't know, I don't know why! MILOVZOR. Loving you for a long time, I missed you, But you don't know it And here you hide yourself From my gaze, from my gaze. I don't know, I don't know why, I don't know, I don't know why! The retinue of Zlatogor brings precious gifts by dancing. Zlatogor enters. ZLATOGOR. How cute, how beautiful you are! Tell me: which of us, Me or him, do you agree to love forever? MILOVZOR. I agreed with my heart, I bowed down to love, Whom it commands, To whom it burns. ZLATOGOR. I have mountains of gold And precious stones I have in my own place. I promise to decorate them all over you, I possess darkness
25 And gold, and silver, And all good things! 25 MILOVZOR. My only property of Love is unflattering heat. And in eternal possession Take it as a gift, And birds, and branches, And ribbons, and wreaths In place of the spotted Precious Clothes I will bring And give them to you! PRILEPA. I don’t need estates, Nor rare stones, I’m happy to live in a hut with a sweetheart, And I’m glad to live in a hut! (to Zlatogor.) Well, sir, good luck... (to Milovzor.) And you be calm! Here in solitude Hurry to reward Such pleasant words Bring me a bunch of flowers! PRILEPA AND MILOVZOR. The end of torment has come, Love delights The hour will come soon, Love, harness us! CHOIR OF SHEPHERDS AND SHEPHERDS The end of torment has come, The bride and groom Worthy of admiration, Love, harness them! Cupid and Hymen with retinue enter to marry young lovers. Prilepa and Milovzor are dancing hand in hand. Shepherds and shepherds imitate them, make round dances, and then they all leave in pairs. CHOIR OF SHEPHERDS AND SHEPHERDS. The sun is shining red, The marshmallows have swept by, You and the beautiful young man, Prilepa, have fun! The end of torment has come, The bride and groom Worthy of admiration, Love, hide them! They all leave in pairs. At the end of the interlude, some of the guests get up, others are talking animatedly, remaining in their places. Herman comes to the forefront.
26 26 HERMANN (thoughtfully). Who passionately and passionately loving! Well? don't I love? Of course yes! He turns around and sees the Countess in front of him. Both shudder, staring at each other intently. SURIN (in mask). Look, your mistress! (Laughs and hides.) Again... again! I'm scared! The same voice... Who is it?.. Demon or people? Why are they following me? Damn! Oh, how pathetic and ridiculous I am! Lisa enters wearing a mask. LISA. Listen, Herman! You, finally! How happy I am that you came! I love you!.. I love you!.. LIZA. This is not the place... I didn't call you for that! Listen... Here's the key to the secret door in the garden... There's a staircase... You'll go up it to your grandmother's bedroom... How? to her bedroom?.. LIZA. She won't be there... There is a door to me in the bedroom near the portrait. I'll be waiting! You, I want to belong to you alone! We need to decide everything! See you tomorrow, my dear, desired! No, not tomorrow, No, I'll be there today!.. LIZA (frightened). But, honey... I want to! LISA. Let it be! After all, I am your slave! Forgive me ... (Hides.) Now it's not me, fate itself wants it that way, And I will know three cards! (Runs away.)
27 27 MANAGER (excited and in a hurry). Her Majesty now deigns to welcome ... There is great animation among the guests. The steward separates those present so that a passage for the queen is formed in the middle. CHORUS OF GUESTS. Queen! Her Majesty! Queen! She will arrive herself ... What an honor for the owner, what happiness! .. Everyone is happy to look at our mother. And what a joy for us! The French ambassador will be with her! The Most Serene One also honors! Well, it's a real holiday! What delight, what joy! Well, the holiday came out, that's for the glory. MANAGER (singer). You be glorified by this now shout- CHORUS OF GUESTS. This is how the holiday turned out to be famous! Shout Hail sim! Here, here, it’s coming, it’s coming, now our mother is coming! Everyone turns towards the middle doors. The manager makes a sign. sing to get started. CHORUS OF GUESTS AND SINGERS Hail to this, Ekaterina, Hail to us, mother tender to us! Vivat, Vivat! Men become in a pose of a low courtly inclination. The ladies take a deep squat. Pages enter in pairs, behind them Catherine appears surrounded by a retinue. 13 PICTURE FOUR The bedroom of the Countess, illuminated by lamps. Herman quietly enters through a secret door. He looks around the room. Everything is as she told me... So what? I'm afraid, right? Not! So it's decided, I'll find out the secret from the old woman! (Thinks.) And if there is no secret? And all this is just empty nonsense of my sick soul! Goes to Liza's door. Passing, he stops at the portrait of the Countess. Midnight strikes. And, here she is, the Venus of Moscow! By some secret force I am connected with her by fate! 13 In pre-revolutionary productions of the opera, this action ended with the exit of the pages preceding the appearance of Catherine II. This was due to the prohibition to depict persons of the royal family on the stage.
28 Is it for me from you, is it for you from me, But I feel that one of us Will perish from the other! I look at you and hate, But I can’t see enough! I would like to run away, but there is no strength... An inquisitive gaze cannot tear itself away from the terrible and wonderful face! No, we can't part without a fatal meeting! Steps! They're coming here!.. Yes!.. Oh, come what may! 28 Herman hides behind a boudoir curtain. The maid runs in and hastily lights the candles. Other maids and hangers-on come running after her. The Countess enters, surrounded by bustling maids and hangers-on. CHORUS OF HOUSEHOLDERS AND MAIDS. Our benefactor, How did you deign to walk? Light, our lady Wants, right, to rest! (They escort the Countess into the boudoir.) Are you tired, tea? Well, and what, Was there anyone better there? Were, perhaps, younger, But none more beautiful! (Behind the stage.) Our benefactress... Our light, lady... Tired, tea, Wants, right, to rest! Liza enters, followed by Masha. SCENE III. LISA. No, Masha, follow me! MASHA. What is the matter with you, young lady, you are pale! LISA. No, nothing... MASHA (having guessed). Oh my god! Really?.. LISA. Yes, He will come... Be quiet! He, perhaps, is already there ... And he is waiting ... Watch out for us, Masha, be my friend! MASHA. Oh, how could we not get it! LISA. He said so. I chose him as my husband... And as a slave to the obedient, faithful flock of the One Who was sent to me by fate!
29 Lisa. and Masha leave. Hangers and maids introduce the Countess. She is in a dressing gown and a night cap. They put her to bed. 29 CHORUS OF HOUSEHOLDERS AND MAIDS Benefactor, Light of our lady, Tired, tea, Wants, right, to rest! Benefactor, Beauty! Lie down in bed, tomorrow you will again be more beautiful than the Dawn! Lie down in bed, tomorrow you will get up more beautiful than the morning dawn! Benefactress! Lie down in bed, Rest, rest, Rest... Countess. It's enough to lie to you! .. Tired! .. I'm tired ... no urine ... I don't want to sleep in bed! (She is seated in an armchair and covered with pillows) Oh, this world is disgusting to me! Well times! They don't know how to have fun. What manners! What a tone! And I wouldn’t look ... They don’t know how to dance or sing! Who are the dancers? Who sings? Girls! And it happened: who danced? who sang? Le duc d`orlean, la duc d`ayen, de Coigni,.. la comtesse d`estrades, La duchnesse de Brancas * What names! sang... Le duc de la Valliere 15 praised me! Once, I remember, at Chantili 16, at Pripse de Conde 17, the King heard me! I see everything now... (Sings.) Je crains de lui parler la nuit J'ecoute trop tout ce qu'il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat... Je ne sais pas porqoui Duke of Orleans, Duke d'ayen, Duke de Coigny, Countess d'Estrade, Duchess de Branca. (fr.). 15 Duke de la Valliere (FR) 16 Chantilly, royal castle near Paris (FR) 17 Prince de Condé (FR) 18 I'm afraid to talk to him at night, I listen too much to everything he says. He tells me: I love you, And I feel, against my will, I feel my heart, Which beats, which beats, I don't know why! (from French)
30 (As if waking up, looks around.) 30 Why are you standing here? Get on up! The maids and hangers-on, stepping carefully, disperse. The Countess is dozing and humming as if through a dream. Je crains de lui parler la nuit J`ecoute trop tout ce qu`il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat... Je ne sais pas porqoui... Countess. She wakes up and silently moves her lips in mute horror. Don't be scared! For God's sake, don't be afraid!.. I won't harm you! I have come to beg you for mercy alone! The countess silently looks at him as before. You can make up the happiness of life's goals! And it won't cost you anything! You know three cards... (The Countess rises.) For whom do you keep your secret? Herman gets on his knees. If you have ever known the feeling of love, If you remember the ardor and delight of young blood, If at least once you smiled at the caress of a child, If your heart ever beat in your chest, Then I implore you with the feeling of a wife, mistress, mother, Everyone, What is sacred to you in life, Tell me, tell me, tell me your secret! What do you need it for?! Perhaps She is associated with a terrible sin, With the destruction of bliss, With a diabolical condition? Think, you are old, you will not live long, And I am ready to take your sin upon myself!.. Open up to me! Tell me! .. The Countess, straightening up, looks menacingly at Herman. Old witch! So I'll make you answer! Herman takes out a gun. The countess nods her head, raises her arms to shield herself from the shot, and falls dead. Full of childishness!
31 Would you like to assign me three cards? Yes or no? 31 Approaches the Countess, takes her hand. He sees with horror that the Countess has died. She is dead! It came true!.. But I did not know the secret! (Stands as if petrified.) Dead!.. But I didn't know the secret... Dead! Dead! Liza enters with a candle. LISA. What's the noise here? (Seeing Herman.) Are you, are you here? HERMANN (rushing towards her, fearfully). Be quiet! Be quiet! She's dead, but I haven't learned the secret! .. LIZA. Who is dead? What are you talking about? HERMANN (pointing to the corpse). It came true! She's dead, But I didn't find out the secret!.. LIZA (rushes to the corpse of the Countess) Yes! died! Oh my God! And did you do it? (Sobbing.) I didn't want her to die, I only wanted to know three cards! LISA. So that's why you're here! Not for me! You wanted to know three cards! You didn't need me, but the cards! Oh my god, my god! And I loved him, I died because of him!.. A monster! Killer! Monster! Herman wants to speak, but she points to a secret door with an imperious gesture. Away! Away! The villain! Away! She is dead! LISA. Away! Herman runs away. Liza sobs down on the corpse of the Countess. ACT THREE SCENE FIVE
32 32 Barracks. Herman's room. Winter. Late evening. Moonlight now illuminates the room through the window, then disappears. The howling of the wind is heard. The room is dimly lit by a candle on the table. Offstage, a military signal is heard. Herman is sitting at the table. SCENE I. HERMAN (reading a letter). "... I do not believe that you wanted the death of the countess ... I am exhausted by the consciousness of my guilt before you! Calm me down! Today I am waiting for you on the embankment, when no one can see us there. If you do not come before midnight, I must I will allow a terrible thought, which I drive away from myself. Forgive me, forgive me, but I suffer so much! .. "Poor thing! Into what abyss did I drag her with me! Ah, if only I could forget and fall asleep! He sinks into a chair in deep thought and, as it were. dozing. It seems to him that he again hears the church choir, the burial service of the deceased countess. CHORUS OF SINGERS (off stage). I pray to the Lord, That he will heed my sorrow, For my soul is filled with evil And I am afraid of the captivity of hell, Oh, look, O God, on the suffering of Your servant! HERMANN (getting up in fear). All the same thoughts, All the same terrible dream and gloomy pictures of the funeral, They rise as if alive before me... (Listens.) What is this?! Singing or howling wind? I can't make it out... (Distant funerary singing is heard.) Just like there... yes, yes, they sing! And here is the church, and the crowd, and the candles, And the censer, and the weeping... (Singing is more distinct.) Here is the hearse, here is the coffin... And in that coffin the old woman, motionless, breathless, Drawn by some force, I enter black steps! It's scary, but I don't have the strength to go back!.. I look at the dead face... And suddenly, squinting mockingly, It blinked at me! Away, terrible vision! Away! (He sinks into an armchair, covering his face with his hands.) CHOIR OF SINGERS. Give her endless life! For a moment, the howling storms subside and in the silence there is a short knock on the window. Herman raises his head and listens. The wind blows again. There is a shadow in the window. The knock on the window is repeated. A new gust of wind opens the window
33 and extinguishes the candle, and again a shadow appears in the window. Herman stands like a stone. 33 I'm scared! Scary! There... there... steps... They open the door... No, no, I can't stand it! He runs to the door, but at that moment the ghost of the Countess in a white shroud appears in the doorway. Herman retreats, the ghost approaches him. GHOST OF THE Countess. I came to you against my will, But I was ordered to fulfill your request. Save Lisa, marry her, And three cards, three cards, Three cards win in a row. Remember! Troika! Seven! Ace! Three, seven, ace! (Disappears.) HERMANN (with an air of madness). Three, seven, ace! Three... Seven... Ace... PICTURE SIX Night. Winter Ditch. At the back of the stage, the embankment and the Peter and Paul Fortress, illuminated by the moon. Under the arch, in a dark corner, all in black, stands Lisa. SCENE I. LISA. Already midnight is approaching, But Herman is still absent, still absent. I know he will come, dispel suspicion. He is a victim of chance And he cannot, cannot commit a crime! Ah, I was weary, I suffered!.. Ah, I was weary of grief... Was it at night, during the day, only about him I tormented myself with thoughts... Where are you, experienced joy? Oh, I'm tired, I'm tired! Life only promised me joy, The cloud found it, brought thunder, Everything that I loved in the world, Happiness, hopes smashed! Oh, I'm tired, I'm tired! At night, during the day, only about him, Oh, I tormented myself with thought ... Where are you, experienced joy? A cloud came and brought a thunderstorm, Happiness, hopes broke! I'm tired! I suffered! Longing gnaws at me and gnaws...
