BORODIN Prince Igor

1951 Recording

Andrey Ivanov • Evgeniya SmolenskayaSergey Lemeshev • Alexander Pirogov • Mark Reizen

Bolshoy Theatre Chorus and OrchestraAlexander Melik-Pashayev

AL

EXANDER MELIK-PASHAYE

V

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Synopsis

CD 1

Prologue

2 The scene is the market-place of Putivl’. The peoplegather before their ruler, Igor Svyatoslavich, Prince ofSeversk. 3 He urges battle against the Polovtsians, 4but the people are anxious at an eclipse of the sun, a badomen. 5 Prince Igor insists on his campaign, 6 and hismen leave for battle against their traditional Tartarenemies.

Act I

Scene 1

7 At the court of Prince Vladimir Galitsky, brother ofPrince Igor’s wife, Yaroslavna, the people praise him,appointed now by his brother-in-law to guard thekingdom and the Princess, led by Skula and Yeroshka,who tell of Galitsky’s abduction of a girl for hispleasure. 8 Galitsky declares his own philosophy oflife, deploring his sister’s strait-laced attitude. 9 Hisfollowers approve, 0 but the gathering is interrupted bya group of girls deploring the abduction. Their pleas arein vain. ! Skula, who, with Yeroshka, has desertedfrom Prince Igor’s army, returns to drinking, @ andurges support for Galitsky as their prince. # Thecourtiers agree.

Scene 2

$ In her room Yaroslavna regrets her husband’sabsence, haunted by bad dreams. % Her nurseannounces the arrival of girls, who have come tocomplain of Galitsky’s behaviour. ^ They areinterrupted by Galitsky himself. He tries to put aside hissister’s strictures, but eventually agrees to release thegirl he has abducted. & He goes, and now a group ofBoyars enter. * They bring news of the defeat andcapture of Prince Igor and his son Vladimir. An alarmsounds. The Polovtsians are attacking Putivl’.

CD 2

Act II

1 In the Polovtsian camp girls sing a hymn to theevening, 2 and dance to entertain Konchakovna,daughter of Khan Konchak. 3 Konchakovna sings ofher planned meeting with Vladimir. She tells herwomen to give the Russian prisoners, returning fromtheir labours, water to drink. 4 Their Polovtsian guards,together with the baptized Polovtsian Ovlur, sing of theend of the day. Ovlur remains behind, as they pass on.5 Vladimir expresses his feelings twoardsKonchakovna. 6 She appears, and they sing together oftheir love. 7 They leave as Prince Igor enters,lamenting his captivity and separation from Yaroslavna.8 Ovlur steps forward, proposing a plan of escape.Prince Igor finds the suggestion dishonourable, but thenstarts to demur. 9 He is greeted by his captor, KhanKonchak, who offers him further hospitality, andsuggests even an alliance between them, rejected byPrince Igor. 0 He orders entertainment for his guest. !The first is a dance of Polovtsian slave girls, followedby @ a wild dance of the men and general dance, #singing in praise of the Khan $ and finally a boys’dance and men’s dance.

CD 3

Act IV

1 By the walls of Putivl’ Yaroslavna laments theabsence of her husband and his captivity. 2 A group ofpeasants go past, adding their own lament at the fate ofthe city. 3 Yaroslavna continues her sad thoughts, 4broken by the sight of two approaching horsemen, oneof them Prince Igor, whom she embraces in joy. 5 Theymake to leave, as Yeroshka and Skula, drinking andplotting, appear, afraid when they recognise Prince Igor.6 They save themselves by sounding the tocsin toproclaim the return of the Prince, 7 who is greeted bythe elders and Boyars.

Keith Anderson

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Smolenskaya (1919-1989). After making her début in1945 at Stalingrad she joined the Bolshoy in 1947,singing many dramatic soprano rôles with distinctionuntil her retirement in 1972. The other major femalerôle, Konchakovna, is taken by Vera Borisenko, bornin 1918. After gaining initial experience in the RedArmy Entertainment Corps and the Kiev Opera shejoined the Bolshoy in 1946 and stayed there for the restof her career. She took first prize in the 1947 PragueInternational Singing Competition, and this part was herfirst major success in Moscow. The tenor SergeyLemeshev (1902-1977), who sings Vladimir, Igor’sson, was one of the biggest Soviet music stars of theperiod. He studied initially at the St Petersburg MilitaryAcademy and later at the Moscow Conservatory, alsostudying acting with Stanislavsky. During the 1920s hesang in the provinces before joining the Bolshoy in1931, where he remained until 1961 as one of thehouse’s triumvirate of great tenors, the others beingNelepp and Koslovzky. An enormously popular figure,he recorded extensively and appeared in several films.

