The birth of the Russian national opera

MI Glinka played an outstanding role in the creation of the Russian national opera, which faithfully recreates the heroism of the historical past and the romance of the national epic. He laid the foundation for two directions of Russian opera – folk musical drama and opera-fairy tale, opera-epic.

The idea of ​​creating a Russian national opera never left the composer, he especially wanted to convey in it the character of the Russian people, its heroic and patriotic spirit. The historical events of the early 17th century, connected with the struggle against the Polish conquerors, were the best suited for the embodiment of the plan. The plot of the opera “A Life for the Tsar” (1836; in Soviet times it was called “Ivan Susanin”) was suggested by V. A. Zhukovsky and one of the poems from the cycle “Duma” by K. F. Ryleev, a poet executed for participating in the Decembrist uprising … The dying words of Ivan Susanin, who led the Polish invaders into the dense forest covered with snow, determined the general tone of the opera:

Who is Russian by heart, he cheerfully and boldly,
And joyfully dies for a just cause!

The main character of the opera, Ivan Susanin, is perceived as the embodiment of the Russian folk character. His warmth is combined with a spirit and a deep understanding of a sense of duty.

The music of the overture conveyed the underlying dramatic conflict. The solemn and decisive chords were replaced by a simple and soulful melody. The suddenly bursting sounds of the Polish mazurka were followed by light, a bit sad music, which reminds listeners of the melody of a lullaby.

The viewer, accustomed to seeing mysterious medieval castles on the stage, pictures of the life of distant and foreign countries, saw a simple Russian village and a crowd of peasants. The choir sounded powerfully and harmoniously, performing a song about the native land and its valiant and brave sons. Glinka attached particular importance to the choir. The choir became the protagonist of the opera, for the first time he actively participated in everything that happened on the stage, directed the course of events, expressing the main patriotic idea of ​​the work. The melody of the choir runs through the entire musical fabric of the opera, it decorates it with genuine folk intonations.

The audience followed the development of the action with interest. From a peasant village, living with everyday affairs and peaceful worries, it moved to the castle of the Polish magnate, where a noisy and cheerful holiday was celebrated. Polish dance melodies sounded here – a solemn polonaise, a perky Krakowiak and a swift mazurka. And again the action returned to the calm flow of peasant life, which was unexpectedly intruded by the disturbing notes of the impending terrible event. Without a shadow of doubt, Ivan Susanin decides to lead the Polish conquerors to certain death. “I’m not afraid of fear, I’m not afraid of death, I’ll lie down for holy Russia!” – sang Ivan Susanin. And the chorus echoed him, emphasizing the idea of ​​the unity of the protagonist and the whole people.

The music of the last, fourth act sounds ominous and alarming. The harsh winter forest greeted the Polish detachment, exhausted by the difficult road, in an unfriendly and wary manner. Having settled down by the fire for the night, everyone falls asleep, only Ivan Susanin cannot sleep. He knows: this is his last night. “You will rise, my dawn!” He sings. And in his voice one can hear the unshakable determination and sorrow of parting with life, with his native land, with people close and dear to his heart.

In the last scene, a powerful folk choir sounded glorifying the Motherland and her faithful son. “Glory, glory, holy Russia!” – his words sounded louder and more majestic. The solemn chime of the bells literally stunned the audience. The Russian scene has never heard anything like it. This was the first triumph of the Russian opera scene, from which a “special school of music, a Russian school” began (A. N. Serov).

V. F. Odoevsky (1803 / 04-1869) – writer and music critic responded to Glinka’s opera with an enthusiastic article:

“This opera solved a problem that was important for art in general and for Russian art in particular, namely: the existence of Russian opera, Russian music, and finally, the existence of folk music in general … What kind of music! You need to know Russian hearts very well in order to be able to speak to them so strongly with sounds alone … With Glinka’s opera there is something that has long been sought and not found in Europe – a new element in art, and a new period begins in its history – the period of Russian music … Such a feat, let’s say frankly, is not only a matter of talent, but a genius! “

A.S. Pushkin, who was present at the premiere of the opera on November 27, 1836, was fascinated by Glinka’s music and subsequently wrote a humorous canon in his honor:

Sing in delight, Russian choir,
A new novelty has come out.
Have fun, Russia! our Glinka
Not Glinka, but porcelain!

Glinka From Neglinnaya to Neva
will be glorified for a wonderful novelty .

The genius of the great Russian composer was also manifested in his next opera-fairy tale “Ruslan and Lyudmila” (1842), written on the subject of the poem of the same name by Alexander Pushkin. It fully reflected the honed skills and the mighty rise of his creative imagination. “The legends of deep antiquity”, the magical world of Russian heroes came to life in the fantastic pictures of the opera. Like any fairy tale, it ended with the triumph of love, the victory of good over evil.

It is difficult to overestimate the importance of MI Glinka’s work in the history of Russian musical culture. Thanks to his works, the Russian music school received worldwide recognition.



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