34 And if the clock strikes me in response, That he is a murderer, a seducer? Oh, I'm scared, scared! .. 34 The clock strikes on the fortress tower. O time! Wait, he will be here now... (Desperately.) Ah, dear, come, have pity, Have pity on me, My husband, my lord! So it's true! I tied my fate with the villain! My soul belongs to the murderer, the fiend forever!.. By his criminal hand Both my life and my honor have been taken, By the will of heaven I am cursed together with the murderer! Liza wants to run away, but at this time Herman appears. You are here, you are here! You are not a villain! Are you here! The end of the torment has come, And again I became yours! Away with tears, torment and doubt! You are mine again and I am yours! Falls into his arms. Yes, here I am, my dear! (Kisses her.) LISA. Oh yes, suffering has passed, I am with you again, my friend! I'm with you again my friend! LISA. The bliss of goodbye has come! The bliss of goodbye has come! LISA. The end of our painful torments! The end of our painful torments! LISA. Oh yes, suffering has passed, I'm with you again! Those were heavy dreams, the deception of an empty dream. LISA. The illusion of a dream is empty. Forgotten moans and tears! I'm with you again, Yes, I'm with you again! Our torments and sufferings have passed, The blessed hour of goodbye has come,
35 Oh my angel, I'm with you again! 35 LIZA (simultaneously with Herman) Forgotten moans and tears! Oh, my dear, desired, I am again, again with you, Our sufferings have passed forever, The torment is over, My dear, desired, I am with you again! But, honey, we can't delay, The clock is running... Are you ready? Let's run! LISA. Where to run? With you to the end of the world! Where to run? .. Where? .. To the gambling house! LISA. Oh my God! What's wrong with you, Herman? There heaps of gold lie And they belong to me, to me alone! LISA. Oh grief! Herman, what are you talking about? Come to your senses! Oh, I forgot, you don't know yet! Three cards, remember, What else did I want to find out from the old witch! LISA. Oh my God! He is insane! Stubborn! I didn't want to tell! After all, today I had her And she called me three cards herself. LISA. So, did you kill her? Oh no! why? I just raised the gun, And the old witch suddenly fell! (Laughs.) LISA. So it's true! Truth! Yes! Yes! It's true, I know three cards! Three cards for her killer, She named three cards! So it was destined by fate
36 I had to commit villainy, Three cards at this price Only I could buy! I had to commit villainy, So that at this terrible price I could recognize My three cards. 36 LIZA (simultaneously with Herman). So it's true! I tied my fate with the villain! To the murderer, to the fiend forever My soul belongs! By his criminal hand My life and my honor have been taken, By the will of heaven I am cursed with the murderer, I am cursed with the murderer! But no, it can't be! Watch out, Herman! HERMANN (in ecstasy). Yes! I am the third one who, loving passionately, Came to learn from you by force About the three, seven, ace! LISA. Whoever you are, I'm still yours! Run, come with me, I'll save you! Yes! I learned, I learned from you About three, seven, ace! (Laughs and pushes Liza away.) Leave me alone! Who are you? I don't know you! Away! Away! (Runs away.) LISA. He died, he died! And me with him! Runs to the embankment and rushes into the river. PICTURE SEVEN The gambling house. SCENE I. Supper. Some people play cards. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! Let's play with life! Youth does not last forever, Old age is not long to wait! We don't have to wait long.
37 Let our youth drown In bliss, cards and wine! They have one joy in the world, Life will rush like a dream! Let's drink and have fun! Let's play with life! Youth does not last forever, Old age is not long to wait! We don't have to wait long. 37 SURIN (behind the cards). Dana!.. CHAPLITSKY. Gnu passwords! NARUMOV. Killed! CHAPLITSKY. No passwords! CHEKALINSKY (mosque). Is it okay to put? NARUMOV. Atanda! CHEKALINSKY. Ace! Prince Yeletsky enters. SURIN. I am a mirandole... TOMSKY (to Yeletsky). How did you get here? I haven't seen you at the players before. ELETSKY. Yes! Here I am for the first time. You know, they say: Unhappy in love in the game are happy. TOMSKY. What do you want to say? ELETSKY. I am no longer a fiancé. Do not ask me - It hurts me too much, friend - I'm here to take revenge - After all, happiness in love Leads misfortune in the game. TOMSKY. Explain what it means. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! ELETSKY. You'll see! CHORUS OF GUESTS AND PLAYERS. Let's play with life! Youth does not last forever, Old age is not long to wait!
38 We don't have to wait long. 38 Players, join the diners. CHEKALINSKY. Hey gentlemen! Let Tomsky sing something to us! CHORUS OF GUESTS AND PLAYERS. Sing, Tomsky, sing, yes, something merry, funny! TOMSKY. I can't sing something... CHEKALINSKY. Oh, come on, what nonsense! Drink and sleep! Tomsky's health, friends! Hooray! CHORUS OF GUESTS AND PLAYERS. Tomsky's health, friends! Hooray! Hooray! Hooray! Hooray! TOMSKY (sings). If dear girls 19 So could fly like birds, And sit on knots, I would like to be a knot, So that thousands of girls On my branches to sit, On my branches to sit! CHOIR OF GUESTS AND PLAYERS Bravo! Bravo! Ah, sing another verse! TOMSKY. Let them sit and sing, Make nests and whistle, Bring out the chicks! I would never bend, I would always admire them, I would be happier than all knots, I would be happier than all knots! CHORUS OF GUESTS AND PLAYERS. Bravo! Bravo! That's the song! It's nice! Bravo! Well done! I would never bend, I would always admire them, I would be happier than all the knots! CHEKALINSKY. Now, as usual, friends, Igretskaya! CHEKALINSKY. CHAPLITSKY, NARUMOV AND SURIN. Ah, where are those islands, 20 Where tryn-grass grows, Brothers! So in rainy days They Gathered Often. 19 Poems by Derzhavin. 20 Ryleev's poems
39 39 CHORUS OF GUESTS AND PLAYERS. So in rainy days They Gathered Often. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. Bent, God forgive them, From fifty to a hundred. CHORUS OF GUESTS AND PLAYERS. Bent, God forgive them, From fifty to a hundred. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. And they won, And they wrote with Chalk. CHORUS OF GUESTS AND PLAYERS. And they won, And they wrote with Chalk. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. Thus, in rainy days, they engaged in business. CHORUS OF GUESTS AND PLAYERS. Thus, in rainy days, they engaged in business. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. Bent, God forgive them, From fifty to a hundred. CHORUS OF GUESTS AND PLAYERS. Bent, God forgive them, From fifty to a hundred. CHEKALINSKY., CHAPLITSKY, NARUMOV, SURIN AND THE CHOIR OF GUESTS. And they won, And they wrote with Chalk. Thus, in rainy days, they engaged in business. Bent, God forgive them, From fifty to a hundred. (Whistling, shouting and dancing.) One hundred, one hundred, one hundred, one hundred! CHEKALINSKY. For the cause, gentlemen, for the cards! Wine, wine! (Sit down to play.)
40 40 CHORUS OF GUESTS AND PLAYERS. Wine, wine! CHAPLITSKY. Nine! NARUMOV Passwords... CHAPLITSKY. Down the drain! SURIN. I bet on the rue... CHAPLITSKY. Dana! NARUMOV. From transport to ten! SCENE II. Herman enters. Yeletsky (seeing him). My premonition did not deceive me. (To Tomsky) I may need a second. Will you refuse? TOMSKY. Rely on me! Chorus of guests and playing A! Hermann! Friend! Buddy! So late? Where? CHEKALINSKY. Sit down with me, you bring happiness. SURIN. Where are you from? Where was? Isn't it in hell? Look what it looks like! CHEKALINSKY. It can't be scarier! Are you healthy? Let me put up a card. (Chekalinsky silently bows in agreement.) SURIN. Miracles, he began to play! CHORUS OF GUESTS AND PLAYERS. Here are miracles, he began to ponte, our Herman! Herman puts down the card and covers it with a bank note. NARUMOV. Buddy, congratulations on allowing such a long post! HERMAN (putting down a card). Is it coming? CHEKALINSKY. And how much? Forty thousand!
41 CHORUS OF GUESTS AND PLAYERS. Forty thousand! Yes, you're crazy! That's so kush! 41 SURIN. Have you learned three cards from the Countess? HERMAN (irritated). Well, do you hit or not? CHEKALINSKY. Goes! Which map? Troika. (Chekalinsky mosque.) Won! CHORUS OF GUESTS AND PLAYERS. He won! Here's the lucky one! CHEKALINSKY. There's something wrong here! His wandering eyes promises evil, He seems to be unconscious! No, there's something wrong here! His wandering eyes Promises evil! SURIN (simultaneously with Chekalinsky). There's something wrong here! His wandering eyes promises evil, He seems to be delirious, without consciousness! No, there's something wrong here! No, his wandering eyes promise evil! Yeletsky (simultaneously with Chekalinsky). There's something wrong here! But near, near punishment! I will take revenge on you, I will take revenge on you, villain, my suffering, I will take revenge on you! NARUMOV (simultaneously with Chekalinsky). There's something wrong here! His wandering eyes promises evil, Promises evil! No, there's something wrong here! His wandering eyes promise evil! CHAPLITSKY (simultaneously with Chekalinsky). There's something wrong here! His wandering eyes promise evil! It's like he's unconscious! No, something is wrong here, His wandering eyes promises evil! TOMSKY (simultaneously with Chekalinsky). There's something wrong here, something wrong! His wandering eyes, His wandering eyes promises evil!
May the sun shine on you, May wrinkles not age you, May children please you, May men love you! Without wasting unnecessary words, I give you a bouquet of flowers. I wish to be a beautiful lady Even more beautiful with flowers!
The Queen of Spades (CHAIKOVSKY Pyotr Ilyich) Opera in three acts Libretto by M. Tchaikovsky Actors Herman (tenor) Count Tomsky (Zlatogor) (baritone) Prince Yeletsky (baritone) Countess (mezzo-soprano) Liza,
When you sometimes get bored, And something disturbs you, You remember that there is a heart in the world that loves you! Oh, how insignificant all comparisons are, One thing I know: I always need you - In the sun, in the moon, in the crowd
PETER ILYICH TCHAIKOVSKY THE QUEEN OF SPADES Opera in three acts Libretto by M. I. Tchaikovsky Actors German (tenor) Tomsky (Zlatogor), count (baritone) Yeletsky, prince (baritone) Countess (mezzo-soprano)
Epitaphs of the daughter -301- Was always an example to us, As a person with a pure soul. And the memory of you is alive in the hearts of people and loved ones. -302- It flew through life like a comet, leaving behind a bright trace. We love, we remember
Letter from the rainbow Hello, my beloved hostess and all who loved me! I also miss you a lot :-) Also, because I know that you are very attached to me. And really really wanted me to stay
Happy Mother's Day!!! Our moms are the best in the world! - I don't know why I'm going into this world. What should I do? God answered: - I will give you an angel who will always be with you. He will explain everything to you. -
UDC 821.161.1-1 LBC 84(2Rus=Rus)6-5 G50 Design of the series by Natalia Yarusova Gippius, Zinaida Nikolaevna. G50 Love is one / Zinaida Gippius. Moscow: Eksmo, 2019. 320 p. (Golden Collection of Poetry). ISBN 978-5-04-101139-0
The work was downloaded from Typical Writer.ru http://typicalwriter.ru/publish/2582 Mark Haer
I want to correct my mistake And improve our relationship, I hope you forgive me And stop being offended, Know that I love you, baby! Snow is spinning outside the window, It's winter outside, Where are you, my beloved person?
Municipal budgetary preschool educational institution kindergarten 2 "Ryabinka" Synopsis of the holiday for March 8 in the second junior group On the topic: "Masha visiting the kids" Developed by: Frantsuzova N.V.
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The action takes place in St. Petersburg at the end of the 18th century.
Created Jan. 1890, Florence - June 1890, Frolovskoe.
First performance 7 Dec. 1890, St. Petersburg, Mariinsky Theatre. Conductor E.F. Napravnik. Directed by G.P.Kondratiev. Dances and interlude staged by M. Petipa. Artists: V.V.Vasiliev - d. I, kar. 1, A.S. Yanov - d. I, map. 2, G. Levot - d. II, map. 3 and d. III, map. 7, K.M. Ivanov - d. III, map. 4 and d. III, map. 6, I.P. Andreev - d. III, map. 5. Costumes according to the drawings of E.P. Ponomarev.
d. I, 1k.
Sunny Summer Garden. In an atmosphere of prosperity and joy, a crowd of townspeople, children, accompanied by nannies and governesses, walk around. Officers Surin and Chekalinsky share their impressions of the strange behavior of their friend Herman. He spends all night long in a gambling house, but does not even try to try his luck. Soon Herman himself appears, accompanied by Count Tomsky. Herman opens his soul to him: he is passionately, ardently in love, although he does not know the name of his chosen one. Prince Yeletsky, who has joined the company of officers, talks about his forthcoming marriage: "The bright angel agreed to combine his fate with mine!" Herman is horrified to learn that the prince's bride is the object of his passion, when the Countess passes by, accompanied by her granddaughter, Lisa.