The title rôle of Prince Igor is taken by the baritone,Andrey Ivanov (1900-1970). Following study at theKiev Conservatory, he served as a member of the Kiev

Opera from 1934 to 1950, when he became a member ofthe Bolshoy company, retiring in 1956. (He is not to beconfused with Alexey Ivanov, 1904-1982, anotherBolshoy baritone of note with a similar repertoire.) Thetwo basses in this recording are jusitifiably legendary.Alexander Pirogov (1899-1964), who takes the part ofIgor’s rival Prince Galitsky, studied in Moscow andjoined the Bolshoy in 1924, where he was bothpreceded and succeeded by other brothers. A singer ofgreat character he recorded the title rôle in BorisGodunov with Golovanov conducting in 1948 andparticipated in the 1953 Bolshoy première andrecording of Shaporin’s The Decembrists, alsoconducted by Melik-Pashayev. Igor’s adversary KhanKonchak is sung by Mark Reizen (1895-1992). Asoldier in the First World War, he made his operaticdébut in 1921, before joining the Opera in Leningrad.He visited the West in 1930 when he recorded for EMIin London. He was a member of the Bolshoy companyfrom 1930 until his retirement in 1955, after which hecontinued to appear as a guest, singing on stage there onhis ninetieth birthday, and still exhibiting his formidablestage presence.

David Patmore

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Great Opera Recordings

Alexander

BORODIN(1834-1887)

Prince IgorOpera in Four Acts

completed by Nikolay Rimsky-Korsakov and Alexander GlazunovAct III is completely omitted from this recording in accordance with performance practice of the time

Igor Svyatoslavich, Prince of Seversk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrey IvanovYaroslavna, his wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evgeniya SmolenskayaVladimir Igorevich, Igor’s son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sergey LemeshevVladimir Yaroslavich, Prince Galitsky. Yaroslavna’s brother . . . . . . . . . . Alexander PirogovKonchak, Polovtsian Khan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark ReizenKonchakovna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vera BorisenkoOvlur, baptized Polovtsian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexey SerovSkula, buffoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ivan SkobtsovYeroshka, buffoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Feodor GodovkinYaroslavna’s nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena KorneuevaPolovtsian girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Antonina Ivanova

Chorus and orchestra of the Bolshoy Theatre, Moscow Alexander Melik-Pashayev, Conductor

Recorded in Moscow in 1951

Reissue Producer and Restoration Engineer: Ward Marston

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Alexander Borodin, the composer of Prince Igor, one ofthe greatest of all Russian operas, once said that for him‘music was a pastime, a relaxation from more seriousoccupations’. These ‘serious occupations’ were thedisciplines of science and medicine, with which heachieved international fame. Born illegitimately to anaristocratic father in St Petersburg in 1833, by the startof adolescence he could play the piano, flute and celloand speak several languages. Although highly adept atmusic, his passion was for experimental chemistry. In1850 he entered the Medico-Surgical Academy at St Petersburg. On graduation he spent a year as a housesurgeon in a military hospital, followed by three yearsof further study in western Europe. Here he met thebrilliant young pianist Ekaterina Protopova, whom hemarried in 1863, after succeeding to the professorship atthe Academy in 1862. He spent the rest of his lifelecturing and supervising student work, not only in St Petersburg, but throughout Europe.

