The Maid of Orleans - Revision history

Brett: Text replacement - "breakfast" to "lunch"

2024-03-07T10:12:25Z

Text replacement - "breakfast" to "lunch"

← Older revision		Revision as of 12:12, 7 March 2024
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	At the same time as his work on the libretto, Tchaikovsky set about composing music for a scene, taken "right from [[Zhukovsky]]" <ref name="note12"/>. "It takes place in the King's court, starting from Joan's entrance" <ref name="note13"/> .		At the same time as his work on the libretto, Tchaikovsky set about composing music for a scene, taken "right from [[Zhukovsky]]" <ref name="note12"/>. "It takes place in the King's court, starting from Joan's entrance" <ref name="note13"/> .

	On 5/17 December 1878 the composer told [[Nadezhda von Meck]]: "Today I've spent all morning and the all the time after ~~breakfast~~ [...] ''on a new work''! With apprehension and anxiety, but without timidity, I set about an opera!" <ref name="note14"/>.		On 5/17 December 1878 the composer told [[Nadezhda von Meck]]: "Today I've spent all morning and the all the time after lunch [...] ''on a new work''! With apprehension and anxiety, but without timidity, I set about an opera!" <ref name="note14"/>.

	On 6/18 December he wrote to [[Modest Tchaikovsky]]: "The opera is begun!!! And rather successfully too. What a rich subject!" <ref name="note15"/>. On 9/21 December the scene he had begun composing was finished.		On 6/18 December he wrote to [[Modest Tchaikovsky]]: "The opera is begun!!! And rather successfully too. What a rich subject!" <ref name="note15"/>. On 9/21 December the scene he had begun composing was finished.

Brett at 19:35, 5 December 2023

2023-12-05T19:35:45Z

← Older revision		Revision as of 21:35, 5 December 2023
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	==Publication==		==Publication==
	The vocal-piano reduction was ~~published~~ in August 1880 <ref name="note67"/>, but its distribution for sale was delayed at the insistence of Tchaikovsky himself <ref name="note68"/>. On 31 August/12 September the composer wrote to [[Nadezhda von Meck]]: "''The Maid of Orleans'' is completely ready for printing, but I don't want it to come out before the first performance" <ref name="note69"/>.		The vocal-piano reduction was ready for publication in August 1880 <ref name="note67"/>, but its distribution for sale was delayed at the insistence of Tchaikovsky himself <ref name="note68"/>. On 31 August/12 September the composer wrote to [[Nadezhda von Meck]]: "''The Maid of Orleans'' is completely ready for printing, but I don't want it to come out before the first performance" <ref name="note69"/>.

	In January 1881, a two-handed arrangement for piano by [[Eduard Langer]] appeared for sale, and in April ~~there was the first publication of~~ the vocal-piano reduction <ref name="note70"/>. In 1884 the vocal-piano reduction was published in a new version. Tchaikovsky wrote on 25 May/6 June 1881 to [[Pyotr Jurgenson]] about the corrections that were supposed to appear in the second edition, sending the copy with his corrections at the same time:		In January 1881, a two-handed arrangement for piano by [[Eduard Langer]] appeared for sale, and in April the vocal-piano reduction was finally published <ref name="note70"/>. In 1884 the vocal-piano reduction was published in a new version. Tchaikovsky wrote on 25 May/6 June 1881 to [[Pyotr Jurgenson]] about the corrections that were supposed to appear in the second edition, sending the copy with his corrections at the same time:

	{{quote\|1st ''cut and correction'' — Act II, No. 12, between pages 166 and 173.}}		{{quote\|1st ''cut and correction'' — Act II, No. 12, between pages 166 and 173.}}
	{{quote\|2nd cut and correction. Act III, No. 20. Finale, pages 370–407. These are two significant changes that I wish to keep. Apart from these, bearing in mind the circumstances of the [[Saint Petersburg]]'s production, there were some cuts and re-ordering of parts made which were of only local significance.}}		{{quote\|2nd cut and correction. Act III, No. 20. Finale, pages 370–407. These are two significant changes that I wish to keep. Apart from these, bearing in mind the circumstances of the [[Saint Petersburg]]'s production, there were some cuts and re-ordering of parts made which were of only local significance.}}
	{{quote\|And so everything else is left as before. But if you are to make a second edition you need to correct some misprints at the same time and, according to the requests of the censor, change the Archbishop to a Cardinal [...] It's necessary on pages 449, 450, 451, 452 where I've put the two footnotes and signs. That way we'll ~~please~~ the theatrical censor, and avoid the need to abridge the music I value there'' <ref name="note71"/>.}}		{{quote\|And so everything else is left as before. But if you are to make a second edition you need to correct some misprints at the same time and, according to the requests of the censor, change the Archbishop to a Cardinal [...] It's necessary on pages 449, 450, 451, 452 where I've put the two footnotes and signs. That way we'll satisfy the theatrical censor, and avoid the need to abridge the music I value there'' <ref name="note71"/>.}}

	The full score of the opera was published by [[Pyotr Jurgenson]] in 1899 with a supplement containing all the changes made by Tchaikovsky <ref name="note72"/>.		The full score of the opera was published by [[Pyotr Jurgenson]] in 1899 with a supplement containing all the changes made by Tchaikovsky <ref name="note72"/>.

Brett: Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

2023-09-09T17:38:34Z

Text replacement - "Wilhelmina Raab" to "Wilhelmina Raab"

← Older revision		Revision as of 19:38, 9 September 2023
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	==Performances==		==Performances==
	The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: [[Mariya Kamenskaya]] (''Joan''), Mikhail Vasilyev III (''King''), Wilhelmina Raab (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.		The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: [[Mariya Kamenskaya]] (''Joan''), Mikhail Vasilyev III (''King''), [[Wilhelmina Raab]] (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.

	In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.		In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.

Brett at 16:21, 9 September 2023

2023-09-09T16:21:44Z

← Older revision		Revision as of 18:21, 9 September 2023
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	{{quote\|2) In Act III I discarded the finale and the music around the time of the third thunderclap, and remodelled it:}}		{{quote\|2) In Act III I discarded the finale and the music around the time of the third thunderclap, and remodelled it:}}

	{{quote\|Here are important changes. In the case of the E-major episode in the duet from the last act, after a long and tormented hesitation I preferred (considering Kamenskaya's voice) to disfigure the melody rather than to change its key. My sensibilities are vehemently opposed to the transposition of this passage. After all, Kamenskaya isn't the only singer, is she? We cannot, in my opinion, impose on Makarova to sing lower than it is written. If she is to sing the part, let her at least sing this passage as it is.}}		{{quote\|Here are important changes. In the case of the E-major episode in the duet from the last act, after a long and tormented hesitation I preferred (considering [[Kamenskaya]]'s voice) to disfigure the melody rather than to change its key. My sensibilities are vehemently opposed to the transposition of this passage. After all, [[Kamenskaya]] isn't the only singer, is she? We cannot, in my opinion, impose on Makarova to sing lower than it is written. If she is to sing the part, let her at least sing this passage as it is.}}

	{{quote\|Generally speaking I have made every possible change in Joan's part for Kamenskaya, but I must tell you frankly that this was terribly difficult for me. It may very well be that I spent insufficient time reducing the number of high notes in her part. If so, then I ask you, dear friend, to make alterations yourself where you see fit. It will be easier for you than for me. For in the phrase we've talked about:}}		{{quote\|Generally speaking I have made every possible change in Joan's part for [[Kamenskaya]], but I must tell you frankly that this was terribly difficult for me. It may very well be that I spent insufficient time reducing the number of high notes in her part. If so, then I ask you, dear friend, to make alterations yourself where you see fit. It will be easier for you than for me. For in the phrase we've talked about:}}