Both women are seized with heavy premonitions, hypnotized by the burning gaze of the unfortunate Herman. Meanwhile, Tomsky tells the audience a secular anecdote about a countess who, being a young Moscow "lioness", lost her entire fortune and "at the cost of one rendezvous", having learned the fatal secret of three always winning cards, overcame fate: "Since she named those cards to her husband, in another once their young handsome man recognized them, but on the same night, only she was left alone, a ghost appeared to her and said menacingly: “You will receive a mortal blow from a third, who, passionately, passionately loving, will come to force you to learn three cards, three cards, three cards!" Herman listens to the story with particular tension. Surin and Chekalinsky make fun of him and offer to find out the secret of the cards from the old woman. no less force: "No, prince! As long as I'm alive, I won't give it to you, I don't know how, but I'll take it away!" he exclaims.
2 k.
At dusk, the girls play music in Lisa's room, trying to cheer up the saddened, despite the engagement with the prince, girl. Left alone, she confides her secret to the night: "And my whole soul is in his power!" - she confesses her love for a mysterious stranger, in whose eyes she read "the fire of scorching passion." Suddenly Herman appears on the balcony, who came to her before passing away. His ardent explanation captivates Lisa. The knock of the awakened Countess interrupts him. Hiding behind the curtain, Herman is excited by the very sight of the old woman, in whose face he sees a terrible ghost of death. Unable to hide her feelings any longer, Lisa surrenders to the power of Herman.
II d., 1 k.
There is a ball in the house of a rich metropolitan dignitary. Yeletsky, alarmed by Liza's coldness, assures her of the immensity of his love. Chekalinsky and Surin in masks mock Herman, whispering to him: "Are you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?" Herman is excited, their words excite his imagination. At the end of the Shepherd's Sincerity performance, he is confronted by the Countess. And when Lisa gives him the keys to the Countess's bedroom, which leads to her room, Herman takes it as an omen. Tonight he will learn the secret of the three cards - the way to take possession of Lisa's hand.
2 k.
Herman sneaks into the Countess's bedroom. With trepidation, he peers at the portrait of the Moscow beauty, with whom he is connected "by some kind of secret power." Here she is, accompanied by her companions. The Countess is dissatisfied, she does not like the current morals, customs, she longingly recalls the past and falls asleep in an armchair. Suddenly, Herman appears before her, begging to reveal the secret of the three cards: "You can make up the happiness of a lifetime, and it will cost you nothing!" But the Countess, numb with fright, is motionless. At gunpoint, she expires. “She is dead, but I didn’t find out the secret,” Herman, close to insanity, laments in response to the reproaches of Lisa who has entered.
III d. 1k.
German in the barracks. He reads a letter from Liza, who has forgiven him, where she makes an appointment with him on the embankment. In the imagination, pictures of the funeral of an old woman arise, funeral singing is heard. The emerging ghost of the Countess in a white funeral shroud broadcasts: "Save Lisa, marry her, and three cards will win in a row. Remember! Three! Seven! Ace!" "Three ... Seven ... Ace ..." - Herman repeats like a spell.
2 k.
Lisa is waiting for Herman on the embankment near Kanavka. She is torn by doubts: "Ah, I am exhausted, I have suffered," she exclaims in despair. At the moment when the clock strikes midnight, and Lisa finally lost faith in her lover, he appears. But German, at first repeating the words of love after Lisa, is already obsessed with another idea. Trying to captivate the girl to hurry after him to the gambling house, he runs away screaming. Realizing the inevitability of what happened, the girl rushes into the river.
3 k. Players have fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an agitated Herman appears. Twice in a row, offering large bets, he wins. "The devil himself is playing with you at the same time," those present proclaim. The game continues. This time against Herman, Prince Yeletsky. And instead of a win-win ace, the queen of spades turns out to be in his hands. Herman sees on the map the features of the dead old woman: "Damned! What do you need! My life? Take it, take it!" He's squirming. In the clarified consciousness, the image of Liza arises: "Beauty! Goddess! Angel!" With these words Herman dies.
The opera was commissioned by Tchaikovsky from the directorate of the imperial theatres. The plot was proposed by I.A. Vsevolozhsky. The beginning of negotiations with the directorate dates back to 1887/88. Initially Ch. refused and only in 1889 decided to write an opera based on this story. At a meeting in the directorate of the imperial theaters at the end of 1889, the script, the layout of the opera scenes, the staging moments, and the design elements of the performance were discussed. The opera was composed in sketches from 19/31 Jan. to March 3/15 in Florence. In July - Dec. 1890 C. made many changes to the score, literary text, recitatives, and vocal parts; at the request of N.N. Figner, two versions of Herman's aria from the 7th card were also created. (different tones). All these changes are recorded in the proof-readings of the transcription for singing with piano, notes, various inserts of the 1st and 2nd editions.
When creating sketches Ch. actively reworked the libretto. He significantly changed the text, introduced stage directions, made cuts, composed his own texts for Yeletsky's aria, Lisa's aria, and the choir "Come on, little Masha."
The libretto uses poems by Batyushkov (in the romance of Polina), V.A. Zhukovsky (in the duet of Polina and Lisa), G.R. Derzhavin (in the final scene), P.M.
The scene in the Countess's bedroom uses the old French song "Vive Henri IV". In the same scene, with minor changes, the beginning of Loretta's aria from A. Gretry's opera "Richard the Lionheart" is borrowed. In the final scene, the second half of the song (polonaise) "Thunder of victory, resound" by I.A. Kozlovsky was used.
Before starting work on the opera, Tchaikovsky was in a depressed state, which he admitted in a letter to A.K. Glazunov: “I am going through a very mysterious stage on the way to the grave. fatigue from life, some kind of disappointment: at times an insane longing, but not the one in the depths of which there is a foreknowledge of a new surge of love for life, but something hopeless, final ... And at the same time, the desire to write is terrible ... On the one hand, I feel that it’s as if my song has already been sung, and on the other hand, an irresistible desire to drag out either the same life, or even better a new song "...
Tchaikovsky loved and highly appreciated his opera The Queen of Spades, calling it a masterpiece. It was sketched in 44 days in Florence. The plot is borrowed from the story of the same name by Pushkin. The libretto was written by the composer's brother M.I. Tchaikovsky, although some texts were written by Tchaikovsky himself. The opera was composed quickly and with particular passion. After its completion, the composer wrote a string sextet "Memories of Florence", dedicating it to the city in which he created his favorite brainchild.
Ch. was well aware of the significance of the "Queen of Spades" even in the process of work. Here are the lines of his letter to Prince Konstantin Konstantinovich: "I wrote it with unprecedented fervor and enthusiasm, I vividly suffered and felt everything that was happening in it (even to the point that at one time I was afraid of the appearance of the ghost of the" Queen of Spades ") and I hope that all my author's enthusiasm , excitements and passions will resonate in the hearts of sympathetic listeners "(dated August 3, 1890). And one more eloquent self-assessment: "... either I am terribly mistaken, or The Queen of Spades is really a masterpiece ..." This self-assessment turned out to be prophetic. The composer's characterization of the idea of the Fourth Symphony perfectly corresponds to the main meaning of his operatic masterpiece: "This is fate, this is that fatal force that prevents the impulse of happiness from reaching its goal." "Everything is new, compared with Pushkin, in the plot ... - notes the librettist of the opera M.I. Tchaikovsky, - transferring the time of the action to the era of Catherine and introducing a love-dramatic element." We add that Herman in the opera is not a prudent and ambitious player with the "soul of Mephistopheles", but a poor officer, a "warm, lively attitude" to which the author himself gives rise to our response - more sympathy than condemnation. Liza is transformed from a poor pupil into the granddaughter of an old countess. In addition, she is the bride and, unlike the poor Herman, her fiance is the noble and wealthy Prince Yeletsky. All this reinforces the motive of social inequality that separates the characters. Interpreting Pushkin's story in his own way, Ch. simultaneously enlarged it.
A feature of the opera is the fact that its main character, Herman, is present on stage and sings in all seven scenes of the opera, which required high skill and endurance from the singer. The part of Herman was written for the remarkable Russian tenor N.N. Figner, who became its first performer.
The composer himself took part in the preparation of the St. Petersburg premiere, playing the roles of Herman and Lisa with the Figners. According to critics, "Figner's bright temperament gave each phrase a very high relief in the corresponding strong moments. In purely lyrical places ... Figner's singing was imbued with charming softness and sincerity." "Figner and the St. Petersburg orchestra ... performed true miracles," Tchaikovsky later wrote. The success of The Queen of Spades, as its author had foreseen, was amazing. With the same incredible success, "The Queen of Spades" was received in Kyiv 12 days after the St. Petersburg premiere in the performance of IP Pryanishnikov's opera entreprise under the direction of I.V. Pribik with the famous artist M.E. Medvedev in the role of Herman. November 4, 1891 "The Queen of Spades" was given in Moscow at the Bolshoi Theater. The author was present at the performance, as well as at the first performances in St. Petersburg and Kyiv, and took part in the rehearsal work. Conducted by I.K.Altani. The main roles were played by outstanding artists: M.E. Medvedev (German), who moved from Kyiv to Moscow, M.A. Deisha-Sionitskaya (Lisa), P.A. Khokhlov (Eletsky), B.B. Korsov (Tomsky) and A.P. Krutikova (Countess). The production at the National Theater of Prague conducted by A. Cech (October 12 - September 30, 1892) was very carefully prepared - the first performance of The Queen of Spades abroad.
P. E. Weidman
"THE LADY OF SPADES". Recording to mp3
Actors and performers:
Herman - Nikandr Khanaev (tenor), Liza - Ksenia Derzhinskaya (soprano), Countess - Bronislava Zlatogorova (contralto), Count Tomsky - Alexander Baturin (baritone), Prince Yeletsky - Panteleimon Nortsov (baritone), Polina / Milovzor (Dafnis) - Maria Maksakova (mezzo-soprano), Prilepa/Chloe - Valeria Barsova (soprano), Zlatogor - Vladimir Politkovsky (baritone), Chekalinsky - Sergei Ostroumov (tenor), Surin - Ivan Manshavin (tenor), Chaplitsky - Mikhail Novozhenin (bass), Narumov - Konstantin Terekhin (bass), Masha - Nadezhda Chubienko (soprano), Governess - Margarita Shervinskaya (contralto), Master of Ceremonies - Pyotr Belinnik (tenor).
P.I. Tchaikovsky opera "The Queen of Spades"
The basis for the "Queen of Spades" P.I. Tchaikovsky was served by the story of the same name by A.S. Pushkin. This gripping and tragic love story of an innocent girl and a passionate officer who became a victim of card gambling was written by the composer in just 44 days. The work is considered the pinnacle of the composer's operatic dramaturgy, because in terms of the depth and strength of the experiences of the main characters, the intensity of passions and the irresistible power of dramatic impact, he has no equal in his work.
Summary of the opera Tchaikovsky "The Queen of Spades" and many interesting facts about this work, read on our page.
|
Characters |
Description |
|
| Hermann | tenor | officer, protagonist |
| Lisa | soprano | granddaughter of the Countess |
| Tomsk | baritone | count, friend of Herman, grandson of the Countess |
| Yeletsky | baritone | prince, fiancé of Lisa |
| Countess | mezzo-soprano | octogenarian old woman |
| Pauline | contralto | Lisa's friend |
| Chekalinsky | tenor | Officer |
| Surin | bass | Officer |
| Masha | soprano | housemaid |
Summary of "Queen of Spades"
Petersburg at the end of the 18th century. Poor young officer Herman is madly in love with a beautiful stranger and longs to know who she is. Soon he is told that his heart was won by the granddaughter of the rich old Countess - Lisa, who will very soon become the lawful wife of Prince Yeletsky. Herman's friend, Count Tomsky, informs him that the old woman has unique information - she knows the secret of "three cards", thanks to which she was once able to win back and return the card loss.
Lisa was inflamed with mutual feelings for the officer. Herman vows that they will be together, or he will be forced to die. He dreams of getting rich as soon as possible in order to marry his beloved, and only the secret of the Countess's card winnings can help him. At night, he sneaks into her bedroom and begs her to reveal the secret of the "three cards", but the "old witch", frightened by an intruder with a gun, dies and takes the secret with her.
Lisa makes an appointment with Herman on the embankment, but he is delayed. And all because at this time the ghost of the Countess appears in his room. The old woman voices the secret of "three cards" - this is a three, seven and ace, and asks the officer to take Liza as his wife. The ghost disappears into the air, and Herman, like a madman, tirelessly repeats this combination. He runs to meet Lisa, but pushes her away - he is already obsessed not with love, but with excitement. In desperation, the girl throws herself into the river.
Meanwhile, Herman hurriedly heads to the gambling house and bets on the cards named by the ghost. Twice luck was on his side, but when he bets on the "ace", instead of him, the queen of spades appears in his hand. He showers curses on the Countess and plunges the dagger into his heart.
A photo
Interesting Facts
- P.I. Chaikovsky wrote an opera in Florence in just 44 days.
- In order to flawlessly perform the part of Herman in all seven scenes, the author needed a truly skillful and hardy performer. The choice of P.I. Tchaikovsky fell on the famous tenor Nikolai Figner, whose ability the author was guided by while writing music. The success of the "Queen of Spades" was truly stunning. After a successful premiere at the Mariinsky Theatre, an enthusiastic Tchaikovsky wrote: “Figner and the St. Petersburg Orchestra have performed real miracles!” Twelve days later, the "Queen of Spades" was greeted with no less enthusiasm in Kyiv.
- The first foreign premiere of The Queen of Spades was a performance in Prague in 1892. The conductor was Adolf Cech. This was followed by the following premieres: under the direction of Gustav Mahler in Vienna in 1902 and New York (in German) the same year. The first performance of the opera in Great Britain took place in 1915 in London.