Borodin was self-taught in composition, havingstarted as early as when he was nine, until he began totake lessons from Balakirev in 1862. Through Balakirevhe met the composers Cui, Mussorgsky and Rimsky-Korsakov, and together they became known as ‘TheFive’ or ‘The Mighty Handful’. As a group they wereopposed to academic approaches to music; by contrastthey viewed themselves as Russian patriots, standingfor spontaneity and ‘truth in music’. With his successfulmedical career, composition was little more than ahobby for Borodin. His opera Prince Igor, despiteoccupying him for eighteen years, remained unfinishedat his death in 1887. It was completed and orchestratedby Glazunov (who drafted the Overture based onrecollections of hearing Borodin play it on the piano)and Rimsky-Korsakov, and was first performed in St Petersburg on 4th November 1890.

Set in the twelfth century, Prince Igor is a vast

nationalist epic, and describes the clash of culturesbetween the Russians, symbolised by Prince Igor, andthe Tartar Polovtski tribe, led by Khan Konchak. Theplot is relatively straight-forward. Following theOverture, in the Prologue Prince Igor sets off to wagewar against the Polovtski. In Act One his wife,Yaroslavna, forces his brother and rival, PrinceGalitsky, to curb his supporters. Word comes that Igorand his son Vladimir have been defeated and captured.Act Two is set in the Polovtsian camp. Vladmir hasfallen in love with Konchak’s daughter, Konchakovna.Konchak offers to grant Igor his freedom if he ceaseshostilities. Igor refuses. In the Third Act (omitted in thisrecording as was the custom of the time) Igor escapes,but without his son. Konchak refuses to pursue Igor. Heretains Vladimir as a hostage and marries him toKonchakovna. Act Four brings the opera to a close: Igorreturns safely to Russia, is greeted with rejoicing, andvows to raise fresh troops with which to meet thePolovtski threat.

This historic recording was made in Moscowduring 1951 and features the legendary Bolshoy Opera,the pre-eminent opera company of the Soviet era, at itspeak. Leading the performance is the conductorAlexander Melik-Pashayev. He joined the Bolshoy in1931, after studying with Nikolai Tcherepnin andAlexander Gauk and leading the Tbilisi Opera. Hereplaced Nikolai Golovanov as the company’s chiefconductor in 1953, and did much to extend its repertoirewith both new works and operas from the westerncanon. As with his predecessors Samosud andGolovanov, his reign came to an unexpected end in1962, when he was summarily replaced by EvgenySvetlanov. He died two years later.

The leading rôles are taken by the cream of theBolshoy’s singers at this time. Yaroslavna, PrinceIgor’s wife, is sung by the soprano Evgeniya

Alexander Borodin (1834-1887)Prince Igor

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CD 1 75:41

1 Overture 11:01

Prologue2 Solntsu krasnomu slava! 3:53

[Glory to the beautiful sun!](Chorus)

3 Idyom na bran’s vragom Rusi 2:35[Let’s march into battle against the enemy of Rus](Igor, Chorus)

4 Chto eto znachit? 5:15[What does it mean?] (Galitsky)

5 Pust’ pridut knyagini i boyaryni 5:46[Let the princesses and boyars’ wives come] (Igor)

6 Pora idti nam v put’ 2:52[It is time to go] (Igor)

Act 1

Scene 17 Slava, slava Volodimiru 2:08

[Glory, glory to Vladimir] (Chorus)

8 Recitative and song of Galitsky: 4:02Nateshilsya li, knyaz’?[Had a good time, Prince?](Prince’s Courtiers, Galitsky)

9 Recitative: Knyazyu Galitskomu slava! 1:23[Long live Prince Galitsky!](Prince’s Courtiers)

0 Oy, likhon’ko! Oy, goryushko! 2:25[Oh, there’s trouble! And such misfortune, Prince!](Chorus of Maidens)

! Stoy, rebyata! 1:00[Wait, lads](Skula)

@ Chto u knyazya da Volodimira 2:57[At the palace of Prince Vladimir](Skula)

# Da, vot komu by knyazhit’ na Putivlye! 2:10[Yes, this is who should rule in Putivl!] (Chorus)

Scene 2$ Arioso: Ne malo vremeni proshlo 7:07

[Much time has passed](Yaroslavna)

% Tam devushki prishli k tebe, knyaginya 4:30[Some maidens have come to see you, Princess] (Yaroslavna and Chorus of Maidens)

^ Ay! Knyaz’! Batyushki! 7:31[Oh, heavens! The Prince!] (Yaroslavna, Galitsky)

