Word: glinka
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Understandably, the audience did not let Kissin go without playing an encore, and he generously gave us four. As if the overwhelming virtuosity of Pictures was not enough, the encores were transcendental displays of Romantic pianism. First, he played Balakirev’s arrangement of a Glinka song, “The Lark,” then offered Liszt’s “Rigoletto” paraphrase of Verdi. Both demonstrated the utmost in fluidity and lyricism—in Kissin’s hands, the hideously difficult becomes the sublimely simple, even if the material is third...
...overture to Mikhail Glinka's Russlan and Ludmilla is one of the most overworked pops-concert favorites. It is also one of the best-taut, joyously melodic, brilliantly orchestrated. Thanks to the inquisitive Sarah Caldwell, we now know what follows the overture-an equally delightful opera. With Caldwell on the podium and in charge of stagecraft, the Opera Company of Boston opened its 19th season last week with the first known staging in the U.S. of this Russian classic...
...Glinka (1804-57) was the father of Russian nationalistic music. To listen to Russlan, composed in 1842, is to hear much that followed in the work of Tchaikovsky, Borodin, Mussorgsky, Rimsky-Korsakov, the young Stravinsky, even the Prokofiev of Love for Three Oranges. Russlan is a delicious fairy tale scored with lightness and quick invention. The orchestration confirms accounts of Glinka's thorough knowledge of Mozart and Rossini. His inclusion of Russian folk music, Turkish airs, even the whole-tone scale from the Orient (more than half a century before Debussy) suggests that he was exceptionally curious and open...
Opera Company of Boston, directed by Sarah Caldwell, holds the American stage premiere of Glinka's Russian Folk opera, "Russlan and Ludmilla." Sung in English and performed by Victor Braun, Giorgio Tozzi and Jeannette Scovotti. Orpheum Theatre, Boston. For info...
...played, as were the string harmonics in accompaniment. No contrast could have been stronger than that of the soprano's aria to the basso's. All three singers sounded best in their first trio: the combined volumes and timbres fitted perfectly with the orchestra. The concert had opened with Glinka's Kamarinskaya, a pleasant diversion which showed off the Orchestra's abilities admirably. The central section of the piece sounds very much like Beethoven symphony extracts, but the similarity ends in a series of pizzicato passages. These were done in perfect synchronization and with great resonance...