Synonyms for khovanshchina or Related words with khovanshchina

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Examples of "khovanshchina"
Modest Mussorgsky: "Khovanshchina", conductor Claudio Abbado (CD: Deutsche Grammophon,
Golitzin in Khovanshchina at the Gran Teatre del Liceu in Barcelona available on Opus Arte
Shaklovity appears as a morally ambivalent character in Modest Mussorgsky's opera "Khovanshchina", sung as a bass-baritone.
"Khovanshchina" is not seen on stage often outside Russia, but it has been recorded complete 23 times, including seven videos.
Video record of his performances: "Sadko" - Bolshoy, 1975; "The Queen of Spades" - Bolshoy, 1982; "Otello" - Arena di Verona, 1982; "Khovanshchina" - Vienna, 1989; "The Queen of Spades" - Vienna, 1991.
The decline could not be halted, however. In 1880 he was finally dismissed from government service. Aware of his destitution, one group of friends organised a stipend designed to support the completion of "Khovanshchina"; another group organised a similar fund to pay him to complete "The Fair at Sorochyntsi". However, neither work was completed (although "Khovanshchina", in piano score with only two numbers uncomposed, came close to being finished).
"Khovanshchina" was not staged by New York's Metropolitan Opera until 1950, although excerpts were performed by the Met as early as 1919. The 1950 production was sung in English and featured Risë Stevens as Marfa and Lawrence Tibbett as Dosifei. The sets and costumes were designed by the Russo-Lithuanian artist Mstislav Dobuzhinsky. That production received only four performances in 1950, and the Met did not stage "Khovanshchina" again until 1985, this time in Russian.
Mussorsky completed in August the last two songs of "Without Sun", based on poems by Golenishchev-Kutuzov, and then resumed work on "Khovanshchina", composing the prelude to Act 1 ("Dawn on the Moscow River") in September.
Lopukhov’s other choreographed ballets include "Raymonda" (1922), "The Sleeping Beauty" (1923), "Don Quixote" (1923), "Khovanshchina" (1926), "The Red Poppy" (1929), "Coppélia" (1934), "The Snow Maiden" (1947), and "Pictures at an Exhibition" (1963).
Rimsky-Korsakov made "corrections" typical of him, as he did with "Khovanshchina", and was later to do with "Boris Godunov", preserving the general thematic structure, but adding or omitting bars, and making modifications to melody, harmony, rhythm, and dynamics.
After Mussorgsky's death in 1881, his friend Nikolay Rimsky-Korsakov undertook to put his scores in order, completing and editing "Khovanshchina" for publication (1883), reconstructing "Night on Bald Mountain" (1886), and "correcting" some songs. Next, he turned to "Boris".
Largely owing to his advocacy, Russian operas such as Mussorgsky's "Boris Godunov" and "Khovanshchina", Glinka's "Ivan Susanin", Borodin's "Prince Igor" and Rimsky-Korsakov's "The Tsar's Bride" and "Sadko", became well known in the West.
He sings Caronte, Plutone (Pluto), Il Commendatore, Sarastro, Don Basilio, Sparafucile, Colline... in Nabucco, Tannhäuser, Khovanshchina, Carmen, Tosca, Madame Butterfly, Die Frau ohne Schatten, The Phantom of the Opera. In Brussels he
Between 1997 and 1998 Adabashyan directed two operas: Boris Godunov for the Mariinsky Theatre and Khovanshchina for the La Scala opera house. He also worked as an interior designer in several Moscow restaurants.
Shostakovich's orchestration of Modest Mussorgsky's "Boris Godunov", "Khovanshchina" and "Songs and Dances of Death" had an important bearing on the Thirteenth Symphony, as well as on Shostakovich's late work. Shostakovich wrote the greater part of his vocal music after his immersion in Mussorgsky's work, and his method of writing for the voice in small intervals, with much tonal repetition and attention to natural declamation, can be said to have been taken directly from Mussorgsky. Shostakovich is reported to have affirmed the older composer's influence, stating that "[w]orking with Mussorgsky clarifies something important for me in my own work... Something from "Khovanshchina" was transferred to the Thirteenth Symphony."
In 1988, Toczyska made her Metropolitan Opera debut, as Marfa in Mussourgsky's "Khovanshchina". She went on to sing there in "Aida", "Il trovatore", "La Gioconda", "Boris Godunov" (as Marina Mnichek), "Un ballo in maschera" (as Ulrica), "Rusalka" (as Jezibaba) and "Adriana Lecouvreur" (as the Princesse de Bouillon), with her last performance there, in 1997.
Khovanshchina (, "Hovánščina", sometimes rendered The Khovansky Affair; since the ending -ščina is pejorative) is an opera (subtitled a 'national music drama') in five acts by Modest Mussorgsky. The work was written between 1872 and 1880 in St. Petersburg, Russia. The composer wrote the libretto based on historical sources. The opera was unfinished and unperformed when the composer died in 1881.
Vladimir Galouzine (, "Vladimir Galuzin", ) is a Russian tenor. He has performed in such Russian operas as "The Queen of Spades", "Boris Godunov" and "Khovanshchina" and has performed the lead roles in Italian operas like "Madama Butterfly", "Otello", "Tosca", "Aida", and "Manon Lescaut".
Gorbunov, who attended art college and Moscow University (which he never graduated) and had the profound knowledge of Russian history, culture and folklore, was a self-taught folklore scholar. It was him who introduced Modest Musorgsky to the folk song "Iskhodila mladyuoshenka" (Исходила младёшенька) which the latter used in his "Khovanshchina" opera, as "Marfa's Song".
In 1899, Petrov, who was still merely a student in the first stage of his course, replaced the ill Chaliapin as Dosifey in the opera "Khovanshchina" in Mamontov's Private Russian Opera company. Thus began the friendship of the two great Russian bass singers. Petrov played the role of Dosifey again in 1910 with the Zimin Opera company.