The history of the creation of the work of the Ostrovsky Snow Maiden. Tickets for the play “The Snow Maiden” Theatrical Snow Maiden Ostrovsky

Russia in the mid-19th century was not inferior to European countries in terms of cultural level. The public was also very interested in its own national culture. A.N. Ostrovsky also turned to the topic of Russian folk tales, which was not typical for him. Based on the developments of the historian, literary critic and collector of folklore of that time A.N. Afanasyev, the playwright created a fairy-tale play.

In the 19th century, the troupes of the imperial theaters were practically divided. One part had a musical and dance repertoire and was attached to the Bolshoi Theater. Another troupe was designated as a drama troupe; it was located at the Maly Theater. When it was closed for renovation, the drama troupe moved to the Bolshoi. And the administration of the imperial theaters started staging a performance that would unite dramatic artists, opera singers, and ballet dancers.

At that time, A.N. Ostrovsky was the most prominent playwright and it was he who was offered to create such a play. Then the classics were very fascinated by folklore, and he settled on the Russian folk tale about the Snow Maiden. A.N. Ostrovsky entrusted the musical part of the play to the young composer P.I. Tchaikovsky.

The work on the play greatly fascinated the playwright and composer. Having partially prepared the literary text, Ostrovsky passed it on to Tchaikovsky. Together they thought about various nuances - rhythm, time signature, vocal and choral parts. Consulting with each other, we found the right solution.

At first the play was conceived as more “down to earth” - with Ivan the Tsarevich, Avoska the Fool, etc. Thinking more deeply about the plot, the writer introduced Spring, the supreme sun god Yaril, and the Berendeys. Fantastic actions in a fairy-tale land, built on allegories, were a completely new word in the work of A.N. Ostrovsky. This play stands apart from other works of the playwright. The writer himself admitted to N.A. Nekrasov, his friend and publisher, that this was a new road for him. Ostrovsky, whose work is characterized by realism, everyday life, and satire, created a poetic play in which there is no rhyme, but there is a clear rhythm. The writer was interested in historians and archaeologists about ancient life and real ancient rituals. A large amount of studied historical and folklore material, rereading “The Tale of Igor’s Campaign” helped the writer in his work.

He completed literary work on the play on his fiftieth birthday - March 31, 1873. It took Tchaikovsky less than a month to complete the musical accompaniment of the play. According to the composer, he literally did not get up from his seat. The creation of musical variations based on folk song motifs completely captivated him. He really liked Ostrovsky’s magic play, and the music was easy to write. The writer and composer understood each other perfectly. Ostrovsky's sonorous verses are wonderfully complemented by Tchaikovsky's sincere music.

The idea of ​​the directorate of the imperial theaters to stage a play common to different troupes on the stage of the Bolshoi was realized in the same 1973. On May 11, audiences were presented with a musical fairy tale for adults for the first time. And since then, this story about mythical times, about harmony with nature, about betrayal and hatred, about hope and love has gone through many productions.

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ON THE. Rimsky-Korsakov opera "The Snow Maiden"

The opera "" did not immediately fall in love with musicians and listeners. Like a play, its facets are revealed only to the most sensitive perception. But having once managed to comprehend her true cosmic beauty, no one will be able to stop loving her. Like the young heroine, out of modesty, she does not show all the depth at once. But since ancient times, the most valuable thoughts have been conveyed through fairy tales in Rus'.

Brief summary of the opera Rimsky-Korsakov “Snow Maiden”, history and interesting facts about this work, read on our page.

Summary of “The Snow Maiden”

The libretto is based on the dramatic play “The Snow Maiden” by Alexander Ostrovsky. The second title of the work is “Spring Tale”. There is a lot of allegory in it - in the spring such transformations occur in nature that this process can be compared to magic. The fairy tale is inhabited by fairy-tale characters, and the development of the plot is not built on the usual canons of that time.

The daughter of Spring and Frost, Snegurochka grew up in the forest under the protection of mystical forest creatures. But he has been observing people for a long time, and strives with all his might to understand their world. She begs her parents to let her live among people.

Once in the house of Bobyl and Bobylikha, she begins to explore the world of human relationships. It turns out that people are looking for love and get married when they meet it. The Snow Maiden's heart is cold from birth. She listens to Lelya's songs, talks with her friend Kupava, but does not feel anything.

