Mariinsky Theatre tickets 7 May 2025 - Sadko | GoComGo.com

Sadko

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
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Wednesday 7 May 2025
7 PM
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Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Intervals: 2
Duration: 3h 55min
Sung in: Russian
Titles in: English,Russian

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Cast
Performers
Chorus: Mariinsky Chorus
Creators
Composer: Nikolai Rimsky-Korsakov
Stage Director: Alexei Stepanyuk
Principal Chorus Master: Andrei Petrenko
Musical Preparation: Irina Soboleva
Librettist: Nikolai Rimsky-Korsakov
Ballet master: Oleg Ignatiev
Librettist: Vladimir Belsky
Lighting Designer: Vladimir Lukasevich
Set Director: Vyacheslav Okunev
Overview

“In the rich mansions of the fraternity in Novgorod. Trading merchants of Novgorod are enjoying a lively feast. All are seated at oak tables covered with patterned table cloths and laden with food and drink. Servants bring the guests wine and fire-water. Seated at a special table is Nezhata, a young gusli-player from Kiev-City. In a corner, on a tiled stove, are seated Sopel and several swashbuckling jesters. Among the guests are two regulars: Foma Nazarych and Luka Zinovich.” It is a grand feast for the fraternity, dressed in their clothes embroidered with myriad patterns and the tiled stove richly decorated. Even Rimsky-Korsakov’s own comments in his score for the opera Sadko were written in the “Old Russian style”, heavy with archaic lexis and expressions. The composer, much in love with Russia-of-old, found sources of inspiration in northern tales and legends – about the rich gusli-player and merchant Sadko, about the dashing troublemaker Vasily Buslayev and about the mighty bogatyr Volkh Vseslavich. The sonorous timbre of Rimsky-Korsakov’s guslis – following in the footsteps of Glinka – is depicted by a combination of the piano and the harp. The rhythms of this epic in verse are conveyed by complex measures – right up to and including eleventh in the chorus “The day will be beautiful in half a day’s time” (ten syllables in Russian, chanted in unison by male voices; eleven beats to one bar), which engendered the popular myth about choristers tormented by Rimsky-Korsakov’s “impossible” rhythms. In the opera there is even a “direct inclusion” of the Russian epos, recorded texts and melodies taken from living bearers of the tradition – a first in the history of the genre of opera.

And yet in addition to the epic, the opera Sadko has another side – that of the fairytale. The composer himself indicated this in a remark that determined the time-setting: “semi-fairytale and semi-historical”. As a composer and fairytale narrator, Rimsky-Korsakov knew no equal; his “magical” chords, gammas and orchestral colours sparkle and shimmer, like silver-scaled and golden-finned fish in the depths of the blue-green waters of Lake Ilmen. The protagonist is part of both worlds and associated with each of them – as the husband of two women: one real, one fairytale, one of the earth and one of the water. The love triangle in Sadko exists beyond the confines of the laws of geometry: its peaks lie on varying planes, and so the character’s bigamy escapes the laws of morality. A semi-fairytale and semi-history, Sadko nevertheless is not bereft of yet another element so important for 19th-century musical theatre – that of lyricism. In this extravagant and highly decorative score it does not appear so very much, though it is more gripping because of that – particularly when the cold sea maiden Volkhova sings her lullaby warmed by human passion “A dream walked along the shore”.

At the Mariinsky Theatre Sadko is performed using the production by Alexei Stepanyuk – featuring sets revived from sketches by Konstantin Korovin. Rimsky-Korsakov’s aesthetics were incredibly close to those of the great Russian designer. Writing of his work, the theatre decorator noted: “I wanted the eyes of the audience to have as much aesthetic pleasure as the soul’s ears received from the music. With unexpected forms and a fountain of colours I wanted to excite people’s eyes from the stage, and I saw that I was giving them something of joy and interest.” The Mariinsky Theatre invites its audiences to experience this joy.

Khristina Batyushina

History
Premiere of this production: Solodovnikov Theatre, Moscow

Sadko is an opera in seven scenes by Nikolai Rimsky-Korsakov. The libretto was written by the composer, with assistance from Vladimir Belsky, Vladimir Stasov, and others. Rimsky-Korsakov was first inspired by the bylina of Sadko in 1867, when he completed a tone poem on the subject, his Op. 5. After finishing his second revision of this work in 1891, he decided to turn it into a dramatic work.

Synopsis

Tableau I. The merchants of Novgorod are sitting down to a feast, rejoicing in their prosperity. Nezhata, a singer and gusli player from Kiev, sings on the heroic days of his city´s past. The merchants would like one of their own countrymen to sing about their town and the minstrel Sadko, who enters at that moment, is asked to oblige. But his song disturbs them: Novgorod is on a lake, he sings, with no access to the ocean. If only their ships could reach the sea they would bring back fortunes from all over the world. The merchants laugh at him and send him on his way, and the feast continues with singing and dancing.

Tableau II. On the shore of Lake Ilmen Sadko sings of his sadness and disillusionment: "Oh, yon dark forest". Sadko´s song is heard by some young maidens. Amongst them is Volkhova, daughter of the King of the Sea. He sings for them again and they dance. Volkhova tells him that he has won her love. As dawn breaks, they part, but Volkhova tells Sadko that he will catch three golden fish in the lake, that he will make a journey to a foreign land, and that she will faithfully await his return. She returns to the deep and the kingdom of her father. The sun rises.

Tableau III. Sadko´s wife Lyubava is lamenting her husband´s absence. Has he gone to seek adventure far away? It was only yesterday that he assured her of his love. Sadko enters and she rejoices, but is broken-hearted when he soon leaves her again, crying out "Farewell!"

Tableau IV. The port of Novgorod on Lake Ilmen. Ships lie peacefully at anchor and the townspeople crowd around the rich foreign merchants who have arrived from every land known to man. Soothsayers ply their trade, Nezhata sings to the accompaniment of his gusli, buffoons sing and dance, and a pilgrim´s chant can be heard. Sadko appears and is greeted with laughter, which increases when he tells them that he has learned a secret: there are golden fish in the lake. He bets his head against the wealth of all assembled at the port that he can prove the truth of his words. A net is set and the song of Volkhova, the Sea Princess, is heard. Sure enough, when the net is pulled in it contains three golden fish. Sadko invites all the adventurous men of the port to join him on his forthcoming journey and they go off to make their preparations.
Nezhata sings of the nightingale which became a great merchant. Sadko returns and announces that he will restore to the merchants their wealth but he intends to keep their ships. He asks three merchants, a Viking, a Venetian and an Indian, to sing of their native lands so that he may decide which he should visit. The Viking sings first: his country´s shores are rugged, the sea rough, and his countrymen fierce warriors. This slow, pleasant aria is one of the most famous in the Russian bass repertoire. Next comes the Indian merchant. His music and his story are of a much more exotic cast. India is a land of gems and mystery, he sings the stuff of which dreams are made.
The last of the merchants is the Venetian, a baritone, who sings a gondolier´s song or barcarole. Sadko decides that Venice is for him and sets sail, asking the people of Novgorod to take care of his wife.

Tableau V. Sadko is returning home, his ships laden with treasure. But they are becalmed, and Sadko decides that this is because in all the twelve years they have been away, they have never once made a sacrifice to the King of the Sea. The sailors pour treasure over the side into the water, but still there is no wind. At Sadko´s command, the sailors next throw logs overboard: Sadko´s sinks and he descends a ladder to the water´s edge, stepping onto a plank which has been thrown into the water. A breeze picks up immediately and the ship sails away, leaving Sadko abandoned. A mist settles.

Tableau VI. When the mist clears we find ourselves at the bottom of the sea, at the court of the King of the Sea. The king and queen are seated on their thrones while Volkhova, their daughter, sits spinning seaweed. Sadko sings for the king and queen and is promised Volkhova´s hand in marriage. The wedding guests arrive – every denizen of the deep seems to have been invited – and the marriage is celebrated in a fitting manner. There are dances and Sadko sings again, arousing such enthusiasm that the listeners join in the dance. As their movements become faster and faster, the waves lash into a fury and ships sink down into the deep. An apparition then warns them that the reign of the King of the Sea is at an end and seagulls draw Sadko and Volkhova away in a shell.