- The events of Pushkin's "Queen of Spades", as you know, are based on real events - the story of Natalia Petrovna Golitsina, one of the influential and richest princesses of the 19th century. Her grandson lost a lot of cards, and turned to her for help - to borrow money. But the grandmother instead revealed to her grandson a secret that allowed him to recoup.
- This mystical story about three cards - a three of a seven and an ace - somehow miraculously affected everyone who touched it in any way. Witnesses of the last days of the princess claimed that shortly before her death they saw the ghost of a lone officer near the mansion. It was 1837.
- In this combination of numbers - 1837, which make up the year of the death of the princess and Pushkin himself, all the same mysterious numbers - 3, 7, 1 - were combined in the most incomprehensible way. And in the last hour of Tchaikovsky's life, as his doctor claimed, the composer was seeing the same ghost " lone officer. Mystic, and only.
- Take a closer look at the structure of the opera and its title: 3 acts, 7 scenes, The Queen of Spades. Doesn't it remind you of anything?
- This opera is considered one of the most mystical in the world musical theater. Many are convinced that it is she who is to blame for the many failures of her creators, as well as those who performed her.
- In this work, great importance is attached to the number "three", it seems to be endowed with a magical meaning and is found literally everywhere. First of all, these are the same three cards. On Herman's heart, according to Chekalinsky, there are three sins. Herman himself is guilty of just three deaths - the Countess, Lisa and his own. Three themes prevail in the musical fabric of the whole work - rock, love and three cards.
- Some biographers tend to believe that Tchaikovsky's refusal to work on this order was due to the fact that he was simply frightened of the plot. According to some reports, he agreed to compose the opera on only one condition - if the libretto differed significantly from the original. That is why he made such active changes to all the dramatic components of the work.
- Directors who wanted to bring the libretto closer to Pushkin's text got into serious trouble. The most striking example is Vsevolod Meyerhold. As mentioned earlier, he commissioned a new libretto and even staged this opera at the Kirov Theatre. However, after that he did not live long - the director was arrested and sent to be shot.
- Several more compositions for the musical theater were written based on Pushkin's work, but they are not at all popular - these are the operetta by Franz Suppe (1864) and the opera by J. Halevi (1850).
- Choreographers, for example, Roland Petit, also turned to this plot. He created a ballet for N. Tsiskaridze at the request of the leadership of the Bolshoi Theater, but he was afraid to take music from the opera and preferred it 6th symphony . But the unexpected happened - all the ballerinas refused to dance the Old Countess, only Ielze Liepa agreed. The premiere of the ballet took place in 2001.
- The original score of the opera is stored at the Mariinsky Theater in encapsulated form.
Popular arias from the opera
Herman's aria “What is our life? The game!" - listen
Tomsky's song "If only lovely girls" - listen
Arioso Lisa "Where do these tears come from" - listen
Arioso Herman "I don't know her name" - listen
History of creation
The idea of staging an opera based on the plot of Pushkin's mysterious story first arose with the director of the imperial theaters, I. A. Vsevolozhsky. For several years he was inspired by this idea and even independently outlined the script and thought over the stage effects. In 1885, he began to actively look for a composer who could bring this idea to life. Among the candidates were A. A. Villamov and N. S. Klenovsky. Two years later, Vsevolozhsky turned to P.I. Tchaikovsky , but was refused - the composer was not at all attracted to this plot. In 1888, his younger brother, Modest Ilyich Tchaikovsky, began working on the libretto, moreover, he created it for Klenovsky. However, the maestro eventually refused to work, and Vsevolozhsky again turned to Pyotr Ilyich. This time he was more insistent, and asked not only to write an opera, but to finish it by the new season. At this time, Tchaikovsky just decided to leave Russia and plunge headlong into work. That is why he agreed, and went to Florence to work.
The first fragments of The Queen of Spades appeared on January 19, 1890. The work was written very quickly - the clavier of the opera was released on April 6, and the score - already on June 8. Creating his masterpiece, the composer actively changed the storylines of the libretto and composed words for some scenes. As a result, the plot of the opera acquired a number of differences from its original source. Pushkin's story was transformed into a poetic canvas, which very organically absorbed the poems of other poets - G.R. Derzhavin, P.M. Karabanova, K.N. Batyushkov and V.A. Zhukovsky. The main characters have also changed. So, Lisa from a poor pupil of a wealthy Countess turned into her granddaughter. Pushkin's Hermann was a native of Germans, but Tchaikovsky does not mention a word about this. In addition, his surname becomes a given name and loses one letter "n" - his name is Herman. Lisa's future husband, Prince Yeletsky, is absent from Alexander Sergeevich. Count Tomsky in the story of the Russian literary genius is the grandson of the Countess, but in the opera he is a completely stranger to her. The life of the main characters develops differently - according to the plot of the book, Herman loses his mind and goes to the hospital, Lisa forgets about him and marries another. In opera, lovers die. And finally, the time of this tragic story has also been changed - in the original source, the events unfold during the time of Alexander I, but in its musical version - in the era of the reign of Empress Catherine II.
The first performance of the opera took place at the Mariinsky Theater on December 19, 1890, E. Napravnik was conducting that evening. Tchaikovsky actively participated in the preparation of the premiere. Pyotr Ilyich assumed that the success would be incredible, and he was not mistaken. The audience demanded repetition of individual encores, and the composer was called to the stage countless times. And even the fact that Pushkin's work was so much rethought did not at all embarrass even the zealous "Pushkinists" - they gave the Russian genius a standing ovation.
Production history
12 days after the premiere, The Queen of Spades was held in Kyiv with no less success. But in Moscow, at the Bolshoi Theater, the opera was seen only at the beginning of November 1891. After that, the operatic masterpiece of Pyotr Ilyich began to appear in European and American theatrical scenes. The first country to show the opera was the Czech Republic - it happened in the autumn of 1892. Four years later, The Queen of Spades also conquered the Vienna State Opera. In 1910, the play was staged in New York. The opera was brought to Great Britain in 1915 and staged in London.
All these performances, although they were shown in different languages, were generally interpreted by the directors in a classical way. However, there were also those daredevils who tried to return the plot to the story. Among these, one can name the production of 1935, directed by V. Meyerhold. In this version, shown on the stage of the Maly Opera House, there was a completely different libretto, a different scene, and there was no love line. However, this production did not last long on stage.
« Queen of Spades”and today remains one of the most perfect examples of its genre in world opera classics. Thanks to its incredible depth, captivating content, beautiful music and mystical aura, this opera has been living on the stages of world theaters for more than 120 years, captivating the audience over and over again. In addition, it continues to occupy the minds of researchers all over the planet, because it still has many unsolved mysteries and undeciphered symbols.
Video: watch the opera The Queen of Spades by Tchaikovsky
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P.I. Chaikovsky(1840-1893)
"THE LADY OF SPADES"
(Op. 68, 1890)
Opera in 3 acts, 7 scenes
The plot is borrowed from the story of the same name by A.S. Pushkin
Libretto M.I. Tchaikovsky
The action takes place in St. Petersburg at the end of the 18th century.
Actors and performers:
Hermann- Z. Anjaparidze, tenor
Count Tomsky- M. Kiselev, baritone
Prince Yeletsky- Y. Mazurok, baritone
Chekalinsky- A. Sokolov, tenor
Surin- V. Yaroslavtsev, bass
Chaplitsky- V. Vlasov, tenor
Narumov- Y. Dementiev, bass
Steward- A. Mishutin, tenor
Countess- V. Levko, mezzo-soprano
Lisa- T. Milashkina, soprano
Pauline- I. Arkhipova, contralto
Governess- M. Mityukova, mezzo-soprano
Masha- M. Miglau, soprano
Characters in the interlude Shepherd's sincerity»:
Prilepa- V. Firsova, soprano
Milovzor- I. Arkhipova, contralto
Zlatogor- V. Nechipaylo, baritone
Nurses, governesses, nurses, walkers, guests, children, players, and so on.
Choir, children's choir and orchestra of the Bolshoi Theater
Choirmaster - A. Rybnov
Head of the children's choir - I. Agafonnikov
Conductor - B. Khaikin
1967 recording
Sound engineer - A. Grossman
Remastering - E. Barykina
The action of the opera takes place in St. Petersburg at the end of the 18th century.
First action
First picture. Sunny Summer Garden, filled with a walking crowd. Officers Surin and Chekalinsky share their impressions about the strange behavior of their friend Herman: he spends nights in a gambling house, but he never takes cards in his hands. Soon Herman himself appears, accompanied by Count Tomsky. He admits that he is passionately in love, but does not know the name of his chosen one. Meanwhile, Prince Yeletsky, who has joined the company of officers, shares his joy in connection with his imminent marriage: “The bright angel agreed to combine his fate with mine!” Herman is horrified to learn that the object of his passion is the prince's bride, when the Countess passes by, accompanied by her granddaughter, Liza. Both women, who noticed Herman's burning gaze, are seized with heavy forebodings.
Tomsky tells his friends a secular anecdote about a countess who, being a young "Venus of Moscow", lost her entire fortune. At the price of one rendezvous, she learned from the Count of Saint-Germain the fatal secret of the three always winning cards in order to get her money back. From that moment on, her future fate was firmly connected with this secret: “Since she called those cards to her husband, another time the young handsome man recognized them, but on the same night, only she was left alone, a ghost appeared to her and said menacingly:“ You will receive a deadly the blow will come to force you to learn three cards, three cards, three cards!” After this story, Surin and Chekalinsky make fun of Herman and offer to find out the secret of the cards from the old woman, but Herman's thoughts are focused on Liza. A thunderstorm starts. The garden is empty. Amidst the raging elements, Herman exclaims: “I am not afraid of a storm! In myself all the passions awoke with such deadly force that this thunder is nothing in comparison! No, prince! As long as I'm alive, I won't give it to you, I don't know how, but I'll take it away! ... She will be mine, mine, or I will die!
Second painting. Twilight. The girls try to cheer up the saddened Lisa, but she hides her thoughts. Only left alone, Lisa confides her dark secret of the night. She feels love for the mysterious stranger, he is beautiful "like a fallen angel", in his eyes "the fire of scorching passion." Herman suddenly appears on the balcony. He reveals his love to Lisa and begs her to accept this confession, because otherwise he is ready to give up his life. Her response is tears of compassion. They are interrupted by a knock on the door. The Countess enters the room, and Herman, who hid behind the curtain, at the sight of her, suddenly recalls the terrible secret of the three cards. In the face of the old woman, he sees a terrible ghost of death. But she leaves and Herman's impetuous explanation ends with Lisa's reciprocal confession.
Second act
First picture. Ball. Yeletsky, alarmed by Lisa's coldness, assures her of his love, but at the same time nobly gives her freedom. Surin and Chekalinsky in masks mock Herman: “Are you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?” Herman is frightened by these words. At the end of the interlude "The Sincerity of the Shepherdess", he is confronted by the Countess. Having received the keys to the secret door of the Countess from Lisa, Herman perceives this as a fatal omen. Tonight he learns the secret of the three cards.
Second painting. Herman sneaks into the Countess's bedroom. With trepidation, he peers at her portrait in his youth and feels a secret fatal force connecting him with her: “I look at you and hate, but I can’t get enough of it.” The Countess herself appears, accompanied by her companions. She grumpily recalls the past and gradually falls asleep in the armchair. Suddenly, Herman appears before her, begging to reveal the secret of the three cards: “You can make the happiness of a lifetime, and it will cost you nothing!” But the Countess, numb with fright, is motionless. Enraged Herman threatens with a gun and the old woman falls dead. The prophecy came true, but the secret remained unknown to Herman. Lisa comes to the noise and sees Herman in a state of madness. She realizes that Herman needed the secret of the three cards.
Third act
First picture. German in the barracks. He reads Liza's letter, where she appoints him a date on the embankment. He sorts through the past in his memory and pictures of the old woman's funeral rise in his imagination, ghostly funeral singing is heard. There is a knock on the window. The candle goes out. Horrified Herman sees the ghost of the Countess and hears her words: “I came to you against my will. But I am ordered to fulfill your request. Save Lisa, marry her and win three cards in a row. Remember! Troika! Seven! Ace!" "Three ... Seven ... Ace ..." - Herman repeats like a spell.
Second painting. Lisa is waiting for Herman on the embankment near the Winter Canal. She experiences a terrible torment of doubt: "Ah, I am exhausted, I have suffered." When the clock strikes midnight and Lisa finally loses hope, Herman appears, at first repeating the words of love after Lisa, but already obsessed with another idea. Lisa becomes convinced that Herman is the culprit behind the death of the Countess. His madness intensifies, he does not recognize her, his thoughts are only about the gambling house: “There are piles of gold lying to me too, they belong to me alone.” He runs away to the gambling house, and Liza, driven to despair, throws herself into the water.
Third painting. Players have fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an agitated Herman appears. Twice in a row, offering large bets, he wins. “The devil himself plays with you at the same time,” those present proclaim. The game continues. This time against Herman, Prince Yeletsky. And instead of a win-win ace, the queen of spades turns out to be in his hands. Herman sees on the map the features of the deceased old woman: “Damned! What do you need! My life? Take it, take it!" and he is stabbed. In the mind of the dying hero, a beautiful image of Lisa arises: “Beauty! Goddess! Angel!" With these words Herman dies.
LIBRETTO
Queen of Spades
STEP ONE
PICTURE ONE
A platform filled with spring sun in the Summer Garden. Nurses walking or sitting on benches, governesses and wet nurses. Children play burners, jump ropes, throw balls.
Burn, burn bright
To not go out
One two Three!
(Laughter, exclamations, running around.)