& Dobro pozhalovat’, boyarye 7:13[Welcome, boyars](Yaroslavna)

* Zvon! Nabat! 1:51[Bells! The Alarm!](Boyars)

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7 Final Chorus: Znat’, Gospod’ mol’by uslyshal[It seems the Lord has heard our prayers] 2:47(Elders, Boyars)

Appendix: Selected arias from Prince Igor

Act 1

8 Recitative and song of Galitsky 3:39Sung by Feodor ChaliapinRCA Victor Symphony Orchestra conducted by Rosario BourdonRec. 16 March 1927 in Camden, NJMat. BE-27091-2; Victor 1237

9 Yaroslavna’s Arioso 4:48Sung by Nina KoshetzRCA Victor Symphony Orchestra conducted by Bruno ReiboldRec. 12 April 1928 in Camden, NJMat. CVE-43726-2; Victor 9233

Act 2

0 Konchakovna’s Aria 5:56Sung by Nadezhda OboukhovaBolshoy Theatre Orchestra conducted by Alexander Melik-PashayevRec. 1941 in the Soviet UnionMat. unknown; Melodiya D6157

! Vladimir’s Cavatina 7:26Sung in French by Charles FriantOrchestra conducted by Gustave CloezRec. 1928 in ParisMat. XXP 6640/1; Odeon 123543

@ Prince Igor’s Aria 7:13Sung by George BaklanoffBerlin State Opera Orchestra conducted by Frieder WeissmannRec. 1929 in BerllinMat. 2-79512/3; Parlophone E11014

# Konchak’s Aria 7:20Sung by Boris ChristoffPhilharmonia Orchestra conducted by Issay DobrowenRec. 5 May 1950 in LondonMat. 2EA 14633/4; HMV DB 21262

Thanks to Dennis Brew, Lawrence F. Holdridge,and Neal Kurz

8.111071-73 4

CD 2 58:18

Act 2

1 Na bezvod’ye, dnyom na solntse 5:36[Without water, midday in the Sun](Chorus of the Polovtsian Maidens)

2 Dance of the Polovtsian maidens 2:20

3 Cavatina: Merknet svet dnevnoy 5:44 [Daylight fades](Konchakovna)

4 Solntse za goroy ukhodit na pokoy 1:08 [Beyond the mountain the sun goes to rest](Polovtsian Guards)

5 Cavatina: Medlenno den ugasal 5:35[Slowly the day has faded](Vladimir)

6 Aria: Ty li, Vladimir moy, ty li? 5:22 [Is that you, my Vladimir, is that you?](Konchakovna, Vladimir)

7 Aria: Ni sna ne otdykha 6:58[No sleep, no rest](Igor)

8 Pozvol’ mne, knyazhe, slovo molvit’ 3:55 [Allow me, Prince, to say a word] Igor, Ovlur

9 Aria: Zdorov li, knyaz’? 7:13 [Are you in good health, Prince?]Konchak

0 Gey! Plennits privesti syuda! 3:09[Hey! Bring the captive girl here!] Konchak

! Polovtsian dance: Uletay na kryl’yakh vetra 2:26[Fly on the wings of wind]Female Captives

@ Wild dance of the men… General dance 1:11

# Poyte pesni slavy khanu! Poy! 2:06[Sing songs of praise to the Khan! Sing!](Polovtsians)

$ Boys’ dance... Men’s dance 5:35

CD 3 67:11

Act 4

1 Akh! Plachu ya, gor’ko plachu ya 9:14[Oh, I weep, I bitterly weep](Yaroslavna)

2 Okh, ne buyniy veter zavyval 3:37[Oh, it was not the violent wind](Chorus)

3 Kak unylo vsyo krugom: syola vyzhzheny, 2:35nizy zabroshenny [All around, what a cheerless sight: villages burnt, cornfields forsaken](Yaroslavna)

4 On, - moy sokol yasniy 4:26[It is he - my bright-eyed falcon!](Yaroslavna, Igor)

5 Ty gudi, da 4:24[Play, you, play!](Gudok players, Yeroshka, Skula)

6 Narod! Syuda! 3:45[People, come here!](Yeroshka)

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7 Final Chorus: Znat’, Gospod’ mol’by uslyshal[It seems the Lord has heard our prayers] 2:47(Elders, Boyars)