	{{quote\|I couldn't think of anything else to replace it and therefore I confined myself to correcting the mistake you've pointed out in your list and rearranged the notes so that they would not be so high. Here, as in the duet from the fourth act, I could not come up with anything new. I am too accustomed to familiar patterns of modulations and harmonies to be able to successfully replace unsuitable passages with something new. It is better to let the contour of the melody be disfigured, than the essence of the musical idea itself which conforms to the modulation and harmony that I'm used to.}}		{{quote\|I couldn't think of anything else to replace it and therefore I confined myself to correcting the mistake you've pointed out in your list and rearranged the notes so that they would not be so high. Here, as in the duet from the fourth act, I could not come up with anything new. I am too accustomed to familiar patterns of modulations and harmonies to be able to successfully replace unsuitable passages with something new. It is better to let the contour of the melody be disfigured, than the essence of the musical idea itself which conforms to the modulation and harmony that I'm used to.}}
Line 302:		Line 302:
	In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.		In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.

	In this form, the opera lasted one more season before being taken off the stages of the Imperial Theatres <ref name="note65"/>. Tchaikovsky himself wrote about the short-lived and unfortunate stage presence of the opera in a letter to [[Ivan Vsevolozhsky]] of 25 November/7 December 1887: "This opera was staged before your time, and was poverty-stricken. This apart, in default of a soprano I had to entrust the main role to Kamenskaya and disfigure many passages in the opera with cuts and transpositions. Kamenskaya strained her voice with an unsuitable part, and the opera was taken off for a year. When you joined the directorate, the opera was revived and you asked for the setting to be improved. As a consequence I had to make new cuttings and new disfigurements to the original score, so that it was presented not at all in the form in which it was written and intended. In the meantime, looking through ''The Maid of Orleans'', I found it had the necessary ingredients for success, if the first edition were to be restored and a new, preferably beautiful setting were made" . The composer's wish was not fulfilled <ref name="note66"/>, and the opera was not resumed in its original version during his lifetime.		In this form, the opera lasted one more season before being taken off the stages of the Imperial Theatres <ref name="note65"/>. Tchaikovsky himself wrote about the short-lived and unfortunate stage presence of the opera in a letter to [[Ivan Vsevolozhsky]] of 25 November/7 December 1887: "This opera was staged before your time, and was poverty-stricken. This apart, in default of a soprano I had to entrust the main role to [[Kamenskaya]] and disfigure many passages in the opera with cuts and transpositions. [[Kamenskaya]] strained her voice with an unsuitable part, and the opera was taken off for a year. When you joined the directorate, the opera was revived and you asked for the setting to be improved. As a consequence I had to make new cuttings and new disfigurements to the original score, so that it was presented not at all in the form in which it was written and intended. In the meantime, looking through ''The Maid of Orleans'', I found it had the necessary ingredients for success, if the first edition were to be restored and a new, preferably beautiful setting were made" . The composer's wish was not fulfilled <ref name="note66"/>, and the opera was not resumed in its original version during his lifetime.

	However, ''The Maid of Orleans'' was the first of Tchaikovsky's operas to be staged outside Russia. On 16/28 July 1882 the opera was staged at the Summer Theatre in [[Prague]], in a Czech translation by Václav Novotný. The conductor was [[Adolf Čech]], and the soloists: Irma Reichova (''Joan''), Václav Soukup (''King''), Helena Frommova (''Agnes''), F. Christal (''Dunois''), Josef Lev (''Lionel''), Adolf Kressing (''Raimond''), J. Chlumetsky (''Thibaut''), V. Mikolaš (''Bertrand''), V. Zapotocki (''Lauret'').		However, ''The Maid of Orleans'' was the first of Tchaikovsky's operas to be staged outside Russia. On 16/28 July 1882 the opera was staged at the Summer Theatre in [[Prague]], in a Czech translation by Václav Novotný. The conductor was [[Adolf Čech]], and the soloists: Irma Reichova (''Joan''), Václav Soukup (''King''), Helena Frommova (''Agnes''), F. Christal (''Dunois''), Josef Lev (''Lionel''), Adolf Kressing (''Raimond''), J. Chlumetsky (''Thibaut''), V. Mikolaš (''Bertrand''), V. Zapotocki (''Lauret'').

