BORODIN Prince Igor / Abdrazakov, Petrenko, Noseda

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ALEXANDER BORODIN

Prince Igor
Ildar Abdrazakov · Oksana Dyka
Anita Rachvelishvili · Sergey Semishkur
Mikhail Petrenko · Stefan Kocán
The Metropolitan Opera Orchestra,
Chorus and Ballet
Gianandrea Noseda

Production: Dmitri Tcherniakov
Int. Release 16 Sep. 2014
1 Blu-ray Video
0440 073 5149 9 Blu-ray Video GH
DVD-Video: GH2
STEREO: PCM / SURROUND: DTS-HD Master Audio 5.1
Picture Format: 1080i/60i High Definition / 16:9
Filmed live in High Definition
Subtitles:
English/German/French/Spanish/Chinese/Korean
A Metropolitan Opera High-Definition Production


Track List

Alexander Borodin (1833 - 1887)
Prince Igor

New Edition, Created For The Metropolitan Opera By Dmitiri Tcherniakov And Gianandrea Noseda

1.
1:12

Metropolitan Opera Orchestra, Gianandrea Noseda

Eric Owens

Prologue

Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Sergei Semishkur, Ildar Abdrazakov, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda

Oksana Dyka, Sergei Semishkur, Ildar Abdrazakov, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda

Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Act 1

Song Of The Polovtsian Maidens

Kiri Deonarine, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Metropolitan Opera Orchestra, Gianandrea Noseda

Cavatina Of Konchakovna

Anita Rachvelishvili, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Chorus Of The Polovtsian Guards

Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Recitative And Cavatina Of Vladimir Igorevich

Sergei Semishkur, Metropolitan Opera Orchestra, Gianandrea Noseda

Duet Of Konchakovna And Vladimir Igorevich

Anita Rachvelishvili, Sergei Semishkur, Metropolitan Opera Orchestra, Gianandrea Noseda

Aria Of Prince Igor

Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda

Scene Of Prince Igor And Ovlur

Mikhail Vekua, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda

Aria Of Khan Konchak

Scene Of Khan Konchak And Prince Igor

Ildar Abdrazakov, Stefan Kocan, Metropolitan Opera Orchestra, Gianandrea Noseda

Polovtsian Dances

Stefan Kocan, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Eric Owens

Act 2

Arioso Of Yaroslavna

Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda

Scene Of Yaroslavna With The Maidens

Oksana Dyka, Barbara Dever, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Scene Of Yaroslavna And Prince Galitsky

Oksana Dyka, Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Scene

Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Recitative And Song Of Prince Galitsky

Recitative Of Prince Galitsky

Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Scene With The Maidens

Scene

Scene And Song In Honor Of Prince Galitsky

Chorus

Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Scene Of Yaroslavna And The Boyars

Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Scene Of Prince Galitsky's Revolt

Mikhail Petrenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Finale

Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Eric Owens

Act 3

Lament Of Yaroslavna

Oksana Dyka, Metropolitan Opera Orchestra, Gianandrea Noseda

Peasants´ Chorus

Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Trio

Anita Rachvelishvili, Sergei Semishkur, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda

Gudok Players´ Song / Scene And Chorus

Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

Recitative Of Yaroslavna / Duet Of Yaroslavna And Prince Igor

Oksana Dyka, Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda

Monologue Of Prince Igor

Ildar Abdrazakov, Metropolitan Opera Orchestra, Gianandrea Noseda

Chorus Finale

Andrey Popov, Vladimir Ognovenko, Metropolitan Opera Orchestra, Gianandrea Noseda, Metropolitan Opera Chorus

43.
5:45

Metropolitan Opera Orchestra, Gianandrea Noseda

Total Playing Time 3:12:15

. . . attractive and gripping . . . Both Ildar Abdrazakov, onstage for the whole of the first half, and Oksana Dyka inhabit . . . [their] roles with vocal agility and, in their acting, a refreshing lack of the old-fashioned hamminess that used to pass for charisma in 19th-century Russian opera . . . Noseda conducts with that light (but never undramatic) fluency that seems to come naturally to Italian maestros in the Russian classics. The company play and sing well and the filming does them justice. Strongly recommended.

