Letter 2335 - Revision history

Tony at 11:54, 4 January 2025

2025-01-04T11:54:34Z

← Older revision		Revision as of 12:54, 4 January 2025
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	\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}		\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}
	{{centre\|Dear friend [[Eduard Frantsevich]]!}}		{{centre\|Dear friend [[Eduard Frantsevich]]!}}
	I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to [[Raab]]''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Maid of Orleans]]''", but rather because, for all her merits, [[Raab]] is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once ~~that~~ to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.		I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to [[Raab]]''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Maid of Orleans]]''", but rather because, for all her merits, [[Raab]] is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.

	But in no circumstances will I give the latter role to ''[[Raab]]''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.		But in no circumstances will I give the latter role to ''[[Raab]]''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.

Brett: Text replacement - "in the Klin House-Museum Archive" to "in the {{RUS-KLč}} at Klin"

2023-09-23T15:26:23Z

Text replacement - "in the Klin House-Museum Archive" to "in the {{RUS-KLč}} at Klin"

← Older revision		Revision as of 16:26, 23 September 2023
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	}}		}}
	==Text and Translation==		==Text and Translation==
	Based on a typed copy in the [[Klin]] ~~House-Museum Archive~~, which may contain differences in formatting and content from Tchaikovsky's original letter.		Based on a typed copy in the {{RUS-KLč}} at [[Klin]], which may contain differences in formatting and content from Tchaikovsky's original letter.
	{{Lettertext		{{Lettertext
	\|Language=Russian		\|Language=Russian

Brett at 17:42, 9 September 2023

2023-09-09T17:42:11Z

← Older revision		Revision as of 18:42, 9 September 2023
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	\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}		\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}
	{{centre\|Dear friend [[Eduard Frantsevich]]!}}		{{centre\|Dear friend [[Eduard Frantsevich]]!}}
	I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to [[Raab]]''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The ~~Queen~~ of ~~Spades~~]]''", but rather because, for all her merits, [[Raab]] is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.		I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to [[Raab]]''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Maid of Orleans]]''", but rather because, for all her merits, [[Raab]] is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.

	But in no circumstances will I give the latter role to ''[[Raab]]''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.		But in no circumstances will I give the latter role to ''[[Raab]]''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.

Brett at 17:41, 9 September 2023

2023-09-09T17:41:51Z

← Older revision		Revision as of 18:41, 9 September 2023
Line 28:		Line 28:
	\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}		\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}
	{{centre\|Dear friend [[Eduard Frantsevich]]!}}		{{centre\|Dear friend [[Eduard Frantsevich]]!}}
	I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to Raab''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Queen of Spades]]''", but rather because, for all her merits, Raab is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.		I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to [[Raab]]''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Queen of Spades]]''", but rather because, for all her merits, [[Raab]] is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.

	But in no circumstances will I give the latter role to ''Raab''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.		But in no circumstances will I give the latter role to ''[[Raab]]''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.

	I'm going to [[Kiev]] province tomorrow, and ask you to write there: ''Fastov railway line, [[Kamenka]] station''. Forgive me, much respected friend, for bothering and hindering you.		I'm going to [[Kiev]] province tomorrow, and ask you to write there: ''Fastov railway line, [[Kamenka]] station''. Forgive me, much respected friend, for bothering and hindering you.
Line 37:		Line 37:
	{{right\|P. Tchaikovsky}}		{{right\|P. Tchaikovsky}}
	----		----
	{{*}} If you have Velinskaya, then sooner her than Raab.		{{*}} If you have Velinskaya, then sooner her than [[Raab]].
	}}		}}

Brett at 16:19, 9 September 2023

2023-09-09T16:19:18Z

← Older revision		Revision as of 17:19, 9 September 2023
Line 28:		Line 28:
	\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}		\|Translated text={{right\|[[Podushkino]]<br/>31 August 1883}}
	{{centre\|Dear friend [[Eduard Frantsevich]]!}}		{{centre\|Dear friend [[Eduard Frantsevich]]!}}
	I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to Raab''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Queen of Spades]]''", but rather because, for all her merits, Raab is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''Kamenskaya''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.		I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to Raab''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Queen of Spades]]''", but rather because, for all her merits, Raab is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''[[Kamenskaya]]''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.

