Private opera

Moscow Private Russian Opera

Город
Москва
Год основания
1885
Тип
театры и залы

Оперный театр в Москве. Открыт в 1885. Был организован крупным промышленником, меценатом и театральным деятелем С. И. Мамонтовым и существовал на его средства. В 1885-88 работал под названием «Театр Кроткова», в 1896-99 — «Театр Винтер» (по имени директоров), в 1900-04 — «Товарищество частной оперы».

Вынужденный перерыв (1888-96) был обусловлен финансовыми затруднениями, а также необходимостью изучения практического опыта других оперных театров. В 1904 театр был закрыт в связи с финансовым крахом Мамонтова.

Деятельность Московской частной русской оперы сыграла значительную роль в утверждении на русской оперной сцене принципов реалистичности и художественной цельности спектакля. Стремясь к созданию оперного ансамбля, к сценически осмысленной режиссуре спектакля, Московская частная русская опера привлекала многих крупнейших деятелей различных областей русского искусства.

В труппе театра были видные певцы — Н. И. Забела-Врубель, П. А. Лодий, П. С. Оленин, В. Н. Петрова-Званцева, Н. В. Салина, А. В. Секар-Рожанский, Ф. И. Шаляпин, Н. А. Шевелёв, Е. Я. Цветкова, В. А. Эберле и др.

Из артистического коллектива театра выдвинулась группа крупных оперных режиссёров-воспитателей — В. А. Лосский, П. И. Мельников, П. С. Оленин, В. П. Шкафер и др. Среди дирижёров Московской частной русской оперы — М. М. Ипполитов-Иванов и С. В. Рахманинов (впервые выступивший здесь как дирижёр).

Над оформлением спектаклей работали крупнейшие художники-живописцы — В. М. и А. М. Васнецовы, М. А. Врубель, К. А. и С. А. Коровины, И. И. Левитан, С. В. Maлютин, В. Д. Поленов, В. А. Серов, Н. П. Чехов, В. В. Симов и др.

Театр широко пропагандировал произведения русский композиторской школы и прежде всего оперное творчество композиторов «Могучей кучки» (в то время мало известное) и П. И. Чайковского. На сцене Московской частной русской оперы были осуществлены постановки многих произведений Н. А. Римского-Корсакова (некоторые впервые).

Событием общественного значения явились постановки в этом театре «Снегурочки» (1885); «Каменного гостя» Даргомыжского (1886), «Псковитянки» (1896), «Садко» (1897), «Хованщины» (1897), «Бориса Годунова» (1898), «Царской невесты» (1899), «Орлеанской девы» (1899), «Мазепы» (1900), «Кузнеца Вакулы» (1902), а также «Богемы» (1897) и «Вертера» (1904).

В репертуаре театра были оперы — «Иван Сусанин» (1885), «Русалка» (1885), «Рогнеда» (1896), «Демон» (1896), «Князь Игорь» (1896), «Моцарт и Сальери» (1898), «Юдифь» (1898); «Ася» Ипполитова-Иванова (1900), «Купец Калашников» Рубинштейна (1901), «Руслан и Людмила» (1902); «Сказание о граде Великом Китеже и тихом озере Светояре» Василенко (1903) и др.

На пути развития Московская частная русская опера не избежала крупных ошибок: постановочной и режиссёрской стороне спектаклей здесь нередко придавалось большее значение, чем безупречности музыкального исполнения. Постоянная спешка, дезорганизованность, боязнь финансового дефицита приводили иногда к художественной незавершённости премьер.

Тем не менее историческая заслуга Московской частной русской оперы несомненна: здесь были впервые поставлены важнейшие вопросы, связанные со спецификой оперно-сценического мастерства. Стремление к созданию спектакля, проникнутого единым творческим замыслом, было одним из прогрессивных завоеваний этого театра.

После закрытия Московской частной русской оперы творческая деятельность её бывших сотрудников продолжалась на императорской сцене, в Опере Зимина и в периферийных театрах. По словам Б. В. Асафьева, «…опыт этого театра надо считать поворотным пунктом в истории не только русского оперного спектакля, но и всей истории русской оперной музыки».

