Синопсис
Время: Середина 17 века.Место: Большой город на Река Волга
- Увертюра
Акт 1
- No.1 Хор девушек и сцены
- №2 Баллада и дуэт Марии
- № 3 Сцена
- No.4 Ария Бастрюкова
- No.5 Сцена и дуэт
- No.6 Сцена
- No.7 Сцена
- No.8 Квартет и сцена
- №9 Финал
Акт 2
- No 10 Введение
- No.11 Хор слуг
- No.12 Ария Бастрюкова
- No.13 Сцена и Ария Дубровина
- No.14 Антракт и танцы горничных
- No.15 Сцена и песня Марии
- No.16 Сцена
- No.17 Дуэт
- No 18 Сцена
- No.19 Сцена и Хоровод
Акт 3
- No.20 Entr’acte
- No.21 Сцена и Ария Дубровина
- No.22 Сцена
- No23 Квартет
- No 24 Сцена
- No.25 Дуэт
- No.26 Сцена и квартет
- No 27 Сцена
- No.28 Квинтет
- No.29 Сцена и хор
- No.30 Сцена
- No.31 Заключительная сцена
Composition
According to Tchaikovsky’s sketches, he began to write the music for Act I on 8/20 March 1867, and completed this during April.
In May, Tchaikovsky reworked his Characteristic Dances, written in 1865, which were used to open the opera’s second act as Dances of the Chambermaids, and then while on holiday at Hapsal between June and August he orchestrated them, along with Act I of the opera .
The composer’s difficulties in extracting the rest of the libretto from Aleksandr Ostrovsky were an obstacle to any significant progress during the autumn, until Tchaikovsky took the decision to finish the rest of the opera by himself. On 25 November/7 December 1867 he told his brother Modest: «The opera is now going quite successfully; the whole of the third act is written, and the dances from it, which I orchestrated in Hapsal, will be performed at the next concert» .
It is impossible to establish how much work had been done during the winter of 1868, but in mid/late February 1868, Tchaikovsky was engaged in orchestrating Act III, as he wrote to Anatoly Tchaikovsky: «Over the last few days I have made a start on orchestrating the third act. I really want to finish the opera by the summer» .
In mid/late June, Tchaikovsky left for Paris. Here he orchestrated the overture, as is indicated by the date on the manuscript: «Paris, 28 July 1868» .
Записи
- Полная запись оперы выпущена на лейбле «Водолей». Владимир Кожухар дирижирует солистами Большого Академического хора Центрального телевидения и Всесоюзного радио и Государственного симфонического оркестра Министерства культуры СССР.
- Иногда исполнялась и записывалась живая, иногда драматическая увертюра. Это одно из немногих произведений Чайковского в исполнении Артуро Тосканини и Симфонический оркестр NBC в эфирном исполнении, которое сохранилось на дисках с транскрипцией. Увертюра, а также антракт и танцы также вошли в Vox Records ‘полные записи оркестровой музыки Чайковского, выпущенные на LP и CD (с объемным звуком Dolby); Янош Фюрст провел Бамбергский симфонический оркестр.
General Information
| Work Title | The Voyevoda |
|---|---|
| Alternative. Title | Воевода (Voyevoda) |
| Name Translations | Voyevoda; Le Voïévode; Воевода; El voivoda; Il Voevoda; 地方長官; Voievoda; Vojvoden; 总督; Vojevoda |
| Name Aliases | Le Voïevode; Voïevoda; Voevoda |
| Authorities | |
| Composer | Tchaikovsky, Pyotr |
| Opus/Catalogue NumberOp./Cat. No. | Op.3 ; TH 1 ; ČW 1 |
| I-Catalogue NumberI-Cat. No. | IPT 147 |
| Movements/SectionsMov’ts/Sec’s | 3 acts, 4 scenes |
| Year/Date of CompositionY/D of Comp. | 1867–68 |
| First Performance. | 1868-02-19 — Moscow, charity concert. Pyotr Tchaikovsky (conductor)
1869-02-11 in Moscow, Bolshoy Theatre
|
| First Publication. | 1868 to 1893 — Moscow: P. Jurgenson (selections), 1953 — Moscow: Muzgiz (complete).