The regular course of village life is disrupted by the appearance of Mizgir, Kupava’s fiancé. The wedding has already been scheduled, when suddenly Mizgir meets the Snow Maiden and is captivated by her coldly restrained beauty. He rushes after Snegurochka, begging her to become his wife.

Kupava is disgraced and cannot recover from grief. Neighbors advise her to go to the wise Tsar Berendey. Their philosophical conversation about whether to love and believe is touching and compassionate. Having called Mizgir to trial, Berendey cannot solve the dilemma: how can you force a person to love against his will? To which Mizgir invites the king to look at the Snow Maiden, the culprit of the misfortune. With one glance at her, the king understands who stands in front of him. She is the reason that God Yarilo sends trials to the kingdom. Berendey gives a decree: before the morning of the next day (the day of Yarila's holiday), someone must melt the Snow Maiden's icy heart - make her fall in love with him. Lel, a shepherd who sings sweet songs, undertakes the task. Mizgir asks permission to try too.

The Snow Maiden reaches out to Lel, with whom she became friends. But he suddenly turns his gaze to Kupava. And this hurts the Snow Maiden painfully. She begins to experience hitherto unknown feelings. She passionately prays to Mother Vesna to grant her the ability to love. Spring comes to meet her halfway, but warns that from now on the rays of the sun are dangerous for the Snow Maiden, she can melt under them.

The Snow Maiden, awakened to love, meets Mizgir and now looks at him with different eyes - she loves, and asks him to be with her. Together they go out to Yarilina's glade, where the wedding ceremony is already taking place - Tsar Berendey sanctifies the union of everyone.

And Mizgir and Snegurochka ask for blessings. At this moment the sun is already rising high, and the Snow Maiden begins to melt. Until the very last minute she says how happy she is that she was able to fall in love. Mizgir throws himself into the lake out of grief.

Now Berendey is confident that the hardships of his people are behind him. Life goes on. The opera ends with a choral scene depicting the happy people freed from the curse, singing the hymn “Light and strength, God Yarilo!”

Photo:

Interesting Facts:

• Work on the opera was completed on March 31, 1881, on the composer’s fiftieth birthday.
• This is one of the forerunners of the fantasy genre - the plot involves fairy-tale (Leshy, Frost, Spring) and realistic (Lel, Kupava, Mizgir) characters, the plot itself has an archetypal structure.
• The image of the Snow Maiden is unique in the entire world culture - there is nothing like it anywhere else except Russian folklore. It is shrouded in mystery, there are no clear ideas about its origin, but this image is present in the visual arts, legends, and songs.
• V. Dahl mentioned that snow maidens, bullfinches, and snowmen were called “blockheads made of snow” with the image of a person.
• It is believed that the image of the Snow Maiden appeared after the baptism of Rus'.
• For Viktor Vasnetsov, the image of the Snow Maiden became key in his work.
• In 1952, a cartoon was made based on music from the opera. ON THE. Rimsky-Korsakov .

Famous arias and numbers from the opera “The Snow Maiden”

Snow Maiden's aria “Walking for berries with friends” (prologue) - listen

Lelya’s third song “A cloud conspired with thunder” (act III) - listen

chorus “Ay, there’s a little sticky thing in the field” (act III) - listen

duet of Snegurochka and Mizgir “Wait, wait!” (IV act) - listen

final chorus “Light and strength, god Yarilo” (act IV) - listen

The history of the creation of “The Snow Maiden”

He began work on the opera in the summer of 1880. He took as the basis for the plot the poetic play “The Snow Maiden” by Alexander Ostrovsky, which was published in 1873. The play itself caused a great resonance in society. Few people appreciated it. The fairy tale was admired by F.M. Dostoevsky, A.I. Goncharov, I.S. Turgenev. At the author’s request, Pyotr Ilyich Tchaikovsky, who was young at that time, was invited to write music for the theatrical production of “The Snow Maiden.”

But most of the public and especially the critics greeted the play coldly. Her images and allegories were poorly understood by her contemporaries. Oral Russian folk art, ritual song folklore and mythology, cult and beliefs of the ancient Slavs were something distant and uninteresting for the audience of that time. Having perceived the play superficially, critics immediately accused the author of escaping reality. Having become accustomed to his already established role as an exposer of the vices of Russian society, the audience was not ready to plunge into the complex world of fairy tale allegories.

