PRINCE IGOR

'Prince Igor' (, ''Knyaz' Igor'') is an opera in four acts with a prologue by Alexander Borodin. The libretto is an adaption by the composer of the East Slavic epic ''The Tale of Igor's Campaign''. Its subject is the 12th-century Russian prince Igor Svyatoslavich and his campaign against the invading Polovtsian tribes. The work was not finished upon the composer's death in 1887, and was edited and completed by Nikolay Rimsky-Korsakov and Aleksandr Glazunov. It was first performed in St.Petersburg, Russia, in 1890.

Contents

Composition history

Early performance history

Roles

Synopsis

Principal Arias and Numbers

Discography

Notes

References

Composition history

Borodin left the opera incomplete at his death in 1887. Composition and orchestration was completed posthumously by Nikolai Rimsky-Korsakov and Alexander Glazunov. According to the printed score, the opera was completed as follows: Rimsky-Korsakov orchestrated the previously unorchestrated passages from the Prologue, Acts 1, 2, and 4, and the "Polovetsian March" which opens Act 3. Glazunov used what existing material was left to compose and orchestrate the rest of the third act; the often-repeated legend is that he also reconstructed and orchestrated the overture from memory after hearing the composer play it at the piano several times.
In ''Testimony'', Shostakovich quotes Glazunov as admitting to, in essence, writing the overture based on Borodin's themes; this explanation appears to make more sense, due to the complex polyphonic nature of the overture, which would have made it virtually impossible to adequately render on the piano.
The Kirov Opera under Valery Gergiev, commissioned a new edition from Yuri Faliek. On the large scale, there is a re-ordering of the acts, explained in detail un the note below to the synopsis. Much of the material composed or orchestrated by Galazunov and Rimsky-Korsakov is retained, but extra material is based on an unpublished score by Pavel Lamm with some extra linking material composed by Faliek himself who also carried out the orchestration of the newly added material. The changes to the score consist of about 200 bars added to the scene in Yaroslavna's which make explicit Galitsky's rebellion, various additions and removals from Act III, including restoring a monologue for Igor composed by Borodin in 1875, and a new epilogue to Act IV repeating material from the PrologueMalkiel, M. and Barry, A. (1994) "Authenticity in ''Prince Igor'':Open Questions, New Answers" (introductory note to 1993 Gergiev recording) pp.13-22 of booklet, Philips 442-537-2. This edition was recorded in 1993.

Early performance history

'St. Petersburg Premiere (First Performance)'

★ ''Date'': November 4 (23 October O.S.), 1890

★ ''Place'': Mariinsky Theatre, St.Petersburg

★ ''Conductor'': Karl Kuchera

★ ''Set Designers'': Yanov, Andreyev, Bocharov

★ ''Balletmeister'': Ivanov
Moscow perfomances followed in 1891 (or 1892) with the Russian Opera Society, conducted by Iosif Pribik, and in 1898 at the Bolshoy Theatre, conducted by Avranek.
'Original Interpreters'

Role	St. Petersburg 1890	Moscow 1892	Moscow 1898	Voice
Igor	Ivan Melnikov	Goncharov	Khokhlov	baritone
Yaroslavna	Olga Olgina	Tsvetkova	Deysha-Sionitskaya	soprano
Vladimir		Mikhaylov	Sobinov	tenor
Galitsky			Vlasov	bass-baritone
Konchak	Mikhail Koryakin	Antonovsky	Trezvinsky	bass
Konchakovna	Mariya Slavina		Azerskaya	contralto
Ovlur			Uspensky	tenor
Skula	Fyodor Stravinsky		Tyutyunnik	bass
Yeroshka	Grigoriy Ugrinovich		Mikhaylov-Stoyan	tenor
Yaroslavna's nurse				soprano
A Polovtsian maiden	Dolina			soprano

'Other Notable Premieres'
30 December 1915, New York, Metropolitan Opera, USA

Roles

Russian	English	Description	Voice
Игорь Святославич	Igor Svyatoslavich	Prince of Seversk	baritone
Ярославна	Yaroslavna	His wife by second marriage	soprano
Владимир Игоревич	Vladimir Igorevich	His son from the first marriage	tenor
Владимир Ярославич	Vladimir Yaroslavich	Prince of Galich, brother of Princess Yaroslavna	bass-baritone
Кончак	Konchak	Polovtsian khans	bass
Гзак	Gzak		silent role
Кончаковна	Konchakovna	Daughter of Khan Konchak	contralto
Овлур	Ovlur	A Christian Polovtsian	tenor
Скула	Skula	Gudok-players	bass
Ерошка	Yeroshka		tenor
Няня Ярославны	Yaroslavna's nurse		soprano
Половецкая девушка	A Polovtsian maiden		soprano
Russian princes and princesses, boyars and boyarynas, elders, Russian warriors, maidens, people. Polovtsian khans, Konchakovna's girlfriends, slaves (chagi) of Khan Konchak, Russian prisoners, Polovtsian sentries			chorus, silent roles

''Note: Vladimir Yaroslavich, Prince of Galich, is often called ''Prince Galitsky'' (from ), leading to the misconception that he was a prince by the name of Galitsky. In fact, he was a son of Prince of Galich Yaroslav Osmomysl. ''Prince Galitsky'', therefore, is a title meaning ''Prince of Galich''.''
The action takes place as follows: in the Prologue, Acts I and IV -- in the city of Putivl; in Acts II and III -- in the Polovetsian camp.