Singing is magnificent throughout; this is an all-Slavic cast and they know what they are doing.

Petrenko's vivid Galitsky (with 100 per cent operatic roistering retinue), Anita Rachvelishvili's spine-crushing Konchakovna and Oksana Dyka's magnetic but vocally odd Yaroslavna are good. Orchestra and chorus are magnificent, and Gianandrea Noseda generates power and momentum.

Musically, the performance is very good. Ildar Abdrazakov's strong, sonorous "basso cantante" is well suited to the role of Igor, and his great aria is powerfully rendered. Oksana Dyka is very appealing and dramatically effective as Yaroslavna. Her sound is very bright but not shrill, and her high notes are strong and unstrained -- she nails the stratospheric one on "proshchai" (farewell) in the Prologue superbly. Her two arias, for me high points in the opera, are movingly delivered, with passion and commitment. Sergei Semishkur, as Vladimir, has a smoothly produced lyric-tenor voice of considerable beauty . . . As his lover Konchakovna, Anita Rachvelishvili deploys a strong, well-rounded mezzo . . . Their two arias and duet are affectingly rendered . . . Stefan Kocán is dramatically convincing and technically secure . . . [as Galitsky, Mikhail Petrenko] vividly projects this slimy, swaggering, insidiously menacing character without deviating from accurate, precise singing. Tenor Andrei Popov and the veteran Mariinsky bass Vladimir Ognovenko portray the two rascally gudok players convincingly . . . Gianandrea Noseda's leadership is steady and well controlled . . . emphasizing the grandeur of the music but not stinting on energy where that is required. The Met chorus and orchestra are predictably excellent . . . a fine musical performance.

Dirigent Noseda bemüht sich nach Kräften, das orientalische Flair der Musik zugunsten einer härteren, slawischeren Tonsprache zurückzudrängen. Die musikalischen Unterschiede zwischen den Akten verwischen so zugunsten einer einheitlichen, vor allem auf Spannung und Energie basierenden Lesart . . . Als Igor begeistert lldar Abdrazakov mit seinem italienisch geschulten und bis in die Höhenlagen unangestrengten Bassbariton . . . Überhaupt ist es um die Vertreter des Bassschlüssels gut bestellt. Als Khan Kontchak, hier in Uniform, gefällt Stefan Kocán mit dramatisch auffahrendem Bass . . . Auch Veteran Vladimir Ognovenko kann hier mühelos mithalten. Mit mächtig auftrumpfendem Bass macht er den Wendehals Skula zu einer heimlichen Hauptrolle. Als leidgeprüfte Jaroslawna begeistert Oksana Dyka mit ihrem ausdrucksstarken Sopran, dem kraftvolle Höhenattacken ebenso zu Gebote stehen wie zarte Pianophrasen. Mit samtigem Mezzo und feinen Farbnuancen zeichnet Anita Rachvelishvili eine . . . stimmlich verführerische Kontchakovna.

. . . [comme à l'habitude de Tcherniakov], les personnages sont dessinés d'un t rait fulgurant, le portrait d'Igor en guerrier blessé étant le plus attachant . . . Plateau quasi sans maillon faible, dominé par l'imposante figure d'Abrazakov, Igor à la fois glorieux et tourmenté, coulé dans le métal d'une somptueuse tessiture de baryton-basse . . . les emportements passionnés de Yaroslavna [de Oksana Dyka] imposent le respect . . . [Lauriers] pour Semishkur, ténor aux grâces et à l'héroisme mêlés, pour Kocan . . . faisant valoir ses trésors de legato enjôleur, pour la paire Ognovenko/Popov, les deux comparses qui apportent à l'épopée sa touche bouffonne. La palme de la séduction revient à l'alto grisant de Rachvelishvili, Kontchakovna à l'opulence et aux charmes infinis . . . [au pupitre, Noseda] y parvient d'un geste tout en délicatesse, soignant le détail, jamais outrancier . . .