Mikhail Kollontay
composer, pianist

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The Captain's Daughter

scenes of Russian life to the novel by A. Pushkin [opera]

   Browse OneDrive® folder of this work (score, audio, documents)

op.44 (1995-1998)

Other author(s): story by Alexander Pushkin; libretto by Mikhail Kollontay

Scoring:
Characters:
Empress Ekaterina II (mezzo-soprano)
Maria Ivanovna Mironova, daughter of captain Mironov (soprano)
Piotr Andreyevich Grinyov, officer (tenor)
Savel'ich, servant of Grinyov (actor - bass [=Officer])
Emel'yan Ivanov Pugachyov, runaway Cossack, who gives himself away for the Emperor Piotr III (bass)
Ivan Kuzmich Mironov, captain (baritone)
Vasilisa Yegorovna Mironova, captain's wife (contralto)
Alexey Ivanovich Shvabrin, officer (baritone [=Poet])
Coachman (bass [=3rd Official])
Chumakov (baritone [=1st Official, =Clerk])
Innkeeper (tenor [=2nd Official])
Chika (tenor [= Director])
Khlopusha (bass [=General])
General, commandant of Orenbourg (bass [=Khlopusha])
Director of Custom-House (tenor [=Chika])
First Official (baritone [=Chumakov, =Clerk])
Second Official (tenor [=Innkeeper])
Third Official (bass [=Coachman])
Clerk (baritone (=Chumakov, =1st Official)
Officer of the military counter-espionage (actor - bass [=Savel'ich])
Poet (baritone [=Shvabrin])

Mixed chorus (Population of Russia, present, past and future)
Men's chorus (Pugachyov's men = Chorus of Clerks)
Children's chorus (Angels)

Orchestra:
Picc (= Fl IV),3 Fl (III=Piccolo II=Flauto alto [G]),2 Ob,
Cor.I.(F)(= Oboe III),2 Cl(A),Cl.b.(B)(= ClIII[A]),3 Fg(III=C-fg)//5 Cor(F),4 Trbe(B)(I. II. III=Trbe in D nat.),3 Trni,Tb//5 Timp,Tr-lo,
Cast,Raganella,Legno,Reco-reco,Maracas,2 Bongos,Conga,Cow-bells (4),Temple-block (5),Frusta,Ptti ord,Ptto sosp,Tno,Tro picc,Tro mil,Tro rullante,3 Tom-toms,Cassa,Gong,Tam-tam,Ferro,Clli,Sil,Cne,Vibr,Marimba//Celesta//Arpa//Spinetta//Campanile//Banda//Archi

Theatralization: obligatory

Duration: 120′

Extra info
1. The project of statement was thought over and prepared, under order of Mariinsky Theatre, by director Boris Persiyanov.
2. 4 sketches of scenery, under order of Mariinsky Theatre, were executed by the artist Vladimir Aref'ev.
3. The Banda wasn't orchestrated as the instrumentation depends on real opportunities of the given theatre.

Edition/Recordings
record: live from the concert performance in Mariinsky theatre, 2017.

Annotation
The order of the opera was, of course, a very serious matter. Ultimately, "The "Captain's Daughter" swallowed four years from my life. Two people were at the source of this idea: the director and artistic director of the Bolshoi Theater, Vladimir V. Vasiliev and his consultant, composer Eduard Lazarev. I am deeply grateful to both of them for they did for me. Then, at the Bolshoi Theater, the project was strongly supported by Peter Feranec–the chief conductor. I have almost no one else to call. The conditions were set simple: to be silent about everything, and, no information to anyone. Everything had to remain between us only. When the project moved to the Mariinsky Theater, exactly the same –I'm grateful to Alexander Tchaikovsky, Vyacheslav Lupachev–those people who supported me and led me by their hands. In Mariinsky and other people I can name, but, of course, first of all–Valery Gergiev. Although he never put my opera there, despite numerous public announcements, but in 2016-2017 he iniciated two concert performances.

Initially, the idea of ​​"The Captain's Daughter" was not very attracted me, I must say honestly. And I'm a little afraid that this was a "reversal" of the plot, a bit cruel, based oh that. I have some kind of hidden antipathy to Pushkin, but this should be explained for a long time. This is partly done in my comments to the opera. The scenario plan has developed quite easily, although, of course, there have been a lot of changes there. The main thing that I immediately realized that the denouement of Pushkin does not suit me, and that the main image of the opera is a snowstorm, corpses under the icy and snow-covered Vladimir road. And that Shvabrin is the author's voice.

It's hard for me to judge music. The forces and time in the composition were invested so much that I have an aversion to opera. Extremely much worked with me, already after writing music, the stage director Boris Persiyanov and the artist Vladimir Arefiev. The last of them made several sketches for the production - exceptional. The first one created the concept of the play. The recording is made as follows: I sing the piano accompaniment (for everyone at once). If you have music score or even a libretto, you can understand something from this, and enjoy it - it's unlikely …

The record from the concert performance in 2017 also can be found.

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Mikhail Kollontay, 2008-2018