|
| Average DurationAvg. Duration | 155 minutes |
| Composer Time PeriodComp. Period | Romantic |
| Piece Style | Romantic |
| Instrumentation | voices, chorus, orchestra
|
| Related Works | For the incidental music composed in 1886, see The Voyevoda (melodrama).For the unrelated symphonic ballad composed in 1890–91, see The Voyevoda (symphonic ballad). |
| External Links | Wikipedia article |
| Extra Information | Tchaikovsky destroyed the score of the opera during the 1870s, and only the Overture and the Entr’acte & Dances of the Chambermaids (Act 2, No.4) were published during his lifetime. In the 1930s, Sergey Popov used the surviving parts from the first performances to reconstruct the opera, and in the 1940s a performing version was realised by Pavel Lamm, with the assistance of Vissarion Shebalin, Boris Asafyev, Yury Kochurov and Sergey Spassky. The Entr’acte and Dances of the Chambermaids (Act 2, No.4) were also arranged for piano and piano 4 hands by Tchaikovsky. |
Autographs
Tchaikovsky destroyed the full score of most of the opera in the 1870s.
However, the full scores of the Overture (ф. 88, No. 6) , and Entr’acte and Dances of the Chambermaids (ф. 88, No. 3) are preserved in the Russian National Museum of Music in Moscow, together with the composer’s arrangement for piano duet of the Entr’acte and Dances of the Chambermaids (ф. 88, No. 5) .
A manuscript copy of the Entr’acte and Dances of the Chambermaids (Act II, No. 4), with only the title page written by Tchaikovsky, is also preserved in the Russian National Museum of Music (ф. 88, No. 4) , and a fragment from Tchaikovsky’s solo piano arrangement of the same number is held by the Tchaikovsky State Memorial Musical Museum-Reserve at Klin (lr, No. 1).
The Russian National Museum of Music also have a manuscript copy of the vocal-piano reduction of Act III, with Tchaikovsky’s annotations (ф. 88, No. 6) .
Autographs
After hearing his new work played by the orchestra, Tchaikovsky became extremely dissatisfied with his new work. During the interval, the concert organiser Alexsandr Ziloti recalled that:
The bulky manuscript score proved difficult to destroy, and so Tchaikovsky took it away with him to complete this task, as he reported to Vladimir Nápravník a few days later: «The concert was generally successful, but my ballad The Voyevoda turned out to be so wretched, that the other day after the concert I tore it to shreds. It exists no more» . However, three autograph fragments from the full score have survived, and are now preserved in the Klin House-Museum Archive (a1, Nos. 64-66).
Performances
Tchaikovsky himself conducted a concert performance of the Entr’acte & Dances of the Chambermaids (Act II, No. 4) from The Voyevoda at a charity concert in Moscow on 19 February/2 March 1868 .
The first production of the opera was originally scheduled for 11/23 October 1868, and the rehearsals began in early/mid-September . Tchaikovsky, who was obliged to attend, did not consider it possible to learn the opera so quickly. On 25 September/7 October, he told Anatoly Tchaikovsky that the premiere had been postponed: «You already know that my opera was due to be put on in October; the parts had been copied out and rehearsals had started, which I am supposed to attend. Of course, this was merely going through the motions. Seeing that it was not possible to produce the opera in such a short time, I pointed out to the local director that the current presence of the Italian Opera was distracting the chorus and orchestra, and so I would not give them the full score… In the circumstances rehearsals have been suspended, and the opera postponed until the Italians have left» .