	But in no circumstances will I give the latter role to ''Raab''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.		But in no circumstances will I give the latter role to ''Raab''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.

Brett: 1 revision imported

2022-07-14T20:31:16Z

1 revision imported

← Older revision	Revision as of 21:31, 14 July 2022
(No difference)

Brett at 11:31, 15 February 2020

2020-02-15T11:31:14Z

New page

{{letterhead
|Date=31 August/12 September 1883
|To=[[Eduard Nápravník]]
|Place=[[ Podushkino]]
|Language=Russian
|Autograph={{locunknown}}
|Publication={{bibx|1924/2|Чайковский. Воспоминания и письма}} (1924), p. 152–154<br/>{{bib|1959/20|Е. Ф. Направник. Автобиографические, творческие материалы, документы, письма}} (1959), p. 127–128<br/>{{bib|1970/86|П. И. Чайковский. Полное собрание сочинений ; том XII}} (1970), p. 217–218
|Notes=Typed copy in [[Klin]] (Russia): {{RUS-KLč}}
}}
==Text and Translation==
Based on a typed copy in the [[Klin]] House-Museum Archive, which may contain differences in formatting and content from Tchaikovsky's original letter.
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|Подушкино<br/>31 августа 1883 г[ода]}}
{{centre|Дорогой друг Эдуард Францевич!}}
Очень понимаю, что Вам, ввиду неизбежных неприятностей, нельзя принять на себя распределений ролей в «''Мазепе''». Но моё положение тоже затруднительно. Признаюсь, я думал, что в предстоящем сезоне состав труппы будет гораздо богаче. Я был несколько неприятно удивлён, что Вы советуете мне отдать ''главную роль Рааб''. Я считаю это ''совершенно невозможным'', и вовсе не оттого что хочу мстить ей за огорчения, причинённые при постановке «''Орлеанской девы''», а потому, что, при всех своих достоинствах, Рааб не годится для партии Марии и у меня рука не поднимается написать её имя в распределении ролей против партии Марии. Что касается Сионицкой, то я её не знаю и из письма Вашего вижу только, что она обладает ''огоньком''. Это слишком недостаточно. Итак, я ''по доброй воле'' не согласен от дать роль Марии ни той, ни другой. Из имеющихся в труппе теноров ни один не удовлетворяет меня вполне для роли ''Андрея''. Но более всего я хотел бы Орлова, — а оказывается, что именно ему я не могу назначить роль эту. Маленькая роль ''Орлика'' требует в одной сцене отличной игры, и ''Майбороду'' я нахожу непригодным для неё. Роль матери я желали мечтал отдать ''Каменской''; Славину считаю неподходящей. Согласитесь, дорогой друг, что странно было бы, если бы теперь, наученный горьким опытом, я бы, нисколько не задумываясь, тотчас же написал то распределение ролей, которое Вы мне советуете, когда я ему не сочувствую. Только Прянишников и Мельников для партий Мазепы и Кочубея вполне пригодны, и лучшего я бы ничего не желал. Но ведь этого недостаточно. Мания ставить свои оперы ''во что бы то ни стало'' у меня прошла, и признаюсь, что я очень бы желал, чтобы, ввиду неимения примадонны для партии Марии и несоответствия сил других певиц и певцов с моими требованиями, постановка «''Мaзепы''» была бы отложена до более благоприятного времени. Представьте себя на моем месте и скажите, не правильно ли я смотрю на вещи, желая, чтобы опера лучше бы вовсе не шла, чем была обставлена не так, как следует. Прежде чем поступить решительно, т. е. обратиться в Дирекцию с официальной просьбой ''не ставить'' моей оперы, буду ждать Вашего совета и убедительно прошу Вас, милый друг, искренно высказать мне Ваше мнение. Но предупреждаю Вас, что я соглашусь, пожалуй, назначить роль Андрея ''Васильеву'', роль матери ''Славиной'', роль Орлика ''Майбороде'' и, наконец, роль Марии ''Сионицкой'' {{*}}.

