Spain Rimsky-Korsakov, The Tale of Tsar Saltan: Soloists, Chorus and Orchestra of the Teatro Real / Ouri Bronchti (conductor). Teatro Real, Madrid, 2.5.2025. (JMI)
Production:
Direction & Sets – Dmitri Tcherniakov
Costumes – Elena Zaytseva
Lighting – Gleb Filshtinsky
Chorus master – José Luis Basso
Cast:
Tsar Saltan – Ante Jerkunica
Tsaritsa Militrisa – Svetlana Aksenova
Tsarevich Gvidon – Bogdan Volkov
Cook – Bernarda Bobro
Spinner – Stine Maria Fischer
Barbarija – Carole Wilson
Princess Swan – Nina Minasyan
Old Man – Evgeny Akimov
This late Nikolai Rimsky-Korsakov opera, one of the ten operas he composed, is based on a Pushkin story. It was the first time that I have had the opportunity to see it. I knew it as The Legend of Tsar Saltan, but the title used at the Teatro Real, The Tale of Tsar Saltan, is much more appropriate. It is, indeed, a tale and not a legend.
Although the title refers to Tsar Saltan, the true protagonist of the opera is not the Tsar but his son, Tsarevich Gvidon, who has been condemned to death, along with his mother, Tsaritsa Militrisa. The opera deals with the adventures of mother and son, and it is presented as a true tale that features imaginary animals and distant kingdoms. Finally, Tsar Saltan goes in search of the imaginary kingdoms, and meets and forgives the unjustly condemned Militrisa and Gvidon.
The Dmitri Tcherniakov production was co-produced with the Théâtre de la Monnaie in Brussels. Tcherniakov is a true expert on Rimski-Korsakov – this is the seventh opera by the Russian composer that he has staged. His work faithfully follows the opera’s plot, and the production highlights Tcherniakov’s great imagination in his scenes of enchanted animals and the projections of wonderful drawings. The prologue features brilliant and colorful costumes, and they continue throughout the opera. Militrisa and Gvidon, are the only ones wearing contemporary, everyday clothes, until the final scene when the Tsar and his companion also appear in modern clothes. I found the production (which premiered in Brussels in 2019) very appropriate and engaging.
The musical direction was entrusted to Karel Mark Chichon, who had to withdraw during rehearsals due to health problems. Under these exceptional circumstances, the practically unknown Ouri Bronchti took over the musical reins. He handled this difficult task better than might have been expected with a good reading of the score, and he drew an excellent sound from the Teatro Real Orchestra and Chorus.
Tsarevich Gvidon was sung by tenor Bogdan Volkov who delivered a fine performance in terms of both singing and acting. His lyric tenor voice works well although the timbre lacks any particular appeal. Lyric soprano Svetlana Aksenova as Militrisa was also good: singing, acting and …drawing on the wall.
Tsar Saltan appears in the Prologue and in some scenes in the second part of the opera. He is the center of attention in the final scene when he reunites with his lost wife and child. The part was sung by Croatian bass Ante Jerkunica, who offered a full, rich-toned voice.
Soprano Nina Minasyan was an excellent Swan Princess, and Militrisa’s three sisters were well portrayed by Bernarda Brobo (the Cook), Stine Maria Fischer (the Spinner) and Carole Wilson (Barbarija). Finally, I would like to highlight the excellent vocal performance of tenor Evgeny Akimov in the role of the Old Man.
José M. Irurzun