Музыкальная энциклопедия под ред. Ю. В. Келдыша, 1973—1982Иллюстрация: М. А. Врубель. «Портрет С. И. Мамонтова». 1897 г.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery). Mikhail Ippolitov-Ivanov became its director and conductor.

In 1909, the last opera by Nikolai Rimsky-Korsakov, The Golden Cockerel, had its world premiere at the «Solodovnikov Theatre» but was also performed by the Zimin Opera.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery). Mikhail Ippolitov-Ivanov became its director and conductor.

In 1909, the last opera by Nikolai Rimsky-Korsakov, The Golden Cockerel, had its world premiere at the «Solodovnikov Theatre» but was also performed by the Zimin Opera.

20th Century Russian Opera

The early 20thth century, while a period of great social change, was a period of growth Russian opera. Even with the loss of numerous great composers who fled from the disorder of the Russian Revolution and the uncertainty of a new Soviet regime, opera within Russia continued to evolve.

It was only in the early 1930s when the creativity of the “revolutionary” period was stifled by Joseph Stalin. The Soviet leader favored a direction towards Socialist Realism (or Socialist Classicism), a style more easily scrutinized and kept within the conventions of broader Socialist policy. Many composers such as Prokofiev and Shostakovich struggled under this new paradigm. They were often criticized, and their works condemned, if they tried to use new and innovative ideas that deviated from the accepted Socialist models.

And while restraints were somewhat loosened post Stalin, Russian opera was still quite restricted during the entire communist era. Opera, after all, is a voice to important ideological and psychological issues of the day, and freedom of such expression was frowned upon under the Soviet regime.

Below is a small list of 20th century composers of Russian opera:

История

Историю Частной русской оперы принято отсчитывать от 9 января 1885 года, когда она открылась под названием «Частной оперы Кроткова»; спектакли шли до конца сезона 1886—1887 года. Труппа состояла из русских и итальянских певцов.

В 1888—1892 годах Мамонтов поддерживал московскую «Итальянскую оперу».

В 1894—1895 годах опера Клавдии Винтер ставила спектакли в Театре Панаева в Санкт-Петербурге. Среди певцов были Фёдор Шаляпин, Надежда Забела, Татьяна Любатович; декорациями и костюмами занимался Михаил Врубель.

Летом 1896 года опера возобновила спектакли в Нижнем Новгороде, а 8 сентября открыла зимний сезон в здании театра Солодовникова под названием Русской частной оперы Клавдии С. Винтер. Мамонтов стал неофициальным руководителем театра (и оставался им до конца сезона 1898—1899 годов).

20 января 1898 года театр Солодовникова был повреждён пожаром, труппа переехала в Интернациональный театр, а с февраля по апрель находилась на своих первых гастролях в Санкт-Петербурге.

В марте-апреле 1899 года прошли вторые гастроли в Санкт-Петербурге. В том же году проверка обнаружила серьёзные финансовые проблемы в компании Мамонтова (Московско-Ярославской железной дороге), Мамонтов был арестован по обвинению в растрате денег. После освобождения под домашний арест, Мамонтов продолжил руководить театром через посредников. Летом 1900 года суд оправдал Мамонтова, но он стал банкротом.

В 1900—1901 годах Опера работала официально как товарищество, а на самом деле как частная компания под управлением Клавдии Винтер и Михаила Ипполитова-Иванова с эпизодическим участием Мамонтова. После 1901 года Мамонтов не занимается делами этого театра, но летом 1903 года организовал оперу в театре «Эрмитаж».

Товарищество было распущено в конце сезона 1903—1904 года, большая часть труппы влилась в Оперу Зимина, которая продолжала ставить спектакли до 1917 года, в основном в здании театра Солодовникова. Некоторые спектакли Частной русской оперы были возобновлены Зиминым с использованием прежних декораций и костюмов. Сам Зимин рассматривал свой театр как преемника мамонтовской оперы и начинал отсчёт истории с 1885 года.

The company

At first the company was organised in Abramtsevo Estate located north of Moscow. The company was joined by Feodor Chaliapin in the autumn of 1896 and by Sergei Rachmaninov in the autumn of 1897 who took up the post of assistant conductor.

Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

He invited such composers as Sergei Vasilenko, Mikhail Ippolitov-Ivanov, Vasily Kalinnikov, Sergei Rachmaninov, and Nikolai Rimsky-Korsakov. Decorations and costumes for the operas were designed by such artists as the brothers Viktor and Apollinary Vasnetsov, Konstantin and Sergei Korovin, Mikhail Vrubel, Mikhail Nesterov, Isaac Levitan, Sergei Malyutin, Vasily Polenov, Valentin Serov, Viktor Simov, Nikolay Chekhov, Alexander Janov, Natalia Goncharova and Ivan Bilibin.

The company

At first the company was organised in Abramtsevo estate located north of Moscow. The company was joined by Feodor Chaliapin in the autumn of 1896 and by Sergei Rachmaninov in the autumn of 1897 who took up the post of assistant conductor.

Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

He invited such composers as Sergei Vasilenko, Mikhail Ippolitov-Ivanov, Vasily Kalinnikov, Sergei Rachmaninov, and Nikolai Rimsky-Korsakov. Decorations and costumes for the operas were designed by such artists as the brothers Viktor and Apollinary Vasnetsov, Konstantin and Sergei Korovin, Mikhail Vrubel, Mikhail Nesterov, Isaac Levitan, Sergei Malyutin, Vasily Polenov, Valentin Serov, Viktor Simov, Nikolay Chekhov, Alexander Janov, Natalia Goncharova and Ivan Bilibin.

Years of success

The success of the «Private Opera» in the province was followed by a triumph in Moscow. In Moscow the opera was located in the house at the Bolshaya Dmitrovskaya street, known as «Solodovnikov Theatre», built in 1894–1895 by Russiant merchant and music lover Gavrila Solodovnikov (1826–1901). Later the house was burned down and the Private Opera moved into the theatre «Paradis» («Парадиз»), at 19/13, Bolshaya Nikitskaya Street (present-day Mayakovsky Theater).

The repertoire included many operas by foreign composers as well as the following works by Russian composers:

• 1885 – A Life for the Tsar by Mikhail Glinka;
• 1885 – The Snow Maiden by Nikolai Rimsky-Korsakov;
• 1885 – Rusalka by Alexander Dargomyzhsky;
• 1886 – The Stone Guest by Alexander Dargomyzhsky;
• 1886 – Rogneda by Alexander Serov;
• 1886 – Prince Igor by Alexander Borodin;
• 1886 – The Demon by Anton Rubinstein;
• 1897 – Sadko by Nikolai Rimsky-Korsakov – world premiere;
• 1897 – Khovanshchina by Modest Mussorgsky;
• 1898 – Boris Godunov by Modest Mussorgsky;
• 1898 – Mozart and Salieri by Nikolai Rimsky-Korsakov – world premiere;
• 1898 – Boyarinya Vera Sheloga by Nikolai Rimsky-Korsakov – world premiere;
• 1898 – Judith by Alexander Serov;
• 1899 – The Tsar’s Bride by Nikolai Rimsky-Korsakov – world premiere;
• 1899 – The Maid of Orleans by Pyotr Tchaikovsky;
• 1900 – Mazeppa by Pyotr Tchaikovsky;
• 1900 – The Tale of Tsar Saltan… by Nikolai Rimsky-Korsakov – world premiere;
• 1900 – Asya by Mikhail Ippolitov-Ivanov;
• 1901 – The Merchant Kalashnikov by Anton Rubinstein;
• 1902 – Ruslan and Lyudmila by Mikhail Glinka;
• 1902 – Kashchey the Immortal by Nikolai Rimsky-Korsakov – world premiere;
• 1903 – Legend About the Great City of Kitezh and the Quiet Lake Svetoyar by Sergei Vasilenko, and other.

Contents

• The company
• Years of success
• Final years
• References

The Russian Private Opera (Русская Частная Опера);

Moscow Private Russian Opera, (Московская Частная Русская Опера);

Mamontov’s Private Russian Opera in Moscow (Мамонтова Частная Русская Опера в Москве);

Korotkov’s Theatre (Театр Кроткова, 1885-1888);

Vinter’s Theatre (Театр Винтера, 1896-1899);

Private Opera Society (Товарищество Частной Оперы, 1899-1904); and

Solodovnikov Theatre (Театр Солодовникова, from 1895; later used by Zimin opera, Moscow Operetta, and Helikon Opera)

was a private operatic enterprise, a company established in 1885 by famous Russian industrialist and philanthropist Savva Mamontov, who staged the operas, conducted the orchestra, trained the actors, taught them singing and paid all the expenses.