A new date for the premiere was set for December 1868 , but the opera was further postponed. The first performance took place on 30 January/11 February 1869 at the Bolshoi Theatre, at the benefit for the artist Aleksandra Menshikova, conducted by Eduard Merten, with soloists: Ludovico Finocchi (Voyevoda), Platon Radonezhesky (Dyuzhoy), Anna Annenskaya (Nastasya), Aleksandra Menshikova (Marya), Zinayda Kronenberg (Praskovya), Aleksandr Rapport (Bastryukov), Stepan Demidov (Dubrovin), Anna Ivanova (Olyona), Konstantin Bozhanovsky (Rezvy), Aleksandr Lavrov (Jester), Yelena Rozanova (Nedviga) and Ivan Korin (New Voyevoda). After further performances on 4/16 February, 11/23 February, 16/28 February, 25 February/9 March (Act II only), and 2/14 March 1869, the opera was withdrawn from the repertoire .
Nevertheless, the Entr’acte & Dances of the Chambermaids (Act II, No. 4) continued to be given separate concert performances, including:
- Hannover, Royal Theatre, 17 February/1 March 1879, conducted by Hans von Bülow.
- Saint Petersburg, Ozerki, 31 July/12 August 1890, conducted by Moritz Keller.
- Moscow, Aleksandr Ziloti’s concert, 6/18 November 1891, conducted by Tchaikovsky
- Kiev, Russian Musical Society concert, 21 December 1891/2 January 1892, conducted by Tchaikovsky.
- Kiev, Russian Musical Society concert, 22 December 1891/3 January 1892, conducted by Tchaikovsky .
- Manchester, Free Trade Hall, 23 February/8 March 1894, conducted by Charles Hallé.
- London, Queen’s Hall on 2/14 September 1898, conducted by Henry Wood.
The Overture to the opera was also premiered in London at the Queen’s Hall by Henry Wood on 3/15 May 1897.
On 28 September 1949, a reconstructed version of the opera was produced on the stage of the Maly Opera Theatre in Leningrad. For this production the missing pages from the full score were completed by Yury Kochurov. The conductor was Eduard Grikurov, and the soloists: Nikolay Butyagin (Voyevoda), Arkady Guryevich (Dyuzhoy), Frederika Zass (Nastasya), Vera Kudyavtseva (Marya), Fyodor Andrukovich (Bastryukov), Lev Petrov (Dubrovin), Vera Ovcharenko (Olyona), Dmitry Silvestrov (Rezvy), Fyodor Barayev (Jester) and Kseniya Komissarova (Nedviga). The opera became established in the theatre’s repertoire in this performing version.
Related Works
Much of the music from The Voyevoda was either borrowed from or re-used in other works:
- Act I, No. 1. The opening chorus includes the folk tune ‘A Little Duckling Swan on the Sea’ (На море утушка купался), which Tchaikovsky later arranged as No. 23 of Fifty Russian Folksongs (1868-69). This whole section was re-used in Act I (No. 2) of the opera The Oprichnik (1870-72).
- Act I, No. 2. The ending of the Duet (from bar 130) was re-used in Act I (No. 3) of The Oprichnik
- Act I, No. 3. Music for this Scena was re-used in Act I (No. 4) of The Oprichnik
- Act I, No. 4. Part of Bastryukov’s Aria (bars 13–33) is based on a short episode from the overture to The Storm (1864)
- Act I, No. 5. The Andante non troppo episode (from bar 47) is based on part of movt. III from the cantata Ode to Joy (1865)
- Act I, No. 7. The opening Allegretto comodo section was reworked in the opening scena (Act I, No. 1) of The Oprichnik
- Act I, No. 7. Bars 127–198 are based on part of the Overture in C minor (1865)
- Act I, No. 9. Part of Bastryukov’s Song (bars 89–105) was reworked in Act IV (No. 16) of The Oprichnik
- Act II, Introduction. The first 24 bars are taken directly from the opening of the Overture in C minor, and were also used in The Storm
- Act II, No. 2. Bastryukov’s Aria was re-used with different words in Act II (No.
