Rimsky-Korsakov: Mozart & Salieri

Rimsky-Korsakov: Mozart & Salieri

Rimsky-Korsakov: Mozart & Salieri
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Composer: Nikolai Rimsky-Korsakov
Composer: Mikhail Glinka
Composer: Mikhail Ivanovich Glinka
Conductor: Yuli Turovsky
Performer: I Musici de Montréal
Orchestra: I Musici de Montréal
Orchestra: I Musici de Montréal Choir
Orchestra: Vladimir Milman
Performer: Wladimir Bogatschow
Performer: Vladimir Bogachev
Edition: Music CD
CD Release Date: 1994-07-26
Music Label: Chandos
Soundtracks:
  1. Mozart & Salieri, Op. 48: Scene One: Introduction. Adagio
  2. Mozart & Salieri, Op. 48: Scene One: Saliere: Vsye govoryat: nyet pravdi na zyemle
  3. Mozart & Salieri, Op. 48: Scene One: Salieri: O Mozart, Mozart!
  4. Mozart & Salieri, Op. 48: Scene One: Mozart: Iz Mozarta nam chtonibud!
  5. Mozart & Salieri, Op. 48: Scene One: Mozart: Pryedstav sebye...kovo bui?
  6. Mozart & Salieri, Op. 48: Scene One: Salieri: Tui s ietim shel ko mnye
  7. Mozart & Salieri, Op. 48: Scene One: Salieri: Nyet, nye mogu protivitsya ya dole sudbye moyei
  8. Mozart & Salieri, Op. 48: Intermezzo - Fughetta. Allegro
  9. Mozart & Salieri, Op. 48: Scene Two: Salieri: Chto tui syevodnya pasmuryen?
  10. Mozart & Salieri, Op. 48: Scene Two: Mozart: Nyedyeli tri tomu, prishelya pozdno domoi
  11. Mozart & Salieri, Op. 48: Scene Two: 'Mozart's Requiem'. Adagio
  12. Mozart & Salieri, Op. 48: Scene Two: Mozart: Tui plachesh?
  13. Mozart & Salieri, Op. 48: Scene Two: Mozart: Togda b nye mog i mir sushchestvovat
  14. Mozart & Salieri, Op. 48: Scene Two: Salieri: Tui zasnyosh
  15. Redeyet oblakov letuchaya gryada, Op. 42 (The Banks Of Shifting Clouds Are Thinning)
  16. Na holmah Gruziyi Op. 3 (Upon The Hills Of Georgia)
  17. Y pomnu chudnoye mgnovenye (Oh, I Recall That Lovely Moment)
  18. Rizarskiy Romans (A Knight's Romance)
  19. Svadebnaya Pesnya (Wedding Song)
  20. Ya zdes, Inezilya (I Am Here, Inezilya)
  21. Kak sladko s toboyu mnye bits (How Sweet It Is For Me To Be With You)
  22. V krovi gorit ogon zhelanya (Within My Blood Burns A Flame Of Desire)
  23. Nye govori, shto serdzu bolno (Oh, Do Not Say That Your Heart Aches)
  24. K Molli (To Molly)
  25. Priznaniye (The Confession)
  26. Somneniye (Doubt)

Music reviews of Rimsky-Korsakov: Mozart & Salieri

Music Review: Genius and Evil.
Rating: 5 Stars

This is an excellent recording of the opera who owes its fame more to the story it's based on than to the music itself. The pleasure of listening to it would be greatly multiplied if one would read before one of "The Little Tragedies" by the greatest Russian poet Pushkin - that is, "Mozart & Salieri". The story is perennially popular in Russia, with innumerable theater performances and films. Milos Forman, the director of the famous film `Amadeus", a person with Slav background, was definitely also very well familiar with the play.

It must be said that as knowing German would surely enhance Wagner's listener delight, knowing Russian would increase the joy of this piece - Pushkin's poetry is mesmerizing...