The company

At first the company was organised in Abramtsevo Estate located north of Moscow. The company was joined by Feodor Chaliapin in the autumn of 1896 and by Sergei Rachmaninov in the autumn of 1897 who took up the post of assistant conductor.

Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

He invited such composers as Sergei Vasilenko, Mikhail Ippolitov-Ivanov, Vasily Kalinnikov, Sergei Rachmaninov, and Nikolai Rimsky-Korsakov. Decorations and costumes for the operas were designed by such artists as the brothers Viktor and Apollinary Vasnetsov, Konstantin and Sergei Korovin, Mikhail Vrubel, Mikhail Nesterov, Isaac Levitan, Sergei Malyutin, Vasily Polenov, Valentin Serov, Viktor Simov, Nikolay Chekhov, Alexander Janov, Natalia Goncharova and Ivan Bilibin.

Years of success

The success of the «Private Opera» in the province was followed by a triumph in Moscow. In Moscow the opera was located in the house at the Bolshaya Dmitrovskaya street, known as «Solodovnikov Theatre», built in 1894–1895 by Russiant merchant and music lover Gavrila Solodovnikov (1826–1901). Later the house was burned down and the Private Opera moved into the theatre «Paradis» («Парадиз»), at 19/13, Bolshaya Nikitskaya Street (present-day Mayakovsky Theater).

The repertoire included many operas by foreign composers as well as the following works by Russian composers:

1885 – A Life for the Tsar by Mikhail Glinka;
1885 – The Snow Maiden by Nikolai Rimsky-Korsakov;
1885 – Rusalka by Alexander Dargomyzhsky;
1886 – The Stone Guest by Alexander Dargomyzhsky;
1886 – Rogneda by Alexander Serov;
1886 – Prince Igor by Alexander Borodin;
1886 – The Demon by Anton Rubinstein;
1897 – Sadko by Nikolai Rimsky-Korsakov – world premiere;
1897 – Khovanshchina by Modest Mussorgsky;
1898 – Boris Godunov by Modest Mussorgsky;
1898 – Mozart and Salieri by Nikolai Rimsky-Korsakov – world premiere;
1898 – Boyarinya Vera Sheloga by Nikolai Rimsky-Korsakov – world premiere;
1898 – Judith by Alexander Serov;
1899 – The Tsar’s Bride by Nikolai Rimsky-Korsakov – world premiere;
1899 – The Maid of Orleans by Pyotr Tchaikovsky;
1900 – Mazeppa by Pyotr Tchaikovsky;
1900 – The Tale of Tsar Saltan… by Nikolai Rimsky-Korsakov – world premiere;
1900 – Asya by Mikhail Ippolitov-Ivanov;
1901 – The Merchant Kalashnikov by Anton Rubinstein;
1902 – Ruslan and Lyudmila by Mikhail Glinka;
1902 – Kashchey the Immortal by Nikolai Rimsky-Korsakov – world premiere;
1903 – Legend About the Great City of Kitezh and the Quiet Lake Svetoyar by Sergei Vasilenko, and other.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery). Mikhail Ippolitov-Ivanov became its director and conductor.

In 1909, the last opera by Nikolai Rimsky-Korsakov, The Golden Cockerel, had its world premiere at the «Solodovnikov Theatre» but was also performed by the Zimin Opera.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery).

The company

At first the company was organised in Abramtsevo Estate located north of Moscow. The company was joined by Feodor Chaliapin in the autumn of 1896 and by Sergei Rachmaninov in the autumn of 1897 who took up the post of assistant conductor.

Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

He invited such composers as Sergei Vasilenko, Mikhail Ippolitov-Ivanov, Vasily Kalinnikov, Sergei Rachmaninov, and Nikolai Rimsky-Korsakov. Decorations and costumes for the operas were designed by such artists as the brothers Viktor and Apollinary Vasnetsov, Konstantin and Sergei Korovin, Mikhail Vrubel, Mikhail Nesterov, Isaac Levitan, Sergei Malyutin, Vasily Polenov, Valentin Serov, Viktor Simov, Nikolay Chekhov, Alexander Janov, Natalia Goncharova and Ivan Bilibin.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery). Mikhail Ippolitov-Ivanov became its director and conductor.

Final years

In late 1890s, Mamontov consolidated a large lot of land in central Moscow, across from Theatre Square, for building a large civic center with his opera hall and a luxury hotel. He appointed William Walcot as lead architect, however, in 1899 Mamontov was unjustly arrested and put on trial for embezzlement connected with building of the Yaroslavl railway. The project, known as Hotel Metropol, was completed without theater by Petersburg Insurance Company.

Meanwhile, from 1899 until 1904 the company existed without Mamontov, and changed its name to «Private Opera Society» (Tovarishchestvo chastnoi opery). Mikhail Ippolitov-Ivanov became its director and conductor.

In 1909, the last opera by Nikolai Rimsky-Korsakov, The Golden Cockerel, had its world premiere at the «Solodovnikov Theatre» but was also performed by the Zimin Opera.

Библиография

Халдей, Ольга (2010). Частная опера Мамонтова: поиск модернизма в русском театре . Блумингтон: Издательство Индианского университета. .mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:»»»»»»»‘»»‘»}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:linear-gradient(transparent,transparent),url(«//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg»)right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:linear-gradient(transparent,transparent),url(«//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg»)right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:linear-gradient(transparent,transparent),url(«//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg»)right 0.1em center/9px no-repeat}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:linear-gradient(transparent,transparent),url(«//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg»)right 0.1em center/12px no-repeat}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}ISBN  978-0-253-35468-6.

Origins of Russian Opera

The origin of Russian opera can be traced back to 1731 when Frederick Augustus I (King of Poland and Elector of Saxony) lent his Italian opera troupe to Empress Anna for the celebration of her coronation in Moscow. Giovanni Alberto Ristori presented this first opera, Calandro, with the assistance of his father Tommaso Ristori, 13 actors and nine singers. Making an obvious impression, the Empress invited another Italian opera troupe, led by composer Francesco Araja, four years later.

Francesco Araja went on to spend a total of 25 years in Russia and wrote at least 14 operas for the Russian Imperial Court. A few notable operas of the Italian composer include Bellerofonte (1750) – the first opera to include a Russian participant (singer Mark Poltoratski), and Tsefal i Prokris (1755) – the first opera written in Russian language.

The company

At first the company was organised in Abramtsevo Estate located north of Moscow. The company was joined by Feodor Chaliapin in the autumn of 1896 and by Sergei Rachmaninov in the autumn of 1897 who took up the post of assistant conductor.

Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

He invited such composers as Sergei Vasilenko, Mikhail Ippolitov-Ivanov, Vasily Kalinnikov, Sergei Rachmaninov, and Nikolai Rimsky-Korsakov. Decorations and costumes for the operas were designed by such artists as the brothers Viktor and Apollinary Vasnetsov, Konstantin and Sergei Korovin, Mikhail Vrubel, Mikhail Nesterov, Isaac Levitan, Sergei Malyutin, Vasily Polenov, Valentin Serov, Viktor Simov, Nikolay Chekhov, Alexander Janov, Natalia Goncharova and Ivan Bilibin.

19th Century Russian Opera

The 19th century was perhaps the pinnacle of Russian opera. In addition to many talented new Russian composers, private theatre started to emerge in Russia, giving opera a much wider audience. This new audience longed for a genre that would combine music, literature, and scenic movement. Opera not only fulfilled this role, but it did so while presenting important ideological, historical and psychological issues of the time.

The 19th century started with several great operatic works produced by foreign composers. The first was the translated work of German composer Ferdinand Kauer – Lesta, dneprovskaya rusalka (1803). The second – Ivan Susanin (1815) – was a patriotic opera based on Russian history, written by Italian composer and longtime Russian resident Catterino Cavos. Thereafter, most of the great operas to come out of Russia were written by native composers. A few of the important 19th century Romantic era Russian composers of opera are as follows: