Word: korsakov
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Dates: during 1970-1979
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Born in 1872 into the minor aristocracy of tsarist Russia, Diaghilev hungered for artistic recognition. He studied composition with Rimsky-Korsakov, but he had no musical talent. Soon, after, he joined the art circle of Alexandre Benois and Leon Bakst. Here, too, his gift was for organization and promotion. With Diaghilev as editor, the group published the World of Art, an influential journal that celebrated Baudelaire, Balzac and the pre-Raphaelites...
Along with City Opera's problems, however, Sills will inherit a healthy, adventurous tradition. Under Rudel, the company staged early operas like Monteverdi's The Coronation of Poppea and such rarities as Janacek's The Mahropou-los Affair and Rimsky-Korsakov's Le Coq d 'Or. It has nurtured young singers, mostly American?including, on their way up. Sills, Sherrill Milnes, Donald Gramm and Placido Domingo. "Rudel did interesting operas and developed interesting singers," says Anthony Bliss, executive director of the Met. "It is no mean achievement...
Mussorgsky: Boris Godunov (Bass Martti Talvela, Tenor Nicolai Gedda, Polish Radio National Symphony Orchestra, Jerzy Semkow conductor, Angel; 4 LPs). At long last, here is the Boris Godunov that Mussorgsky actually wrote. For too many years the work was heard in the brilliant, often gaudy revision of Rimsky-Korsakov, who in the guise of correcting a friend's mistakes dispelled much of Mussorgsky's haunting, earthy musical originality. This new recording measures up to both the music and the debt owed Mussorgsky. Martti Talvela is rich of voice (less a black bass than a walnut) and unforgettable...
...orchestra, to augment the double basses in a composition that he thought needed an extra heavy bass. Experiments in the association of color and sound that were done early in the century caught Stokowski's fascination. He once used a color machine during a performance of Rimsky-Korsakov's Scheherazade, to heighten the effect of the music. While most people were condemning the tinkly music piped into the cinemas of the early sound films, Stokowski busied himself figuring out a way to improve the soundtracks. Symphonic music was to be the answer. Because people flocked like locusts to see films...
Glinka (1804-57) was the father of Russian nationalistic music. To listen to Russlan, composed in 1842, is to hear much that followed in the work of Tchaikovsky, Borodin, Mussorgsky, Rimsky-Korsakov, the young Stravinsky, even the Prokofiev of Love for Three Oranges. Russlan is a delicious fairy tale scored with lightness and quick invention. The orchestration confirms accounts of Glinka's thorough knowledge of Mozart and Rossini. His inclusion of Russian folk music, Turkish airs, even the whole-tone scale from the Orient (more than half a century before Debussy) suggests that he was exceptionally curious and open...