of The Oprichnik
- Act II, No. 3. The first part of this Scena was used in Act II (No. of The Oprichnik
- Act II, No. 4. The Dances of the Chambermaids are based on the Characteristic Dances for orchestra (1865)
- Act II, No. 5. Marya’s Song was reworked as Natalya’s Song (Act I, No. 2) from The Oprichnik. The song uses the folk tune ‘I Wear My Hair in a Plaid’ (Коса ль моя косынка), which Tchaikovsky heard in Kuntsevo in September 1867, and noted down himself . He also later arranged the tune as No. 24 of Fifty Russian Folksongs
- Act II, No. 8. The opening theme of this number was re-used in The Year 1812 (1880)
- Act II, No. 9. The Khorovod was used in Act I (No. 6) of The Oprichnik. It includes the folk tune ‘Beyond My Yard is a Green Meadow’ (За двором лужок зеленешек, which Tchaikovsky later arranged as No. 25 of Fifty Russian Folksongs
- Act III, Entr’acte. Re-used as the Entr’acte to Act IV of Swan Lake
- Act III, No. 2. The Andante section (bars 10–35) was reworked as the opening of the Finale (Act IV, No. 29) from the ballet Swan Lake (1875-76)
of The Oprichnik
In 1868, Tchaikovsky compiled a Potpourri on themes from the opera, for solo piano, which was published under the pseudonym «H. Cramer».
For the revival of Ostrovsky’s play A Dream on the Volga in 1886, under its new title of The Voyevoda, Tchaikovsky wrote a short melodrama for one scene, but this has no musical connection to his earlier opera.
Critical Reception
Although Vladimir Odoyevsky noted in his diary: «This opera guarantees a great future for Tchaikovsky» , The Voyevoda was not warmly received by his fellow critics. Tchaikovsky came to concur with their verdict—mainly that its structure was inadequate, and unsuitable for a stage performance. Thus, in a letter to Nadezhda von Meck of 27 November/9 December 1879, the composer wrote «The Voyevoda is without any doubt a bad opera. At the time I considered the music to be more than just adequate, but by common consent it was considered to be a mediocre opera. In the first place, the subject was not suitable, i.e. it was devoid of dramatic interest and plot development; secondly, the opera was written too quickly and without much thought; because of this it did not translate into opera, and was not suited to the literary stage; I had simply tried to write music to a given text; somehow I had in mind something between opera and symphonic styles. In composing an opera, the author should keep the stage in mind, that is to remember that the theatre presents difficulties not only of melody and harmony, but also in action; this should not bore the opera audience, who have not only to listen, but also to watch; and, lastly, that the style of theatrical music should match the style of the scenery, and therefore be simple, clear and colourful… In The Voyevoda I concerned myself too much with fine details, and completely forgot the scene and all its words. It might be said that the concerns of the author paralysed the musical inspiration to some degree, and that is why symphonic and chamber music styles are so different to opera. In a symphony or a sonata I have freedom, with no constraints whatsoever. But for opera one has in the main address the musical language of the masses. And one more thing—opera has to be played a number of times during the course of a season, which is a basic difference from a symphony, which might be performed once in ten years!!!… But I took issue with the critics of The Voyevoda with regard to its third failing—the predominance of the orchestral textures over the voices. All these failings arose as a result of inexperience. It is necessary to go through a number of attempts in order to achieve a degree of success, and I am not in the least ashamed of my operatic failures. They have been very useful lessons and pointers for me» .
In a letter to Sergey Taneyev of 29 October/10 November 1882, in response to the news that Anton Arensky was working on an opera on the same subject, Tchaikovsky wrote: «I am so glad that henceforth I shall cease once and for all to be the author of The Voyevoda! Remembering this opera, and also The Oprichnik, is like recalling some criminal offences I committed long ago» .
Composition
There is very little surviving evidence concerning the origins of The Voyevoda. From Tchaikovsky’s letters to Vladimir Davydov, it would appear that the two men had talked to each other about this subject. Tchaikovsky wrote: «I have composed that ballad for orchestra, on the subject of which you disapprove. I want to dedicate all next week to orchestrating it. I assure you that it was a good idea to write this work.» .
