man can we talk about how much of an icon shostakovich was writing "lady macbeth of the mtsensk district"
okay so for some context, the opera was written in 1932 and is based on the nikolai leskov novel of the same name. in the late 20s/early 30s soviet union, feminist ideology was the focus of a lot of cultural discussions, and this is very much reflected in "lady macbeth," a story originally about a femme fatale whom shostakovich largely humanizes and portrays as a victim of circumstance. (he was also planning on writing a cycle of operas centering around female protagonists, but after the 1936 denunciation, this obviously never happened.) so I want to highlight two interesting sources when it comes to feminism and "lady macbeth"-
so this first bit comes from an interview with nadezhda welter in elizabeth wilson's bio, who premiered the role of sonyetka. in many productions of the opera, sonyetka is portrayed as a selfish "whore" to katerina's quasi-"madonna," using her sexuality to seduce katerina's (god-awful) lover and drive her to her demise. however, according to welter, shostakovich had a far more nuanced vision for this character, seeing her as a young and immature victim of systemic class and gender discrimination -
and then there's how shostakovich characterizes katerina herself. this is from a letter to his friend isaak glikman in 1962. after stalin's death, shostakovich wanted to get his opera restaged after it had been censored for years. however, it's interesting to me how he reacts with disgust to a theatre producer’s proposition that the character of katerina should be pregnant in a revival of the opera, in order to make her more sympathetic to audiences.
for context on the opera, katerina is a highly complex character. she's desperate for a way out of her social situation and her life with an abusive husband and father-in-law. she's later sexually assaulted by this guy named sergei, but she ends up entering a relationship with him, possibly because between sergei and her husband, she views him as the lesser of two evils. throughout the opera, we see sergei's repulsive views on women, and katerina seems more than anything like she's trying to convince herself she made the right decision, that as horrific as sergei is, she's better off with him than her husband. she and sergei murder her husband and father-in-law, but at the wedding, a drunk peasant discovers the bodies in a cellar. they are arrested and sent to a prison camp, and katerina remains devoted to sergei- if only because he's all she has left. meanwhile, sergei cheats on her with sonyetka, a young prostitute also in the prison camp.
in other words, katerina has been through absolute hell, and yet this producer suggests she's somehow not sympathetic enough, and that on top of all that, she has to be pregnant to evoke sympathy from the audience. thankfully, shostakovich did not go through with that suggestion, recognizing how unnecessary it was.
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The Top 40 Most Popular Operas, Part 4 (#31 through #40)
A quick guide for newcomers to the genre, with links to online video recordings of complete performances, with English subtitles whenever possible.
Donizetti's Don Pasquale
Another comedy of manners with a melodic bel canto score.
Teatro Lirico di Cagliari, 2003 (Alessandro Corbelli, Eva Mei, Antonino Siragusa, Roberto de Candia; conducted by Gérard Korsrten)
Verdi's Macbeth
The first of Verdi's great Shakespearean operas.
Zürich Opera, 2001 (Thomas Hampson, Paoletta Marrocu, Roberto Scandiuzzi, Luis Lima; conducted by Franz Welser-Möst)
Beethoven's Fidelio
Beethoven's only opera, a drama of love, courage, and idealism in the face of political corruption.
Vienna State Opera, 1979 (Gundula Janowitz, René Kollo, Hans Sotin, Manfred Jungwirth, Lucia Popp; conducted by Leonard Bernstein)
Gounod's Faust
One of the most wildly popular operas in the 19th and early 20th centuries: a melodic French interpretation of the Faust legend.
Vienna State Opera, 1985 (Francisco Araiza, Gabriela Benacková, Ruggero Raimondi; conducted by Erich Binder)
Richard Strauss's Salome
Strauss's one-act operatic translation Oscar Wilde's erotic and powerful Biblically-inspired play.
Teatro Comunale di Bologna, 2010 (Erika Sunnegårdh, Mark S. Doss, Robert Brubaker, Dalia Schaechter, Mark Milhofer; conducted by Nicola Luisotti)
Puccini's Gianni Schicchi
Puccini's only comic opera, a rollicking one-act farce inspired by a passage from Dante's Divine Comedy.
Teatro alla Scala, 2008 (Leo Nucci, Nino Machiadze, Vittorio Grigolo, Cinzia De Mola; conducted by Riccardo Chailly)
Verdi's Don Carlo
A grand, tragic historical drama of politics, love vs. duty, intergenerational conflict, friendship (of the vaguely homoerotic variety), and abuse of power.
Metropolitan Opera, 1983 (Plácido Domingo, Mirella Freni, Nicolai Ghiaurov, Louis Quilico, Grace Bumbry, Ferruccio Furlanetto; conducted by James Levine)
Bellini's Norma
A great bel canto soprano vehicle, depicting a tragic love triangle amid the Roman conquest of Gaul.
Sydney Opera House, 1978 (Joan Sutherland, Margareta Elkins, Ron Stevens, Clifford Grant; conducted by Richard Bonynge)
Richard Strauss's Ariadne auf Naxos
A unique "opera within an opera" that explores the themes of comedy vs. drama and "low art" vs. "high art."
Salzburg Festival, 1965 (Hildegard Hillebrecht, Sena Jurinac, Reri Grist, Jess Thomas; conducted by Karl Böhm)
Gluck's Orfeo ed Euridice (Orpheus and Eurydice)
A groundbreaking early Classical interpretation of the Orpheus myth, replacing the pageantry of Baroque opera with "noble simplicity."
Feature film, 2014 (Bejun Mehta, Eva Liebau, Regula Mühlemann; conducted by Vaclav Luks) (no subtitles; read the libretto in English translation here)
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