Но ни в каком случае не отдам эту последнюю роль ''Рааб''. Прошу Вас пока мест ничего никому не говорить о содержании письма этого. Чем скорее Вы мне ответите, тем лучше; с нетерпением буду ждать Вашего дружеского совета.

Я еду завтра в Киевскую губернию и адресовать прошу: ''Фастовская жел[езная] дор[ога], станция Каменка`''. Простите, многоуважаемый друг, что беспокою и затрудняю Вас.

Искренно преданный и любящий Вас,
{{right|П. Чайковский}}
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{{*}} Если Велинская у Вас, то уже скорее ей, чем Рааб.

|Translated text={{right|[[Podushkino]]<br/>31 August 1883}}
{{centre|Dear friend [[Eduard Frantsevich]]!}}
I very much understand how you, given the inevitable unpleasantness, cannot take upon yourself the allocation of roles in "''[[Mazepa]]''". But my position is also difficult. I confess that I thought that in the forthcoming season the composition of the company would be far richer. I am somewhat unpleasantly surprised that you advise me to give ''the principle role to Raab''. I consider this ''utterly impossible'', and it's nothing at all to do with my wanting to take revenge for all the upset she caused during the staging of "''[[The Queen of Spades]]''", but rather because, for all her merits, Raab is unsuited to the part of Mariya, and my hand will not rise to write her name against Mariya's part in the cast list. As for Sionitskaya, then I do not know her, and I see from your letter only that she is in possession of a ''spark''. This is not enough. And so I, ''of my own volition'', do not agree to give the role of Mariya to either one of them. I find none of the available tenors in the company to be entirely satisfactory for the role of ''Andrey''. Although I should like Orlov most of all, unless it turns out that I cannot assign this role to him. The minor role of ''Orlik'' requires excellent acting in one scene, and I find ''Mayborod'' inadequate for this. I've been entertaining the idea of giving the mother's role to ''Kamenskaya''; I consider Slavina inappropriate. Wouldn't you agree, dear friend, how strange it would be if now, in the light of bitter experience, I were to have no hesitation whatsoever, and would sign up at once that to the allocation of roles you recommended, even though I am indifferent towards it? Only [[Pryanishnikov]] and [[Melnikov]] are wholly suitable for the parts of Mazepa and Kochubey, and I would want for nothing better. But this is still not enough. My mania for having my operas staged ''at all costs'' has long since passed, and I confess that, in the absence of a prima donna for Mariya's part, and the incompatibility of the strengths of the other male and female singers with my requirements, I should very much like to postpone the production of "''[[Mazepa]]''" until a more propitious time. Put yourself in my place, and ask whether from my point of view it's better to not want the opera to be put on at all, rather than to have it done inadequately. Before taking a definitive decision, i.e. applying to the Directorate with an official request ''not to stage'' my opera, I shall await your advice, and I earnestly request you, dear friend, to give me your sincere opinion. But I forewarn you that I might, perhaps, agree to allocate the role of Andrey to ''Vasilyev'', the role of the mother to ''Slavina'', the role of Orlik to ''Mayborod'', and, finally, the role of Mariya to ''Sionitskaya'' {{*}}.

But in no circumstances will I give the latter role to ''Raab''. I ask you not to say anything to anyone about the contents of this letter for the time being. The sooner you answer me, the better; I'll be looking forward to your friendly advice.

I'm going to [[Kiev]] province tomorrow, and ask you to write there: ''Fastov railway line, [[Kamenka]] station''. Forgive me, much respected friend, for bothering and hindering you.

Your sincerely devoted and affectionate,
{{right|P. Tchaikovsky}}
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{{*}} If you have Velinskaya, then sooner her than Raab.
}}