Brett: Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

2023-09-09T16:11:07Z

Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

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

2023-08-09T20:52:49Z

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

← Older revision		Revision as of 22:52, 9 August 2023
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	<ref name="note62">[[Letter 2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October 1882.</ref>		<ref name="note62">[[Letter 2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October 1882.</ref>
	<ref name="note63">[[Letter 2126]] to [[Eduard Nápravník]], 7/19 October 1882.</ref>		<ref name="note63">[[Letter 2126]] to [[Eduard Nápravník]], 7/19 October 1882.</ref>
	<ref name="note64">See letter from [[Eduard Nápravník]] to Tchaikovsky, 17/29 October 1882 — Klin ~~House-Museum Archive~~.</ref>		<ref name="note64">See letter from [[Eduard Nápravník]] to Tchaikovsky, 17/29 October 1882 — {{RUS-KLč}} at [[Klin]].</ref>
	<ref name="note65">The opera was performed in its original form on the stages of private theatres. Its premiere on the Soviet stage was in 1942 in [[Saratov]] (with Joan as a soprano), then in 1945 in [[Leningrad]] on the stage of the State Academic Opera and Ballet (Mariinsky) Theatre, with Joan as a mezzo-soprano.</ref>		<ref name="note65">The opera was performed in its original form on the stages of private theatres. Its premiere on the Soviet stage was in 1942 in [[Saratov]] (with Joan as a soprano), then in 1945 in [[Leningrad]] on the stage of the State Academic Opera and Ballet (Mariinsky) Theatre, with Joan as a mezzo-soprano.</ref>
	<ref name="note66">[[Letter 3148]] to [[Ivan Vsevolozhsky]], 25 November/6 December 1887.</ref>		<ref name="note66">[[Letter 3148]] to [[Ivan Vsevolozhsky]], 25 November/6 December 1887.</ref>

Tony: /* Performances */

2023-04-12T12:49:52Z

Performances

← Older revision		Revision as of 14:49, 12 April 2023
Line 300:		Line 300:
	The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: Mariya Kamenskaya (''Joan''), Mikhail Vasilyev III (''King''), Wilhelmina Raab (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.		The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: Mariya Kamenskaya (''Joan''), Mikhail Vasilyev III (''King''), Wilhelmina Raab (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.

	In January 1882, the opera was withdrawn from the ~~repertory~~ of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.		In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.

	In this form, the opera lasted one more season before being taken off the stages of the Imperial Theatres <ref name="note65"/>. Tchaikovsky himself wrote about the short-lived and unfortunate stage presence of the opera in a letter to [[Ivan Vsevolozhsky]] of 25 November/7 December 1887: "This opera was staged before your time, and was poverty-stricken. This apart, in default of a soprano I had to entrust the main role to Kamenskaya and disfigure many passages in the opera with cuts and transpositions. Kamenskaya strained her voice with an unsuitable part, and the opera was taken off for a year. When you joined the directorate, the opera was revived and you asked for the setting to be improved. As a consequence I had to make new cuttings and new disfigurements to the original score, so that it was presented not at all in the form in which it was written and intended. In the meantime, looking through ''The Maid of Orleans'', I found it had the necessary ingredients for success, if the first edition were to be restored and a new, preferably beautiful setting were made" . The composer's wish was not fulfilled <ref name="note66"/>, and the opera was not resumed in its original version during his lifetime.		In this form, the opera lasted one more season before being taken off the stages of the Imperial Theatres <ref name="note65"/>. Tchaikovsky himself wrote about the short-lived and unfortunate stage presence of the opera in a letter to [[Ivan Vsevolozhsky]] of 25 November/7 December 1887: "This opera was staged before your time, and was poverty-stricken. This apart, in default of a soprano I had to entrust the main role to Kamenskaya and disfigure many passages in the opera with cuts and transpositions. Kamenskaya strained her voice with an unsuitable part, and the opera was taken off for a year. When you joined the directorate, the opera was revived and you asked for the setting to be improved. As a consequence I had to make new cuttings and new disfigurements to the original score, so that it was presented not at all in the form in which it was written and intended. In the meantime, looking through ''The Maid of Orleans'', I found it had the necessary ingredients for success, if the first edition were to be restored and a new, preferably beautiful setting were made" . The composer's wish was not fulfilled <ref name="note66"/>, and the opera was not resumed in its original version during his lifetime.