Chorus of nannies
Have fun, cute kids!
Rarely the sun of you, dear ones,
Fills with joy!
If, darlings, you are at will
Games, pranks are up to,
Then a little to your nannies
You bring peace then.
Warm up, run, dear children,
And have fun in the sun!
Chorus of governesses
God bless,
At least you can rest a little.
Breathe spring air
See something!
Do not shout, spend time without remarks,
About suggestions, punishments, forget about the lesson.
Chorus of nannies
Get warm!
Run, dear children,
And have fun in the sun!
Choir of wet nurses
Bye, bye, bye!
Bye, bye, bye!
Sleep, dear, rest!
Do not open your clear eyes!
(Drumbeats and children's trumpets can be heard offstage.)
Chorus of nannies, nurses and governesses.
Here are our soldiers coming, soldiers.
How slim!
Step aside!
Places! Places!
One, two, one, two
One, two, one, two!
Boys in toy weapons enter, pretending to be soldiers; in front of the boy-commander.
Chorus of boys
One, two, one, two!
Left, right, left, right!
Friendly, brothers!
Don't stumble!
Boy Commander
Right shoulder forward! One, two, stop!
(The boys stop.)
Listen! Musket in front of you!
Take it for granted! Musket to the leg!
(The boys follow the command.)
Chorus of boys
We are all gathered here
To the fear of Russian enemies.
Evil enemy, beware
And with evil intent
Run or submit!
Hurrah, hurrah, hurrah!
Save the Fatherland
We got to share
We will fight
And enemies into captivity
Pick up without an account!
Hurrah, hurrah, hurrah!
Long live the wife
wise queen,
She is the mother of all of us,
Empress of these countries
And pride and beauty!
Hurrah, hurrah, hurrah!
Commander Boy. Well done boys!
Boys.
We are glad to try, your honor!
Boy Commander
Listen! Musket in front of you!
Right! On guard! March!
(The boys leave, drumming and trumpeting.)
Chorus of nannies, nurses and governesses
Well, well done our soldiers!
And indeed let fear into the enemy.
Well, well done! How slim!
Well, well done!
The boys are followed by other children. The nannies and governesses disperse, giving way to other walkers. Chekalinsky and Surin enter.
CHEKALINSKY. How did the game end yesterday?
SURIN. Of course, I blew terribly! I'm out of luck.
CHEKALINSKY. Did you play again until morning?
SURIN. Yes, I'm terribly tired ... Damn it, I wish I could win at least once!
CHEKALINSKY. Was Herman there?
Was. And, as always, from eight to eight in the morning,
Chained to the gambling table, he sat and silently blew wine.
CHEKALINSKY. But only?
SURIN. Yes, I watched the game of others.
CHEKALINSKY. What a strange man he is!
SURIN. As if he had at least three villains in his heart.
CHEKALINSKY. I heard that he is very poor..
SURIN. Yes, not rich.
Herman enters, thoughtful and gloomy; Count Tomsky is with him.
SURIN. Here he is, look. Like a demon of hell, gloomy... pale...
Surin and Chekalinsky pass.
TOMSKY. Tell me, Herman, what's the matter with you?
HERMANN. With me?.. Nothing...
TOMSKY. You are sick?
HERMANN. No, I'm healthy.
You have become some other ... Dissatisfied with something ...
It used to be: restrained, thrifty,
You were cheerful, at least;
Now you are gloomy, silent
And - I can not believe my ears:
You, a new passion of grief,
As they say, until the morning
You spend your nights playing.
Yes! To the goal with a firm foot
I can't go on like before
I don't know what's wrong with me
I'm lost, indignant at weakness,
But I can't control myself anymore...
I love! I love!
TOMSKY. How! Are you in love? in whom?
I don't know her name
And I don't want to know
Earthly name not wanting
Call her...
(With passion.)
Sorting through all the comparisons,
I don't know who to compare...
My love, the bliss of paradise,
I would like to keep a century!
But the thought is jealous that it
Another to possess
When I dare not trace my foot
her to kiss,
It torments me; and earthly passion
In vain I want to appease
And then I want to hug everything,
And I want to hug my saint then ...
I don't know her name
And I don't want to know!
And if so, get to work!
Find out who she is, and there
And make an offer boldly
And it's up to you...
Oh no, alas!
She is noble and cannot belong to me!
That's what torments and gnaws me!
TOMSKY. Let's find another ... Not alone in the world ...
You do not know me!
No, I can't stop loving her!
Ah, Tomsky! You do not understand!
I could only live in peace
While passions dozed in me ...
Then I could control myself
Now that the soul is in power
One dream - goodbye peace,
Goodbye peace!
Poisoned as if intoxicated
I'm sick, sick
I'm in love!
Is that you, Herman? I confess
I wouldn't have believed anyone that you could love like that!
German and Tomsky pass. Walkers fill the stage.
The general choir of all those walking.
Finally God sent us
Sunny day!
What an air! What a sky!
May is right here!
Oh, what a delight, right,
Walk all day!
Can't wait for a day like this
Long time for us again.
For many years we do not see such days,
And we used to see them often.
In the days of Elizabeth - a wonderful time -
Summer, autumn and spring were better!
old women (Simultaneously with the elderly).
We used to live better, and such days
We've been here every year in the early spring.
Yes, every year!
And now they are rare
Sunshine in the morning
It got worse, right, it got worse,
Right, it's time to die!
What a joy! What happiness!
How gratifying, how gratifying to live!
How pleasant it is to walk in the Summer Garden,
It's lovely how pleasant it is to walk in the Summer Garden!
Look, look
How many young people
Both military and civilian
Wanders a lot along the alleys,
Look, look
How many wandering around here,
Both military and civilian
How graceful, how beautiful, how beautiful!
Look, look!
Young people (simultaneously with the young ladies).
Sun, sky, air, nightingale melody
And a bright blush on the cheeks of the maidens -
That spring gives, with it love
Sweetly excites young blood!
The sky, the sun, the air is clean,
Sweet nightingale chant
The joy of life and the scarlet blush on the cheeks of the virgins -
Either the gifts of a beautiful spring, or the gifts of spring!
Happy day, beautiful day, how nice
Oh joy, spring brings love and happiness to us!
The general choir of all those walking.
Finally God sent us
Sunny day!
What an air! What a sky!
May is right here!
Oh, what a delight, right,
Walk all day!
Can't wait for a day like this
Long time for us again!
Enter German and Tomsky.
Are you sure she doesn't notice you?
I bet I'm in love and miss you..
When a gratifying doubt
I lost
Would I have endured the torment
My soul?
You see, I live, I suffer,
But in a terrible moment, when I find out
That I was not destined to master it,
Then only one remains...
TOMSKY. What?
HERMANN. Die!..
Prince Yeletsky enters. Chekalinsky and Surin approach him.
CHEKALINSKY (Eletsky). Can I congratulate you?
SURIN. Are you the groom?
Yes, gentlemen, I'm getting married;
Bright angel gave consent
Combine your fate with mine forever!
CHEKALINSKY. Well, goodbye!
SURIN. I am glad with all my heart. Be happy, prince!
TOMSKY. Yeletsky, congratulations!
ELETSKY. Thanks, friends!
ELETSKY (with feeling)
FROM happy day,
I bless you!
How it all came together
To rejoice with me together!
Reflected everywhere
Bliss of unearthly life...
Everything smiles, everything shines,
As in my heart,
Everything trembles cheerfully,
To heavenly bliss beckoning!
What a happy day
I bless you!
HERMANN (to himself, simultaneously with Yeletsky).
unhappy day,
I curse you!
It's like everything came together
To fight with me!
Joy is reflected everywhere
But not in my sick soul.
Everything smiles, everything shines,
When in my heart
Annoyance infernal trembles.
Annoyance hell trembles,
Some torment sulya.
Oh yes, only torment, torment I promise!
TOMSKY. Tell me who will you marry?
HERMANN. Prince, who is your bride?
The Countess and Lisa enter.
ELETSKY (pointing to Lisa). There she is.
HERMANN. She is?! She is his fiancee! Oh my God! Oh my God!
LISA, Countess. He's here again!
TOMSKY (to German). So who is your nameless beauty!
I'm scared!
He's in front of me again
Mysterious and gloomy stranger!
In his eyes a silent reproach
Replaced the fire of insane, burning passion...
Who is he? Why is he following me?
I'm scared, scared, like I'm in power
His eyes of sinister fire!
I'm scared! I'm scared!
I'm scared!
Countess (simultaneously).
I'm scared!
He's in front of me again
Mysterious and scary stranger!
He is a fatal ghost
Embraced all over by some kind of wild passion.
What does he want by following me?
Why is he in front of me again?
I'm scared like I'm in control
His eyes of sinister fire!
I'm scared! I'm scared!
I'm scared!
HERMANN (simultaneously).
I'm scared!
Here again in front of me
Like a fatal ghost
A gloomy old woman appeared ...
In her terrible eyes
I'm reading my dumb sentence!
What does she need?
What does she need, what does she want from me?
Like I'm in control
Her eyes of sinister fire!
Who, who is she!
I'm scared! I'm scared!
I'm scared!
ELETSKY (simultaneously).
I'm scared!
My God, how embarrassed she is!
Where does this strange excitement come from?
There is languor in her soul,
In her eyes there is some kind of dumb fear!
They have a clear day for some reason suddenly
It's time to change the bad weather.
What with her? She doesn't look at me!
Oh, I'm scared, as if close
Some unexpected misfortune threatens,
I'm scared, I'm scared!
TOMSKY (simultaneously).
That's what he was talking about!
How embarrassed he is by the unexpected news!
I see fear in his eyes
Silent fear has replaced the fire of insane passion!
What about her, what about her? How pale! How pale!
Oh, I'm scared for her, I'm scared!
I'm scared for her!
Tomsky approaches the Countess, Yeletsky approaches Lisa. The Countess looks at Herman intently.
TOMSKY. Countess! Let me congratulate you...
Countess. Tell me who is this officer?
TOMSKY. Which the? This? Herman, my friend.
Countess. Where did he come from? How terrible he is!
Tomsky sees her off and returns.
ELETSKY (shaking hands with Lisa).
Heaven's enchanting beauty,
Spring, light rustle of marshmallows,
The fun of the crowd, hello friends
Promise in the future for many years
We are happy!
Lisa and Yeletsky leave.
Rejoice, friend! You forgot
What happens after a quiet day is a thunderstorm,
That the creator gave tears to happiness, a bucket of thunder!
A distant thunderclap is heard. Herman, in gloomy thought, sinks onto the bench.
SURIN. What a witch is this Countess!
CHEKALINSKY. Scarecrow!
No wonder she was nicknamed the "Queen of Spades"!
I can't figure out why she doesn't ponte.
SURIN. How! Is it an old woman? What are you?!
CHEKALINSKY. An octogenarian hag! Ha ha ha!
TOMSKY. So you don't know anything about her?
SURIN. No, really, nothing!
CHEKALINSKY. Nothing!
Oh, so listen!
The Countess many years ago in Paris was known as a beauty.
All the youth went crazy for her,
Calling "Venus of Moscow."
Count Saint Germain among others,
Then still handsome, captivated by her,
But unsuccessfully he sighed for the countess:
Beauty played all night long
And - alas! - preferred "Pharaoh" * love.
Once upon a time at Versailles "Ai jeu de la Reine"**
"Venus moskovite" *** was played to the ground.
Among those invited was the Comte Saint-Germain;
Watching the game, he heard how she
Whispered in the midst of excitement:
"Oh my God! Oh my God!
Oh my God, I could play everything
When would it be enough to put again
Count, choosing a good minute when
Stealthily leaving the full hall of the guests,
The beauty sat alone in silence,
Lovingly whispered over her ear
Words sweeter than the sounds of Mozart:
"Countess, Countess!
Countess, at the price of one "rundez-vous" ****
Would you like me to call you
Three cards, three cards, three cards?
The Countess flared up, “How dare you?!”
But the count was not a coward. And when in a day
The beauty has come again, alas,
Penniless, "Ai jeu de la Reine"
She already knew three cards...
Boldly placing them one after the other,
She returned her ... but at what cost!
Oh cards, oh cards, oh cards!
Since she called those cards to her husband,
Another time, their handsome young man recognized them.
But on the same night, only one remained,
A ghost appeared to her and said menacingly:
"You will receive a fatal blow,
From the third, who, ardently, passionately loving,
Three cards, three cards, three cards
Three cards!
CHEKALINSKY. Se non e ver`e ben trovato.*****
Lightning flashes, thunder is approaching. A thunderstorm starts.
* "Pharaoh" - a card game that was in vogue at the court of the French queen.
** In the royal game (fr.)
*** Venus of Moscow (fr.)
**** Date (fr.)
***** "If not true, well said." Latin proverb.
It's funny! .. But the Countess can sleep peacefully:
It is difficult for her to find an ardent lover!
CHEKALINSKY.
Listen, Herman!
Here's a great opportunity for you to play without money.
(Everyone laughs.) Think, think!
CHEKALINSKY, SURIN.
"From the third, who, ardently, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
Chekalichsky, Surin and Tomsky leave. There is a strong thunderclap. The storm is playing out. Walkers rush in different directions.
Chorus of walkers.
How fast the storm came
Who would have expected, what passions!
Blow after blow louder, more terrible!
Run quickly!
Hurry up to the gate!
Hurry home!
Everyone is running away. The storm is getting stronger. The voices of the walkers are heard from afar.
Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry!
Strong thunderbolt.
HERMANN (thoughtfully).
"You will receive a fatal blow
From the third, who, ardently, passionately loving,
Will come to learn from you by force
Three cards, three cards, three cards!”
