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fairy-tales: "In a certain far-off tsardom", "in a country set on the borders of the world".... Nevertheless, the name Dodon and certain details and expressions used in the story prove the poet's desire to give his work the air of a popular
Russian fairy tale (like Tsar Saltan), and similar to those fables expounding the deeds of Prince Bova, of Jerouslan Lazarevitch or Erhsa Stchetinnik, fantastical pictures of national habit and costumes. Therefore, in spite of Oriental traces and the Italian names Duodo and Guidone, the tale is intended to depict, historically, the simple manners and daily life of the Russian people, painted in primitive colours with all the freedom and extravagance beloved of artists.
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shall have it.” “Right,” says the
Astrologer, “I want the Tsaritsa of Shemakha!” At this, the Tsar flares up in fury, and strikes down the Astrologer with a blow from his mace. The Golden Cockerel, loyal to his Astrologer master, then swoops across and pecks through the Tsar's jugular. The sky darkens. When light returns, the Tsaritsa and the little cockerel are gone.
1518:(Tsar Dodon), Vyacheslav Voinarovsky (Tsarevich Gvidon), Vladimir Svistov (Tsarevich Afron), Alexei Mochalov (General Polkan), Raisa Kotova (Amelfa), Boris Tarkhov (Astrologer), Elena Ustinova (Shemakhan Tsaritsa), Olga Shalaeva (Golden Cockerel). Academic Symphony Orchestra of Moscow State Philharmonic and All-Union Radio and Television Academic Grand Choir,
1013:: There is an actual city of Shemakha (also spelled "Şamaxı", "Schemacha" and "Shamakhy"), which is the capital of the Shamakhi Rayon of Azerbaijan. In Pushkin's day it was an important city and capital of what was to become the Baku Governorate. But the realm of that name, ruled by its tsaritsa, bears little resemblance to today's Shemakha and region.
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Tsaritsa herself encourages this situation by performing a seductive dance – which tempts the Tsar to try and partner her, but he is clumsy and makes a complete mess of it. The
Tsaritsa realises that she can take over Dodon's country without further fighting – she engineers a marriage proposal from Dodon, which she coyly accepts.
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1529:(conductor), Bolshoy Theatre Orchestra and Chorus, Artur Eisen (Tsar Dodon), Arkady Mishenkin (Tsarevich Gvidon), Vladimir Redkin (Tsarevich Afron), Nikolay Nizinenko (General Polkan), Nina Gaponova (Amelfa), Oleg Biktimirov (Astrologer), Yelena Brilova (Shemakhan Tsaritsa), Irina Udalova (Golden Cockerel)
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The Final Scene starts with the wedding procession in all its splendour. As this reaches its conclusion, the
Astrologer appears and says to Dodon, “You promised me anything I could ask for if there could be a happy resolution of your troubles ... .” “Yes, yes,” replies the Tsar, “just name it and you
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This is not to be gathered so much from the famous couplet: "Tho' a fable, I admit, moral can be drawn to fit!" which emphasises the general message of the story, as from the way in which
Pushkin has shrouded in mystery the relationship between his two fantastical characters: The Astrologer and the
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The purely human character of
Pushkin's story, The Golden Cockerel – a tragi-comedy showing the fatal results of human passion and weakness – allows us to place the plot in any surroundings and in any period. On these points the author does not commit himself, but indicates vaguely in the manner of
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The bumbling Tsar Dodon talks himself into believing that his country is in danger from a neighbouring state, Shemakha, ruled by a beautiful
Tsaritsa. He requests advice of the Astrologer, who supplies a magic Golden Cockerel to safeguard the Tsar's interests. When the little cockerel confirms that
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Operatic singers are in the habit of introducing interjections, spoken words, etc. into the music, hoping thereby to produce dramatic, comic or realistic effect. Far from adding significance to the music, these additions and emendations merely disfigure it. The composer desires that the singers in
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Many centuries ago, a wizard, still alive today, sought by his magic cunning to overcome the daughter of the Aerial Powers. Failing in his project, he tried to win her through the person of Tsar Dodon. He is unsuccessful and to console himself, he presents to the audience, in his magic lantern the
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of Madrid and Opera
National de Lorraine (Nancy). The stage director and costume designer was Laurent Pelly; the conductor, Alain Altinoglu. The role of Tsar Dodon was shared between Pavol Hunka and Alexey Tikhomirov; the Tsarina shared between Venera Gimadieva and Nina Minasyan. Alexander Kravets
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1951, Aleksey
Korolev (Tsar Dodon), Pavel Tchekin (Tsarevich Gvidon), Levon Khachaturov (Tsarevich Afron), Sergey Krassovsky (General Polkan), Antonina Kleshcheva (Amelfa), Pavel Pontryagin (Astrologer), Nadezhda Kazantseva (Shemakhan Tsaritsa), Lina Shukhat (Golden Cockerel). The Great symphony
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However, his sons are both so inept that they manage to kill each other on the battlefield. Tsar Dodon then decides to lead the army himself, but further bloodshed is averted because the Golden
Cockerel ensures that the old Tsar becomes besotted when he actually sees the beautiful Tsaritsa. The
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orchestra of All-Union Radio and The Great choir of All-Union Radio. Choirmaster: Ivan Kuvykin. Alexander Gauk (conductor). This recording was discovered and released for the first time in any format in 2011 by the Russian label Aquarius. It is now considered the best recording of this work.
