![]() This production was revived in 2013, and was beamed to cinemas around the world as part of the Metropolitan Opera Live in HD programme on 26 October. The opera was staged at Opera Boston in early 2009, and at the Metropolitan Opera in New York City in March 2010. It was performed in July 2004 at Bard College's SummerScape in Annandale-on-Hudson, New York, directed by Francesca Zambello and performed by the American Symphony Orchestra conducted by Leon Botstein. ![]() The opera received its United States professional premiere at the Santa Fe Opera in 1965, conducted by Erich Kunzel and was performed again by the Santa Fe company in 1987, conducted by Edo de Waart. The composer attended the rehearsal and premiere in 1974. Interviewed for a 2008 documentary, Rozhdestvensky related that he had found an old copy of The Nose in the Bolshoi Theatre in 1974, supposedly the last copy in the Soviet Union. The opera was not performed again in the Soviet Union until 1974, when it was revived by Gennady Rozhdestvensky and Boris Pokrovsky. Even so, the conductor Nikolai Malko, who had taught Shostakovich at the Leningrad Conservatory and conducted the premiere of his pupil's First Symphony, reckoned the opera a "tremendous success" indeed it was given 16 performances with two alternating casts over six months. It opened to generally poor reviews and widespread incomprehension amongst musicians. The stage premiere, conducted by Samuil Samosud, took place at the Maly Operny Theatre in Leningrad on 18 January 1930. The original plan was to mount a stage production at the Bolshoi Theatre under the direction of Vsevolod Meyerhold, but plans fell through because Meyerhold was too busy with other productions. For the music springs only from the action.It is clear to me that a concert performance of The Nose will destroy it." Indeed, the concert performance caused bewilderment, and was ferociously attacked by the Russian Association of Proletarian Musicians (RAPM). In June 1929, The Nose was given a concert performance, against Shostakovich's own wishes: " The Nose loses all meaning if it is seen just as a musical composition. despite its magnificently absurd subject and virtuosic music, The Nose is a perfectly practical work and provides a hugely entertaining evening in the theatre." Performance history The result, in Shostakovich's ruthlessly irreverent hands, is like an operatic version of Charlie Chaplin or Monty Python. The apparent chaos is given structure by formal musical devices such as canons and quartets, a device taken from Alban Berg's Wozzeck.Īccording to the British composer Gerard McBurney writing for Boosey & Hawkes, " The Nose is one of the young Shostakovich’s greatest masterpieces, an electrifying tour de force of vocal acrobatics, wild instrumental colours and theatrical absurdity, all shot through with a blistering mixture of laughter and rage. Shostakovich uses a montage of different styles, including folk music, popular song and atonality. ![]() Bless us, O Lord, her and me! Her and me! Bless us, O Lord, her and me! Her and me! I'll give up a king's crown, if my beloved is happy. The song is Shostakovich's setting of the words of part 2, book 5, chapter 2 of Karamazov, where the lackey, Smerdiakov, sings to his neighbour Mariia Kondratevna.Īn invisible force ties to my beloved. The latter occurs in act 2, scene 6, where Kovalyov returns home to find Ivan singing. Gogol's original work was expanded by borrowing from some of his other works, including " The Overcoat", Marriage, " Diary of a Madman", and Dead Souls as well as The Brothers Karamazov (1881) by Dostoyevsky. The plot concerns a Saint Petersburg official whose nose leaves his face and develops a life of its own. Shostakovich stated it was a satire on the times of Alexander I. The libretto is by Shostakovich, Yevgeny Zamyatin, Georgy Ionin, and Alexander Preis. 15, (Russian: Нос, romanized: Nos ), is Dmitri Shostakovich's first opera, a satirical work completed in 1928 based on Nikolai Gogol's 1836 story of the same name.
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