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{{letterhead
|Date=17/29 April 1886
|To=[[Emiliya Pavlovskaya]]
|Place=[[Tiflis]]
|Language=Russian
|Autograph=[[Moscow]] (Russia): {{RUS-Mt}} (Pavlovskaya collection)
|Publication={{bibx|1940/226|Чайковский на Московской сцене}} (1940), p. 359–360<br/>{{bib|1971/89|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 321–322
}}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist
|Original text={{right|1886 17-го апреля<br/>Тифлис}}
{{centre|Дорогая Эмилия Карловна!}}
Застанет ли Вас это письмо в Петербурге? Знаете ли, что я, ей-Богу, соскучился, не имея так давно никаких известий о Вас и не видав так давно характерного почерка Вашего. Здесь Вы оставили о себе такую прочную память, так часто приходится об Вас говорить, что беспрестанно об Вас вспоминаешь и думаешь. И вот я почувствовал непреодолимое влечение написать Вам словечко и напомнить о себе.

Тифлис мне ужасно нравится: оригинален, живописен, интересен в высшей степени. Со стороны здешнего общества и музыкантов в особенности я встретил такое сочувствие, что не могу не быть особенно тронут и благодарен. Одно только нехорошо: очень много бываю в обществе, очень ''кучу'', вследствие чего ''Чародейка'' совсем не подвигается. Опера начнёт свой весенний сезон 20 апреля ''Джокондой''. Услышу здесь на будущей неделе ''Мазепу'', которого тифлисская публика очень полюбила. Из певцов и певиц, с коими я здесь познакомился, симпатичнее всех для меня ''Зарудная-Иванова''. Слышал несколько раз её у неё и у нас. Поёт она умно, изящно, просто, со вкусом. На сцене её ещё не видал, но, кажется, особенно горячего сценического темперамента в ней нет. ''Лодий'' здесь производит фурор; говорят, что в Мазепе он удивительно хорош. Как жаль, что такого чудесного артиста не берут в Петербург. Вот бы ''Княжич'' для Чародейки. Милая моя ''благодетельница''! Целую Ваши ручки, поздравляю с прошедшими праздниками и посылаю тысячи пожеланий всякого благополучия. Всем кланяйтесь от меня, но особенно ''Сергею Евграфовичу'', ''Эдуарду Францевичу'' и ''Ольге Эдуардовне''.
{{right|Ваш, П. Чайковский}}
26 числа еду через Батум и Константинополь в Неаполь, Рим, Париж. Напишите ''словечко'' в Рим Poste restante.

|Translated text={{right|1886, 17th April<br/>[[Tiflis]]}}
{{centre|Dear [[Emiliya Karlovna]]!}}
Will this letter find you in [[Petersburg]]? You know, I am truly missing you, as for such a long time I haven't had any news about you or seen your distinctive handwriting. Here you have left such lasting memories of yourself, and the occasion to talk about you presents itself so often <ref name="note1"/>, that I am constantly thinking about you. And thus I felt an irresistible urge to write a few words to you and remind you of myself.

I like [[Tiflis]] very much: it is an original, picturesque, and highly interesting city. I have encountered such sympathy on the part of local society here, and of the musicians in particular, that I cannot but feel greatly touched and grateful. There is only one aspect which is not so good: I am frequenting society a lot and ''carousing'' a great deal, which means that ''[[The Enchantress]]'' is not advancing at all. The opera-house opens its spring season on 20 April with [Ponchielli's] ''La Gioconda''. Here, next week, I shall get to hear ''[[Mazepa]]'', which the [[Tiflis]] public has come to love very much. Of the singers, male and female, whose acquaintance I have made here, the one I find the nicest is ''[[Varvara Zarudnaya|Zarudnaya-Ivanova]]''. I have heard her several times, both at her house and at ours <ref name="note2"/>. Her manner of singing is intelligent, elegant yet unaffected, and shows taste. I haven't seen her on the stage yet, but I don't think she is endowed with a particularly passionate dramatic temperament. ''Lody'' <ref name="note3"/> is causing a sensation here. I have been told that he was astonishingly good in [[Mazepa]]. What a pity that such a wonderful artist couldn't get an engagement in [[Petersburg]]. He would be splendid for the ''prince's son'' in [[The Enchantress]]. My dear ''benefactress'' <ref name="note4"/>! I kiss your hands, send you belatedly my season's greetings [for Easter], and wish you fervently every sort of prosperity. Give my regards to everyone, but in particular to ''Sergey Yevgrafovich'' <ref name="note5"/>, ''[[Eduard Frantsevich]]'', and ''[[Olga Nápravník (mother)|Olga Eduardovna]]''.
{{right|Yours, P. Tchaikovsky}}
On the 26th I am leaving to travel, via [[Batum]] and [[Constantinople]], to [[Naples]], [[Rome]], and [[Paris]]. Do write me ''a few words'', addressing your letter to [[Rome]], Poste restante <ref name="note6"/>.
}}