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The composer feels it necessary to reiterate the following remark in lyrical passages, those actors who are on the stage, but not singing at the moment, must refrain from drawing the attention of the spectators to themselves by unnecessary by-play. An opera is first and foremost a musical
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Did they hatch a plot against Dodon? Did they meet by accident, both intent on the tsar's downfall? The author does not tell us, and yet this is a question to be solved in order to determine the interpretation of the work. The principal charm of the story lies in so much being left to the
278:. It was returned unedited, yet suddenly taken back the next day. This time many changes were requested to be made to the libretto as well as the original Pushkin's text. Rimsky-Korsakov suspected someone's denunciation and resisted any changes. He continued the work on
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1985, Nikolai Stoilov (Tsar Dodon), Ljubomir Bodurov (Tsarevich Gvidon), Emil Ugrinov (Tsarevich Afron), Kosta Videv (General Polkan), Evgenia Babacheva (Amelfa), Lyubomir Diakovski (Astrologer), Elena Stoyanova (Shemakhan Tsaritsa), Yavora Stoilova (Golden Cockerel).
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After quotation by the orchestra of the most important leitmotifs, a mysterious Astrologer comes before the curtain and announces to the audience that, although they are going to see and hear a fictional tale from long ago, his story will have a valid and true moral.
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In producing the opera the greatest attention must be paid to every scenic detail, so as not to spoil the special character of the work. The following remark is equally important. In spite of its apparent simplicity, the purpose of The Golden Cockerel is undoubtedly
1295:'s 1914 Paris production had the singers sitting offstage, while dancers provided the stage action. Though some in Russia disapproved of Diaghilev's interpretation, and Rimsky-Korsakov's widow threatened to sue, the production was considered a milestone.
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1986 Grigor Gondjian (Tsar Dodon), Ruben Kubelian (Tsarevich Gvidon), Sergey Shushardjian (Tsarevich Afron), Ellada Chakhoyan (Queen of Shemakha), Susanna Martirosian (Golden Cockerel), Haroutun Karadjian (General Polkan), Grand Aivazian (Astrologer).
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588:, with set designs by David P. Gordon, and featuring Grigory Soloviov as Tsar Dodon, Alexandra Batsios as the Tsaritsa of Shemakha, Timur Bekbosunov at the Astrologer, and Riley Svatos as the Golden Cockerel.
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The Astrologer comes again before the curtain and announces the end of his story, reminding the public that what they just saw was “merely illusion,” that only he and the Tsaritsa were mortals and real.
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Metronome marks must be followed accurately. This does not imply that artists should sing like clock-work, they are given full artistic scope, but they must keep within bounds.
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The dances performed by the Tsar and Tsaritsa in the second act, must be carried out so as not to interfere with the singers breathing by too sudden or too violent movement.
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as conductor. The stage director and costume designer was Anna Matison. The opera was presented in Russian during the 2015 winter season by the Sarasota Opera conducted by
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1962, Aleksey Korolev (Tsar Dodon), Yuri Yelnikov (Tsarevich Gvidon), Aleksandr Polyakov (Tsarevich Afron), Leonid Ktitorov (General Polkan), Antonina Klescheva (Amelfa),
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the Tsaritsa of Shemakha does harbor territorial ambitions, Dodon decides to preemptively strike Shemakha, sending his army to battle under the command of his two sons.
