St Petersburg, Mariinsky II

The Tsar's Bride

opera by Nikolai Rimsky-Korsakov

Performed in Russian (the performance will have synchronised Russian and English supertitles)



Gurgen Petrosian

Vassily Sobakin: Dmitry Grigoriev
Marfa: Angelina Akhmedova
Grigory Gryaznoy: Vladislav Kupriyanov
Malyuta Skuratov: Mikhail Kolelishvili
Ivan Lykov: Yevgeny Akhmedov
Lyubasha: Ekaterina Krapivina

World premiere: 22 October 1899, Mamontov’s Opera on the stage of the Solodovnikov Theatre, Moscow
Premiere at the Mariinsky Theatre: 30 October 1901
Premiere of this production: 21 June 2018

Running time 3 hours 10 minutes
The performance has one interval

Age category 12+


Music by Nikolai Rimsky-Korsakov
Libretto by Ilya Tyumenev based on a scenario by the composer after the drama by Lev Mey

Musical Director: Valery Gergiev
Stage Director: Alexander Kuzin
Set Designer: Alexander Orlov
Costume Designer: Irina Cherednikova
Lighting Designer: Alexander Sivaev
Choreographer: Nikolai Reutov
Musical Preparation: Irina Soboleva
Principal Chorus Master: Konstantin Rylov


Act I
The oprichnik Grigory Gryaznoi is expecting guests whom he has invited with the secret thought of gaining the trust of Ivan Lykov and being introduced to Bomely the German physician as soon as possible. Ivan Lykov is the groom of the beautiful Marfa Sobakina with whom Gryaznoi is in love.
The times when Gryaznoi enjoyed taking any girl by force who took his fancy. Now he is truly in love but Marfa’s father has declined him point-blank; his daughter is promised in marriage to Ivan Lykov who has recently returned from abroad. Gryaznoi doesn’t yet know what he will do but he is determined the marriage will not take place.
The oprichnik guests assemble, led by the mighty Malyuta Skuratov Lykov and Bomely. Singers entertain Gryaznoi’s guests with singing and dancing. When the guests depart Bomely alone remains behind at the host’s request. Gryaznoi asks him for a love-philtre. Lyubasha, Gryaznoi’s lover, overhears their conversation. After Bomely departs she tries to hold on to Gryaznoi and revive his love, but in vain.

Act II
An autumn morning. In fear, the people walking in the garden make way for the oprichniks who appear and they discuss the impending inspection of the Tsar’s bride, for which beautiful girls from all over Russia have been brought. Midday. Marfa and her friend Dunyasha Saburova and the drynurse Petrovna are returning home. They are met by several horsemen, one of whom is Ivan the Terrible. Marfa does not recognise the Tsar, though she is frightened by his fixed stare.
In secret, Lyubasha is spying on Marfa and Dunyasha. She is staggered by Marfa’s beauty and realises she cannot compete with her. Lyubasha asks Bomely for some poison to kill her rival. In exchange for the poison Bomely wants to spend the night with Lyubasha. Mad with grief and abandoned by her lover she agrees.

Sobakin is receiving guests at home – Lykov and Grigory Gryaznoi, who has asked insistently to be the groom’s best man. They wait for the girls who are due home at any moment with Dunyasha Saburova’s mother from the Tsar’s inspection of the brides.
Domna Saburova enters and hurriedly begins to relate how long the Tsar spoke with her Dunyasha and merely gave Marfa a quick glance. Believing that the Tsar has chosen someone else, Sobakin decides to celebrate his daughter’s engagement to Lykov. As best man, Grigory fills the prospective bride and groom’s glasses with wine and, unnoticed, slips the potion he received from Bomely into the glass intended for Marfa; he is unaware that Lyubasha has substituted the potion with another. In line with custom the glasses must be drained. But the bride doesn’t even manage to put down her empty glass before the boyars appear and declare that the Tsar has chosen Marfa Sobakina for his bride.

Act IV
Vasily Sobakin is deep in thought: his daughter was unexpectedly and strangely taken ill soon after she was announced as the Tsar’s bride. Gryaznoi appears. In the name of the Tsar he declares that under torture Lykov admitted poisoning Marfa and has been executed. On hearing this terrible news Marfa loses her senses. It seems to her that she is in the garden with her beloved. Turning to Gryaznoi, she calls the oprichnik Vanya, dreams of her marriage to him and remembers being chosen as the Tsar’s bride only as a terrible dream. Grigory cannot bear this heart-rending scene and publicly repents of the evil deed he has committed: it was he who gave Marfa the philtre and slandered his rival!
Lyubasha appears. Crying out, she admits that she replaced the love-philtre with poison. Gryaznoi stabs Lyubasha to death. He bids farewell to Marfa and is led away.

Alexander Kuzin about production:
‘We are staging not a domestic drama, but a Shakespearian tragedy. All of the main characters, both the villains and the victims, die. However, they do not always die in front of the audience. Death is a logical conclusion to a story where all the characters are obsessed with the need to possess. As a director, I want to find out why the characters behave as they do. Manic “needs and wants” drive the actions of the oprichnik Grigory Gryaznoi. Lyubasha wants to win back Gryaznoi’s love and wants it as passionately and as violently as the mythological Medea. Bomeliy, a smart predator, catches an unlucky prey. These human “wants” are dominated by the Tsar’s petty tyranny as he decides to marry for the third time. This violent game of passions results in a number of innocent victims, including those of young age, such as Ivan Lykov and Marfa, who greatly resembles Ophelia in her madness.
Rimsky-Korsakov’s music gives depth to Mey’s drama, so much so that any brazen attempt to modernize it would only cheapen it. On the other hand, petty historicism would make the story less realistic. You need space for such a tragedy to unfold. Together with the designer we have decided to create this space on stage. The artists have nowhere to hide, there are no domestic props provided, not even a needle or a cloth to hold in hands. We did not “litter” the production with unnecessary details. The soloists should be the focus of attention; they should be in the spotlight. It is a cohesive, transparent and straightforward production with graphic choreography. It is a story of how love can kill if it turns into violent passion.’

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