Ostrovsky was accused of being seduced by decorative images and light fairy-tale subject matter, “fantastic” and “meaningless.” The poetic style in which the play was written also complicated perception. The brilliant Russian playwright traveled to the most distant provinces, collecting motifs and rhythms of folk songs and tales; the play contains many Old Church Slavonic words and phrases. Only a true connoisseur and connoisseur of Russian folklore can truly understand and appreciate the beauty of the style of these poems.

And Rimsky-Korsakov himself, when he first met the play, was not too keen on it. Only after a while, when reading it again (in the winter of 1879-1880), did he suddenly “see the light” and the full depth and poetry of the work was revealed to him. He instantly became inspired to write an opera based on this plot. This desire led him first to Ostrovsky - to ask permission to write music for his magical work, and then to the Stelevo estate, where the opera was written in one impulse.

The composer himself acted as a librettist, making changes to Ostrovsky's original text. All work was completed in a matter of months. By the end of March 1881, the opera was completed, and in January 1882 the premiere took place. Rimsky-Korsakov himself described the period of creation of the opera as creatively filled; he wrote extremely quickly and easily, with inspiration. “The Snow Maiden” became his favorite opera.

First productions

Despite the fact that Ostrovsky spoke very enthusiastically about Rimsky-Korsakov’s music for his “Spring Tale”, music was much closer to him Tchaikovsky , written for the play. And the awe that Nikolai Andreevich himself felt for his opera was not supported by the musicians and spectators of the first performances. So the first performances were filled with disappointment.

The scenery for the stage was made by Viktor Vasnetsov, an Itinerant artist, and he designed both the theatrical production of the play and the opera. Using specific elements of Russian architecture, architecture, and embroidery motifs, he achieved a realistic embodiment of the atmosphere of peasant life.

Music

From early childhood I was very fond of Russian folk music, its special rhythm, close to conversational, expressive intonations, melodious melody. In The Snow Maiden he expressed this love with the skill of a mature composer. He practically does not use direct quotes from folk songs, but stylizes them very accurately, creating his songs that are amazingly similar in spirit to folk songs.

This music is very picturesque - the imagination vividly paints pictures of the winter forest, the chirping of birds, the appearance of Spring-Red, the cold and detachment of the Snow Maiden. The gradual awakening of nature and the Snow Maiden’s aspiration for human warmth and love are also shown in the music; she becomes passionate, even expressive. At the same time, the fantastic nature of the fairy tale is maintained.

The opera opens with a prologue, in which the main characters are presented through musical means - the forces of nature, the harsh Frost, the gentle Spring, the fragile Snow Maiden. The orchestra imitates bird trills, ringing streams, and natural metamorphoses. The Maslenitsa scene at the end of the prologue almost completely illustrates the ancient ritual of meeting spring with winter, the choral episodes colorfully describe folk festivities. The scene is so colorful that it is often performed in ceremonial concerts.

When creating the images of the main characters, the author carefully thought through the melodic and dramatic characteristics of each. For each category of characters (fairy-tale characters, real people, representatives of the elements) a separate intonation-rhythm and timbre sphere has been created. Rimsky-Korsakov's operatic vocal numbers are distinguished by melody combined with simplicity. For him, the choir is often another character – the people, and also adds additional flavor to the whole sound. The richness of the orchestration never competes with the vocal element, but on the contrary, complements and enriches it.

The composer has a special attitude towards the female lyrical image. His Snow Maiden, Martha from The Tsar's Bride , Olga from “Pskovityanka” are examples of touching, sublime, reverent femininity, the embodiment of captivating ideal beauty. The transformation of the image of the Snow Maiden is also reflected in her vocal part. If at the beginning of the opera its melody is close to instrumental (and is accompanied by modulations flutes ), the more she reaches out to people, the more melodiousness, melody, and ardor appear in the music (there are now more strings in the orchestra).

In general, the composer himself provided a complete musical analysis of the opera in the book “Chronicle of My Musical Life” and the article “Analysis of “The Snow Maiden”. In it, the author spoke in detail about the artistic concept and its implementation. It is worth noting that the need for such documents was caused by the author’s dissatisfaction with the first productions. Like Ostrovsky's play itself, the opera production did not initially meet with a response from the performers, conductor, or critics. Later, after explanations appeared, a more successful execution took place, close to the author’s interpretation.