Appendix: Selected arias from Prince Igor

Act 1

8 Recitative and song of Galitsky 3:39Sung by Feodor ChaliapinRCA Victor Symphony Orchestra conducted by Rosario BourdonRec. 16 March 1927 in Camden, NJMat. BE-27091-2; Victor 1237

9 Yaroslavna’s Arioso 4:48Sung by Nina KoshetzRCA Victor Symphony Orchestra conducted by Bruno ReiboldRec. 12 April 1928 in Camden, NJMat. CVE-43726-2; Victor 9233

Act 2

0 Konchakovna’s Aria 5:56Sung by Nadezhda OboukhovaBolshoy Theatre Orchestra conducted by Alexander Melik-PashayevRec. 1941 in the Soviet UnionMat. unknown; Melodiya D6157

! Vladimir’s Cavatina 7:26Sung in French by Charles FriantOrchestra conducted by Gustave CloezRec. 1928 in ParisMat. XXP 6640/1; Odeon 123543

@ Prince Igor’s Aria 7:13Sung by George BaklanoffBerlin State Opera Orchestra conducted by Frieder WeissmannRec. 1929 in BerllinMat. 2-79512/3; Parlophone E11014

# Konchak’s Aria 7:20Sung by Boris ChristoffPhilharmonia Orchestra conducted by Issay DobrowenRec. 5 May 1950 in LondonMat. 2EA 14633/4; HMV DB 21262

Thanks to Dennis Brew, Lawrence F. Holdridge,and Neal Kurz

8.111071-73 4

CD 2 58:18

Act 2

1 Na bezvod’ye, dnyom na solntse 5:36[Without water, midday in the Sun](Chorus of the Polovtsian Maidens)

2 Dance of the Polovtsian maidens 2:20

3 Cavatina: Merknet svet dnevnoy 5:44 [Daylight fades](Konchakovna)

4 Solntse za goroy ukhodit na pokoy 1:08 [Beyond the mountain the sun goes to rest](Polovtsian Guards)

5 Cavatina: Medlenno den ugasal 5:35[Slowly the day has faded](Vladimir)

6 Aria: Ty li, Vladimir moy, ty li? 5:22 [Is that you, my Vladimir, is that you?](Konchakovna, Vladimir)

7 Aria: Ni sna ne otdykha 6:58[No sleep, no rest](Igor)

8 Pozvol’ mne, knyazhe, slovo molvit’ 3:55 [Allow me, Prince, to say a word] Igor, Ovlur

9 Aria: Zdorov li, knyaz’? 7:13 [Are you in good health, Prince?]Konchak

0 Gey! Plennits privesti syuda! 3:09[Hey! Bring the captive girl here!] Konchak

! Polovtsian dance: Uletay na kryl’yakh vetra 2:26[Fly on the wings of wind]Female Captives

@ Wild dance of the men… General dance 1:11

# Poyte pesni slavy khanu! Poy! 2:06[Sing songs of praise to the Khan! Sing!](Polovtsians)

$ Boys’ dance... Men’s dance 5:35

CD 3 67:11

Act 4

1 Akh! Plachu ya, gor’ko plachu ya 9:14[Oh, I weep, I bitterly weep](Yaroslavna)

2 Okh, ne buyniy veter zavyval 3:37[Oh, it was not the violent wind](Chorus)

3 Kak unylo vsyo krugom: syola vyzhzheny, 2:35nizy zabroshenny [All around, what a cheerless sight: villages burnt, cornfields forsaken](Yaroslavna)