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245:." However, the political situation in Russia at the time inspired him to take up the pen to compose a "razor-sharp satire of the autocracy, of Russian
237:(1907) to be his final artistic statement in the medium, and, indeed, this work has been called a "summation of the nationalistic operatic tradition of
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On 13 December 1975, the BBC broadcast a live performance in English from the Theatre Royal Glasgow with the BBC Scottish Symphony Orchestra under
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took the role of Astrologer and the singing role of the Cockerel was played by Sheva Tehoval with Sarah Demarthe as the on-stage Cockerel.
1492:(Amelfa), Gary Glaze (Gvidon), David Rae Smith (Afron), Edward Pierson (Polkan), Syble Young (Le Coq d’or). Orchestra and Chorus of the
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1272:. It may however be entrusted to a lyric tenor possessing a strong falsetto, for the part is written in the extremely high register.
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was highly against the opera. In his last letter Rimsky-Korsakov asked his friend and music publisher Boris Jurgenson, to contact
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as the fore-runner of the anti-psychologistic and absurdist ideas which would culminate in such 20th century 'anti-operas' as
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imagination, but, in order to render the plot somewhat clearer, a few words as to the action on the stage may not come amiss.
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2002 Albert Schagidullin (Tsar Dodon), Olga Trifonova (Tsaritsa), Barry Banks (Astrologer) Orchestre de Paris, Kent Nagano
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1803:. Translated by Arnold J. Pomerans; Erica Pomerans. Berkeley and Los Angeles: University of California Press. p.
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1417:(1930). In this, his last opera, Rimsky-Korsakov had laid "the foundation for modernist opera in Russia and beyond."
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while fighting with progressive illness. In June 1908, Telyakovskiy informed him that the Moscow Governor-General
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Vladimir Pikok sang the role of the Astrologer in the premiere of the opera. The difficult role is written for a
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Frolova-Walker, Marina (2005). "11. Russian opera; The first stirrings of modernism". In Mervyn Cooke (ed.).
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and James Gibson. The work has not been performed at the Met since the war, but it was staged at neighboring
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1576:(Queen of Shelmaka), Alexander Kravets (Astrologer), Chorus and Symphony Orchestra of La Monnaie, Brussels,
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De Munt/La Monnaie staged a new production in Brussels in December 2016. This was a co-production with the
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2011:
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2003:
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1426:"Il gallo d’oro" da Rimsky-Korsakov: variazioni frivole con una fuga anarchica, eretica e perversa
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1680:. N. A. Rimsky-Korsakov. From the Family Letters. – Saint Petersburg: Compositor, pp. 226–236
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Early stagings became influential by stressing the modernist elements inherent in the opera.
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began in 1906, and finished by September, 1907. By the end of February 1908, the director of
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as the Queen of Shemakhan. In 1998, the Royal Opera company presented a new production at
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1461:(Astrologer), Klara Kadinskaya (Shemakhan Tsaritsa), Nina Polyakova (Golden Cockerel).
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1765:, March 1954, Vol.5 No.3, p177-8 (the magazine cover was of Glynne and Dobbs in part).
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1653:; Erica Pomerans. Berkeley and Los Angeles: University of California Press. p.
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New York City State Theater Magazine, Vol II, Issue IX, 1967; © Playbill Inc., 1967
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298:. He died two days later and thus never witnessed the premiere of his last opera.
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1543:(Shemakhan Tsaritsa): Hymn to the Sun (in Russian). Available on LP, CD, online.
1311:(1923), in which the singers are unseen, and mimes or dancers perform on stage.
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The Met performed the work regularly through 1945. All Met performances before
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in three acts, with a short prologue and an even shorter epilogue, composed by
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The wedding and the lamentable end of Dodon (Свадьба и печальный конец Додона)
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were sung in French; during the work's final season in the Met repertory, the
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1003:: In the thrice-tenth tsardom, a far off place (beyond thrice-nine lands) in
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440:. London and Paris premieres occurred in 1914; in Paris it was staged at the
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The part of the Astrologer is written for a voice seldom met with, that of
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Aria: "Hymn to the Sun" «Ответь мне, зоркое светило» (Tsaritsa of Shemakha)
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49:'s 1909 stage set design for Act 2: The Tsardom of Tsar Dodon, Town Square
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Tsar Dodon with the Shemakhan Tsaritsa (Царь Додон у Шемаханской царицы)
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336: in this section. Unsourced material may be challenged and removed.