It seems that the ballad was begun in Tiflis in late September/early October 1890. Tchaikovsky wrote to Pyotr Jurgenson on 28 September/10 October 1890: «I am composing a symphonic poem. I shed a few tears» . From the aforementioned letter from the composer to Vladimir Davydov, it follows that by 4/16 October the ballad was prepared in rough, and in the same letter Tchaikovsky stated that he would spend the next few weeks on its instrumentation. But this intention was not then carried out. In a letter to Modest Tchaikovsky of 10/22 October 1890, the composer wrote: «I’ve finished my ballad is finished, but I’m trying in vain to orchestrate it» . Tchaikovsky’s circumstances forced him to put off completing the ballad for almost a whole year. The productions of the opera The Queen of Spades in Saint Petersburg and Kiev, a commission from Lucien Guitry for music to Hamlet, composing the opera Iolanta and the ballet The Nutcracker for the next winter season, and a concert tour of America—all of these postponed the orchestration of the ballad.
On 15/27 January 1891, Tchaikovsky was forced to withdraw from an invitation from Nikolay Rimsky-Korsakov to conduct his new work at a Russian symphony concert in the Russian capital later that month. «Forgive me, for God’s sake!», he wrote. «I cannot keep my promise regarding the concert on 27 January. I’ve not written a single note of the full score of «The Voyevoda»! Circumstances were such that it was impossible! Let us leave it until next year»
In a number of letters to relatives and friends dating from June 1891, Tchaikovsky wrote of his intention to begin scoring the ballad . With this in mind, he also asked Pyotr Jurgenson to obtain a new orchestral instrument:
In a further letter to Jurgenson of 22 August/3 September, Tchaikovsky wrote:
Tchaikovsky took up the orchestration of The Voyevoda as soon as he had finished the rough sketches of Iolanta: «Yesterday I completely finished the opera. Tomorrow I shall take up the instrumentation of The Voyevoda«, he told Modest Tchaikovsky on 5/17 September 1891 .
The scoring of the ballad was completed around 22 September/4 October 1891, as indicated by a letter to Anna Merkling of the latter date, in which the composer reported that he had finished his new symphonic work . On the same day he wrote to Anatoly Tchaikovsky: «I’ve finished my symphonic ballad, The Voyevoda. I’m very pleased with it. You really must come to that Musical Society concert in Petersburg, which I’ll be conducting. This will be in November» .
Performances
The symphonic ballad The Voyevoda was performed for the first time in Moscow on 6/18 November 1891, at a concert organised by Aleksandr Ziloti, conducted by the composer. During rehearsals, the composer appeared to lose faith in his new work, displaying «a sluggish indifference to nuance, and the complete absence of a desire to produce a good performance», according to Nikolay Kashkin . Modest Tchaikovsky recalled that on the day of the concert, «despite the enthusiastic disposition of the audience towards the composer, The Voyevoda appeared to make little impression, which was explained to a significant degree by the ‘sloppy’ performance of the disgruntled author .
Other notable early performances included:
- Saint Petersburf, Tchaikovsky memorial concert, 13/25 December 1897, conducted by Arthur Nikisch.
- New York, Music Hall, Symphonic Society concert, 14/26 November 1897, conducted by Walter Damrosch
- Saint Petersburg, Russian symphony concert, March 1897
- London, Queen’s Hall, 15/28 September 1905, conducted by Henry Wood.
Publication
In 1873, Pyotr Jurgenson published the full score of the Entr’acte & Dances of the Chambermaids. In June 1890, the composer made some changes to the finale of this number for a new edition by Jurgenson , which appeared in 1891 along with the orchestral parts. In 1892 and 1893, Jurgenson brought out the full score and orchestral parts respectively of the Overture. These were the only parts of the opera to be published during the composer’s lifetime.
In the 1930s, Sergey Popov used the surviving parts from the first performances to reconstruct the opera, and in the 1940s a performing version was realised by Pavel Lamm, with the assistance of Vissarion Shebalin and Boris Asafyev, with a revised libretto by Sergey Spassky. The opera was published for the first time in 1953 in this version (full score and vocal-piano reduction) in volume 1 of Tchaikovsky’s Complete Collected Works, edited by Pavel Lamm.
