Khovanshchina

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Image:Musorgskiy in 1876.jpg Khovanshchina (Russian: Хованщина, Hovánščina, sometimes rendered The Khovansky Affair) is a national music drama (an opera) in five acts by Modest Mussorgsky. The work was written between 1872 and 1880 in St. Petersburg, Russia. The composer wrote the libretto based on historical sources. Although the setting of the opera is the Moscow Uprising of 1682, its main themes are the struggle between progressive and reactionary political factions during the minority of Tsar Peter the Great, and the passing of old Muscovy before Peter's westernizing reforms. Khovanshchina is less popular and less often performed than Mussorgsky's other great historical opera Boris Godunov, partly because it does not feature a powerfully dramatic central character like the earlier work. The opera was unfinished and unperformed when the composer died in 1881. Nikolai Rimsky-Korsakov completed, revised, and scored it in 1881–1882, and it received its first performance in this form in 1886.

1 Early Performance History
2 Historical Basis of the Plot
3 Roles
4 Synopsis
5 Principle Arias and Numbers
6 Versions by other hands
7 Repertory status
8 External links

[edit] Early Performance History

Rimsky-Korsakov's edition of the opera was first performed by an amateur ensemble on 21 February 1886 in St. Petersburg.

[edit] Historical Basis of the Plot

Like Mussorgsky's earlier Boris Godunov, The Khovansky Affair deals with an episode in Russian history, first brought to the composer's attention by his friend Vladimir Stasov. In this case, it concerns the rebellion of Prince Ivan Khovansky, his Old Believer followers, and the Streltsy, against Peter the Great, who was attempting to institute Westernizing reforms to the country. Ultimately, Peter succeeded, the rebellion was crushed and (in the opera, at least) Khovansky's followers committed mass suicide.

[edit] Roles

Russian	English	Description	Voice
Князь Иван Хованский	Prince Ivan Khovanskiy	A boyar, head of the Strelstï	Bass
Князь Андрей Хованский	Prince Andrey Khovanskiy	The son of Ivan Khovansky	Tenor
Князь Василий Голицын	Prince Vasiliy Golitsïn	Minister of Foreign Affairs	Tenor
Боярин Фёдор Шакловитый	Boyar Fyodor Shaklovitïy	A member of the Duma	Baritone
Досифей	Dosifey	The head of a group of Old Believers	Bass
Марфа	Marfa	A young widow, an Old Believer	Mezzo-Soprano
Сусанна	Susanna	An Old Believer	Soprano
Подъячий	The Clerk	A scrivener	Tenor
Эмма	Emma	A maiden from the German quarter	Soprano
Пастор	The Pastor	A Pastor	Baritone
Варсонофьев	Varsonofyev	A servant of Golitsïn	Bass
Кузька	Kuzka	A strelets	Baritone
Стрешнев	Streshnev	The head of the Poteshnïye soldiers	Tenor
Streltsï, streltsï wives, people of Moscow, Old Believers, maidens, Persian slave girls, Poteshnïye soldiers			Chorus, Silent Roles

[edit] Synopsis

Act 1: Moscow. Red Square. Shaklovity, a Boyar, dictates an anonymous letter to the Tsar, warning of a rebellion by Khovansky (captain of the Streltsy Guards) and the Old Believers. Ivan Khovansky arrives and promises a crowd of people to defend the Tsar against treachery. Andrey Khovansky, Ivan's son, chases in Emma, a German girl, but is fended off by Marfa, an Old Believer. Andrey threatens to kill Emma, but is prevented by the arrival of Dosifey, the leader of the Old Believers. Marfa leaves with Emma.

Act 2: Summer Study of Prince Vasily Golitsyn. Marfa tells the prince's fortune, saying that he will fall from power. After she leaves, Golitsyn orders his servants to kill her. Ivan Khovansky appears to complain that Golitsyn has interfered with the Boyars, but Dosifey enters and persuades the two to work together. Marfa, who has been saved by the Tsar's guards, reappears, followed by Shaklovity, who tells the group that the Tsar has been warned of their opposition to him.

Act 3: The Streltsï Quarter, South of the Moscow River.Marfa is overheard singing of her love by Susanna, a fellow Old Believer. Marfa admits to Dosifey that she loves Andrey Khovansky.

Act 4, Scene 1: A Richly Furnished Chamber in Ivan Khovansky's Mansion. Khovansky is warned by a servant of Golitsyn that he is in danger, but Khovansky ignores the warning and watches his servant girls dance. Shaklovity enters and murders Khovansky.

Act 4, Scene 2: Moscow. The [Red] Square before the Cathedral of Vasiliy the Blessed. Golitsyn is led into exile. Dosifey mourns the conspirators' downfall. Marfa offers sanctuary to Andrey with the Old Believers. The Streltsy are led to their execution. Peter, through an agent, intervenes to pardon them (which is not in agreement with historical fact).

Act 5: A Pine Forest. A Secluded Monastery. A Moonlit Night. Dosifey and his followers prepare to immolate themselves. As Dosifey, Marfa, Andrey and the Old Believers perish in the flames of a burning chapel, Peter's soldiers arrive in a vain attempt to capture them.

[edit] Principle Arias and Numbers

Introduction: Dawn on the Moscow River

Act 1

Chorus: "The Chief is coming!" (Streltsï)
Chorus: "Glory to the White Swan" (People)

Act 2

Aria: Marfa's Divination (Marfa)

Act 3

Aria: "The Streltsy sleep in their nest" (Shaklovitïy)

Act 4, Scene 1

Ballet: Dance of the Persian Slaves (Orchestra)
Chorus: "A young swan swims, ladu-ladu" (Maidens, Shaklovitïy)

Act 4, Scene 2

Introduction: The Departure of Golitsïn (Orchestra, Chorus)
Chorus: "Show them no mercy" (Streltsï Wives)
March: March of the Poteshniye Soldiers (Orchestra)

Act 5

Aria: "Here, in this holy place" (Dosifey)

[edit] Versions by other hands

Because of the heavy cuts and "recomposition" at Rimsky-Korsakov's hand, Dmitri Shostakovich revised the opera based on Mussorgsky's vocal score, and it is this version that is usually performed today. Maurice Ravel and Igor Stravinsky also produced versions of the work.

[edit] Repertory status

While not as well known as Boris Godunov, this opera is, in some ways, more accessible. The pace of the action is slow, but there is more in the way of traditional vocal lines as compared to the earlier opera's use of a more speech-like style. There are also some fiery set-pieces, in particular the Dance of the Persian Slaves. While Khovanshchina is not seen on stage often, especially in the West, it has been recorded several times. More recently it is to be performed by Welsh National Opera in both Wales and England in 2007.