Synopsis

''Note: Borodin did not specify the way the scenes of the opera were to be grouped into acts. The traditional grouping presented here is the work of Rimsky-Korsakov and Glazunov.''
'Prologue:'
The cathedral square in Putyvl, an ancient Russian city: Prince Igor, who is about to start on a campaign against the Khan Konchak of the Polovtsians, refuses to heed the warnings of his wife and his people who interpret a recent eclipse as a bad omen. Prince of Galich (Kniaz Galitsky) bribes Skoula and Eroshka to encourage Prince Igor in his determination to depart as he himself wants to usurp Igor's place. Igor unsuspectingly entrusts his wife to his care.
'Act I'
''Scene I'' — The setting is the Galich Prince's courtyard in Putyvl, where the people are welcoming him as their prince. A group of young women beg the prince to restore one of their friends whom he has carried off; but he frightens them away.
''Scene II'' — A room in Yaroslavna's palace: The young women appeal to Yaroslavna, Igor's wife, who is lamenting Igor's absence from Putyvl, and while they are relating the story, Galich Prince enters. Yaroslavna questions him as to the truth of their story and he only laughs. Word is brought that Igor and his son have been taken captive, and that an attack upon them is imminent.
'Act II'
Evening in the Polovtsian Camp: Vladimir, son of Igor, has fallen in love with Konchakovna, a daughter of Khan Konchak. She is sure her father will consent to the marriage, but Vladimir is doubtful if his father will. Konchak offers Igor freedom if he will promise not to wage war on him again, but he refuses.
'Act III'
The Polovtsian Camp: Igor learns that an attack is to be made on his city. He escapes. He tries to persuade his son to accompany him, but Konchakovna clings to him, and the father leaves alone. When the Khan learns of Igor's escape, he refuses to pursue, retains Vladimir as a hostage, and marries him to his daughter.
'Act IV'
Dawn in Putyvl: Igor arrives and is welcomed with great rejoicing.
''Note: In the recent Mariinsky Theatre edition recorded by Gergiev, the acts were performed in the following order: Prologue, II, I, III, IV, so as to create more alternation between Russian and Polovetsian settings. This is explained in the booklet to the Gergiev recording as based on a structural outline written by Borodin himself and as better balancing the musical structure of the score. However, the first to change the traditional act order was the director Boris Pokrovski in his 1974 production in Vilnius.''

Principal Arias and Numbers

:Overture
'Prologue'
:Chorus "Glory to the beautiful Sun"
'Act 1'
:Galitsky's Aria
:Yaroslavna's Arioso
'Act 2'
:Dance of the Polovetsian Maidens
:Konchakovna's Cavatina
:Vladimir's Cavatina
:Love Duet
:Igor's Aria
:Konchak's Aria
:Polovetsian Dances
'Act 3'
:Polovetsian March
'Act 4'
:Yaroslavna's Lament
:Gudok Players' Song
The overture was never written out by Borodin, instead it was composed by Glazunov from his memory of a piano transcription he had heard Borodin playing.
Both the Overture to ''Prince Igor'' and the "Polovetsian Dances" (from Act II) are well-known concert standards. Together with the "Polovetsian March", they form the so-called "suite" from the opera.

Discography

This is a list of studio recordings. A comprehensive list of all recordings of ''Prince Igor'' may be found here.
'Audio'

★ 1952, Melik-Pashayev, Bolshoy Theatre, Andrey Ivanov (Igor), Yelena Smolenskaya (Yaroslavna), Sergey Lemeshev (Vladimir), Aleksandr Pirogov (Galitsky), Mark Reyzen (Konchak), Vera Borisenko (Konchakovna)

★ 1955, Danon, Belgrade National Opera, Dushan Popovich (Igor), Valeria Heybalova (Yaroslavna), Noni Zunec (Vladimir), Zarko Cvejic (Galitsky, Konchak), Melanie Bugarinovic (Konchakovna)

★ 1966, Semkov, National Opera Theatre of Sofia, Constantin Chekerliiski (Igor), Julia Wiener (Yaroslavna), Todor Todorov (Vladimir), Boris Christoff (Galitsky, Konchak), Reni Penkova (Konchakovna)

★ 1969, Ermler, Bolshoy Theatre, Ivan Petrov (Igor), Tatyana Tugarinova (Yaroslavna), Vladimir Atlantov (Vladimir), Artur Eisen (Galitsky), Aleksandr Vedernikov (Konchak), Yelena Obraztsova (Konchakovna)

★ 1987, Tchakarov, Sofia Festival Orchestra, Boris Martinovich (Igor), Stefka Evstatieva (Yaroslavna), Kaludi Kaludov (Vladimir), Nicola Ghiuselev (Galitsky), Nicolai Ghiaurov (Konchak), Alexandrina Miltcheva (Konchakovna)

★ 1993, Gergiev, Kirov Chorus and Orchestra, Mikhail Kit (Igor), Galina Gorchakovna (Yaroslavna), Gegam Grigorian (Vladimir), Vladimir Ognovienko (Galitsky), Bulat Minjelkiev (Konchak), Olga Borodina (Konchakovna), Philips 442-537-2.

Notes

References

★ Plot taken from ''The Opera Goer's Complete Guide'' by Leo Melitz, 1921 version.

★ Borodin, A. ''Le Prince Igor''. Partition pour chant et piano. Edition M.P. Belaieff.