==Notes and References==
<references>
<ref name="note1">During the 1880/81 season and the two following seasons [[Emiliya Pavlovskaya]] had sung in the opera-houses of [[Odessa]], [[Kharkov]], and [[Tiflis]] — note based on information provided by Vasily Kiselev in {{bibx|1940/226| Чайковский на московской сцене}} (1940), p. 311.</ref>
<ref name="note2">In [[Tiflis]] Tchaikovsky was staying at the house of his brother [[Anatoly]].</ref>
<ref name="note3">Pyotr Andreyevich Lody (1855 or 1852–1920), Russian tenor and actor.</ref>
<ref name="note4">From his earliest letters to [[Pavlovskaya]] Tchaikovsky had called her his "benefactress", thereby emphasizing how grateful he was to her for her enthusiastic attitude towards ''[[Mazepa]]'' (in which she created the role of Mariya at the opera's premiere), as well as towards ''[[Yevgeny Onegin]]'', in which she sang Tatyana many times.</ref>
<ref name="note5">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe.</ref>
<ref name="note6">This note was written on the top of the first page of the letter. Tchaikovsky left [[Tiflis]] on 29 April/11 May 1886, but he did not head for Italy as originally planned, due to a cholera epidemic which was then raging in [[Naples]]. Instead he sailed from [[Batum]] to [[Marseilles]] (with a brief stop in [[Constantinople]]), and from there made his way up to [[Paris]] — note based on information provided by Vasily Kiselev in {{bibx|1940/226| Чайковский на московской сцене}} (1940), p. 360.</ref>
</references>

← Older revision		Revision as of 20:26, 1 February 2025
Line 22:		Line 22:
	\|Translated text={{right\|1886, 17th April<br/>[[Tiflis]]}}		\|Translated text={{right\|1886, 17th April<br/>[[Tiflis]]}}
	{{centre\|Dear [[Emiliya Karlovna]]!}}		{{centre\|Dear [[Emiliya Karlovna]]!}}
	Will this letter find you in [[Petersburg]]? You know, I am truly missing you, as for such a long time I haven't had any news about you or seen your distinctive handwriting. Here you have left such lasting memories of yourself, and the occasion to talk about you presents itself so often <ref name="note1"/>, that I am constantly thinking about you. And thus I felt an irresistible urge to write a few words to you and remind you of myself.		Will this letter find you in [[Petersburg]]? You know, I am truly missing you, as for such a long time I haven't had any news about you or seen your distinctive handwriting. Here you have left such lasting memories of yourself, and the occasion to talk about you presents itself so often <ref name="note1"/> that I am constantly thinking about you. And thus I felt an irresistible urge to write a few words to you and remind you of myself.