1963:
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1636:"8. 'A Musical Conscience': Rimsky-Korsakov and the Belyayev Circle"
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The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
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The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
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The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
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1849:. London: William Reeves / The New Temple Press. pp. 290–310.
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Introduction: "I Am a Sorcerer" «Я колдун» (orchestra, Astrologer)
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in London the opera was seen in January 1954, in a production by
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Scene: "Wedding Procession" «Свадебное шествие» (Amelfa, people)
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Tsar Dodon (Dadon) meets the Shemakha queen. Illustration by
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212:. The opera was completed in 1907, and premiered in 1909, in
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all his works keep strictly to the music written for them.
194:, his last complete opera, before his death in 1908. Its
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Rimsky-Korsakov made the following concert arrangement:
1334:Введение и свадебное шествие из оперы «Золотой петушок»
1556:
Alexander Spendiaryan State Academic Theatre Orchestra
253:." Also, Rimsky-Korsakov's previous works inspired by
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Web, accessed 13 April 2016 (subscription necessary).
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for violin and piano based on themes from the suite.
1360:Четыре музыкальных картины из оперы «Золотой петушок»
1346:(Steinberg) compiled the following orchestral suite:
1299:
was to expand on this idea in the staging of his own
1275:
The Golden Cockerel demands a strong soprano or high
170:
530:(making his Covent Garden debut); the cast included
1613:. London: Cambridge University Press. p. 181.
1324:Introduction and Wedding Procession from the opera
1610:The Cambridge Companion to Twentieth-Century Opera
491:was sung in English. The English translators were
448:as an opera-ballet, choreographed and directed by
2384:
1827:Melodiya studio recording, Melodiya CD 10 02331
263:(1899-1900), had proven to be very successful.
2423:Classical musical works published posthumously
1606:
1388:
1073:
1912:
1774:John Allison. Report of The Golden Cockerel.
1368:Tsar Dodon on the march (Царь Додон в походе)
158:
1926:
1790:"8. "Russia's Loss" The Musical Emigration"
1717:New York, Oxford University Press, p. 390.
1365:Tsar Dodon at home (Царь Додон у себя дома)
1150:. Unsourced material may be challenged and
558:as Dodon and Elena Kelessidi as the Queen.
499:from 1967 to 1971, always in English, with
432:a month later, on 6 November, conducted by
2398:Operas based on works by Aleksandr Pushkin
1919:
1905:
1476:1971 (sung in English, live performance),
1254:The composer does not sanction any "cuts."
964:. The association of the revised spelling
907:Tsaritsa of Shemakha (Шемаханская царица)
503:singing the Tsaritsa of Shemakha opposite
40:
1696:"News in brief: Visitors to Drury Lane."
1170:Learn how and when to remove this message
546:produced by Tim Hopkins and conducted by
396:Learn how and when to remove this message
1778:, March 1999, Vol. 50 No.3, pp. 350-352.
1225:
1038:
143:
1840:
1221:
1096:Dance (Tsaritsa of Shemakha, orchestra)
408:The premiere took place on 7 October, (
2385:
657:(in C), 1 Trumpet contralto (in F), 3
301:
223:
1900:
1875:Metropolitan Opera House libretto of
1448:www.operadis-opera-discography.org.uk
1351:Four Musical Pictures from the Opera
1249:Composer's Performance Remarks (1907)
1217:story of heartless royal ingratitude.
2339:Rimsky-Korsakov Apartment and Museum
1787:
1633:
1148:adding citations to reliable sources
1115:
428:. The opera was given at the city's
334:adding citations to reliable sources
305:
1085:Lullaby (orchestra, guards, Amelfa)
231:had considered his previous opera,
13:
2203:
1857:, New York: Penguin Putnam, 2001.