4 On, - moy sokol yasniy 4:26[It is he - my bright-eyed falcon!](Yaroslavna, Igor)

5 Ty gudi, da 4:24[Play, you, play!](Gudok players, Yeroshka, Skula)

6 Narod! Syuda! 3:45[People, come here!](Yeroshka)

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Alexander Borodin, the composer of Prince Igor, one ofthe greatest of all Russian operas, once said that for him‘music was a pastime, a relaxation from more seriousoccupations’. These ‘serious occupations’ were thedisciplines of science and medicine, with which heachieved international fame. Born illegitimately to anaristocratic father in St Petersburg in 1833, by the startof adolescence he could play the piano, flute and celloand speak several languages. Although highly adept atmusic, his passion was for experimental chemistry. In1850 he entered the Medico-Surgical Academy at St Petersburg. On graduation he spent a year as a housesurgeon in a military hospital, followed by three yearsof further study in western Europe. Here he met thebrilliant young pianist Ekaterina Protopova, whom hemarried in 1863, after succeeding to the professorship atthe Academy in 1862. He spent the rest of his lifelecturing and supervising student work, not only in St Petersburg, but throughout Europe.

Borodin was self-taught in composition, havingstarted as early as when he was nine, until he began totake lessons from Balakirev in 1862. Through Balakirevhe met the composers Cui, Mussorgsky and Rimsky-Korsakov, and together they became known as ‘TheFive’ or ‘The Mighty Handful’. As a group they wereopposed to academic approaches to music; by contrastthey viewed themselves as Russian patriots, standingfor spontaneity and ‘truth in music’. With his successfulmedical career, composition was little more than ahobby for Borodin. His opera Prince Igor, despiteoccupying him for eighteen years, remained unfinishedat his death in 1887. It was completed and orchestratedby Glazunov (who drafted the Overture based onrecollections of hearing Borodin play it on the piano)and Rimsky-Korsakov, and was first performed in St Petersburg on 4th November 1890.

Set in the twelfth century, Prince Igor is a vast

nationalist epic, and describes the clash of culturesbetween the Russians, symbolised by Prince Igor, andthe Tartar Polovtski tribe, led by Khan Konchak. Theplot is relatively straight-forward. Following theOverture, in the Prologue Prince Igor sets off to wagewar against the Polovtski. In Act One his wife,Yaroslavna, forces his brother and rival, PrinceGalitsky, to curb his supporters. Word comes that Igorand his son Vladimir have been defeated and captured.Act Two is set in the Polovtsian camp. Vladmir hasfallen in love with Konchak’s daughter, Konchakovna.Konchak offers to grant Igor his freedom if he ceaseshostilities. Igor refuses. In the Third Act (omitted in thisrecording as was the custom of the time) Igor escapes,but without his son. Konchak refuses to pursue Igor. Heretains Vladimir as a hostage and marries him toKonchakovna. Act Four brings the opera to a close: Igorreturns safely to Russia, is greeted with rejoicing, andvows to raise fresh troops with which to meet thePolovtski threat.

This historic recording was made in Moscowduring 1951 and features the legendary Bolshoy Opera,the pre-eminent opera company of the Soviet era, at itspeak. Leading the performance is the conductorAlexander Melik-Pashayev. He joined the Bolshoy in1931, after studying with Nikolai Tcherepnin andAlexander Gauk and leading the Tbilisi Opera. Hereplaced Nikolai Golovanov as the company’s chiefconductor in 1953, and did much to extend its repertoirewith both new works and operas from the westerncanon. As with his predecessors Samosud andGolovanov, his reign came to an unexpected end in1962, when he was summarily replaced by EvgenySvetlanov. He died two years later.

The leading rôles are taken by the cream of theBolshoy’s singers at this time. Yaroslavna, PrinceIgor’s wife, is sung by the soprano Evgeniya

Alexander Borodin (1834-1887)Prince Igor

8.111071-733

CD 1 75:41

1 Overture 11:01

Prologue2 Solntsu krasnomu slava! 3:53

[Glory to the beautiful sun!](Chorus)

3 Idyom na bran’s vragom Rusi 2:35[Let’s march into battle against the enemy of Rus](Igor, Chorus)

4 Chto eto znachit? 5:15[What does it mean?] (Galitsky)

5 Pust’ pridut knyagini i boyaryni 5:46[Let the princesses and boyars’ wives come] (Igor)

6 Pora idti nam v put’ 2:52[It is time to go] (Igor)

Act 1

Scene 17 Slava, slava Volodimiru 2:08

[Glory, glory to Vladimir] (Chorus)