	I like [[Tiflis]] very much: it is an original, picturesque, and highly interesting city. I have encountered such sympathy on the part of local society here, and of the musicians in particular, that I cannot but feel greatly touched and grateful. There is only one aspect which is not so good: I am frequenting society a lot and ''carousing'' a great deal, which means that ''[[The Enchantress]]'' is not advancing at all. The opera-house opens its spring season on 20 April with [Ponchielli's] ''La Gioconda''. Here, next week, I shall get to hear ''[[Mazepa]]'', which the [[Tiflis]] public has come to love very much. Of the singers, male and female, whose acquaintance I have made here, the one I find the nicest is ''[[Varvara Zarudnaya\|Zarudnaya-Ivanova]]''. I have heard her several times, both at her house and at ours <ref name="note2"/>. Her manner of singing is intelligent, elegant yet unaffected, and shows taste. I haven't seen her on the stage yet, but I don't think she is endowed with a particularly passionate dramatic temperament. ''Lody'' <ref name="note3"/> is causing a sensation here. I have been told that he was astonishingly good in [[Mazepa]]. What a pity that such a wonderful artist couldn't get an engagement in [[Petersburg]]. He would be splendid for the ''prince's son'' in [[The Enchantress]]. My dear ''benefactress'' <ref name="note4"/>! I kiss your hands, send you belatedly my season's greetings [for Easter], and wish you fervently every sort of prosperity. Give my regards to everyone, but in particular to ''Sergey Yevgrafovich'' <ref name="note5"/>, ''[[Eduard Frantsevich]]'', and ''[[Olga Nápravník (mother)\|Olga Eduardovna]]''.		I like [[Tiflis]] very much: it is an original, picturesque, and highly interesting city. I have encountered such sympathy on the part of local society here, and of the musicians in particular, that I cannot but feel greatly touched and grateful. There is only one aspect which is not so good: I am frequenting society a lot and ''carousing'' a great deal, which means that ''[[The Enchantress]]'' is not advancing at all. The opera-house opens its spring season on 20 April with [Ponchielli's] ''La Gioconda''. Here, next week, I shall get to hear ''[[Mazepa]]'', which the [[Tiflis]] public has come to love very much. Of the singers, male and female, whose acquaintance I have made here, the one I find the nicest is ''[[Varvara Zarudnaya\|Zarudnaya-Ivanova]]''. I have heard her several times, both at her house and at ours <ref name="note2"/>. Her manner of singing is intelligent, elegant yet unaffected, and shows taste. I haven't seen her on the stage yet, but I don't think she is endowed with a particularly passionate dramatic temperament. ''Lody'' <ref name="note3"/> is causing a sensation here. I have been told that he was astonishingly good in [[Mazepa]]. What a pity that such a wonderful artist couldn't get an engagement in [[Petersburg]]. He would be splendid for the ''prince's son'' in [[The Enchantress]]. My dear ''benefactress'' <ref name="note4"/>! I kiss your hands, send you belatedly my season's greetings [for Easter], and wish you fervently every sort of prosperity. Give my regards to everyone, but in particular to ''Sergey Yevgrafovich'' <ref name="note5"/>, ''[[Eduard Frantsevich]]'', and ''[[Olga Nápravník (mother)\|Olga Eduardovna]]''.
	{{right\|Yours, P. Tchaikovsky}}		{{right\|Yours, P. Tchaikovsky}}
	On the 26th I am leaving to travel, via [[Batum]] and [[Constantinople]], to [[Naples]], [[Rome]], and [[Paris]]. Do write me ''a few words'', addressing your letter to [[Rome]], Poste restante <ref name="note6"/>.		On the 26th I am leaving to travel, via [[Batum]] and [[Constantinople]], to [[Naples]], [[Rome]] and [[Paris]]. Do write me ''a few words'', addressing your letter to [[Rome]], Poste restante <ref name="note6"/>.
	}}		}}

	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">During the 1880/81 season and the two following seasons [[Emiliya Pavlovskaya]] had sung in the opera-houses of [[Odessa]], [[Kharkov]], and [[Tiflis]] — note based on information provided by Vasily Kiselev in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 311.</ref>		<ref name="note1">During the 1880/81 season and the two following seasons, [[Emiliya Pavlovskaya]] had sung in the opera-houses of [[Odessa]], [[Kharkov]] and [[Tiflis]] — note based on information provided by Vasily Kiselev in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 311.</ref>
	<ref name="note2">In [[Tiflis]] Tchaikovsky was staying at the house of his brother [[Anatoly]].</ref>		<ref name="note2">In [[Tiflis]], Tchaikovsky was staying at the house of his brother [[Anatoly]].</ref>
	<ref name="note3">Pyotr Andreyevich Lody (1855 or 1852–1920), Russian tenor and actor.</ref>		<ref name="note3">Pyotr Andreyevich Lody (1855 or 1852–1920), Russian tenor and actor.</ref>
	<ref name="note4">From his earliest letters to [[Pavlovskaya]] Tchaikovsky had called her his "benefactress", thereby emphasizing how grateful he was to her for her enthusiastic attitude towards ''[[Mazepa]]'' (in which she created the role of Mariya at the opera's premiere), as well as towards ''[[Yevgeny Onegin]]'', in which she sang Tatyana many times.</ref>		<ref name="note4">From his earliest letters to [[Pavlovskaya]], Tchaikovsky had called her his "benefactress", thereby emphasizing how grateful he was to her for her enthusiastic attitude towards [[Mazepa]] (in which she created the role of Mariya at the opera's premiere), as well as towards [[Yevgeny Onegin]], in which she sang Tatyana many times.</ref>
	<ref name="note5">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe.</ref>		<ref name="note5">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe.</ref>
	<ref name="note6">This note was written on the top of the first page of the letter. Tchaikovsky left [[Tiflis]] on 29 April/11 May 1886, but he did not head for Italy as originally planned, due to a cholera epidemic which was then raging in [[Naples]]. Instead he sailed from [[Batum]] to [[Marseilles]] (with a brief stop in [[Constantinople]]), and from there made his way up to [[Paris]] — note based on information provided by Vasily Kiselev in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 360.</ref>		<ref name="note6">This note was written on the top of the first page of the letter. Tchaikovsky left [[Tiflis]] on 29 April/11 May 1886, but he did not head for Italy as originally planned, due to a cholera epidemic which was then raging in [[Naples]]. Instead, he sailed from [[Batum]] to [[Marseilles]] (with a brief stop in [[Constantinople]]), and from there made his way up to [[Paris]] — note based on information provided by Vasily Kiselev in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 360.</ref>
	</references>		</references>