Tony: /* Notes and References */ Text replacement - "Liliputians" to "Lilliputians"

2023-01-28T12:09:19Z

Notes and References: Text replacement - "Liliputians" to "Lilliputians"

← Older revision		Revision as of 14:09, 28 January 2023
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	<ref name="note27">[[Letter 1065]] to [[Nadezhda von Meck]], 10/22 January 1879.</ref>		<ref name="note27">[[Letter 1065]] to [[Nadezhda von Meck]], 10/22 January 1879.</ref>
	<ref name="note28">[[Letter 1066]] to [[Modest Tchaikovsky]], 10/22–11/23 January 1879.</ref>		<ref name="note28">[[Letter 1066]] to [[Modest Tchaikovsky]], 10/22–11/23 January 1879.</ref>
	<ref name="note28A">Evidence for this substitution only came to light in 2009 when the autograph score of the original ''Dance of the ~~Liliputians~~'', bearing the date "Florence, 27 November 9 December 1878", was auctioned in [[London]] — see http://www.christies.com/lotfinder/Lot/tchaikovsky-pyotr-ilyich-1840-1893-autograph-music-manuscript-5210135-details.aspx and also [https://www.culture.ru/catalog/tchaikovsky/ru/item/article/syuita-no-1 Aleksandr Komarov's article] on the [https://www.culture.ru/catalog/tchaikovsky/ Tchaikovsky Open World website] (in Russian).</ref>		<ref name="note28A">Evidence for this substitution only came to light in 2009 when the autograph score of the original ''Dance of the Lilliputians'', bearing the date "Florence, 27 November 9 December 1878", was auctioned in [[London]] — see http://www.christies.com/lotfinder/Lot/tchaikovsky-pyotr-ilyich-1840-1893-autograph-music-manuscript-5210135-details.aspx and also [https://www.culture.ru/catalog/tchaikovsky/ru/item/article/syuita-no-1 Aleksandr Komarov's article] on the [https://www.culture.ru/catalog/tchaikovsky/ Tchaikovsky Open World website] (in Russian).</ref>
	<ref name="note29">[[Letter 1070]] to [[Nadezhda von Meck]], 15/27 January 1879.</ref>		<ref name="note29">[[Letter 1070]] to [[Nadezhda von Meck]], 15/27 January 1879.</ref>
	<ref name="note30">[[Letter 1071]] to [[Modest Tchaikovsky]], 17/29 January 1879 (original wrongly dated 16/28 January); see also [[Letter 1069]] to [[Pyotr Jurgenson]], 14/26 January 1879.</ref>		<ref name="note30">[[Letter 1071]] to [[Modest Tchaikovsky]], 17/29 January 1879 (original wrongly dated 16/28 January); see also [[Letter 1069]] to [[Pyotr Jurgenson]], 14/26 January 1879.</ref>

