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First of only four known recordings - new XR-remastered transfer
CD, MP3 and FLAC information:
This is the second of two rare Russian opera recordings by the Slovenian National Opera which came my way from the collection of the former art director of Philips UK. It was sold as a boxed set of two LPs; in this case I was working from white-label test pressings for these transfers and had no notes or indication of where anything started or finished. This lack of information turned out to be one of the greatest challenges, and it took a while to track down an alternative copy of the recording which I could both download as a reference and use to work out where the acts began and ended! Thus the tracks here are more or less split using the template of a mid-1990s recording by Yevgeni Brazhnik, and I've had to do what I can with the badly-translated Russian titles provided with that release, the most recent of only four complete recordings of this opera. As the Gramophone reviewer points out, the version heard here is that completed by Shebalin in 1931, which is fortunately also used by all the other recordings to date. Unfortunately the score I tracked down, and which is included in the downloads, is an earlier version completed by Cui in 1917, which diverges from the recording in a number of places, not least the entire relocation of the Dream section to the third act. This Dream music had been adapted by Mussorgsky from his earlier composition, Night on the Bare (or Bald) Mountain. Ironically the version we know now of that piece is one which Rimsky-Korsakov adapted from Sorochyntsi Fair! As I had space left over I took the opportunity to add Willem van Otterloo's 1958 recording of this, together with the flip side (Borodin's Polovtsian Dances) to the second disc of this set for comparison. As far as the recording quality goes, both recordings were very well made. A side effect of the non-staged style of the opera as noted by Gramophone's 1957 reviewer is that all the words are exceptionally clear and well captured and nobody singing away from the microphones - as I've failed to find a libretto and the score is in Russian script, this may prove handy to the listener! What was less welcome in Sorochyntsi Fair is the prevelance of pre- and post-echo throughout the recording, something which took a great deal of time and effort to eliminate. Overall, however, both recordings here have come up very nicely indeed, and are excellent examples of the progress made in sound quality during the 1950s. XR remastering has helped bring them forward a decade or two, and I recommend the Ambient Stereo issues. Technical notes by Andrew Rose
Click here to view additional notes and links For a full biography of Mussorgsky, see: http://en.wikipedia.org/wiki/Modest_Mussorgsky
Sorochyntsi Fair notes from Wikipedia
The Fair at Sorochyntsi (Russian: Сорочинская ярмарка, Sorochinskaya yarmarka, Sorochyntsi Fair) is a comic opera in three acts by Modest Mussorgsky, composed between 1874 and 1880 in St. Petersburg, Russia. The composer wrote the libretto, which is based on Nikolay Gogol's short story of the same name, from his early (1832) collection of Ukrainian stories Evenings on a Farm near Dikanka. The opera remained unfinished and unperformed upon Mussorgsky's death in 1881.
Composition history Mussorgsky worked on the opera between 1874 and 1880, in competition with his work on Khovanshchina (1872–1880); both were incomplete at the time of his death in 1881. He reused some music that he had written previously (such as the "Market Scene" from Act II of the ill-fated Mlada of 1872, used for the opening scene of Fair). Incorporation of the music of Night on Bald Mountain as a dream sequence involving the hero was a late addition to the scenario in the course of composition, despite the fact that such an episode is not suggested by the original story. Although Mussorgsky managed to complete some numbers and even some of the orchestration, significant portions of the scenario were left without any music at all or only in bare sketches. Several subsequent composers and editors (cited below) played partial or maximal roles in bringing the work into a performable state. The first staged performance, with spoken sections, occurred on 8 October 1913 in Moscow under Konstantin Saradzhev. Beginning in 1917, the first of several fully sung versions reached the stage. Performance history Completed versions of the opera took place as follows:
The Fair at Sorochyntsi is not a part of the standard operatic repertoire in the West. The best-known numbers from Fair are the orchestral Introduction and the closing Gopak. Mussorgsky also arranged the Gopak and the market scene for piano solo. Sergei Rachmaninoff made an arrangement of the Gopak for piano. Rimsky-Korsakov's version of Night on Bald Mountain is based mainly on the version included in this opera. Two of the Ukrainian folk tunes that Mussorgsky incorporated into this opera (Act 1) were used also by Rimsky-Korsakov in his own Christmas Eve, which was likewise based on a story by Gogol.