It is amazing how mathematically accurately he designed the dramaturgy and development of the action. The composer's depth and innovation could not meet with immediate acceptance of this music. They did not coincide with the main themes in the art of that time. However, already a decade later it becomes the locomotive of artistic transformation in national art.

Allegories in fairy tales and opera

They most often say about Rimsky-Korsakov’s music that it is bright, pure, and sublime. The fairy tale “The Snow Maiden” has a truly naive plot, which is what attracted the composer. It contains a description of the everyday life of an ideal society, the Berendeys, with an amazingly wise and unusual ruler - Tsar Berendey, who teaches his people to live according to their hearts, to maintain moral purity and nobility. This is a utopian picture even for a resident of the 19th century. However, it was not uncommon in the Russian ancient epic.

Russian soil can be fertile and productive. But the climate is harsh and unpredictable. The long winter was survived at the expense of the summer harvest. And the yield depended on the vagaries of nature, and not on the hard work or talent of the peasant. In such conditions, the sun, which gives warmth and growth to plants and animals, became the main deity. But he was not just worshiped, people sought (and found) a connection between their behavior and thoughts - and the response of the Sun God. Therefore, Berendey worried and complained that the god Yarilo had turned away from Berendey’s kingdom, believing that its inhabitants began to think too much about self-interest.

Allegories in a fairy tale:

Opera "The Snow Maiden" can be called a national treasure. was a true patriot of his Motherland, having traveled half the world while serving in the navy, his thoughts invariably returned to the greatness of the Russian people. His aesthetic ideal and desire was to preserve the traditions of Russian folklore and emphasize it. Inventing new artistic techniques and compositional techniques, he sought to place the people's sense of beauty at the center of his work. And in “The Snow Maiden” he succeeded brilliantly.

Nikolai Andreevich Rimsky-Korsakov “The Snow Maiden”

The play “The Snow Maiden” in the New Space of the Theater of Nations

"The Snow Maiden" at the Theater of Nations

Children are the most unbiased spectators who do not look at the name of the director or the fame of the actors... Therefore, it is especially difficult to captivate and interest them. Oleg Dolin set himself a difficult task - he decided to show everyone Ostrovsky’s well-known play “The Snow Maiden” from a completely different side, first of all, as a kind and instructive fairy tale.

About the play “The Snow Maiden”

“The Snow Maiden” is a performance that opens a new and original project for children. It, unlike many other productions, involves a serious conversation, during which difficult questions will have to be answered. In addition, Oleg Dolin strives to bring the fairy tale closer to modern times, showing that it may well be relevant.

The premiere of the play “The Snow Maiden” at the Theater of Nations is one of the most exciting events of the fall of 2018.

Other director's events

Oleg Dolin, despite the fact that he is better known as a film and theater actor, is not the first time he has delighted young audiences with his productions. His play “Morozko” is already on stage at the RAMT. And now he surprised the guys with the modern and unusual “Snow Maiden”.

How to buy tickets to the show

Oddly enough, there are far fewer good and truly brilliant performances for children on the theater stage than for adults. That is why it is not easy to buy tickets for “The Snow Maiden”. We are ready to help you make your child happy. Why, of all the companies, should you choose us? Because, unlike our competitors, we:

• We understand how important the competent organization of family leisure is for you - for each request there is a personal manager who will answer all your questions and help you choose the best places;
• We value your time - the courier will deliver purchased tickets throughout Moscow and St. Petersburg completely free of charge;
• We care about your comfort - you can place an order not only online, but also by phone. In addition, it is possible to pay it in any convenient way: cash, bank card, money transfer;
• We love those who trust us, so we have provided discounts for regular customers.

The play “The Snow Maiden” will certainly attract not only young spectators in Moscow, but also their parents - if only because everyone wants to instill in their child a love of fairy tales. And if this fairy tale is not divorced from modern reality, then you want to see it twice as much!

Alexander Nikolaevich
Ostrovsky (1823 – 1886) –
famous Russian
writer and talented
playwright.
Founder
modern Russian
theater, founder
Artistic circle,
corresponding member
St. Petersburg Academy
sciences and owner
Uvarov Prize.

10.

11.