Tony: /* Notes and References */

2023-01-27T20:21:06Z

Notes and References

← Older revision		Revision as of 22:21, 27 January 2023
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	<ref name="note7">See [[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>		<ref name="note7">See [[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>
	<ref name="note8">[[Letter 1013]] to [[Modest Tchaikovsky]], 10/22 December 1878.</ref>		<ref name="note8">[[Letter 1013]] to [[Modest Tchaikovsky]], 10/22 December 1878.</ref>
	<ref name="note9">"This isn't too implausible because [[Schiller]], in accordance with history, has the Duke of Burgundy go over from the English to be on the King's side" — ''footnote by Tchaikovsky'').</ref>		<ref name="note9">"This isn't too implausible because [[Schiller]], in accordance with history, has the Duke of Burgundy go over from the English to be on the King's side" — ''footnote by Tchaikovsky''.</ref>
	<ref name="note10">[[Letter 1065]] to [[Nadezhda von Meck]], 10/22 January 1879.</ref>		<ref name="note10">[[Letter 1065]] to [[Nadezhda von Meck]], 10/22 January 1879.</ref>
	<ref name="note11">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 47.</ref>		<ref name="note11">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 47.</ref>
	<ref name="note12">See [[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>		<ref name="note12">See [[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>
	<ref name="note13">[[Letter 1013]] to [[Modest Tchaikovsky]],10/22 December 1878.</ref>		<ref name="note13">[[Letter 1013]] to [[Modest Tchaikovsky]],10/22 December 1878.</ref>
	<ref name="note14">[[Letter 1005]] to [[Nadezhda von Meck]], 5/17 December 1878. For more about the work on this scene see [[Letter 1008]] to [[Modest Tchaikovsky]], 6/18 December [1878; [[Letter 1010]] to [[Nadezhda von Meck]], 8/20 December 1878; and [[Letter 1011]] to [[Anatoly Tchaikovsky]], 8/20 December 1878.</ref>		<ref name="note14">[[Letter 1005]] to [[Nadezhda von Meck]], 5/17 December 1878. For more about the work on this scene, see [[Letter 1008]] to [[Modest Tchaikovsky]], 6/18 December [1878; [[Letter 1010]] to [[Nadezhda von Meck]], 8/20 December 1878; and [[Letter 1011]] to [[Anatoly Tchaikovsky]], 8/20 December 1878.</ref>
	<ref name="note15">[[Letter 1007]] to [[Modest Tchaikovsky]], 6/18 December 1878.</ref>		<ref name="note15">[[Letter 1007]] to [[Modest Tchaikovsky]], 6/18 December 1878.</ref>
	<ref name="note16">[[Letter 1012]] to [[Nadezhda von Meck]], 10/22 December 1878; see also [[Letter 1013]] to [[Modest Tchaikovsky]], 10/22 December 1878.</ref>		<ref name="note16">[[Letter 1012]] to [[Nadezhda von Meck]], 10/22 December 1878; see also [[Letter 1013]] to [[Modest Tchaikovsky]], 10/22 December 1878.</ref>

Tony: /* Notes and References */ Text replacement - "operas" to "opéras"

2023-01-27T20:17:06Z

Notes and References: Text replacement - "operas" to "opéras"

← Older revision		Revision as of 22:17, 27 January 2023
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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">Jules Barbier's drama ''Jeanne d'Arc'', in 5 acts, 7 scenes with music by [[Charles Gounod]] was first performed in [[Paris]] on 8 November 1873 {{NS}}. According to Félix Clément (1822–1885), this drama represented events with historical accuracy. Among the musical numbers, Clément highly rated the chorus of refugees, the soldiers' chorus, and the funeral march — see Félix Clément & Pierre Larousse, ''Dictionnaire des ~~operas~~ (Dictionnaire lyrique)'' (1897 edition, revised by Arthur Pougin), p. 604. Auguste Mermet's opera ''Jeanne d'Arc'', in 4 acts, 6 scenes, was first performed in [[Paris]] on 5 April 1876 {{NS}}.</ref>		<ref name="note1">Jules Barbier's drama ''Jeanne d'Arc'', in 5 acts, 7 scenes with music by [[Charles Gounod]] was first performed in [[Paris]] on 8 November 1873 {{NS}}. According to Félix Clément (1822–1885), this drama represented events with historical accuracy. Among the musical numbers, Clément highly rated the chorus of refugees, the soldiers' chorus, and the funeral march — see Félix Clément & Pierre Larousse, ''Dictionnaire des opéras (Dictionnaire lyrique)'' (1897 edition, revised by Arthur Pougin), p. 604. Auguste Mermet's opera ''Jeanne d'Arc'', in 4 acts, 6 scenes, was first performed in [[Paris]] on 5 April 1876 {{NS}}.</ref>
	<ref name="note2">See [[Letter 900]] to [[Modest Tchaikovsky]], 21 August/2 September 1878.</ref>		<ref name="note2">See [[Letter 900]] to [[Modest Tchaikovsky]], 21 August/2 September 1878.</ref>
	<ref name="note3">The original gives an incorrect {{NS}} date of "2 December".</ref>		<ref name="note3">The original gives an incorrect {{NS}} date of "2 December".</ref>