8 Recitative and song of Galitsky: 4:02Nateshilsya li, knyaz’?[Had a good time, Prince?](Prince’s Courtiers, Galitsky)

9 Recitative: Knyazyu Galitskomu slava! 1:23[Long live Prince Galitsky!](Prince’s Courtiers)

0 Oy, likhon’ko! Oy, goryushko! 2:25[Oh, there’s trouble! And such misfortune, Prince!](Chorus of Maidens)

! Stoy, rebyata! 1:00[Wait, lads](Skula)

@ Chto u knyazya da Volodimira 2:57[At the palace of Prince Vladimir](Skula)

# Da, vot komu by knyazhit’ na Putivlye! 2:10[Yes, this is who should rule in Putivl!] (Chorus)

Scene 2$ Arioso: Ne malo vremeni proshlo 7:07

[Much time has passed](Yaroslavna)

% Tam devushki prishli k tebe, knyaginya 4:30[Some maidens have come to see you, Princess] (Yaroslavna and Chorus of Maidens)

^ Ay! Knyaz’! Batyushki! 7:31[Oh, heavens! The Prince!] (Yaroslavna, Galitsky)

& Dobro pozhalovat’, boyarye 7:13[Welcome, boyars](Yaroslavna)

* Zvon! Nabat! 1:51[Bells! The Alarm!](Boyars)

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Smolenskaya (1919-1989). After making her début in1945 at Stalingrad she joined the Bolshoy in 1947,singing many dramatic soprano rôles with distinctionuntil her retirement in 1972. The other major femalerôle, Konchakovna, is taken by Vera Borisenko, bornin 1918. After gaining initial experience in the RedArmy Entertainment Corps and the Kiev Opera shejoined the Bolshoy in 1946 and stayed there for the restof her career. She took first prize in the 1947 PragueInternational Singing Competition, and this part was herfirst major success in Moscow. The tenor SergeyLemeshev (1902-1977), who sings Vladimir, Igor’sson, was one of the biggest Soviet music stars of theperiod. He studied initially at the St Petersburg MilitaryAcademy and later at the Moscow Conservatory, alsostudying acting with Stanislavsky. During the 1920s hesang in the provinces before joining the Bolshoy in1931, where he remained until 1961 as one of thehouse’s triumvirate of great tenors, the others beingNelepp and Koslovzky. An enormously popular figure,he recorded extensively and appeared in several films.

The title rôle of Prince Igor is taken by the baritone,Andrey Ivanov (1900-1970). Following study at theKiev Conservatory, he served as a member of the Kiev

Opera from 1934 to 1950, when he became a member ofthe Bolshoy company, retiring in 1956. (He is not to beconfused with Alexey Ivanov, 1904-1982, anotherBolshoy baritone of note with a similar repertoire.) Thetwo basses in this recording are jusitifiably legendary.Alexander Pirogov (1899-1964), who takes the part ofIgor’s rival Prince Galitsky, studied in Moscow andjoined the Bolshoy in 1924, where he was bothpreceded and succeeded by other brothers. A singer ofgreat character he recorded the title rôle in BorisGodunov with Golovanov conducting in 1948 andparticipated in the 1953 Bolshoy première andrecording of Shaporin’s The Decembrists, alsoconducted by Melik-Pashayev. Igor’s adversary KhanKonchak is sung by Mark Reizen (1895-1992). Asoldier in the First World War, he made his operaticdébut in 1921, before joining the Opera in Leningrad.He visited the West in 1930 when he recorded for EMIin London. He was a member of the Bolshoy companyfrom 1930 until his retirement in 1955, after which hecontinued to appear as a guest, singing on stage there onhis ninetieth birthday, and still exhibiting his formidablestage presence.

