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Rimsky-Korsakov and His World最新文献

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The Professor and the Sea Princess: Letters of Nikolai Rimsky-Korsakov and Nadezhda Zabela-Vrubel 教授和海公主:尼古拉·里姆斯基-科萨科夫和娜杰日达·扎贝拉-弗鲁贝尔的书信
Pub Date : 2018-09-11 DOI: 10.1515/9780691185514-003
This introductory chapter examines the rich correspondence between Nikolai Rimsky-Korsakov and the soprano Nadezhda Zabela-Vrubel, who was his muse between 1898 and 1904. This particular correspondence stands apart from the rest because of the strong currents of emotion running just below the surface. It was selected for this volume for two purposes: it has much to tell about how Rimsky-Korsakov dealt with the performers and theater management involved in productions of his operas, but it also gives a unique insight into the composer's inner world which he kept hidden under the surface of his respectable professorial existence. Indeed, the correspondence between Rimsky-Korsakov and Zabela-Vrubel should do much to humanize Rimsky-Korsakov, softening his image.
这一导论章考察了尼古拉·里姆斯基-科萨科夫与女高音娜杰日达·扎贝拉-弗鲁贝尔之间的丰富通信,后者是他在1898年至1904年之间的缪斯。这种特殊的通信与其他通信不同,因为强烈的情感流就在表面下运行。它被选为这本书有两个目的:它有很多关于里姆斯基-科萨科夫如何处理涉及他的歌剧制作的表演者和剧院管理,但它也提供了一个独特的洞察作曲家的内心世界,他隐藏在他受人尊敬的教授生活的表面之下。的确,里姆斯基-科萨科夫和扎贝拉-弗鲁贝尔之间的通信应该对里姆斯基-科萨科夫的人性化有很大的帮助,软化了他的形象。
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引用次数: 0
The Golden Cockerel, Censored and Uncensored 金公鸡,审查和未经审查
Pub Date : 2018-09-11 DOI: 10.23943/PRINCETON/9780691182711.003.0005
S. Morrison
This chapter addresses two contrasting aspects of The Golden Cockerel: its political provocativeness, which leads to a censorship saga, but also the attraction of the music and the mystery of the story. Using the aesthetic notion of enchantment, it also places the opera in the context of Symbolist and “decadent” currents in the culture of the time and shows how these were still relevant in the 2012 production by the choreographer Alexei Ratmansky. Three spheres emerge in the opera as in the ballet versions of The Golden Cockerel: the human, represented by Dodon and his court; the fantastic, where the Astrologer dwells; and the erotic exotic, home to the Astrologer's forever beloved Queen. Ultimately, the opera inverts Russian convention: the real Russian characters lose; the fake ones, the non-Russian characters from who knows where, win.
本章探讨了《金公鸡》的两个截然不同的方面:其一是政治上的挑衅性,这导致了审查制度的传奇;其二是音乐的吸引力和故事的神秘性。利用迷人的美学概念,它还将歌剧置于当时文化中的象征主义和“颓废”潮流的背景下,并展示了这些在编舞阿列克谢·拉特曼斯基2012年的作品中仍然存在的相关性。如同芭蕾版的《金公鸡》一样,歌剧中出现了三个领域:人类,以多顿和他的宫廷为代表;梦幻的,占星家住的地方;以及情色的异国情调,是占星家永远心爱的女王的家。最终,这部歌剧颠覆了俄罗斯的传统:真正的俄罗斯人物输了;那些假的,不知道来自哪里的非俄罗斯字符,赢了。
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引用次数: 1
Staging Defeat: The Golden Cockerel and the Russo-Japanese War 上演失败:金公鸡和日俄战争
Pub Date : 2018-09-11 DOI: 10.23943/princeton/9780691182711.003.0006
M. Frolova-Walker
This chapter examines The Golden Cockerel as a pointed political satire, prompted and shaped by the concrete events of the Russo-Japanese War of 1904–1905. Indeed, Rimsky-Korsakov and his librettist saturated the libretto with direct and recognizable references to the recent war, turning the opera into a kind of topical political theater. Here, Rimsky-Korsakov appears as politically radical, and returns to the idioms of the Russian Style—not in a spirit of nostalgia, but with the aim of inventing and mocking his previous values, and also mocking the Russian state, whose hubris had led to a humiliating defeat. Ultimately, the Cockerel became a distorting mirror in which the previous seventy years of Russian opera and its nationalist preoccupations found an unflattering reflection.
这一章将《金公鸡》看作是一部尖锐的政治讽刺作品,受到1904-1905年日俄战争的具体事件的启发和塑造。的确,里姆斯基-科萨科夫和他的剧本作者在剧本中加入了对最近战争的直接和可识别的参考,把这部歌剧变成了一种时事政治戏剧。在这里,里姆斯基-科萨科夫在政治上显得激进,并回归到俄罗斯风格的习惯——不是出于怀旧的精神,而是为了发明和嘲笑他以前的价值观,也嘲笑俄罗斯政府,它的傲慢导致了耻辱的失败。最终,小公鸡变成了一面扭曲的镜子,反映了过去70年的俄罗斯歌剧及其民族主义倾向。
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引用次数: 0
How Stravinsky Stopped Being a Rimsky-Korsakov Pupil 斯特拉文斯基如何不再是里姆斯基-科萨科夫的学生
Pub Date : 2018-09-11 DOI: 10.23943/PRINCETON/9780691182711.003.0008
Yaroslav Timofeev
This chapter focuses on a dramatic moment in the life of Igor Stravinsky when he was forced to choose between loyalty to the memory of his beloved teacher Nikolai Rimsky-Korsakov on the one hand, and his new loyalty, both commercial and artistic, to Sergei Diaghilev on the other hand—a choice, in effect, between St. Petersburg and Paris. After Rimsky-Korsakov's death, Stravinsky's opinions on his teacher were rather odd. His comments were contradictory, his evaluations widely diverging, doubtless stemming from the fact that it was not always clear whether he was writing under the influence of Rimsky-Korsakov or in reaction to him. Stravinsky's active departure from his teacher's ways required no more than five years, and the end of this period was marked by a decisive full stop: Rimsky-Korsakov's completion of Modest Musorgsky's unfinished Khovanshchina was pushed aside when Stravinsky, together with Diaghilev and Maurice Ravel, issued a new version designed to correct all of Rimsky-Korsakov's “errors.”
本章聚焦于伊戈尔·斯特拉文斯基生命中的一个戏剧性时刻,他被迫在忠于对他敬爱的老师尼古拉·里姆斯基-科萨科夫的记忆和忠于商业和艺术上的谢尔盖·迪亚基列夫之间做出选择——实际上是在圣彼得堡和巴黎之间做出选择。里姆斯基-科萨科夫死后,斯特拉文斯基对他的老师的看法相当奇怪。他的评论是相互矛盾的,他的评价大相径庭,毫无疑问,这是因为他的写作是受里姆斯基-科萨科夫的影响还是对他的反应并不总是很清楚。斯特拉文斯基积极脱离老师的方式只用了不到五年的时间,这段时间的结束标志着一个决定性的句号:里姆斯基-柯萨科夫完成了莫德斯特·穆索尔斯基未完成的《霍万什奇纳》,当斯特拉文斯基与佳吉列夫和莫里斯·拉威尔一起发行了一个旨在纠正里姆斯基-柯萨科夫所有“错误”的新版本时,他被搁置在一边。
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引用次数: 0
Permissions and Credits 权限和信用
Pub Date : 1999-01-31 DOI: 10.1515/9781400864782.xi
C. E. Schorske
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引用次数: 0
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Rimsky-Korsakov and His World
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