← Older revision		Revision as of 18:11, 9 September 2023
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	==Performances==		==Performances==
	The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: Mariya Kamenskaya (''Joan''), Mikhail Vasilyev III (''King''), Wilhelmina Raab (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.		The opera's opening night took place at the Mariinsky Theatre in [[Saint Petersburg]] at [[Eduard Nápravník]]'s benefit performance under his baton on 13/25 February 1881, with soloists including: [[Mariya Kamenskaya]] (''Joan''), Mikhail Vasilyev III (''King''), Wilhelmina Raab (''Agnes''), Fyodor Stravinsky (''Dunois''), [[Ippolit Pryanishnikov]] (''Lionel''), Vladimir Mayboroda (''Cardinal''), Fyodor Sokolov (''Raimond'') and Mikhail Koryakin (''Thibaut'') <ref name="note60A"/>.

	In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.		In January 1882, the opera was withdrawn from the repertoire of the [[Saint Petersburg]] theatres. In September of the same year, the directorate approached Tchaikovsky with a request to transpose Joan's part for mezzo-soprano. Tchaikovsky had to return to work on the opera yet again <ref name="note61"/>. The alterations were made by 7/19 October 1882. "I've spent ten days confined to my desk over this exhausting task," the composer wrote on 8/20 October to [[Nadezhda von Meck]] <ref name="note62"/>. All the changes made were described by Tchaikovsky in a letter to [[Eduard Nápravník]] of 7/19 October 1882 <ref name="note63"/>: the key of the chorus of angels singing with Joan was changed, as well as the orchestration of the first act's finale, Joan's narrative in the second act was abridged, some key changes were made in the first and the second duets of Joan with Lionel due to the transpositions of vocal parts (mainly Joan's), and the music in the scene of Joan's capture was shortened. In the same letter Tchaikovsky asked that the duet of Thibaut and Raimond in the third act should be restored. [[Eduard Nápravník]] accepted all the changes except for the restoration of Thibaut and Raimond's duet <ref name="note64"/>.
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	The complete opera was performed at the [[Tiflis]] Opera Theatre on 19/31 December 1886, in a production conducted by [[Mikhail Ippolitov-Ivanov]] <ref name="note66A"/>. The same conductor gave the [[Moscow]] premiere on 3/15 February 1899, with members of Savva Mamontov's Private Opera company, including Yelena Tsvetkova (''Joan''), Vasily Shkafer (''King'') and Pyotr Olyonin (''Dunois'') <ref name="note66B"/>.		The complete opera was performed at the [[Tiflis]] Opera Theatre on 19/31 December 1886, in a production conducted by [[Mikhail Ippolitov-Ivanov]] <ref name="note66A"/>. The same conductor gave the [[Moscow]] premiere on 3/15 February 1899, with members of Savva Mamontov's Private Opera company, including Yelena Tsvetkova (''Joan''), Vasily Shkafer (''King'') and Pyotr Olyonin (''Dunois'') <ref name="note66B"/>.