Play for the theater by A.N. Ostrovsky “The Snow Maiden”

Cultural studies and art history

Ostrovsky’s work “The Snow Maiden” is an amazing fairy tale that shows the beauty of the surrounding world, love, nature, and youth. In The Snow Maiden, human relationships occupy the main place. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.

MBOU LYCEUM No. 8

Essay

On the topic: “A play for the theater A.N. Ostrovsky "Snow Maiden"

Completed:

Students of 8”A” class

Savvateeva Irina

Bogdanova Olga

Akishina Maria
Malaeva Elena

Teacher:

Yudakova V.P.

Solnechnogorsk, 2015

History of creation

In 1873, A. N. Ostrovsky, under the influence of the ideas of A. N. Afanasyev, wrote a play so famous and beloved by the Russian people - “The Snow Maiden”.While working on the play, Ostrovsky carefully studied numerous folklore, historical, and ethnographic sources. Among the folklore sources of “The Snow Maiden”, folk tales, ritual poetry, folk spells, and folk songs should be noted. By combining fairy tales, legends and songs together, he gave folk art a very unique flavor. Therefore, the plot basis of the story of the Snow Maiden in the play by A.N. Ostrovsky does not entirely coincide with any of the versions of the fairy tale existing among the people.

Plot

Ostrovsky’s work “The Snow Maiden” is an amazing fairy tale that shows the beauty of the surrounding world, love, nature, and youth. In The Snow Maiden, human relationships occupy the main place. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.

In the spring fairy tale by A. N. Ostrovsky “The Snow Maiden”, from a little girl and granddaughter, the heroine turns into a beautiful girl, capable of lighting the hearts of young Berendeys with an ardent feeling of love. Sheappears as the daughter of Father Frost and Spring-Red, who dies during the summer ritual of honoring the sun god Yarila. Outwardly, she appears in the work as a beautiful pale blonde girl, she is dressed in blue and white clothes with fur trim (fur coat, fur hat, mittens). This whole appearance represents winter with its snow-white snow and cold frost. The spring side of the heroine’s character is represented by her extraordinary emotionality and desire to understand human feelings, albeit destructive for her.
The action takes place in a fabulous place - the kingdom of Berendey. Describing the laws of this country, Ostrovsky seems to paint his ideal of social order. In the kingdom of Berendey, people live according to the laws of conscience and honor, trying not to provoke the wrath of the gods. Beauty is very important here. The beauty of the surrounding world, the beauty of girls, flowers, songs are appreciated. It is no coincidence that the singer of love Lel turns out to be so popular. He seems to personify youth, ardor, ardor.

Reviews

Surprisingly, the play was not initially successful with the public; it seemed crude and poorly written. But that was only at the beginning...

A Spring Tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses from contemporaries were sharply negative. The playwright was reproached for moving away from social issues and “progressive ideals.” Thus, the caustic critic V.P. Burenin complained about the emerging gravity of A.N. Ostrovsky to the false, “ghostly and meaningless” images of the Snow Maidens, Lelya, Mizgirey. In the great Russian playwright, criticism wanted to see, first of all, an exposer of the “dark kingdom.”

Theater production

The theatrical production of The Snow Maiden by the Moscow Maly Theater (May 11, 1873) actually failed. Despite the fact that all three troupes were involved in the performance: drama, opera and ballet, and the music for it was written by P.I. Tchaikovsky, despite the use of technical wonders: moving clouds, electric lighting, gushing fountains hiding the disappearance of the “melting” Snow Maiden in the hatch, the play was mostly criticized. The public, like the critics, was not ready for the poetic pirouette of the author of “The Thunderstorm” and “The Deep.” Only at the beginning of the twentieth century did the dramatic plan of A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snow Maiden in September 1900 in Moscow, noted: “Ostrovsky would have had more than enough imagination to fill his fairy tale to the brim with native devilry. But he, apparently, deliberately saved the fantastic elements, saved in order not to overshadow the enchantment of another, more complex element - the poetic one.

In St. Petersburg, on the stage of the Alexandrinsky Theater, the production took place only on December 27, 1900, during a benefit performance of the artist Varlamov.

In 1881, composer N. A. Rimsky-Korsakov wrote the opera “The Snow Maiden” based on the text of the play. The opera was staged in St. Petersburg on January 29, 1882.