Lady Macbeth of Mtsensk

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia

Scene 6 from the opera "Lady Macbeth of Mtsensk", photo 2

Scene 1 from the opera "Lady Macbeth of Mtsensk", photo 6

Scene 2 from the opera "Lady Macbeth of Mtsensk", photo 7

Scene 3 from the opera "Lady Macbeth of Mtsensk", photo 8

Scene 4 from the opera "Lady Macbeth of Mtsensk", photo 9

Scene 5 from the opera "Lady Macbeth of Mtsensk", photo 10

Scene 7 from the opera "Lady Macbeth of Mtsensk", photo 11

Scene 8 from the opera "Lady Macbeth of Mtsensk", photo 12

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7 PM

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Important Info

Type: Opera

City: Saint Petersburg, Russia

Starts at: 19:00

Acts: 4

Intervals: 2

Duration: 3h 55min

Sung in: Russian

Titles in: English,Russian

Ticket delivery: E-Tickets

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.

Can I choose my seats?

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).

Cast

Performers

Orchestra: Mariinsky Orchestra

Chorus: Mariinsky Chorus

Creators

Composer: Dmitri Shostakovich

Music Director: Valery Gergiev

Librettist: Alexander Preys

Stage Director: Irina Molostova

Writer: Nikolai Leskov

Overview

“In our parts such characters sometimes turn up that, however many years ago you met them, you can never recall them without an inner trembling. Such characters include the merchant’s wife Katerina Lvovna Izmailova, who was once embroiled in a fearsome drama, following which our nobles, at someone’s easy word, began to call her Lady Macbeth of Mtsensk.” Leskov’s tale of the murderous merchant’s wife Izmailova, whose crimes are commensurate with the atrocities of Shakespeare’s heroine, was published in 1865 and clearly entered into polemics with Ostrovsky’s The Storm (1859). With Leskov, Katerina is certainly no “sunbeam in a dark kingdom”, the author telling of a bored and indulgent woman ironically, describing her unseemly actions with the keen observation of a prosecutor. The twenty-five-year-old Shostakovich took a completely different approach to his own heroine, and in his opera she is a proud and powerful young woman, reckless in her passion and fearless in her rebelliousness. In undertaking to be her protector, the composer unmasks her entourage: the cruel and lustful father-in-law, her miserable excuse for a husband, the rude servant, the drunken priest, the bribe-taking police officers and, most importantly, the chosen one himself, a haberdashery gigolo and a coward.

Shostakovich, for many years a pianist accompanying silent films, had a perfect awareness of the nerve and tempo of drama. In his thriller the tension is pumped up gradually then it explodes with heart-rending climaxes: a composer using “close-ups”, with physiological details, in the music he reproduces scenes of violence and murder, tenderness and cruelty, the chaos of despair and insensibility on the verge of death. The audience is left afraid, ashamed and bitter. And at times it is amusing – because, spurred on by Leskov’s subtle irony, the librettist-composer eagerly mixes satire into the tragedy, generously drawing on expressions from the texts of Chekhov, Gogol and Saltykov-Shchedrin.

In 1995 the Mariinsky Theatre entrusted a production of the opera to an old-style stage director and a designer from a totally different generation. Irina Molostova had staged Katerina Izmailova back in 1965 in Kiev when, after a long period of disgrace, Shostakovich’s opera, a victim of the Communist Party’s editorial Muddle Instead of Music (1936), returned to the stage. At the Mariinsky Theatre Molostova’s production remains true to the psychological theatre of various experiences and true-to-life mise en scènes. American designer George Tsypin appeared as an architect, proposing a mobile construction rather than the typical picturesque sets. Before the very eyes of the audience, the “boardwalk” house of the Izmailovs cunningly transforms into a courtyard or a police station or a prison camp as required. When, after the first murder, the sets burst open as huge gates leading to endless darkness, from the orchestra pit amid the threatening sounds of a passacaglia the orchestra suddenly flares up – as the embodiment of fate and as the inevitability of punishment.

Anna Petrova

Co-production with the New Israeli Opera

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

Act I
Scene 1. Katerina Lvovna leads an unhappy existence in the home of her husband, the distinguished merchant Zinovy Borisovich Ismailov. The marriage has produced no children. Katerina spends her time in agonising idleness, languishing in melancholy and loneliness. She is exasperated by her father-in-law Boris Timofeyevich, who is frustrated that she has been married five years and has failed to produce an heir.
Zinovy Borisovich brings in Sergei, a new worker. Business forces Zinovy Borisovich to leave home for a period: the dam at the mill has burst. Ordered by Boris Timofeyevich the workers pretend they are sad when their master leaves. Katerina’s cruel and suspicious father-in-law insists that Katerina swear fidelity to her husband. The cook Aksinya tells Katerina about Sergei: “Name any woman who’s taken his fancy, he’ll get her into trouble.”