Roles
Note: Roles marked with an asterisk (*) are supernatural characters appearing only in the Shebalin Edition, which incorporates the Dream Vision of the Peasant Lad (Сонное видение паробка) [see Mussorgsky's A Night on the Bare Mountain].
Synopsis
Act 1 At the fair, merchants are peddling their wares to the crowd of visitors arriving from all around. The Gypsy makes reference to a red jacket that the devil is looking for, while the lad Gritsko woos Parasya. Her father, Cherevik, at first is indignant at this forwardness, but, after realizing that Gritsko is the son of a close friend, he agrees to let Gritsko marry his daughter. The two men go into the tavern to celebrate, as evening settles and the people disperse. Cherevik and his buddy, Kum, comes out of the tavern in a drunken state. After they wander around in the dark, Khrivya, Cherevik's wife, comes out of their house, and he announces Parasya's engagement. But Khivrya objects, and, while Gritsko overhears, drunken Cherevik concedes that the wedding will not happen. Gritsko, alone, bemoans his sadness. The Gypsy enters, and the two make a pact: Gritsko will give the Gypsy his oxen for fifteen rubles if the latter can make Cherevik change his mind. Intermezzo: Dream Vision of the Peasant Lad Alone, Gritsko falls asleep and has a dream involving witches and devils. They are dispelled by church bells. Act 2 Inside Kum's house, where they are lodging, Khivrya quarrels with Cherevik, getting him to leave, so that she may keep her secret rendezvous with Afanasy Ivanovich, the son of the village priest. When the latter arrives, she offers him her culinary delicacies, which he devours. In the midst of their amorous encounter a knock is heard at the door. Afanasy hides on a shelf, and in walk Cherevik and Kum, with friends, alarmed by a rumor that someone has seen the red jacket and the devil. Kum begins to give more of the legend, concluding with the remark that the devil appears every year at the fair with a pig's face, looking for the red jacket. Suddenly a pig's snout is seen in the window, and everyone runs about in confusion. Act 3 Scene 1 On a street, as a result of the superstitious confusion of the previous scene, Cherevik and Kum are being chased by the Gypsy and some lads. The latter accuse the two older men of stealing a mare, and tie them up. Gritsko enters, extracting a promise from Cherevik to have the wedding to Parasya the next day, and the two older men are released. Scene 2 On a street in front of Kum's house, Parasya at first is sad about Gritsko, but then cheers herself up with a little hopak, in which Cherevik joins without her noticing. Kum and Gritsko enter, and Cherevik blesses the two lovers, only to be met by Khivrya's rage, which prompts the Gypsy to call on the lads to restrain her. The people celebrate the wedding with a gopak.
Principal arias and numbers
Versions by other hands In 1881 Nikolai Rimsky-Korsakov suggested that Anatoly Lyadov finish the composition of the work, the libretto to be completed by Mussorgsky's old friend A.A. Golenishchev-Kutuzov. However, Lyadov orchestrated only five numbers (published in 1904) and did not finish the opera. Vyacheslav Karatygin later edited some fragments of Mussorgsky's manuscripts, which were orchestrated by Lyadov and performed in 1911. The next year Vladimir Senilov published his orchestration of Parasya's dumka from Act III. Yury Sakhnovsky edited and orchestrated some fragments which, together with material edited by Lyadov, Karatygin, and Rimsky-Korsakov (i.e., the Night on Bald Mountain music) constituted a staged "premiere" of sorts, performed at the Moscow Free Theatre on 8 October 1913 (Old Style), with spoken dialogue inserted for scenes without music by Mussorgsky. In commemoration of his late comrade from The Five, César Cui became the first to create a complete version of The Fair at Sorochyntsi during 1914-1916. This fully sung version – but without the Night on Bald Mountain sequence – was staged on 13 October 1917 (Old Style) at the Theatre of Musical Drama in Petrograd. The foreword to Cui's edition, dated October 1916, explains the state of affairs at the time, and translates thus:
However, Cui's version failed to find a permanent place in the repertory, and the opera was completed and orchestrated again by Nikolai Tcherepnin in 1923 and by Vissarion Shebalin in 1930. Shebalin's version became the standard since then. This also includes the Night on Bald Mountain as a prelude to the third act, instead of an interlude in act one (following Gritsko's Dumka), as Mussorgsky originally planned.
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