Ah, what do I have in them
Even if I had them!
Everything is dead now...
I was the only one left.
I'm not afraid of the storm!
All the passions have woken up in me
With such deadly power
That this thunder is nothing in comparison!
No, prince!
As long as I'm alive, I won't give it to you,
I don't know how, but I'll take it!
Thunder, lightning, wind!
Before you, I solemnly swear:
She will be mine
She will be mine, mine
My il die!
(Runs away.)
PICTURE TWO
Lisa's room. Liza is sitting at the harpsichord. Around her friends, among them Polina.
LISA, Polina.
It's already evening ... The edges of the clouds have faded, *
The last ray of dawn on the towers is dying;
The last jet in the river
With the extinct sky is fading away.
Everything is quiet ... The groves are sleeping, peace reigns around,
Stretched out on the grass under the bowed willow,
I listen how it murmurs, merging with the river,
A stream overshadowed by bushes.
How the aroma is merged with the coolness of plants,
How sweet is the splashing in the silence at the shore of the jets,
How quiet is the breeze of ether over the waters
And flexible willow flutter.
Chorus of friends.
Charming! Charming!
Wonderful! Pretty!
Ah, wonderfully good!
Also, mesdames. Also, mesdames. More more!
LISA. Sing, Fields, we have one!
Pauline. One? but what to sing?
Chorus of friends.
Please what do you know
Ma shere **, darling, sing us something:
I'll sing Lisa's favorite romance for you.
(Sits down at the harpsichord.) Wait... How is it?
(Preludes.) Yes! remembered.
(Sings with deep feeling.)
Dear friends, dear friends, ***
In carelessness playful,
To the tune of a dance, you frolic in the meadows.
And I, like you, lived in happy Arcadia,
And I am in the morning of days in these groves and fields
Tasted moments of joy
Tasted moments of joy.
Love in golden dreams
She promised me happiness;
__________________
* Zhukovsky's poems
** My dear (fr.).
*** Batyushkov's poems.
But what did I get in these joyful places,
In these happy places?
Grave, grave, grave!
(Everyone is touched and excited.)
So I decided to sing a song
Such a weepy one! Well, why?
And without that you are sad something, Liza,
On a day like this, think!
After all, you are engaged, ah-ah-ah!
(To girlfriends.)
Well, why are you hanging your noses?
Let's have fun, yes Russian,
In honor of the bride and groom!
Well, I'll start, And you sing along to me!
Chorus of friends. And really, let's have a fun, Russian!
Girlfriends clap their hands. Lisa, not taking part in the fun, stands thoughtfully by the balcony.
Come on, little Mashenka,
You sweat, dance!
Polina and the choir of friends.
Ay, lyuli, lyuli, lyuli,
You sweat, dance!
Your white little hands
Pick up the sides!
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli,
Pick up the sides!
Your quick little legs
Don't be sorry, please!
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli, Do not be sorry, please!
(Polina and friends start dancing.)
If mommy asks - "Merry!" - speak.
Polina and the choir of friends
Ay, lyuli, lyuli, lyuli - "Vesela!" - speak.
And to the answer, auntie -
Like, “I drank until dawn!”
Polina and the choir of friends.
Ay, lyuli, lyuli, people -
Like, “I drank until dawn!”
Pauline. "Go away, go away!"
Polina and the choir of friends.
Ay, lyuli, lyuli, lyuli,
"Go away, go away!"
The Governess enters.
Governess.
Mesdemoiselles, what's all the fuss about here?
The Countess is angry...
Ah ah ah! Aren't you ashamed to dance in Russian?
Fi, quel genre, mesdames *
To the young ladies of your circle
You need to know decency!
You should have each other
Inspire the rules of the world.
In girlish only to rage
You can, not here, mes mignones, **
Can't you have fun
Don't forget the bonton?
To the young ladies of your circle
You need to know decency
You should have each other
Inspire the rules of the world!
It's time to disperse.
They sent me to call you to say goodbye.
The ladies disperse.
Pauline (approaching Lisa). Lisa, why are you so boring?
I'm boring? Not at all!
Look what a night
Like after a terrible storm
Everything suddenly changed.
Look, I will complain to the prince about you,
I'll tell him that on the day of the engagement you were sad.
LISA. No, for God's sake, don't speak!
Then please smile now.
Like this! Now goodbye!
(They kiss.)
LISA. I will accompany you...
Polina and Lisa leave. Masha enters and puts out the candles, leaving only one.
As she approaches the balcony to close it, Liza returns.
* Fi, what genre6, ladies. (fr)
** My darlings (fr.).
LISA. No need to close, leave.
Masha. Wouldn't catch a cold, young lady!
LISA. No, Masha, the night is so warm, so good!
Masha. Can you help me get undressed?
LISA. No I myself. Go to sleep!
Masha. It's late, lady...
LISA. Leave me, go!
Masha leaves. Liza stands in deep thought then softly cries.
Where are these tears from?
Why are they?
My girlish dreams
you changed me
My girlish dreams
You changed me!
This is how you justified yourself in reality!
I have now handed my life over to the prince,
Chosen by heart, being,
Mind, beauty, nobility, wealth
Worthy of a friend not like me.
Who is noble, who is handsome, who is stately, like him?
Nobody! And what?
I am full of longing and fear,
I tremble and cry!
Where are these tears from?
Why are they?
My girlish dreams
you changed me
My girlish dreams
You changed me!
You changed me!
(Crying.)
And hard and scary!
But why deceive yourself?
I'm alone here, everything is sleeping quietly around ...
(Passionately, enthusiastically.)
Oh listen, night!
You alone can believe the secret
my soul.
She is gloomy, like you, she is sad
Like a gaze of eyes
Who took away peace and happiness from me...
Queen of the night!
How are you, beauty, like a fallen angel,
He is beautiful
In his eyes the fire of scorching passion,
What a wonderful dream
It beckons me, and my whole soul is in its power!
O night! oh night!
Herman appears at the door of the balcony. Liza retreats in mute horror. They silently look at each other. Lisa makes a move to leave.
HERMANN. Stop, I beg you!
LISA. Why are you here, crazy man? What do you need?
HERMANN. Say goodbye!
(Liza wants to leave.)
Don't leave! Stay!
I myself will leave now
And I won't come back here again...
One minute! .. What are you worth?
The dying man is calling to you.
LISA. Why, why are you here? Get away!.
HERMANN. Not!
LISA. I will scream!
HERMANN. Shout! Call everyone!
(Pulls out a pistol.)
I'm going to die anyway, alone or with others.
(Liza lowers her head and is silent.)
But if there is, beauty, in you
Though a spark of compassion
Wait, don't go!
LISA. Oh god, god!
After all, this is my last, death hour!
I learned my verdict today:
You, cruel, give your heart to another!
(Passionately.)
Let me die blessing you
And not cursing
Can I live a day when a stranger
You are for me!
I lived by you; just one feeling
And a stubborn thought alone possessed me!
I will die.
But before saying goodbye to life,
Give me just one moment to be with you,
Together in the midst of the wonderful silence of the night,
Let me drink in your beauty!
Then let death and peace with it!
(Liza stands, looking sadly at Herman.)
Stop like that! Oh how good you are!
Gorgeous! Goddess! Angel!
Sorry beautiful creature
That I disturbed your peace
I'm sorry but passionate
Don't deny confession
Do not reject with longing!
Oh sorry! I am dying
I bring you my prayer;
Look from the heights of heavenly paradise
To the death fight
Soul tormented by torment
Love for you, oh have pity
And my spirit with affection, regret,
Warm your tears!
(Lisa is crying.)
You cry! You!
What do these tears mean?
Do not drive and regret?
He takes her by the hand, which she does not take away.
Thank you! Gorgeous! Goddess! Angel!
He leans on Lisa's hand and kisses her. At this time, the sound of footsteps and a knock on the door are heard.
Countess (Behind the door). Lisa, open up!
LISA (in confusion). Countess! Good God! I'm dead, run! .. Too late! Here!
There is a stronger knock on the door. Lisa points Herman to the curtain, goes to the door and opens it. Enter the Countess in a dressing gown, surrounded by maids with candles.
Countess. What are you not sleeping? Why are you dressed? What is this noise?
LISA (confused) I, grandmother, walked around the room ... I can’t sleep ...
Countess (gestures to close the balcony)
Look you! Don't be stupid! Now go to bed!
(Knocks with a stick.) Do you hear?..
LISA. Me, grandma, now!
Can't sleep!.. Have you heard this!
Well times! Can't sleep!.. Lie down now!
LISA. I obey! .. Forgive me!
Countess (leaving).
And I hear noise;
You're disturbing your grandmother!
(Maid.) Come on!
(Lize.) And don't you dare do anything stupid here!
(Exit with maids.)
HERMANN (inwardly).
"Who, passionately loving,
Will come to probably learn from you
Three cards, three cards, three cards!”
Grave cold blew around!
Oh scary ghost
Death, I don't want you!
Lisa, having closed the door behind the Countess, goes to the balcony, opens it, and gestures for Herman to leave.
Oh spare me!
Death a few minutes ago
It seemed to me salvation, almost happiness!
Now it's not the same: she's scary to me, she's scary to me!
You opened the dawn of happiness to me,
I want to live and die with you!
LISA. Crazy man, What do you want from me, What can I do?..
HERMANN. Decide my fate!
LISA. Take pity, you are ruining me! Leave, I beg you, I command you!
HERMANN. So, it means that you pronounce the sentence of death!
LISA. Oh God, I'm getting weak .. Go away, please!
HERMANN. Say then: die!
LISA. Good God!
HERMANN. Goodbye!
LISA. Heavenly Creator! (Herman makes a move to leave.) Not! Live!
Herman hugs Liza; she rests her head on his shoulder.
HERMANN. Love you!
LISA. I'm yours!
HERMANN. Gorgeous! Goddess! Angel!
ACT TWO
PICTURE THREE
Masquerade ball at the rich dignitary. Big hall. On the sides, between the columns, lodges are arranged. Boys and girls in fancy dress dancing country dance. Singers sing in the choirs.
Choir of singers.
Joyfully, cheerfully on this day *
Gather together, folks!
Throw away your troubles
Jump, dance boldly!
Jump, dance boldly,
Throw you, throw you your idleness,
Jump, dance, dance merrily!
Beat with your hands,
Click your fingers loudly!
Move your black eyes
Stano you all say!
Fertik hands you to the sides,
Do easy jumps
Chobot on Chobot knock,
With a bold step whistle!
The Steward enters.
Steward.
The owner asks dear guests to come
Look at the glitter of fun lights!
All guests are directed to the garden terrace.
CHEKALINSKY.
Our Herman hung his nose again,
I guarantee you that he is in love
It was gloomy, then it became cheerful.
No, gentlemen, he is passionate,
What do you think?
How? Hope to learn three cards.
CHEKALINSKY. Here's the weirdo!
I don't believe you have to be ignorant
For this. He's not stupid!
SURIN. He told me himself...
TOMSKY. Laughing!
CHEKALINSKY. (Surina).
Come on, let's go tease him! (Pass.)
And yet, he is one of those who, once thinking,
Gotta get it all done! Poor fellow! Poor fellow!
(Tomsky passes. Servants prepare the middle of the hall for an interlude. Prince Yeletsky and Liza enter.)
You are so sad dear
As if you have grief ...
Trust me!
LISA. No, later, prince, another time ... I beg you!
(Wants to leave.)
Hold on, for a moment!
I must, I must tell you!
I love you, I love you beyond measure,
I can't imagine living a day without you.
And a feat of unparalleled strength
Ready to do for you now
But know: your heart is free
I don't want to embarrass anything
Ready to hide for you
And appease the ardor of jealous feelings,
Ready for everything, for everything!
Not only a loving spouse,
Servant helpful sometimes,
Wish I could be your friend
And a comforter always.
But now I see clearly, I feel now,
Where did you lure yourself in dreams,
How little trust you have in me,
How alien I am to you and how far away!
Ah, I am tormented by this distance,
I sympathize with you with all my heart,
I mourn your sadness
And I cry with your tears ...
Ah, I am tormented by this distance,
I sympathize with you with all my heart!
I love you, I love you beyond measure,
I can't think of living a day without you
I am a feat of unparalleled strength
Ready to do it for you now!
Oh honey, trust me!
Prince Yeletsky and Liza are passing by. Herman enters without a mask, in a suit, holding a note in his hand.
HERMANN (is reading).
"After the performance, wait for me in the hall. I must see you..."
It would be better to see her and throw this thought ...
(Sits down.) Three cards!.. Three cards to know - and I'm rich!..
And together with her I can run away from people...
Damn!..
This thought is driving me crazy!
Several guests return to the hall; among them Chekalinsky and Surin. They point to Herman, creep up and lean over him, whispering.
SURIN, CHEKALINSKY.
Are you the third
Who, passionately loving,
Will come to learn from her
Three cards, three cards, three cards?
Hiding. Herman gets up frightened, as if not realizing what is happening. When he looks back, Chekalinsky and Surin have already disappeared into the crowd of young people.
CHEKALINSKY, SURIN and several guests.
Three cards, three cards, three cards!
They laugh and mingle with the crowd of guests, which little by little enters the hall.
What's this? Brad or mockery? Not! What if?! (He covers his face with his hands.)
I'm crazy, I'm crazy! (thinks.)
Steward.
The owner asks dear guests to listen to the pastoral under the title: "The sincerity of the shepherdess"! *
The guests are seated in the prepared seats. Boys and girls, dressed in the costumes of shepherds and shepherdesses, go out into the meadow. They lead round dances, dance and sing. Prilepa alone does not take part in the dances and weaves a wreath in sad thoughtfulness.