Сюжет
Первое действие
Опера начинается с выхода невесты старика-воеводы, Прасковьи, и её сестры, Марьи Власьевны, с нянькой Недвигой и сенными девушками. После ухода девушек появляется Бастрюков, влюбленный в Марью Власьевну, и начинает со слугами разбирать тын. Он остается один. Его ария («Догорай на небе, зоренька, скорее»). К нему выходит Марья Власьевна. Любовный дуэт. В финале действия воевода видит Марью Власьевну, влюбляется, требует в невесты, отвергнув Прасковью Власьевну. Бастрюков пробует похитить возлюбленную, но их застают в момент побега и разлучают.
Второе действие
Первая картина. У Бастрюкова. Слуги ждут его возвращения с охоты. Когда он возвращается, ему говорят, что его хочет видеть Дубровин. Сцена и дуэт с Дубровиным. Последний тоже обижен воеводой, похитившим его жену, Олену. Оба молодые человека решают пробраться в терем старика и похитить Марью Власьевну и Олену.
Вторая картина. В тереме воеводы. Марья Власьевна тоскует. Её развлекают танцами. Её ария («Соловушко»). Вбегает Олена, молит о прощении за то, что уронила в воду фату, когда мыла её, но, в сущности, передать Марье Власьевне, что ночью в сад придет за ней Бастрюков. Дуэт двух женщин прерывается появлением Недвиги и сенных девушек, которые, чтобы развеселить Марью Власьевну, поют песни.
Третье действие
Во дворе терема воеводы. Ночь. Входят Бастрюков и Дубровин. К ним сходят Марья Власьевна и Олена. Квартет. Неожиданно появляется воевода. В пылу ревности он хочет зарезать Марью Власьевну, но только что прибывший посол и новый воевода из Москвы спасает её, а старого воеводу по повелению царя отдает под суд. Действующие лица благодарят Бога и величают царя.
Critical Reception
After the composer’s death, Sergey Taneyev, in one of his letters to Modest Tchaikovsky in 1901, recalled how he had given his views on The Voyevoda to Tchaikovsky soon after the first rehearsal:
The newspaper critics were much kinder to the work. According to an anonymous reviewer in the Russian Leaflet, «The witty ballad emphasises and depicts in music both the lyrical and epic moments of the plot. It is beautifully developed in thematic and technical respects, but also full of freshness and expressiveness, particularly in those places depicting the lament of the Voyevoda’s wife, and the master’s words preceding it» . The music critic of the Moscow Register thought that «The music was highly successful in illustrating the content of the programme, shining with a mastery of instrumentation and melodic beauty» , while the composer’s friend Nikolay Kashkin was rather more guarded in his review for the Russian Register, noting that «The ballad is undoubtedly marked by the high talent of its author» .
Tchaikovsky’s did not regret his decision to destroy The Voyevoda, as he wrote to his publisher: «Don’t feel sorry for The Voyevoda—it got what it deserves. I’m not in the least repentant, because I’m profoundly convinced that this work compromises me. Were I an inexperienced youth then it would be another matter, but a grey-haired old man ought either to move forward (if this is even possible, for example, Verdi continues to progress, and he’s nearly 80), or to stay at the heights that he’s previously reached. If the same thing happens in future, I’ll tear it to shreds again, or even give up composing altogether» .