David Patmore

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Great Opera Recordings

Alexander

BORODIN(1834-1887)

Prince IgorOpera in Four Acts

completed by Nikolay Rimsky-Korsakov and Alexander GlazunovAct III is completely omitted from this recording in accordance with performance practice of the time

Igor Svyatoslavich, Prince of Seversk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrey IvanovYaroslavna, his wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evgeniya SmolenskayaVladimir Igorevich, Igor’s son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sergey LemeshevVladimir Yaroslavich, Prince Galitsky. Yaroslavna’s brother . . . . . . . . . . Alexander PirogovKonchak, Polovtsian Khan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark ReizenKonchakovna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vera BorisenkoOvlur, baptized Polovtsian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexey SerovSkula, buffoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ivan SkobtsovYeroshka, buffoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Feodor GodovkinYaroslavna’s nurse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena KorneuevaPolovtsian girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Antonina Ivanova

Chorus and orchestra of the Bolshoy Theatre, Moscow Alexander Melik-Pashayev, Conductor

Recorded in Moscow in 1951

Reissue Producer and Restoration Engineer: Ward Marston

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BORODIN Prince Igor

1951 Recording

Andrey Ivanov • Evgeniya SmolenskayaSergey Lemeshev • Alexander Pirogov • Mark Reizen

Bolshoy Theatre Chorus and OrchestraAlexander Melik-Pashayev

AL

EXANDER MELIK-PASHAYE

V

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Synopsis

CD 1

Prologue

2 The scene is the market-place of Putivl’. The peoplegather before their ruler, Igor Svyatoslavich, Prince ofSeversk. 3 He urges battle against the Polovtsians, 4but the people are anxious at an eclipse of the sun, a badomen. 5 Prince Igor insists on his campaign, 6 and hismen leave for battle against their traditional Tartarenemies.

Act I

Scene 1

7 At the court of Prince Vladimir Galitsky, brother ofPrince Igor’s wife, Yaroslavna, the people praise him,appointed now by his brother-in-law to guard thekingdom and the Princess, led by Skula and Yeroshka,who tell of Galitsky’s abduction of a girl for hispleasure. 8 Galitsky declares his own philosophy oflife, deploring his sister’s strait-laced attitude. 9 Hisfollowers approve, 0 but the gathering is interrupted bya group of girls deploring the abduction. Their pleas arein vain. ! Skula, who, with Yeroshka, has desertedfrom Prince Igor’s army, returns to drinking, @ andurges support for Galitsky as their prince. # Thecourtiers agree.

Scene 2

$ In her room Yaroslavna regrets her husband’sabsence, haunted by bad dreams. % Her nurseannounces the arrival of girls, who have come tocomplain of Galitsky’s behaviour. ^ They areinterrupted by Galitsky himself. He tries to put aside hissister’s strictures, but eventually agrees to release thegirl he has abducted. & He goes, and now a group ofBoyars enter. * They bring news of the defeat andcapture of Prince Igor and his son Vladimir. An alarmsounds. The Polovtsians are attacking Putivl’.

CD 2

Act II

1 In the Polovtsian camp girls sing a hymn to theevening, 2 and dance to entertain Konchakovna,daughter of Khan Konchak. 3 Konchakovna sings ofher planned meeting with Vladimir. She tells herwomen to give the Russian prisoners, returning fromtheir labours, water to drink. 4 Their Polovtsian guards,together with the baptized Polovtsian Ovlur, sing of theend of the day. Ovlur remains behind, as they pass on.5 Vladimir expresses his feelings twoardsKonchakovna. 6 She appears, and they sing together oftheir love. 7 They leave as Prince Igor enters,lamenting his captivity and separation from Yaroslavna.8 Ovlur steps forward, proposing a plan of escape.Prince Igor finds the suggestion dishonourable, but thenstarts to demur. 9 He is greeted by his captor, KhanKonchak, who offers him further hospitality, andsuggests even an alliance between them, rejected byPrince Igor. 0 He orders entertainment for his guest. !The first is a dance of Polovtsian slave girls, followedby @ a wild dance of the men and general dance, #singing in praise of the Khan $ and finally a boys’dance and men’s dance.

CD 3

Act IV

1 By the walls of Putivl’ Yaroslavna laments theabsence of her husband and his captivity. 2 A group ofpeasants go past, adding their own lament at the fate ofthe city. 3 Yaroslavna continues her sad thoughts, 4broken by the sight of two approaching horsemen, oneof them Prince Igor, whom she embraces in joy. 5 Theymake to leave, as Yeroshka and Skula, drinking andplotting, appear, afraid when they recognise Prince Igor.6 They save themselves by sounding the tocsin toproclaim the return of the Prince, 7 who is greeted bythe elders and Boyars.

Keith Anderson

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