Chorus of shepherds and shepherdesses.
Under the thick shadow
Near a quiet stream
We came today in a crowd
Please yourself
______________
* The plot and most of the verses of this pastoral are borrowed from the poem of the same name by P. Karabanov.
sing, have fun
And round dances
enjoy nature,
Weave flower wreaths.
The shepherds and shepherds retire to the back of the stage.
My pretty little friend
Dear shepherd,
Who do I sigh
And I want to open the passion
Ah, did not come to dance,
Milovzor (entering).
I'm here, but boring, languid,
Look how thin you are!
I won't be humble anymore
I hid my passion for a long time
I won't be humble anymore
I hid my passion for a long time.
I won't be modest
I hid my passion for a long time!
My pretty little friend
Dear shepherd,
How I miss you
How I suffer for you
Ah, I can't tell!
Ah, I can't tell!
I don't know, I don't know why!
Milovzor.
Loving you for a long time
Missed without you
And you don't know that
And here you hide yourself
From my gaze, from my gaze.
I don't know, I don't know why
I don't know, I don't know why!
The retinue of Zlatogor brings precious gifts by dancing. Zlatogor enters.
Zlatogor.
How cute, how beautiful you are!
Tell me which one of us
Me or him
Forever love agree?
Milovzor.
I wholeheartedly agreed
I bowed to love
Whom does it command
To whom does it burn?
Zlatogor.
I am mountains of gold
And precious stones
I have myself.
I promise to decorate
I am all of you
I own darkness
And gold and silver
And all the best!
Milovzor.
My one estate -
Love unflattering heat.
And in eternal possession
Accept it as a gift
And birds, and branches,
Ribbons and wreaths
In place of the speckled
Precious clothes
I will bring
And give them to you!
I don't need any estates
No rare stones
I'm with a sweetheart in the fields
And I'm glad to live in a hut,
And I'm glad to live in a hut!
(Zlatogor.)
Well, sir, good luck ...
(to Milovzor.)
And you be calm!
Here in solitude
Rush to the reward
Such nice words
Bring me a bunch of flowers!
Prilepa and Milovzor.
The end of suffering has come
love admiration
The time will come soon
Love, hide us!
Choir of shepherds and shepherdesses
The end of suffering has come
Bride and groom
Worthy of admiration
Love, hide them!
Cupid and Hymen with retinue enter to marry young lovers. Prilepa and Milovzor are dancing hand in hand. Shepherds and shepherds imitate them, make round dances, and then they all leave in pairs.
Chorus of shepherds and shepherdesses.
The sun is shining red
The marshmallows swept
You are with a beautiful young man,
Sticky, have fun!
The end of suffering has come
Bride and groom
Worthy of admiration
Love, hide them!
They all leave in pairs. At the end of the interlude, some of the guests get up, others are talking animatedly, remaining in their places. Herman comes to the forefront.
HERMANN (thoughtfully).
"Who passionately and passionately loving!"
Well? don't I love? Of course yes!
He turns around and sees the Countess in front of him. Both shudder, staring at each other intently.
SURIN (in mask).
Look, your mistress!
(Laughs and hides.)
Who is it?.. Demon or people?
Why are they following me?
Damn! Oh, how pathetic and ridiculous I am!
Lisa enters wearing a mask.
LISA. Listen, Herman!
You, finally!
How happy I am that you came!
I love you!.. I love you!..
No place here...
That's not why I called you!
Listen... Here's the key to the secret door in the garden...
There is a staircase... You will go up it to your grandmother's bedroom...
HERMANN. How? to her bedroom?
She won't be there...
In the bedroom near the portrait there is a door to me.
I'll be waiting!
You, I want to belong to you alone!
We need to decide everything!
See you tomorrow, my dear, desired!
Hermann. No, not tomorrow, No, I'll be there today!..
LISA (scared). But honey...
HERMANN. I want!
LISA. Let it be! After all, I am your slave! Sorry...
(Hides.)
Now it's not me, fate itself wants it that way,
And I will know three cards!
(Runs away.)
Steward (excited and in a hurry).
Her Majesty is now pleased to welcome ...
There is great excitement among the guests. The steward separates those present so that a passage for the queen is formed in the middle.
Chorus of guests.
Queen! Her Majesty! Queen! She will arrive...
What an honor to the owner, what happiness! ..
Everyone is happy to look at our mother.
And what a joy for us!
The French ambassador will be with her!
The Most Serene One also honors!
Well, it's a real holiday!
What delight, what joy!
Well, the holiday came out, that's for the glory.
Steward (singers). You "Glory to this" now boom-
Chorus of guests.
This is how the holiday turned out to be famous!
Shout "Glory to this"!
Here, here, it’s coming, it’s coming, now our mother is coming!
Everyone turns towards the middle doors. The steward makes a sign. sing to get started.
Choir of guests and singers
Hail to this, Ekaterina,
Hail, tender mother to us!
Vivat, Vivat!
Men become in a pose of a low courtly inclination. The ladies take a deep squat. Pages enter in pairs, behind them Catherine appears surrounded by a retinue. *
PICTURE FOUR
The bedroom of the Countess, illuminated by lamps. Herman quietly enters through a secret door. He looks around the room.
* In pre-revolutionary productions of the opera, this action ended with the exit of the pages preceding the appearance of Catherine II. This was due to the prohibition to depict persons of the royal family on the stage.
It's just like she told me...
What? I'm afraid, right?
Not! So it's decided, I'll find out the secret from the old woman!
(thinks.)
What if there is no secret?
And all this is just empty nonsense of my sick soul!
Goes to Liza's door. Passing, he stops at the portrait of the Countess. Midnight strikes.
And, here she is - "Venus of Moscow!"
Some secret power
I'm connected with her rock!
Am I from you, are you from me,
But I feel that one of us
Die from another!
I look at you and hate
And I can't get enough of it!
I would like to run away, but there is no strength ...
An inquisitive gaze cannot be torn off
From a terrible and wonderful face!
No, we can't part without a fatal meeting!
Steps! They're coming here!.. Yes!..
Ah, come what may!
Herman hides behind a boudoir curtain. The maid runs in and hastily lights the candles. Other maids and hangers-on run after her. The Countess enters, surrounded by bustling maids and hangers-on.
Choir of hangers-on and maids.
Our benefactor,
How did you like to walk?
Light is our lady
Wants, right, to rest!
(They escort the Countess into the boudoir.)
Tired, tea?
So what,
Who was better there?
Were maybe younger
But none more beautiful!
(Behind the scenes.)
Our benefactor...
Light is our lady...
Tired, tea,
Wants, right, to rest!
Liza enters, followed by Masha.
LISA. No, Masha, follow me!
Masha. What is the matter with you, young lady - you are pale!
LISA. There is nothing...
Masha (having guessed). Oh my god! Really?..
Yes, He will come...
Be quiet! He, perhaps, is already there ... And he is waiting ...
Watch over us, Masha, be my friend!
Masha. Oh, how could we not get it!
He said so. I chose him as my husband...
And an obedient, faithful slave of that flock,
Who was sent to me by fate!
Lisa. and Masha leave. Hangers and maids introduce the Countess. She is in a dressing gown and a night cap. They put her to bed.
Chorus of hangers-on and maids
Benefactress,
Light is our lady,
Tired, tea,
Wants, right, to rest!
Benefactress,
Beauty!
Lie down in bed, tomorrow you will be more beautiful again
Morning dawn!
Go to bed, you'll get up better tomorrow
Morning dawn!
Benefactress!
Lie down in bed
Take a rest, take a rest
Full of lying to you!.. Tired!.. I'm tired... no urine...
I don't want to sleep in bed!
(She is seated in a chair and covered with pillows)
Ah, this world has disgusted me! Well times!
They don't know how to have fun.
What manners! What a tone! And I wouldn't look...
They don't know how to dance or sing!
Who are the dancers? Who sings? Girls!
And it happened: who danced? who sang?
Le duc d`Orlean, la duc d`Ayen, de Coigni,.. la comtesse d`Estrades,
La duchnesse de Brancas... *
What names!
And even, sometimes, herself, the Marquise Pompadour herself! ..
I sang with them...
Le duc de la Valliere ** praised me!
Once, I remember, in Chantili ***, at Prinse de Conde ****,
The king heard me!
I see everything now...
___________________
* Duke of Orleans, Duke d'Ayen, Duke de Coigny, Countess d'Estrade, Duchess de Branca. (fr.).
** Duke de la Vallière (fr.)
*** Chantilly, - the royal castle near Paris (fr.)
**** Prince de Condé (fr.)
(Sings.)
Il me dit: "je vois fime"
Et je sens malgre moi
Mon coeur qui bat...
Je ne sais pas porqoui... *
(Looks around as if waking up.)
Why are you standing here? Get on up!
The maids and hangers-on, carefully stepping, disperse. The Countess is dozing and humming as if through a dream.
Je crains de lui parler la nuit
J'ecoute trop tout ce qu'il dit,
Il me dit: "je vois fime"
Et je sens malgre moi
Mon coeur qui bat...
Je ne sais pas porqoui...
Herman comes out and stands against the Countess. She wakes up and silently moves her lips in mute horror.
Don't be scared!
For God's sake, don't be afraid!
I won't harm you!
I have come to beg you for mercy alone!
The countess silently looks at him as before.
You can make up the happiness of life's goals! And it won't cost you anything! You know three cards.. .
(Countess rises.)
For whom do you keep your secret?
Herman gets on his knees.
If you ever knew the feeling of love
If you remember the ardor and delight of young blood,
If at least once you smiled at the caress of a child,
If your heart ever beat in your chest,
Then I implore you with the feeling of a wife, mistress, mother,
All that is sacred to you in life,
Tell me, tell me, tell me your secret!
What do you need it for?!
__________________
* I'm afraid to talk to him at night,
I listen too much to everything he says.
He says to me: I love you,
And I feel, against my will,
I feel my heart
Which is beating, which is beating
I do not know why! (from French)
May be,
It is associated with a terrible sin,
With the destruction of bliss
With a devilish condition?
Think you're old, you won't live long
And I'm ready to take your sin upon myself! ..
Open up to me! Tell!..
The Countess, straightening up, looks menacingly at Herman.
Old witch!
So I'll make you answer!
Herman takes out a gun. The countess nods her head, raises her arms to shield herself from the shot, and falls dead.
Full of childishness!
Would you like to assign me three cards?
Yes or no?
Approaches the Countess, takes her hand. He sees with horror that the Countess has died.
She is dead! It came true!..
I didn't know the secret!
(Stands like a stone.)
Dead!.. But I didn't know the secret...
Dead! Dead!
Liza enters with a candle.
LISA. What's the noise here? (Seeing Herman.) Are you, are you here?
HERMANN (rushing towards her, fearfully).
Be quiet! Be quiet!
She is dead, but I did not know the secret! ..
LISA. Who is dead? What are you talking about?
HERMANN (pointing to the body).
It came true! She is dead, And I did not know the secret! ..
LISA (rushes to the corpse of the Countess)
Yes! died! Oh my God! And did you do it?
(Sobs.)
HERMANN. I didn't want her to die, I just wanted to know three cards!
So that's why you're here!
Not for me!
You wanted to know three cards!
You didn't need me, but the cards!
Oh my god, my god!
And I loved him
She died because of him!
Monster! Killer! Monster!
Herman wants to speak, but she points to a secret door with an imperious gesture.
Away! Away! The villain! Away!
HERMANN. She is dead!
LISA. Away!
Herman runs away. Liza sobs down on the corpse of the Countess.
ACT THREE
PICTURE FIVE
Barracks. Herman's room. Winter. Late evening. Moonlight either illuminates the room through the window, or disappears. The howling of the wind is heard. The room is dimly lit by a candle on the table. Offstage, a military signal is heard. Herman is sitting at the table.
HERMANN (reads the letter).
"... I do not believe that you wanted the death of the countess ... I am exhausted by the consciousness of my guilt before you! Calm me down! Today I am waiting for you on the embankment, when no one can see us there. If you do not come before midnight, I will have to admit a terrible thought, which I drive away from myself. Forgive me, forgive me, but I suffer so much! .. "
Poor thing! Into what abyss did I drag her with me!
Ah, if only I could forget and fall asleep!
He sinks into a chair in deep thought and, as it were. dozing. It seems to him that he again hears the church choir, the burial service of the deceased countess.
Choir of singers (behind the scene).
I pray to the Lord
To heed my sorrow,
For my soul is filled with evil
And I fear the captivity of hell,
Oh, look, God, on suffering
You are your slave!
HERMANN (getting up fearfully).
All the same thoughts
All the same nightmare and gloomy pictures of the funeral
They rise as if alive before me ...
(Listens.)
Singing or howling wind?
I won't understand...
(Distant funeral singing is heard.)
Just like there ... yes, yes, they sing!
And here is the church, and the crowd, and the candles,
And censers, and sobs ...
(Singing more clearly.)
Here is the hearse, here is the coffin...
And in that coffin the old woman without movement, without breathing
Drawn by some force, I enter the black steps!
It's scary, but I don't have the strength to go back! ..
Looking at a dead face...
And suddenly, mockingly squinting,
It blinked at me!
Away, terrible vision! Away!
(He sinks into an armchair, covering his face with his hands.)
Choir of singers. Give her endless life!
For a moment, the howling storms subside and in the silence there is a short knock on the window. Herman raises his head and listens. A gust of wind comes up again. There is a shadow in the window. The knock on the window is repeated. A new gust of wind opens the window and extinguishes the candle, and again a shadow appears in the window. Herman stands like a stone.