Scene 2. Taking advantage of the master’s absence, the Ismailovs’ servants loaf around. Sergei and his friends mock and play tricks on the clumsy Aksinya. Katerina Lvovna enters the yard and defends the cook, threatening to do away with Sergei, the ring-leader. He proposes a battle of strength. At the peak of the jovial scuffle Boris Timofeyevich appears. He sends everyone back to work and threatens Katerina that he will tell her husband everything.

Scene 3. Katerina Lvovna’s bedroom. She is tormented by boredom and recalls how in her childhood she admired a pair of doves that billed and cooed around their nest… But now her life is to pass with no joy, no happiness. Sergei’s unexpected appearance shatters her loneliness: he asks “if I can borrow a book” and speaks of woman’s sorrowful lot, but all this is a mere ruse to seduce Katerina. In confusion she yields to him: Sergei has awoken hitherto unknown emotions.

Act II
Scene 4. Boris Timofeyevich cannot sleep, he sees thieves everywhere. He remembers how he found it hard to sleep in his younger years too, but for a different reason: he loved to stroll past the windows of other men’s wives. Even now he enjoys reflecting on the old days and having a glimpse at his son’s young wife.
And so he sees Sergei slinking out of Katerina’s apartments. Old Ismailov is merciless. Katerina’s pleas are to no avail: Sergei is beaten half to death before her very eyes then locked in the storeroom.
In furious madness Katerina serves her loathsome father-in-law mushrooms tainted with rat poison for dinner. As he dies, the old man confesses to the priest and accuses his daughter-in-law of the foul deed.

Scene 5. Katerina is happy. Her lover is at her side. But Sergei is dispirited at Zinovy Borisovich’s impending return: it is not enough for him to be Katerina’s secret lover – he wants to be her husband and the master. Katerina pacifies him, but her conscience is in torment: everywhere she sees the ghost of Boris Timofeyevich, cursing the woman who poisoned him.
Zinovy Borisovich’s unexpected return and mockery of Katerina incite the lovers to murder. They kill Zinovy Borisovich and hide the corpse in the cellar.

Act III
Scene 6. Although the path to happiness now seems clear, Katerina’s soul knows no happiness: her conscience troubles her. Even on the day of her marriage to Sergei she stands by the cellar containing the corpse of Zinovy Borisovich…
A covetous Shabby Peasant has long believed the cellar to be full of good wine. After the couple leave for church he breaks open the lock, finds the corpse and hastens off to the police in terror.

Scene 7. The police station. The constable is complaining that “They pay us most unfairly and good bribes are rarely offered.” But he is particularly aggrieved that, contradictory to custom, he has not been invited to the Ismailovs’ house for the wedding. The Shabby Peasant’s tale thus arouses vengeful delight. The policemen rush off to the Ismailovs’.

Scene 8. The wedding feast is in full swing. Drunken guests and the priest praise the newlyweds. Katerina is envious and angry at the guests. Suddenly she sees that the cellar lock has been broken open. Seeing that the murder of Zinovy Borisovich has been discovered she decides to flee with Sergei. But too late – the police are already at the gates. In an attempt to save Sergei, Katerina takes the blame: “I, I alone, am guilty.” Sergei tries to flee with the money but is apprehended. The newlyweds are taken to prison.

Scene 9. A group of convicts headed for Siberia has settled for the night on the banks of a river. Sergei and Katerina are among them. Now Sergei has no reason to pretend he is in love. He accuses Katerina of being the source of all his miseries and that she has brought him to this. In front of everyone he openly flirts with the young convict Sonyetka; together they poke fun at the “rich merchant’s wife”. Sergei seeks Sonyetka’s favour, but she demands a present – Katerina’s warm stockings. Sergei comes to Katerina Lvovna and tricks her into giving him the stockings by feigning sickness. The convicts roar in laughter at the abandoned Katerina.
It is time for debts to be settled. Sergei’s treachery is the last straw for Katerina: she realises the true horror of everything that has passed. Neither the drum roll reveille nor the kind words from the Old Convict can restore her energies. Death is the key to salvation…
She thrusts Sonyetka into the water and then plunges in after her. The swift current carries them both away, and the Old Convict’s bitter voice seems to hang over the surface of the river: “Oh, why is this life so dark and terrifying? Is man born for such a life?”

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

Mariinsky Theatre - Saint Petersburg
1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.