	Tchaikovsky conducted Joan's Aria (Act I, No. 7) at his concert at the [[Saint Petersburg]] Philharmonic Society on 5/17 November 1888 (soloist: Mariya Kamenskaya), and in [[Warsaw]] on 2/14 January 1892 (soloist: Nina Fride) <ref name="note66C"/>.		Tchaikovsky conducted Joan's Aria (Act I, No. 7) at his concert at the [[Saint Petersburg]] Philharmonic Society on 5/17 November 1888 (soloist: [[Mariya Kamenskaya]]), and in [[Warsaw]] on 2/14 January 1892 (soloist: Nina Fride) <ref name="note66C"/>.

	The first complete production of the opera in the United States was given at the Pioneer Theatre in Reno (Nevada) on 13 May 1976, in an English translation (as "Joan of Arc") by the Nevada Opera Company, conducted by Ted Puffer. A complete concert performance, in Russian, was given at Carnegie Hall in [[New York]] on 28 February 1990 by the Opera Orchestra of [[New York]], the Yale Russian Chorus and New York Choral Society, conducted by Eve Queler <ref name="note66D"/>. In Britain, the first complete production took place at the Collegiate Theatre in [[London]] on 22 February 1978, with Guy Woolfenden conducting the University College Opera <ref name="note66E"/>.		The first complete production of the opera in the United States was given at the Pioneer Theatre in Reno (Nevada) on 13 May 1976, in an English translation (as "Joan of Arc") by the Nevada Opera Company, conducted by Ted Puffer. A complete concert performance, in Russian, was given at Carnegie Hall in [[New York]] on 28 February 1990 by the Opera Orchestra of [[New York]], the Yale Russian Chorus and New York Choral Society, conducted by Eve Queler <ref name="note66D"/>. In Britain, the first complete production took place at the Collegiate Theatre in [[London]] on 22 February 1978, with Guy Woolfenden conducting the University College Opera <ref name="note66E"/>.
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	<ref name="note60">See [[Letter 1514]], 17/29 June 1880, and [[Letter 1540]], 18/30 July 1880, to [[Pyotr Jurgenson]].</ref>		<ref name="note60">See [[Letter 1514]], 17/29 June 1880, and [[Letter 1540]], 18/30 July 1880, to [[Pyotr Jurgenson]].</ref>
	<ref name="note60A">On 26 December 1880/7 January 1881, [[Eduard Nápravník]] had already conducted an unspecified "Arioso" from the opera at a Russian Opera concert in the Mariinsky Theatre. This was most probably Joan's Aria (Act I, No. 7).</ref>		<ref name="note60A">On 26 December 1880/7 January 1881, [[Eduard Nápravník]] had already conducted an unspecified "Arioso" from the opera at a Russian Opera concert in the Mariinsky Theatre. This was most probably Joan's Aria (Act I, No. 7).</ref>
	<ref name="note61">See [[Letter 2125]] to [[Pyotr Jurgenson]], 3/15 October 1882; [[Letter 2130]] to [[Sergey Taneyev]], 8/20 October 1882; Letters [[Letter 2116\|2116]] and [[Letter 2119\|2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October and 28 September/10 October–8/20 October 1882; and a letter from Mariya Kamenskaya to Tchaikovsky, 14/26 September 1882, naming the wanted changes — [[Klin]] House-Museum Archive.</ref>		<ref name="note61">See [[Letter 2125]] to [[Pyotr Jurgenson]], 3/15 October 1882; [[Letter 2130]] to [[Sergey Taneyev]], 8/20 October 1882; Letters [[Letter 2116\|2116]] and [[Letter 2119\|2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October and 28 September/10 October–8/20 October 1882; and a letter from [[Mariya Kamenskaya]] to Tchaikovsky, 14/26 September 1882, naming the wanted changes — [[Klin]] House-Museum Archive.</ref>
	<ref name="note62">[[Letter 2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October 1882.</ref>		<ref name="note62">[[Letter 2119]] to [[Nadezhda von Meck]], 22 September/4 October–24 September/6 October 1882.</ref>
	<ref name="note63">[[Letter 2126]] to [[Eduard Nápravník]], 7/19 October 1882.</ref>		<ref name="note63">[[Letter 2126]] to [[Eduard Nápravník]], 7/19 October 1882.</ref>