I'm scared! Scary!
There ... there ... steps ... Here they open the door ...
No, no, I can't stand it!
He runs to the door, but at that moment the ghost of the Countess in a white shroud appears in the doorway .. Herman retreats, the ghost approaches him.
Ghost of the Countess.
I came to you against my will
But I am ordered to fulfill your request.
Save Lisa, marry her
And three cards, three cards
Three cards will win in a row.
Troika! Seven! Ace! Three, seven, ace!
(Disappears.)
HERMANN (with an air of madness).
Three, seven, ace! Three... Seven... Ace...
PICTURE SIX
Night. Winter Ditch. At the back of the stage, the embankment and the Peter and Paul Fortress, illuminated by the moon. Under the arch, in a dark corner, all in black, stands Lisa.
It's nearing midnight
But Herman is still gone, still gone.
I know he will come, dispel suspicion.
He's a victim of chance
And he cannot, cannot commit a crime!
Oh, I'm tired, I'm tired!
Oh, I'm weary of grief...
Whether at night, during the day, only about him
I tortured myself thinking...
Where are you, old joy?
Oh, I'm tired, I'm tired!
Life gave me only joy
I found a cloud, brought thunder,
Everything I love in the world
Happiness, hopes shattered!
Oh, I'm tired, I'm tired!
Whether at night, during the day, only about him,
Oh, I've been torturing myself with the thought...
Where are you, old joy?
A cloud came and brought a thunderstorm
Happiness, hopes shattered!
I'm tired! I suffered!
Longing gnaws at me and gnaws...
And if the clock strikes me in response,
That he is a murderer, a seducer?
Oh, I'm scared, I'm scared!
The clock is striking on the fortress tower.
Wait, he'll be here now...
(With desperation.)
Oh, dear, come, have pity,
Have pity on me
My husband, my lord!
So it's true! With a villain
I tied my fate!
Killer, fiend forever
My soul belongs!
With his criminal hand
And my life and my honor is taken,
I am the fateful will of the sky
Cursed with the killer!
Liza wants to run away, but at this time Herman appears.
You are here, you are here! You are not a villain! Are you here!
The end of suffering has come
And I became yours again!
Away with tears, torment and doubt!
You are mine again and I am yours!
Falls into his arms.
HERMANN. Yes, here I am, my dear! (Kisses her.)
LISA. Oh yes, suffering has passed, I am with you again, my friend!
HERMANN. I'm with you again my friend!
LISA. The bliss of goodbye has come!
HERMANN. The bliss of goodbye has come!
LISA. The end of our painful torments!
HERMANN. The end of our painful torments!
LISA. Oh yes, suffering has passed, I'm with you again!
HERMANN. Those were heavy dreams, the deception of an empty dream.
LISA. The illusion of a dream is empty.
Forgotten moans and tears!
I'm with you again
Yes, I'm with you again!
Our pains and sufferings have passed,
The blessed hour of goodbye has come,
Oh my angel, I'm with you again!
LISA (simultaneously with German)
Forgotten moans and tears!
Oh, my dear, desired,
I'm with you again, again
Our suffering has passed forever,
The torment is over
My dear, desired,
I am with you again!
But, my dear, we must not delay, The clock is running...
Are you ready? Let's run!
LISA. Where to run? With you to the end of the world!
Where to run?.. Where?..
To the gambling house!
LISA. Oh my God! What's wrong with you, Herman?
There are piles of gold
And to me, to me alone they belong!
Herman, what are you talking about? Come to your senses!
Oh, I forgot, you don't know yet!
Three cards, remember
What else did I want to find out from the old witch!
LISA. Oh my God! He is insane!
Stubborn! I didn't want to tell!
Because today I had her
And she called me three cards.
LISA. So, did you kill her?
Oh no! why?
I just raised my gun
And the old witch suddenly fell!
(Laughs.)
LISA. So it's true! Truth!
Yes! Yes! It's true, I know three cards!
Three cards for your killer
She named three cards!
So it was destined by fate
Three cards for this price
I could only buy!
I had to commit villainy
So that at this terrible price
My three cards I could recognize.
LISA (simultaneously with German).
So it's true! With a villain
I tied my fate!
Killer, fiend forever
My soul belongs!
With his criminal hand
And my life and my honor is taken,
I am the fateful will of the sky
Cursed with the killer
With the murderer, I am also cursed!
But no, it can't be! Watch out, Herman!
HERMANN (in ecstasy).
Yes! I am the third one who, passionately loving,
I came to force you to know
About three, seven, ace!
Whoever you are, I'm still yours!
Run, come with me, I'll save you!
Yes! I learned, I learned from you
About three, seven, ace!
(Laughs and pushes Lisa away.)
Leave me!
Who are you? I don't know you! Away! Away!
(Runs away.)
LISA. He died, he died! And me with him!
Runs to the embankment and rushes into the river.
PICTURE SEVEN
Gambling house.
Dinner. Some people play cards.
Chorus of guests and players.
Let's drink and have fun!
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
Let our youth drown
In bliss, cards and wine!
They have one joy in the world,
Life will run like a dream!
Let's drink and have fun!
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
SURIN (behind the cards). Dana!
Chaplitsky. Gnu passwords!
Narumov. Killed!
Chaplitsky. No passwords!
CHEKALINSKY (mosque). Is it okay to put?
Narumov. Atanda!
CHEKALINSKY. Ace!
Prince Yeletsky enters.
SURIN. I am Mirandole...
TOMSKY (Eletsky).
How did you get here? I haven't seen you at the players before.
Yes! Here I am for the first time.
You know they say:
Unhappy in love - happy in the game.
TOMSKY. What do you want to say?
I am no longer a fiancé.
Do not ask me-
I'm in too much pain, friend
I'm here to take revenge
After all, happiness is in love
Brings misfortune in the game.
Explain what it means.
Chorus of guests and players.
Let's drink and have fun!
ELETSKY. You'll see!
Chorus of guests and players.
Let's play with life!
Youth doesn't last forever
Old age is not long to wait!
We don't have to wait long.
The players join the diners.
CHEKALINSKY. Hey gentlemen! Let Tomsky sing something to us!
Chorus of guests and players.
Sing, Tomsky, sing, yes, something merry, funny!
TOMSKY. I can't sing something...
CHEKALINSKY.
Oh, come on, what nonsense! Drink and sleep!
Tomsky's health, friends! Hooray!
Chorus of guests and players.
Tomsky's health, friends! Hooray! Hooray! Hooray! Hooray!
TOMSKY (sings).
If lovely girls *
So they could fly like birds
And sat on the branches
I would like to be a bitch
To thousands of girls
To sit on my branches
On my branches to sit!
Choir of guests and players
Bravo! Bravo! Ah, sing another verse!
Let them sit and sing
They made nests and whistled,
* Poems by Derzhavin.
Bring out the chicks!
I would never bend
I would love them forever
Was the happiest of all bitches
Was the happiest of all bitches!
Chorus of guests and players.
Bravo! Bravo! That's the song! It's nice! Bravo! Well done!
"I would never bend
I would love them forever
I was happier than all the bitches!
CHEKALINSKY. Now, as usual, friends, "Igretskaya"!
CHEKALINSKY. Chaplitsky, Narumov and SuriN.
Ah, where are those islands, *
Where tryn-grass grows, -
So on rainy days
They were going
Chorus of guests and players.
So on rainy days
They met frequently.
Bent, God forgive them,
From fifty
Chorus of guests and players.
Bent, God forgive them,
From fifty
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
And they won
And unsubscribed
Chorus of guests and players.
And they won
And unsubscribed
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
So on rainy days
They were engaged
Chorus of guests and players.
So on rainy days
They were engaged
* Ryleev's poems
CHEKALINSKY, Chaplitsky, Narumov and SURIN.
Bent, God forgive them,
From fifty
Chorus of guests and players.
Bent, God forgive them,
From fifty
CHEKALINSKY., Chaplitsky, Narumov, SURIN and the choir of guests.
And they won
And unsubscribed
So on rainy days
They were engaged
Bent, God forgive them,
From fifty
(Whistling, shouting and dancing.)
One hundred, one hundred, one hundred, one hundred!
CHEKALINSKY. For the cause, gentlemen, for the cards! Wine, wine! (Sit down to play.)
Chorus of guests and players. Wine, wine!
Chaplitsky. Nine!
Narumov Passwords...
Chaplitsky. Down the drain!
SURIN. I put on root...
Chaplitsky. Dana!
Narumov. From transport to ten!
Herman enters.
ELETSKY (seeing him).
My premonition did not deceive me.
(Tomsky.)
I may need a second.
Will you refuse?
Rely on me!
Choir of guests and players
BUT! Hermann! Friend! Buddy!
So late? Where?
CHEKALINSKY.
Sit down with me, you bring happiness.
Where are you from? Where was? Isn't it in hell?
Look what it looks like!
CHEKALINSKY. It can't be scarier! Are you healthy?
HERMANN. Let me put up a card.
(Chekalinsky silently bows in agreement.)
SURIN. Miracles, he began to play!
Chorus of guests and players.
Here are miracles, he began to ponte, our Herman!
Herman puts down the card and covers it with a bank note.
Narumov. Buddy, congratulations on allowing such a long post!
Hermann (putting down a card). Is it coming?
CHEKALINSKY. And how much?
HERMANN. Forty thousand!
Chorus of guests and players.
Forty thousand!
Yes, you're crazy! That's so kush!
SURIN. Have you learned three cards from the Countess?
HERMANN (irritated). Well, do you hit or not?
CHEKALINSKY. Goes! Which map?
HERMANN. Troika.
(Chekalinsky Mosque.)
Won!
Chorus of guests and players.
He won! Here's the lucky one!
CHEKALINSKY.
There's something wrong here!
It's like he's unconscious!
No, there's something wrong here!
His eyes wander
Promises evil!
SURIN
There's something wrong here!
His eyes wandering promises evil,
He seems to be delusional, without consciousness!
No, there's something wrong here!
Not,
ELETSKY (simultaneously with Chekalinsky).
There's something wrong here!
But near, near punishment!
I will take revenge on you
I will take revenge on you, villain, my suffering,
I will take revenge on you!
Narumov (simultaneously with Chekalinsky).
There's something wrong here!
His eyes wandering promises evil,
Promises evil!
No, there's something wrong here!
His wandering eyes promise evil!
Chaplitsky (simultaneously with Chekalinsky).
There's something wrong here!
His wandering eyes promise evil!
It's like he's unconscious!
No, there's something wrong here
His wandering eyes promise evil!
TOMSKY (simultaneously with Chekalinsky).
There's something wrong here, something wrong!
His eyes are wandering
His wandering eyes promise evil!
No, there's something wrong here, wrong!
HERMANN (simultaneously with Chekalinsky).
My cherished wish is coming true.
No no! The old woman's prediction is not deceptive!
Choir of guests and players (simultaneously with Chekalinsky).
There's something wrong here!
His wandering eyes promise evil.
Chorus of guests and players. It's like he's unconscious!
CHEKALINSKY. Do you want to receive?
HERMANN. Not! I'm going to the corner!
Chorus of guests and players.
He's crazy! Is it possible to?
No, Chekalinsky, don't play with him
Look, he's not himself!
HERMANN. Is it coming?
CHEKALINSKY. Goes. What about the map?
HERMANN. Here, seven!
(Chekalinsky Mosque.) My!
Chorus of guests and players.
Again it!
There is something wrong with him going on.
What did you hang up your noses?
Are you scared? Are you scared?
(Laughs hysterically.) Wine, wine!
Chorus of guests and players.
Herman, what's wrong with you?
HERMANN (with a glass in his hand).
What is our life?
Good and evil - one dream!
Labor, honesty - fairy tales for a woman.
Who is right, who is happy here, friends!
Today you, tomorrow me!
So stop fighting
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Cursing, cursing your fate!
What's right?
Death is one!
Like the shore of the sea of vanity,
She is a refuge for all of us.
Who is dearer to her from us, friends?
Today you, tomorrow me!
So stop fighting
Seize the moment of good luck!
Let the loser cry
Let the loser cry
Curse your fate!
Is it still going?
CHEKALINSKY.
No, get it! The devil himself is playing with you!
(Puts the loss on the table.)
And if so, what a disaster!
Anyone?
Is this all on the map? BUT?
ELETSKY (stepping forward). To me.
Chorus of guests and players.
Prince, what's wrong with you? Stop doing that!
It's not a game, it's crazy!
I know what I'm doing!
We have an account with him!
HERMANN (embarrassed). To you? Would you like?
To me. Dream, Chekalinsky!
(Chekalinsky Mosque.)
HERMANN (opening map). My ace!
ELETSKY. Not! Your lady is beaten!
HERMANN. What lady?
The one in your hands -
Queen of Spades!
A ghost appears. Countess. Everyone retreats from Herman.
HERMANN (horrified).
Old woman!..
You! Are you here!
What are you laughing at?
You drove me crazy!
Damned!
What... what do you need?
Life, my life?
Take her, take her!
Gets stabbed. The ghost disappears. Several people rush to the fallen Herman.
Chorus of guests and players.
Unhappy!
How horribly he committed suicide!
He is still alive!
Herman comes to his senses. Seeing Yeletsky, he tries to get up.
Prince! Prince, forgive me!
It hurts, it hurts, I'm dying!
What's this? Lisa?
Are you here! My God!
Why why?
You forgive! Yes?
Don't you curse? Yes?
Gorgeous! Goddess! Angel!
(Dies.)
Chorus of guests and players.
Lord! Forgive him!
And rest his rebellious
And a tormented soul.
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