Even when composing operas, Tchaikovsky was still a symphonist. A good example is The Queen of Spades which, in a sense, is a symphony in disguise, reminiscent of the large Mahlerian structures. This "symphony" in three parts (acts) and seven movements (scenes) is built on three cyclically used themes which act as Leitmotiv at the operatic level. (This is in contrast to Wagner's operas, which use a large number of unrelated themes thus cannot formally be regarded as "symphonies".) Here I have selected the endings of acts II and III of Tchaikovsky's masterpiece. In the former scene, all three Leitmotiv are heard and, toward the end, the contrast between the "love" theme and the "card" theme symbolizes the divided heart and mind of Herman's. At the finale of the opera (end of act III) the love theme is heard again, this time in its purified form, following the final catharsis. Valery Gergiev superbly conducts the Kirov Orchestra at St. Petersburg. Herman: Gegam Grigorian. Liza: Maria Gulegina. Countess: Ludmila Filatova.
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