Роли
| Роль | Тип голоса | Премьерный состав11 февраля 1869Дирижер: Эдуард Мертен) |
|---|---|---|
| Нечай Шалигин, воевода | бас | Finokki |
| Влас Дюжой, богатый купец | бас | Радонежский |
| Марья Власьевна, его жена | сопрано | Александра Меньшикова |
| Прасковья Власьевна, его старшая дочь | сопрано | Кроненберг |
| Настасья | сопрано | Анненская |
| Степан Бастрюков, сын состоятельного дворянина ‘ | тенор | Раппорт |
| Роман Дубровин | баритон | Демидов |
| Елена, его жена | меццо-сопрано | Иванова |
| Резвий, слуга Бастрюкова | бас | Божановский |
| Шут | тенор | Лавров |
| Недвига, медсестра | меццо-сопрано | Розанова |
| Новый воевода | бас | Корин |
| Хор, немые роли: Дворяне, купцы, слуги, девы, люди |
Movements and Duration
The numbering, titles and tempo are taken from the reconstruction in П. И. Чайковский. Полное собрание сочинений, том 1А (1953). Act I is divided into five «episodes» (явления). The titles of numbers in Russian (Cyrillic) are taken from the published score, with English translations added in bold type. Vocal incipits are given in the right-hand column, with transliterations below in italics.
| Overture (Увертюра) Moderato quasi Allegro | ||||
| Act I | Episode 1 | No. 1 | Chorus of Maidens (Хор девушек) Andantino | На море утушка купаласяNa more utushka kupalasya |
| Scene (Сцена) Moderato quasi Allegro | Нам в терему и тесно, да и душноNam v teremu i tesno, da i dushno | |||
| No. 2 | Arioso (Ариозо) Allegro risoluto | Ты расскажи, как в тереме высокомTy rasskazhi, kak v tereme vysokom | ||
| Marya Vlasyevna’s Song with Chorus (Песня с хором Марьи Власевьны) Allegro con fuoco | Становили сторожей у ворот и у дверейStanovili storozhey u vorot i dverey | |||
| Scene (Сцена) Allegro comodo | А что потом?A chto potom? | |||
| Episode 2 | No. 3 | Scene with Chorus (Сцена с хором) Allegro molto e misterioso | ПроходиProkhodi | |
| No. 4 | Recitatives (Речитатив) Adagio | Вот здесь в садуто то ли делоVot zdes v saduto to li delo | ||
| Bastryukov’s Aria (Ария Бастрюкова) Andantino | Догорай на небеDogoray na nebe | |||
| Episode 3 | No. 5 | Scene (Сцена) Allegro agitato | Откуда ты?Otkuda ty? | |
| Duet for Marya Vlasyevna and Bastryukov (Дуэт Марьи Власевьны и Бастрюкова) Andante non troppo | Дай мне потешиться свободойDay mne potershitsya svobodoy | |||
| No. 6 | Scene (Сцена) Allegro semplice | Беги, Боярин!Begi, Boyarin! | ||
| Episode 4 | No. 7 | Scene (Сцена) Allegretto comodo | Пожалуй нас, из воль присестьPozhaluy nas, iz vol; prisest | |
| No. 8 | Quartet (Квартет) Adagio | Ты не слези свои сокольи очиTy ne slezi svoi sokoli ochi | ||
| Episode 5 | Scene (Сцена) Allegro semplice | Ты слышал, РезвыйTy clyshal, Rezvy | ||
| No. 9 | Finale (Финал) Allegro vivo assai | Ну, что ж вы, холопыNu, chto zh vy, kholopy | ||
| Sextet with Chorus (Секстет с хором) Allegro vivo assai | Боярин невесту к себе возьмётBoyarin nevestu k sebe vozmet | |||
| Act II | Introduction Andante | |||
| Scene 1 | No. 1 | Chorus of Servants (Хор слуг) Moderato | Где-то боярин?Gde-yo boyarin? | |
| No. 2 | Bastryukov’s Aria (Ария Бастрюкова) Allegro | Душа горит и сердце рветсяDusha gotiy i serdtse rvetsya | ||
| Scene (Сцена) Moderato | Боярин!Boyarin! | |||
| No. 3 | Scene (Сцена) Moderato assai | Ты на моем дворе живешь, РоманTy na moyem dvore zhivesh, Roman | ||
