Mikhail Lentovsky and Letter 176: Difference between pages

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{{picture|file=Mikhail Lentovsky.jpg|caption='''Mikhail Lentovsky''' (1843-1906)}}
{{letterhead
Russian stage impresario, actor, theatre director, and writer (b. 1843 in [[Saratov]]; d. 11/24 December 1906 in [[Moscow]]), born''''' Mikhail Valentinovich Lentovsky''''' (Михаил Валентинович Лентовский).
|Date=1869 <ref name="note1"/>
|To=[unidentified person]
|Place=[[Moscow]]
|Language=Russian
|Autograph=[[Moscow]] (Russia): {{RUS-Mcm}} (ф. 37, No. 106)
|Publication={{bib|1959/50|П. И. Чайковский. Полное собрание сочинений ; том V}} (1959), p. 199–200
|Notes=Apparently a draft letter (incomplete), probably intended for the directors of the [[Saint Petersburg]] Conservatory
}}
==Text and Translation==
The opening and conclusion of this letter have been lost.
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{...}} Обстоятельства исключения Грачёвой и Лазарик следующие: Грачёва, девица хотя талантливая, но очень взбалмошная, беспорядочная и ленивая, перебывала поочерёдно в классах Венявского, Доора и, наконец, у Дюбюка. Случайно Рубинштейн узнал, совершенно частным образом, что она, не довольствуясь уроками Дюбюка, берет ещё частные уроки у ученицы Рубинштейна, Лазарик. Н[иколай] Г[ригорьевич] попросил Лазарик прекратить эти уроки, говоря, что это совершенно противоречит консерваторским порядкам и что Дюбюк был бы весьма огорчён, узнав о том. Но Лазарик не согласилась отказать в своих уроках Грачёвой, а некая генеральша Жигмонт, покровительница Грачёвой, написала к Дюбюку письмо, в котором называла вмешательство Рубинштейна ''неуместным'' и заявляла надежду, что Дюбюк позволит своей ученице брать уроки у Лазарик. В этом она, конечно, ошиблась; Дюбюк, как и следовало ожидать, огорчился, и Совет профессоров, которому очень хорошо известно, что Грачёва за все берётся, но ровно ничего не делает, решил исключить её, тем более, что она не могла оставаться в Консерватории, так как Дюбюк не соглашался оставить её в своем классе, а все другие решительно отказались её принять к себе. Что касается до Лазарик, то справедливость требует сказать, что она была (по фортепьянному классу Рубинштейна) отличной ученицей, но ею пришлось пожертвовать ради справедливости.


==Biography==
Касательно намерения Лазарик поступить в Петербургскую консерваторию, то это вопрос весьма щекотливый. Н[иколай] Г[ригорьевич] говорит, что если б исключённая из Петер6[ургской] консерв[атории] ученица обратилась к нему с просьбой поступить в Московскую, то он бы непременно отказал, а Вам он просит передать, что Вы должны поступить так, как Вам кажется справедливым. Если ''Лазарик'' будет Вами принята, то он нисколько не будет считать себя оскорблённым, тем более, что официально он может о том и не знать вовсе. {{...}}
The son of a former violinist in a serf orchestra, Lentovsky became interested in the theatre at an early age, and, with the support of the famous serf actor Mikhail Shchepkin (1788-1863), he left [[Saratov]] in 1863 to enrol at the [[Moscow]] Theatrical School. In 1865, he debuted on the stage of the Maly Theatre, before leaving [[Moscow]] to tour the provincial theatres (including Oryol, [[Kazan]], [[Saratov]], [[Kharkov]], [[Odessa]]), participating in dramas, operettas and vaudevilles. In the 1870s he also made his debut as a director, staging various plays and operettas at the Maly Theatre. After resigning from that company's staff in 1882, Lentovsky received a lucrative offer from [[Ivan Vsevolozhsky]], the head of the Imperial Theatres, to become director of opera at the Bolshoi Theatre in [[Moscow]], but he preferred instead to make his own way in showbusiness. Having already started renting the [[Moscow]] Hermitage Garden in 1878, he built a new open-air theatre there in 1882, which he called the "Fantastic Theatre" (later the "Antei Theatre"), whilst at the same time presenting operettas and summer spectaculars in parks in [[Saint Petersburg]] and [[Nizhny Novgorod]]. All these enterprises became possible after the state's monopoly on theatres in the two capitals was revoked in the early 1880s. In 1887, Lentovsky finally realised his ambition of creating a popular theatre in [[Moscow]] — the "Skomorokh Theatre", where he built up a strong ensemble. He specialised in elaborate productions, abundant in pyrotechnical displays, explosions and enormous sets (the stage designer [[Karl Valts]] worked for him for a while). This lavishness almost brought Lentovsky to the point of ruin in 1895, but he subsequently became stage director for the Mamontov Private Opera in [[Moscow]] (1898–1900).


==Tchaikovsky and Lentovsky==
|Translated text={{...}} The circumstances of the exclusion of Grachyova and Lazarik are as follows: Grachyova, although a talented young woman, was very eccentric, disorderly and lazy, attending in turn the classes of Wienawski, [[Door]] and, finally, [[Dubuque]]. By chance, [[Nikolay Rubinstein|Rubinstein]] learned, entirely of his own accord, that she, not being content with [[Dubuque]]'s instruction, was also taking private lessons from [[Nikolay Rubinstein|Rubinstein]]'s student, Lazarik. [[Nikolay Grigoryevich]] asked Lazarik to stop those lessons, saying that this was wholly contrary to the rules of the Conservatory, and that [[Dubuque]] would be extremely upset if he learned about it. But Lazarik did not agree to refuse Grachyova her lessons, and a certain General Zsigmont, Grachyova's patron, wrote a letter to [[Dubuque]] in which he called [[Nikolay Rubinstein|Rubinstein]]'s intervention ''inappropriate'' and expressed the hope that [[Dubuque]] would allow his student to take lessons with Lazarik. In this, of course, they were mistaken. [[Dubuque]], as one might expect, was upset, and the Council of Professors, who were well aware that Grachyova accepts everything but does absolutely nothing, decided to expel her, especially since she couldn't remain at the Conservatory, since [[Dubuque]] would not agree to her remaining in his class, and everyone else steadfastly refused to accept her. As for Lazarik, it is only fair to say that she was an excellent student (in [[Nikolay Rubinstein|Rubinstein]]'s piano class), but she had to be sacrificed for the sake of justice.  
It is not clear when Tchaikovsky first made the acquaintance of Lentovsky, but on 1/13 April 1882, after returning from a long stay in Italy, the composer wrote to his brother [[Modest]], saying that he was involved in "negotiations with the impresario ''Lentovsky'', who has commissioned me to write an opera to be staged during the coming winter season at the new theatre he is building" <ref name="note1"/>. Of the three subjects proposed by Lentovsky, Tchaikovsky was most interested in ''Sadko'', based on the folk-tale about the [[Novgorod]] ''gusli'' player who visits the Kingdom of the Sea, and that very same day he wrote a brief note to Lentovsky to arrange a mutually convenient time for discussing this project <ref name="note2"/>. However, it seems that Lentovsky decided that his new theatre would have to concentrate on the more profitable genre of operetta and he soon withdrew his commission, for already in May 1882 Tchaikovsky had resumed work on ''[[Mazepa]]'' <ref name="note3"/>. The next time we hear of Lentovsky in connection with the composer is in the summer of 1886, when Tchaikovsky, together with [[Karl Albrecht]] and his wife, went to see a ''féerie'' mounted by Lentovsky at the Hermitage Garden in [[Moscow]] <ref name="note4"/>.
 
In the autumn of 1891, Lentovsky opened a new opera theatre in [[Moscow]], but the inaugural production — a performance of [[Meyerbeer]]'s ''Les Huguenots'' on 25 October/6 November 1891 with a motley French, Italian, and Russian cast singing in different languages — was criticized sharply in the press. A few days later, Lentovsky wrote to Tchaikovsky asking him for support:
 
{{quote|Dear Pyotr Ilyich!}}
 
{{quote|Truly, what times I have chosen to start out on the serious field of opera!!! Today I have been'' torn to pieces'' and'' spat upon'' for daring to seek to work, to the best of my abilities and resources, in the sphere of real, true art!}}
 
{{quote|Would you not be able, dear Pyotr Ilyich, to spare a few free minutes tonight and come to see my ''Huguenots'' and then tell me if what I have done really deserves this kind of treatment?}}
 
{{quote|By such a kind and invaluable favour and attention on your part you would genuinely oblige and gladden me. May you be my judge! Your sincere admirer,}}
 
{{quote|''M. Lentovsky'' <ref name="note5"/>.}}
 
Tchaikovsky replied that very day, saying that from his friends he had heard nothing but enthusiastic praise for this production of ''Les Huguenots'', and that someone "as gifted, enterprising, and unconditionally honest" as Lentovsky had no need to take notice of spiteful press reviews. The composer explained that he could unfortunately not come to that night's performance of [[Meyerbeer]]'s opera because he had promised [[Anton Arensky]] to attend a production of his opera ''A Dream on the Volga'' at the Bolshoi Theatre. However, he promised Lentovsky that the following day he would definitely come to his theatre to hear [[Emiliya Pavlovskaya]] in ''Carmen'', and that he would without fail attend the next performance of'' Les Huguenots ''<ref name="note6"/>.
 
Lentovsky's new opera theatre had an ambitiously wide repertoire: apart from ''Les Huguenots'' and ''Carmen'', there were also productions of ''La traviata, Il trovatore, Rigoletto, Faust'', and ''Cavalleria rusticana''. However, the season was very short-lived, since by January 1892 Lentovsky had once again gone bankrupt.
 
==Correspondence with Tchaikovsky==
2 letters have survived from Tchaikovsky to Mikhail Lentovsky, dating from 1882 to 1891, both of which have been translated into English on this website:
* '''[[Letter 1999]]''' – 1/13 April 1882, from [[Moscow]]
* '''[[Letter 4526]]''' – 27 October/8 November 1891, from [[Moscow]]
 
One letter from Lentovsky to the composer, dating from 1891, is preserved in the [[Klin]] House-Museum Archive.
 
==Bibliography==
* {{bib|1940/231}} (1940)


Regarding Lazarik's application to enter the [[Petersburg]] Conservatory, this is a very delicate question. [[Nikolay Grigoryevich]] says that if a student expelled from the [[Petersburg]] Conservatory had approached him with a request to enter its counterpart in [[Moscow]], then he would have certainly refused, but he asks me to tell you that you should do what seems fair to you. If you accept ''Lazarik'', then he will not consider himself to be offended, all the more if he officially did not know at all. {{...}}
}}
==Notes and References==
==Notes and References==
<references>
<references>
<ref name="note1">[[Letter 2000]] to [[Modest Tchaikovsky]], 1/13 April 1882.</ref>
<ref name="note1">Dated to 1869 by [[Karl Albrecht]].</ref>
<ref name="note2">[[Letter 1999]] to Mikhail Lentovsky, 1/13 April 1882. Neither ''Sadko'' nor the other two subjects proposed by Lentovsky have been included in the list of Tchaikovsky's projected works in either the TH or the ČW catalogues because the composer made no sketches or plans for any of them. It is worth noting that [[Nikolay Rimsky-Korsakov]] had written a tone-poem ''Sadko'' in 1867, and almost thirty years later he would turn this colourful subject into one of his most successful operas.</ref>
<ref name="note3">See {{bib|1980/84|П. И. Чайковский и народный театр}} (1980), p. 116.</ref>
<ref name="note4">See Tchaikovsky's diary entry for 11/23 August 1886 in {{bib|1993/231|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 87.</ref>
<ref name="note5">Letter from Mikhail Lentovsky to Tchaikovsky, 27 October/8 November 1891 — [[Klin]] House-Museum Archive. Quoted in {{bib|1940/231|Чайковский на московской сцене}} (1940), p. 469.</ref>
<ref name="note6">See [[Letter 4526]] to Mikhail Lentovsky, 27 October/8 November 1891.</ref>
</references>
</references>
[[Category:People|Lentovsky, Mikhail]]
[[Category:Letters to Unidentified Persons]]
[[Category:Actors and actresses|Lentovsky, Mikhail]]
{{DEFAULTSORT:Letter 0176}}
[[Category:Correspondents|Lentovsky, Mikhail]]
[[Category:Impresarios|Lentovsky, Mikhail]]
[[Category:Writers|Lentovsky, Mikhail]]

Latest revision as of 14:46, 13 February 2024

Date 1869 [1]
Addressed to [unidentified person]
Where written Moscow
Language Russian
Autograph Location Moscow (Russia): Russian National Museum of Music (ф. 37, No. 106)
Publication П. И. Чайковский. Полное собрание сочинений, том V (1959), p. 199–200
Notes Apparently a draft letter (incomplete), probably intended for the directors of the Saint Petersburg Conservatory

Text and Translation

The opening and conclusion of this letter have been lost.

Russian text
(original)
English translation
By Brett Langston
[...] Обстоятельства исключения Грачёвой и Лазарик следующие: Грачёва, девица хотя талантливая, но очень взбалмошная, беспорядочная и ленивая, перебывала поочерёдно в классах Венявского, Доора и, наконец, у Дюбюка. Случайно Рубинштейн узнал, совершенно частным образом, что она, не довольствуясь уроками Дюбюка, берет ещё частные уроки у ученицы Рубинштейна, Лазарик. Н[иколай] Г[ригорьевич] попросил Лазарик прекратить эти уроки, говоря, что это совершенно противоречит консерваторским порядкам и что Дюбюк был бы весьма огорчён, узнав о том. Но Лазарик не согласилась отказать в своих уроках Грачёвой, а некая генеральша Жигмонт, покровительница Грачёвой, написала к Дюбюку письмо, в котором называла вмешательство Рубинштейна неуместным и заявляла надежду, что Дюбюк позволит своей ученице брать уроки у Лазарик. В этом она, конечно, ошиблась; Дюбюк, как и следовало ожидать, огорчился, и Совет профессоров, которому очень хорошо известно, что Грачёва за все берётся, но ровно ничего не делает, решил исключить её, тем более, что она не могла оставаться в Консерватории, так как Дюбюк не соглашался оставить её в своем классе, а все другие решительно отказались её принять к себе. Что касается до Лазарик, то справедливость требует сказать, что она была (по фортепьянному классу Рубинштейна) отличной ученицей, но ею пришлось пожертвовать ради справедливости.

Касательно намерения Лазарик поступить в Петербургскую консерваторию, то это вопрос весьма щекотливый. Н[иколай] Г[ригорьевич] говорит, что если б исключённая из Петер6[ургской] консерв[атории] ученица обратилась к нему с просьбой поступить в Московскую, то он бы непременно отказал, а Вам он просит передать, что Вы должны поступить так, как Вам кажется справедливым. Если Лазарик будет Вами принята, то он нисколько не будет считать себя оскорблённым, тем более, что официально он может о том и не знать вовсе. [...]

[...] The circumstances of the exclusion of Grachyova and Lazarik are as follows: Grachyova, although a talented young woman, was very eccentric, disorderly and lazy, attending in turn the classes of Wienawski, Door and, finally, Dubuque. By chance, Rubinstein learned, entirely of his own accord, that she, not being content with Dubuque's instruction, was also taking private lessons from Rubinstein's student, Lazarik. Nikolay Grigoryevich asked Lazarik to stop those lessons, saying that this was wholly contrary to the rules of the Conservatory, and that Dubuque would be extremely upset if he learned about it. But Lazarik did not agree to refuse Grachyova her lessons, and a certain General Zsigmont, Grachyova's patron, wrote a letter to Dubuque in which he called Rubinstein's intervention inappropriate and expressed the hope that Dubuque would allow his student to take lessons with Lazarik. In this, of course, they were mistaken. Dubuque, as one might expect, was upset, and the Council of Professors, who were well aware that Grachyova accepts everything but does absolutely nothing, decided to expel her, especially since she couldn't remain at the Conservatory, since Dubuque would not agree to her remaining in his class, and everyone else steadfastly refused to accept her. As for Lazarik, it is only fair to say that she was an excellent student (in Rubinstein's piano class), but she had to be sacrificed for the sake of justice.

Regarding Lazarik's application to enter the Petersburg Conservatory, this is a very delicate question. Nikolay Grigoryevich says that if a student expelled from the Petersburg Conservatory had approached him with a request to enter its counterpart in Moscow, then he would have certainly refused, but he asks me to tell you that you should do what seems fair to you. If you accept Lazarik, then he will not consider himself to be offended, all the more if he officially did not know at all. [...]

Notes and References

  1. Dated to 1869 by Karl Albrecht.