1735:"Translator | Opera Scotland"
927:Golden Cockerel (Золотой петушок)
809:Tsarevich Gvidon (Царевич Гвидон)
599:
14:
2439:
2413:Operas set in fictional countries
2393:Operas by Nikolai Rimsky-Korsakov
1868:
1794:A History of Russian Music: From
1678:Tatiana Rimskaya-Korsakova (2008)
1640:A History of Russian Music: From
1383:Concert Phantasy on 'Le coq d'or'
916:Avreliya-Tsetsiliya Dobrovolskaya
2366:
2357:
2356:
2184:Russian Easter Festival Overture
1841:Abraham, Gerald (1936). "XIV. –
1420:In 1978–79 the English composer
1393:Marina Frolova-Walker points to
1314:
1120:
960:Pushkin spelled Dodon's name as
829:Tsarevich Afron (Царевич Афрон)
452:with set and costume designs by
412:24 September) 1909, at Moscow's
310:
16:Opera by Nikolai Rimsky-Korsakov
1821:
1781:
1700:(London), 23 July 1914, p. 12.
1572:2016 Pavlo Hunka (Tsar Dodon),
424:conducted; set designs were by
321:needs additional citations for
209:The Tale of the Golden Cockerel
148:Nikolai Rimsky-Korsakov in 1897
112:The Tale of the Golden Cockerel
1768:
1750:
1741:
1727:
1707:
1690:
1671:
1627:
1443:, unless otherwise indicated)
1187:by librettist V. Belsky (1907)
1:
1583:
1431:
980:is a noun, denoting a place.
58:
464:House on 6 March 1918, with
7:
2428:Libretti by Vladimir Belsky
2334:Nadezhda Rimskaya-Korsakova
2012:The Noblewoman Vera Sheloga
1855:The New Penguin Opera Guide
1715:Diaghilev's Ballets Russes.
1389:Inspiration for other works
1111:
1074:Principal arias and numbers
1064:
1016:
988:
972:bird is likely intentional.
751:
576:staged a new production of
460:premiere took place at the
288:Michel-Dimitri Calvocoressi
171:
10:
2444:
1702:The Times Digital Archive.
1525:1988, (live performance),
1422:Kaikhosru Shapurji Sorabji
1404:The Love for Three Oranges
941:Yevgeniya Popello-Davydova
580:on 25 December 2014, with
2352:
2326:
2307:
2274:
2251:Symphony No. 1 in E minor
2246:
2239:
2170:Fantasy on Serbian Themes
2158:
2151:
2111:
2104:
2085:
2078:
1950:
1943:
1934:
1547:
1234:, as the Astrologer is a
968:in the libretto with the
946:
476:in the actual leads, and
290:and suggest him to stage
159:
118:
103:
86:
76:
68:
54:
39:
28:
21:
2344:Rimsky-Korsakov Monument
1884:Libretto at Google Books
1847:Studies in Russian Music
1441:Mainly studio recordings
1055:
1034:
1025:
789:Tsar Dodon (Царь Додон)
747:
436:and with set designs by
416:in a performance by the
123:7 October 1909
2403:Russian-language operas
2230:The Tale of Tsar Saltan
2091:Flight of the Bumblebee
2028:The Tale of Tsar Saltan
1928:Nikolai Rimsky-Korsakov
1788:Maes, Francis (2002) .
1713:Garafola, Lynn (1989).
1634:Maes, Francis (2002) .
984:is an adjectival usage.
192:Nikolai Rimsky-Korsakov
34:Nikolai Rimsky-Korsakov
2293:Trombone Concerto in B
2257:Antar (Symphony No. 2)
1853:Holden, Amanda (Ed.),
1507:Orchestra and Chorus,
1490:Muriel Costa-Greenspon
1463:Moscow Radio Orchestra
1245:
1048:
876:Aleksandra Rostovtseva
544:Sadler's Wells Theatre
149:
2044:Kashchey the Immortal
1484:(Tsaritsa Shemakha),
1229:
1042:
947:chorus, silent roles
552:Jean-Paul Fouchécourt
345:"The Golden Cockerel"
257:'s poems, especially
147:
1937:List of compositions
1505:Sofia National Opera
1242:Solodovnikov Theatre
1222:Performance practice
1144:improve this section
414:Solodovnikov Theatre
330:improve this article
134:Solodovnikov Theatre
2308:Cultural depictions
2282:Piano Concerto in C
2206:The Golden Cockerel
2068:The Golden Cockerel
1891:The Golden Cockerel
1843:The Golden Cockerel
1541:Antonina Nezhdanova
1494:New York City Opera
1395:The Golden Cockerel
1353:The Golden Cockerel
1326:The Golden Cockerel
1185:The Golden Cockerel
921:Antonina Nezhdanova
856:Kapiton Zaporozhets
578:The Golden Cockerel
554:as the astrologer,
534:as the astrologer,
497:New York City Opera
468:in the title role,
302:Performance history
292:The Golden Cockerel
268:The Golden Cockerel
224:Composition history
154:The Golden Cockerel
23:The Golden Cockerel
2164:Capriccio Espagnol
2004:Mozart and Salieri
1889:Pushkin's tale of
1651:Arnold J. Pomerans
1486:Enrico di Giuseppe
1459:Gennady Pishchayev
1246:
1049:
936:Vera Klopotovskaya
911:coloratura soprano
881:Serafima Sinitsina
843:Nikolay Chistyakov
462:Metropolitan Opera
454:Natalia Goncharova
438:Konstantin Korovin
251:Russo-Japanese war
202:, is derived from
150:
59:Zolotoy petushok (
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1956:The Maid of Pskov
1686:978-5-91461-005-7
1527:Yevgeny Svetlanov
1516:Evgeny Nesterenko
1338:After his death,
1287:Staging Practices
1180:
1179:
1172:
951:
950:
798:Nikolay Speransky
765:24 September 1909
574:Mariinsky Theatre
569:as the Tsaritsa.