| Scene 2 | No. 4 | Entr’acte and Dances of the Chambermaids (Антракт и пляска сенных девушек) Andante comodo assai | ||
| No. 5 | Scene (Сцена) Moderato | Да что ж за чудоDa chto zh za chudo | ||
| Marya Vlasyevna’s Song (Песня с хором) Cantabile | Соловушка в дубровушке громко свищетSolovushka v dubrovushke gromko zvishchet | |||
| No. 6 | Scene (Сцена) Allegro vivo | Государыня, боярышня!Godusarynya, boyaryshnya! | ||
| No. 7 | Duet (Дуэт) Allegro moderato | Тихо луна взойдетTikho luna vzoydet | ||
| No. 8 | Duet (Дуэт) Allegro | Хочу увидеть милогоKhochu uvidet milogo | ||
| No. 9 | Scene (Сцена) Allegro vivo | Тише! ИдутTishe! Idut | ||
| Chorus (Хор) Allegro comodo | За двором лужок зеленешенекZa dvorom luzhok zeleneshenek | |||
| Act III | Entr’acte (Антракт) Moderato | |||
| No. 1 | Scene (Сцена) Andante non troppo | Душа живая здесь нас не услышитDusha zhivaya zdes nas ne uslyshit | ||
| Dubrovin’s Aria (Ария Дубровин) Andante | Заныло сердце ретивоеZanylo serdtse retivoye | |||
| No. 2 | Scene (Сцена) Andante non troppo | Кажись идутKazhis idut | ||
| No. 3 | Quartet (Квартет) Andante cantabile | Темная ночка, тихая ночкаTemnaya nochka, tikhaya nochka | ||
| No. 4 | Scene (Сцена) Andante | Что же ты, Олена, плачешь?Chto zhe ty, Olyona, plachesh? | ||
| No. 5 | Duet (Дуэт) Allegro moderato | Милый, верь мне, я невинаMily, ver mne, ya nevina | ||
| No. 6 | Scene (Сцена) Andante non troppo | Идет с боярышней боярынIdet s boyaryshney boyaryn | ||
| Quartet (Квартет) Andante | Темная ночка, тихая ночкаTemnaya nochka, tikhaya nochka | |||
| No. 7 | Scene (Сцена) Allegro vivo | Накрыл я вас, злодеи, воры!Nakryl ya vas, zlodey, vory! | ||
| No. 8 | Quintet (Квинтет) Moderato assai | Ты прости, прошайTy prosti, proshay | ||
| No. 9 | Quintet with Chorus (Квинтет с хором) Moderato | Сила злая одолелаSila zlaya odolela | ||
| Scene (Сцена) Allegro moderato | Держите их!Derzhite ikh! | |||
| No. 10 | Scene (Сцена) Moderato | Остановись!Ostanovis! | ||
| No. 11 | Finale (Финал) Allegro non troppo e maestoso | Слава! Слава!Slava! Slava! |
A complete performance of the opera lasts around 160 minutes.
Опера Чайковского (1869)
Премьера оперы состоялась 30 января 1869 года в Большом театре в Москве, в бенефис певицы Александры Меньшиковой, певшей партию Марьи Власьевны; в главных партиях были также заняты Людвиг Финокки (Нечай Шалыгин), Платон Радонежский (Влас Дюжой), Анна Анненская (Настасья), Зинаида Кронеберг-Лихачёва (Прасковья Власьевна) и др., дирижировал Э. Н. Мертен. Владимир Одоевский отметил в своём дневнике:
Затем Чайковский, недовольный оперой, уничтожил значительную часть партитуры, а кое-какой музыкальный материал использовал в других произведениях. Попытки восстановить оперу по сохранившимся наброскам и фрагментам были предприняты в 1930-40-е годы П. А. Ламмом (при участии Виссариона Шебалина и Бориса Асафьева) и Ю. В. Кочуровым (частично опиравшимся на опыт Ламма; редакция либретто С. Д. Спасского). Редакция Кочурова была поставлена 28 сентября 1949 в ленинградском Малом оперном театре под управлением Э. П. Грикурова.
Музыка «Воеводы» отмечена высокими достоинствами, но по мнению некоторых критиков главным недостатком произведения, главным недостатком оперы была её драматургия. Через 17 лет А. Н. Островский предпринял попытку вдохнуть в сюжет новую жизнь.