Boston Symphony Hall 25 January 2024 - Andris Nelsons conducts Shostakovich's Lady Macbeth of Mtsensk (in concert) | GoComGo.com

Andris Nelsons conducts Shostakovich's Lady Macbeth of Mtsensk (in concert)

Boston Symphony Hall, Boston, USA
All photos (9)
Thursday 25 January 2024
7 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Boston, USA
Starts at: 19:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview
History
Premiere of this production: 22 January 1934, Leningrad Maly Operny

Lady Macbeth of the Mtsensk District is an opera in four acts and nine scenes by Dmitri Shostakovich. The libretto, jointly written by Alexander Preys and the composer, is based on the novella of the same name by Nikolai Leskov. (The opera is generally translated in English as Lady Macbeth of Mtsensk.) Dedicated by Shostakovich to his first wife, physicist Nina Varzar, the roughly 160-minute opera was first performed on 22 January 1934 at the Leningrad Maly Operny, and on 24 January 1934 in Moscow. It incorporates elements of expressionism and verismo, telling the story of a lonely woman in 19th-century Russia who falls in love with one of her husband's workers and is driven to murder.

Synopsis

Although the opera shares the basic characters and outline of the play, it has a number of differences from the original story in terms of plot and emphasis. One example is in the convoy after Katerina gives Sergei her stockings: in the opera, all the women mock Katerina, whereas in the story, Sergei and Sonya mock her while Fiona and Gordyushka shame them in response to their cruelty toward her.

Act 1
Scene 1: Katerina's room

Katerina is unhappily married to Zinovy, a provincial flour-merchant. She complains to herself of her loneliness. Her father-in-law Boris, angered at her attitude in response to his saying that mushrooms are his favourite dish, says it is her fault for not producing an heir. She replies that Zinovy cannot give her a child – which Boris disdains; he then threatens her if she decides to seduce some youthful lover. Zinovy is called away on business, and Boris – against his son's inclinations – makes Katerina swear before an icon to be faithful. A servant, Aksinya, tells Katerina about the womanising new clerk, Sergei.

Scene 2: The Izmailovs' yard

Sergei and his comrades are sexually harassing Aksinya. Katerina intervenes. She berates him for his machismo and asserts that women are as brave and capable as men. Sergei is willing to prove her wrong and they wrestle; she is thrown down and Sergei falls on top of her. Boris appears. She says that she tripped and Sergei in trying to help her, fell down also. The other peasants back her up. Boris however is suspicious and roars at the peasants, telling them to get back to work before ordering Katerina to fry some mushrooms for him and threatening to tell Zinovy all about her behaviour.

Scene 3: Katerina's room

Katerina prepares to go to bed. Sergei knocks on her door with the excuse that he wants to borrow a book because he cannot sleep, but Katerina has none; she cannot read. As she is about to close the door he continues attempting to seduce her by remembering their wrestling match earlier that day. He gets into the room and forces himself on her. After this is done, she tells him to leave, but he refuses and she agrees to embark on an affair with him. Boris knocks on the door and confirms that Katerina is in bed and locks her in. Sergei is trapped in the room, and the two make love.

Act 2
Scene 4: The yard

One night a week later. Boris, unable to sleep due to unease about thieves being on the prowl, is walking in the courtyard in the pre-dawn darkness. He, remembering his own youthful days as a rake and knowing Zinovy's low libido, is considering seducing Katerina himself to fulfill his son's marital duties. He spots Sergei climbing out of Katerina's window. He catches him and publicly whips him as a burglar, then has him locked up. Katerina witnesses this but cannot stop him because she remains locked in her room. When finally she manages to climb down the eavestrough-drainpipe the other servants restrain her on Boris' order. After being exhausted by beating Sergei, Boris demands some dinner, saying that he will whip Sergei again the next day and dispatches a servant to call Zinovy back, saying that Zinovy is to be told that there's trouble at home. Katerina adds rat-poison to some mushrooms and gives them to him. As he is dying, calling for a priest, she retrieves the keys to free Sergei. The priest, called by the arriving morning shift of workers who find Boris in agony, arrives: Boris vainly tries to tell him that he was poisoned and falls back dead pointing at Katerina. Katerina, weeping crocodile tears, convinces him that Boris has accidentally eaten poisonous mushrooms and he says a prayer over Boris' body.

Scene 5: Katerina's room

Katerina and Sergei are together. Sergei querulously says that their affair will have to end due to Zinovy's impending return and wishes he and Katerina could marry – Katerina assures him that they'll marry but refuses to tell him how she'll arrange it. Sergei then falls asleep; Katerina is then tormented by Boris' ghost and cannot sleep. Later she hears Zinovy returning. He has been called back by one of the servants with the news of his father's death. Although Sergei hides, Zinovy sees Sergei's trousers and belt and guesses the truth. As he and Katerina quarrel, he whips her with the belt. Hearing Katerina's cries, Sergei emerges and confronts Zinovy, who then tries to escape and call the servants. Katerina stops Zinovy: she and Sergei then proceed to strangle Zinovy, who's finally finished off by Sergei with a blow on the head with a heavy candlestick. The lovers hide the corpse in the wine-cellar.

Act 3
Scene 6: Near the cellar

Following Zinovy's disappearance he has been presumed dead. Katerina and Sergei prepare to get married, but she is tormented by the fact that Zinovy's corpse is hidden in the wine cellar. Sergei reassures her and they leave for the wedding ceremony. A drunken peasant breaks into the cellar, finds Zinovy's body and goes to fetch the police.

Scene 7: The police station

The police are complaining about not being invited to the wedding and vainly try to distract themselves by tormenting a "nihilist" schoolteacher because of atheism when the peasant arrives and gives them the opportunity for revenge.

Scene 8: The Izmailov garden

Everyone is drunk at the wedding. Katerina sees that the cellar door is open, but the police arrive as she and Sergei are trying to escape.

Act 4
Scene 9. A temporary convict camp near a bridge

On the way to penal labour to Siberia, Katerina bribes a guard to allow her to meet Sergei. He blames her for everything. After she leaves, Sergei tries to seduce another convict, Sonyetka. She demands a pair of stockings as her price. Sergei tricks Katerina into giving him hers, whereupon he gives them to Sonyetka. Sonyetka and the other convicts taunt Katerina, who pushes Sonyetka into an icy river – also, herself, falling in. They are swept away and the convict train moves on.

Venue Info

Boston Symphony Hall - Boston
Location   301 Massachusetts Avenue

Symphony Hall is a concert hall located at 301 Massachusetts Avenue in Boston, Massachusetts, opened in 1900. Designed by the architectural firm McKim, Mead and White, it was built for the Boston Symphony Orchestra, which continues to make the hall its home. It can accommodate an audience of 2,625.

The hall was designated a U.S. National Historic Landmark in 1999 and is a pending Boston Landmark. It was then noted that "Symphony Hall remains, acoustically, among the top three concert halls in the world (sharing this distinction with the Amsterdam Concertgebouw and Vienna's Musikvereinsaal), and is considered the finest in the United States." Symphony Hall, located one block from Berklee College of Music to the north and one block from the New England Conservatory to the south, also serves as home to the Boston Pops Orchestra as well as the site of many concerts of the Handel and Haydn Society.

On June 12, 1899, ground was broken and construction began on Symphony Hall after the Orchestra's original home (the Old Boston Music Hall) was threatened by road-building and subway construction. The building was completed 17 months later at a cost of $771,000. The hall was inaugurated on October 15, 1900, Architects McKim, Mead and White engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard University, as their acoustical consultant, and Symphony Hall became one of the first auditoria designed in accordance with scientifically derived acoustical principles. Admired for its lively acoustics from the time of its opening, the hall is often cited as one of the best sounding classical concert venues in the world.

The hall is modeled on the second Gewandhaus concert hall in Leipzig, which was later destroyed in World War II. The Hall is relatively long, narrow, and high, in a rectangular "shoebox" shape like Amsterdam's Concertgebouw and Vienna's Musikverein. It is 18.6 metres (61 ft) high, 22.9 metres (75 ft) wide, and 38.1 metres (125 ft) long from the lower back wall to the front of the stage. Stage walls slope inward to help focus the sound. With the exception of its wooden floors, the Hall is built of brick, steel, and plaster, with modest decoration. Side balconies are very shallow to avoid trapping or muffling sound, and the coffered ceiling and statue-filled niches along three sides help provide excellent acoustics to essentially every seat. Conductor Herbert von Karajan, in comparing it to the Musikverein, stated that "for much music, it is even better... because of its slightly lower reverberation time."

In 2006, due to years of wear and tear, the original concert stage floor was replaced at a cost of $250,000. In order to avoid any change to the sound of the hall, the new floor was built using same methods and materials as the original. These included tongue-in-groove, three-quarter inch, hard maple boards, a compressed wool underlayment and hardened steel cut nails, hammered in by hand. The vertical grain fir subfloor from 1899 was in excellent shape and was left in place. The nails used in the new floor were hand cut using the same size and construction as the originals and the back channeling on the original maple top boards was replicated as well.

Beethoven's name is inscribed over the stage, the only musician's name that appears in the hall since the original directors could agree on no other name but his. The hall's leather seats are the originals installed in 1900. The hall seats 2,625 people during Symphony season and 2,371 during the Pops season, including 800 seats at tables on the main floor.

Important Info
Type: Opera
City: Boston, USA
Starts at: 19:00
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