556:Paata Burchuladze
548:Vladimir Jurowski
406:
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284:Sergei Gershelman
272:Imperial Theatres
255:Alexander Pushkin
204:Alexander Pushkin
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2327:Related articles
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2175:Suites (2) from
2156:
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2152:Orchestral works
2133:The Tsar's Bride
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2105:Film adaptations
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2020:The Tsar's Bride
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1534:Notable excerpts
1437:Audio Recordings
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823:Semyon Gardenin
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602:
600:Instrumentation
567:Catherine Gayer
528:Igor Markevitch
524:Robert Helpmann
515:'s production.
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489:Golden Cockerel
466:Marie Sundelius
430:Bolshoi Theatre
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1465:and Chorus. '
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582:Valery Gergiev
538:as Dodon, and
507:'s Dodon, and
505:Norman Treigle
478:Pierre Monteux
446:Ballets Russes
442:Palais Garnier
434:Vyacheslav Suk
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1315:Derived works
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1160:December 2022
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1129:This section
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997:: Unspecified
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954:Note on names
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536:Howell Glynne
533:
532:Hugues Cuénod
529:
526:conducted by
525:
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520:Covent Garden
516:
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501:Beverly Sills
498:
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458:United States
455:
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450:Michel Fokine
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386:November 2022
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350:
347: –
346:
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341:Find sources:
335:
331:
325:
324:
319:This section
317:
313:
308:
307:
299:
297:
293:
289:
285:
281:
280:orchestration
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249:, and of the
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2198:Scheherazade
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2052:Pan Voyevoda
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2018:
2010:
2002:
1994:
1986:
1978:
1970:
1962:
1954:
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1796:Kamarinskaya
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1642:Kamarinskaya
1639:
1629:
1608:
1511:. In German.
1498:Julius Rudel
1473:(conductor).
1445:
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1436:
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1409:Shostakovich
1402:
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1285:
1270:tenor altino
1248:
1247:
1232:tenor altino
1184:
1182:
1181:
1166:
1157:
1142:Please help
1130:
1068:
1059:
1050:
1045:Ivan Bilibin
1029:
1020:
1010:
1009:
1000:
994:
981:
975:
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891:tenor altino
865:
838:Andrey Dikov
818:Fyodor Ernst
780:(Conductor:
767:(Conductor:
723:
710:
690:Glockenspiel
667:
651:French Horns
644:
634:(in A-B), 2
630:(in A-B), 1
605:
590:
586:Ekhart Wycik
577:
571:
560:
517:
509:Julius Rudel
493:Antal Doráti
488:
485:World War II
482:
480:conducting.
426:Ivan Bilibin
407:
392:
383:
373:
366:
359:
352:
340:
328:Please help
323:verification
320:
291:
267:
266:The work on
265:
259:
232:
227:
217:
207:
153:
152:
151:
60:
55:Native title
47:Ivan Bilibin
22:
2408:1909 operas
2318:(1953 film)
2228:Suite from
2220:Suite from
2212:Suite from
2204:Suite from
2135:(1965 film)
2127:(1953 film)
2119:(1952 film)
1877:Le Coq d'Or
1407:(1921) and
1340:A. Glazunov
1305:(1917) and
1183:Preface to
887:Astrologer
769:Emil Cooper
763:Zimin Opera
758:Voice type
624:Cor anglais
593:Teatro Real
511:conducting
470:Adamo Didur
422:Emil Cooper
418:Zimin Opera
260:Tsar Saltan
247:imperialism
218:Le coq d'or
198:written by
72:Le coq d'or
69:Other title
2387:Categories
2240:Symphonies
1584:References
1432:Recordings
1297:Stravinsky
686:Tambourine
682:Snare Drum
669:Percussion
653:(in F), 2
356:newspapers
127:1909-10-07
77:Librettist
2275:Concertos
1964:May Night
1698:The Times
1399:Prokofiev
1308:Les Noces
1293:Diaghilev
1205:Tsaritsa.
1199:symbolic.
1131:does not
982:Shemakhan
871:contralto
702:Xylophone
698:Bass Drum
659:Trombones
628:Clarinets
607:Woodwinds
166:romanized
2362:Category
2296:♭
2285:♯
2036:Servilia
1800:Babi Yar
1646:Babi Yar
1446:Source:
1414:The Nose
1112:Analysis
1065:Epilogue
1017:Prologue
989:Synopsis
977:Shemakha
864:Amelfa,
833:baritone
678:Triangle
655:Trumpets
636:Bassoons
243:The Five
196:libretto
186:) is an
119:Premiere
114:" (1834)
104:Based on
87:Language
1835:Sources
1560:Yerevan
1152:removed
1137:sources
931:soprano
730:Violins
725:Strings
715:Celesta
706:Tam-tam
694:Cymbals
674:Timpani
612:Piccolo
444:by the
370:scholar
125: (
108:Pushkin
93:Russian
2418:Operas
2071:(1908)
2063:(1904)
2055:(1903)
2047:(1902)
2039:(1901)
2031:(1900)
2023:(1899)
2015:(1897)
2007:(1897)
1999:(1896)
1991:(1895)
1983:(1890)
1975:(1881)
1967:(1879)
1959:(1872)
1944:Operas
1861:
1811:
1721:
1684:
1661:
1617:
1548:Videos
1514:1987,
1469:&
1424:wrote
1381:wrote
1329:(1907)
1302:Renard
1279:voice.
1236:eunuch
1047:, 1907
755:Roles
738:Cellos
734:Violas
616:Flutes
456:. The
372:
365:
358:
351:
343:
239:Glinka
214:Moscow
180:listen
96:French
2372:Audio
2299:major
2288:minor
2191:Sadko
2177:Mlada
2125:Sadko
1996:Sadko
1980:Mlada
1776:Opera
1762:Opera
1589:Notes
1539:1910
1265:work.
1104:Act 3
1090:Act 2
1079:Act 1
1056:Act 3
1035:Act 2
1026:Act 1
1001:Place
966:Dodon
962:Dadon
852:bass
813:tenor
748:Roles
719:Harps
711:Other
646:Brass
620:Oboes
550:with
377:JSTOR
363:books
296:Paris
188:opera
30:Opera
1859:ISBN
1809:ISBN
1719:ISBN
1682:ISBN
1659:ISBN
1615:ISBN
1342:and
1135:any
1133:cite
1011:Note
995:Time
970:dodo
793:bass
717:, 2
663:Tuba
661:, 1
649:: 4
638:, 1
626:, 2
622:, 1
618:, 2
614:, 2
610:: 1
572:The
472:and
410:O.S.
349:news
241:and
110:'s "
1845:".
1805:275
1798:to
1655:178
1644:to
1411:'s
1401:'s
1146:by
518:At
332:by
294:in
32:by
2389::
1807:.
1792:.
1657:.
1638:.
1597:^
1562:,
1558:,
1496:.
1428:.
956::
784:)
771:)
740:,
736:,
732:,
728::
713::
704:,
700:,
696:,
692:,
688:,
684:,
680:,
676:,
672::
420:.
220:.
163:,
2093:"
2089:"
1920:e
1913:t
1906:v
1817:.
1737:.
1667:.
1623:.
1566:.
1522:.
1439:(
1240:(
1238:.
1173:)
1167:(
1162:)
1158:(
1154:.
1140:.
399:)
393:(
388:)
384:(
374:·
367:·
360:·
353:·
326:.
168::
129:)
63:)
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