Musically it is rather a curiosity; it reminds of Tchaikovsky's Eugene Onegin in approach. It is a late piece of Rimsky-Korsakov, premiered in 1898, when influence of Tchaikovsky was immense. We can hardly hear any of "The Mighty Five" Russian nationalistic concepts in this opera. Wagner's fame and Western subject of this opera might have contributed to Rimsky's more western style here. Also, at that point of his career he was jealous of Tchaikovsky fame and was probably already aware of his own limitations. It seems to me that he wished to illustrate musically the great drama of this Little Tragedy "Mozart and Salieri" and to explore its dramatic views on relationship of hard work and genius; perhaps he imagined himself as a hard-working Salieri whose fame was being overshadowed by other, more gifted, albeit more dissolute composers, of which sort Tchaikovsky and Wagner would provide an ample material.

The opera is short - only 44 minutes; there are marvelous scenes.

In the Scene One an old blind violinist in a trattoria plays fragments from "Batti, batti, o bel Masetto"; he plays it badly, as a caricature on the original; Mozart laughs this causes Salieri to erupt in an art purist rage with the most famous words - see the whole scene:

(The old man plays "Batti, batti, o bel Masetto" from Don Giovanni; Mozart
roars with laughter.)

Salieri
And you can laugh?

Mozart
Ah, come,
Salieri, aren't you laughing?

Salieri
No, I'm not!
How can I laugh when some inferior dauber
Stains in my view the great Raphael's Madonna;
How can I laugh when some repellent mummer
With tasteless parodies dishonors Alighieri.
Begone, old man!

Then in Scene Two the beginning of Requiem (luckily Rimsky seemed to use the beginning to be sure of Mozart's authorship :)) and then Pushkin and Rimsky refer to some tune by Salieri that we do not know - it is a piece from Salieri's opera "Tarare" based on Beaumarchais play. It is truly regrettable that no recording of this opera exists, considering that it must have been the same overwhelming success as Don Giovanni, since it was so casually mentioned, obviously a hint understood by the contemporaries of Pushkin and Rimsky, those who knew that opera well. Today we can only read that: "Opera "Tarare" was intended to be the nec plus ultra of reform opera, a completely new synthesis of poetry and music that was an 18th century anticipation of the ideals of Richard Wagner."

In is in this scene when the great dialog is taking place:

Mozart
Yes! I remember, you were boon companions
With Beaumarchais; you wrote "Tarare" for him --
A glorious thing. It has one melody...
I keep on singing it when I feel happy...
La la la la... Ah, is it right, Salieri,
That Beaumarchais could really poison someone?

Salieri
I doubt he did: too laughable a fellow
For such a serious craft.

Mozart
He was a genius,
Like you and me. While genius and evildoing
Are incompatibles. Is that not right?

Salieri
You think so?
(Throws the poison into Mozart's glass.)
Well, now drink.

Genius and Evil are incompatible - this immortal expression of Pushkin will forever be a subject of controversy, too, pointing as well to the poet's own fate and short life.

The opera finishes with Salieri acquitting himself, saying that the builder of Vatican, Michelangelo Buonarotti, was also a murderer (this refers to the widespread belief of that epoch that Michelangelo would use corpses to study anatomy for his art - which can still be true). And therefore the Mozart-Salieri dispute goes on unresolved.

The truth of Mozart's poisoning is, however, unknown - it is doubtful that Salieri poisoned Mozart, according to many scholars. The well-known fact is that Mozart did not enjoy good health in his entire life, and this probably reflected in his music, which is quite melancholic behind often a cheerful façade. While Salieri had a long life, which was obviously due to a sturdy health, and perhaps this is another reason for his music being lighter, easier, funnier, simpler, closer to an average listener, and maybe this is why he was more popular in his day. It must be too that he was a great diplomat, like Haydn, while Mozart certainly was not.

And in addition, Pushkin in his play refers to Gluck with Iphigenie, Piccini, and Haydn; one can only be amazed by the erudition of Pushkin and the success of Gluck, who was Salieri's patron, and also a preferred composer of Marie-Antoinette, who chose Gluck over Mozart. How fashion changes; and who knows what will be in vogue 200 years from now? Genius or Evil?

The opera is sung by two great voices - Salieri by bass Nikita Storojev, who is fantastic in this role. His predecessor at the premier in Moscow on 7 December 1898 was the great bass Fyodor Chaliapin.

Mozart is sung by tenor lirico-spinto Vladimir Bogachev, a former star of Bolshoi Theater in Moscow, and since 1989 engaged into an international career with major opera houses throughout the world.

Recommended to all interested in Mozart, Salieri and Russian music and literature.

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