Vladimir Atlantov
Tamara Milashkina
Elena Obraztsova
Yuri Mazurok
Yuri Simonov, conductor
Bolshoi Theater (live performance, 1983)
Comments:
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 upon 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".) Note, in particular, the endings of acts II and III of the opera. 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 (an ingenious musical characterization of a schizophrenic!). 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.
Tamara Milashkina
Elena Obraztsova
Yuri Mazurok
Yuri Simonov, conductor
Bolshoi Theater (live performance, 1983)
Comments:
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 upon 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".) Note, in particular, the endings of acts II and III of the opera. 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 (an ingenious musical characterization of a schizophrenic!). 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.