Tableau VII. Morning. Sadko is asleep on the shore of Lake Ilmen, watched over by Princess Volkhova, who sings a lullaby. She bids a last farewell to the still-sleeping minstrel and then vanishes in the mist, turning into the great River Volkhov, which flows from Lake Ilmen to sea.
Lyubava is distractedly searching for her husband. When she sees him asleep on the shore of the lake she is filled with delight. Sadko awakes. He thinks he has been asleep since he last parted with her, that his voyage was only a dream. But the sight of his fleet sailing up the new river from the sea tells him that it was all real, and that he is now the richest man in Novgorod. He is welcomed by the citizens of the town, among them the three merchants who sang for him before he set out on his long journey.

(Note: Instead of traditional acts, Sadko is divided in seven scenes, and, as that type of structure would suggest, is more loosely constructed than a traditional opera. The opera is usually performed in three or five acts, depending on how the scenes are grouped: Three acts – 1–2, 3–4, 5–6–7 or 1–2–3, 4, 5–6–7: Five acts – 1, 2–3, 4, 5–6, 7)

Time: The historical figure Sadko lived in the 12th century.
Place: The action takes place in Novgorod and in the legendary realm of the Sea-King.
The opera tells the story of Sadko, a gusli player (guslar), who leaves his wife, Lubava, and home in Novgorod and eventually returns a wealthy man. During his years of travel he amasses a fortune, weds the daughter of the King and Queen of the Ocean and has other adventures. Upon his return, the city and Lubava rejoice.

Scene 1 – The rich mansion of a guild in Novgorod

The wealthy Novgorod merchants congratulate themselves on their prosperity. Nezhata, a gusli player from Kiev, sings an heroic song. In reply, Sadko also sings, but the merchants laugh at him when he suggests that Novgorod would be more prosperous if a river joined Lake Ilmen to the ocean.

Scene 2 – The shores of Lake Ilmen

Sadko wanders unhappily by the lakeside. His singing attracts some swans, one of which changes into Volkhova, the Sea Princess, who wishes to marry a mortal. She explains to Sadko how to catch three golden fish which will lead to his fortune after a long voyage. The Princess promises to him to wait patiently for his return. At dawn, from the lake the voice of the Sea-King is heard. He calls his daughters home into the depths. The girls once again turn into white swans and swim away into the distance.

Scene 3 – An attic in Sadko's home (in Novgorod)

Sadko's wife, Lubava, is missing her husband. She is happy when he comes home at last, but distressed when he announces his intention to leave immediately in order to seek his fortune.

Scene 4 – A pier in Novgorod (on the banks of Lake Ilmen)

Merchants assemble at the quayside and Nezhata sings another gusli song. The merchants deride Sadko when he explains how he will win his fortune by catching three golden fish. Sadko bets them that he can do this, and, after he is successful in catching the fish, he wins their ships to take on his voyage. He sets about gathering a crew for his voyage. Three visiting merchants, a Viking, an Indian and a Venetian, sing in turn of their homelands. Sadko decides to set sail for Venice.

Scene 5 – A peaceful expanse of the ocean

Sadko's fleet of ships is returning home, laden with treasure, but becomes becalmed. Sadko's crew throw treasure over the side to propitiate the Sea-King, but no wind appears. Sadko is left behind, clinging to a log, when the wind suddenly picks up while he is overboard.

Scene 6 – In the depths of the sea

The scene shifts to the realm of the sea-king, where Sadko sings to the king and queen, winning the hand of their daughter, Volkhova. The wedding celebrations become so boisterous that a storm springs up, sinking ships on the surface of the sea, and the realm of the Sea-King is destroyed. The end of the reign of the pagan king is heralded by an apparition of a Christian pilgrim (actually St Nicholas of Mozhaysk) Sadko and Volkhova escape the destruction on a sea-shell.

Scene 7 – Novogrod, a green meadow on the shores of Lake Ilmen

Sadko is asleep by the lakeside. Volkhova watches over him and sings a lullaby. Before he wakes, she bids him farewell and then disappears, becoming changed into the River Volkhova that now links Lake Ilmen with the sea. Lubava finds her husband asleep and wakes him: he believes that his voyage was nothing but a dream, but the sight of the new river and his fleet of ships convinces him that he really is now a very wealthy man.

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   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.

Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Intervals: 2
Duration: 3h 55min
Sung in: Russian
Titles in: English,Russian
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