
Giacomo Puccini

Mieczysław Weinberg

Giuseppe Verdi

Pyotr Tchaikovsky

Giuseppe Verdi

Wolfgang Amadeus Mozart

Benjamin Britten

Grigory Frid. Udo Zimmermann

Carl Maria von Weber — Gustav Mahler

Nikolai Rimsky-Korsakov

Alexander Tchaikovsky

Giacomo Puccini

Alexander Dargomyzhsky

Richard Strauss

Wolfgang Amadeus Mozart

Giuseppe Verdi

Antonín Dvořák

Dmitri Shostakovich

Gaetano Donizetti

Pyotr Tchaikovsky

Sergei Banevich

Wolfgang Amadeus Mozart

George Frideric Handel

Georges Bizet

Pyotr Tchaikovsky

Gioachino Rossini

Dimitry Rostovsky

Giacomo Puccini

Richard Wagner

Richard Strauss

Nikolai Rimsky-Korsakov

Georges Bizet

Dmitri Shostakovich
Alexei Verstovsky

Anton Rubinstein
Guiseppe Verdi

Pyotr Tchaikovsky

Wolfgang Amadeus Mozart

Georg Philipp Telemann

Sergei Prokofiev

Modest Mussorgsky

Antonio Salieri

Gaetano Donizetti

Benjamin Britten. Camille Saint-Saëns

Pyotr Tchaikovsky

Wolfgang Amadeus Mozart

Gioacchino Rossini

Dmitri Shostakovich
Umberto Giordano

Modest Mussorgsky
Hector Berlioz

Giacomo Puccini

Jacques Offenbach

Sergei Prokofiev. Maurice Ravel

Wolfgang Amadeus Mozart

Nikolai Rimsky-Korsakov

Tatiana Kamysheva

Lady Macbeth of the Mtsensk District is one of the most famous Russian operas of the 20th century. Not only did it vividly reflect the era but became its first victim. It was its demolition in the newspaper “Pravda” that started the campaign against formalism in Soviet art. The prohibited opera managed to return to the stage only after almost thirty years’ wait, in the new edition under the name Katerina Izmailova.
It was the edition that the Bolshoi Theatre referred to at the time when the hundred and tenth anniversary of the birth of the composer was celebrated. These days, when the first edition is the one that is performed around the world, Katerina Izmailova is a true operatic rarity. Tugan Sokhiev, the music director of the Bolshoi and of the production itself, is telling us what considerations the theatre was guided by to choose the second edition: “Knowing Shostakovich as the author of symphonies, quartets and ballets, I can say that late Shostakovich’s works seem closer and more interesting to me, and this particular edition of the opera allows me to have a deeper and further look into it. First of all, I am attracted to the continual development in Katerina Izmailova: from the beginning to the end our nerves are being wound on a reel”.
Premiered on February 18, 2016.
Presented with one interval.
Libretto by Dmitry Shostakovich and Alexander Preis after Lady Macbeth of the Mtsensk District by Nikolai Leskov
Sunday, 14:00
Saturday, 19:00
Friday, 19:00
Thursday, 19:00
Wednesday, 19:00
Act I
Scene 1
The merchant Zinoviy Borisovich Izmailov’s house. His wife Katerina Lvovna is bored with her tedious life and loveless marriage.
Boris Timofeyevich, her father-in-law, reproaches her for not yet having given his son an heir.
A mill-hand arrives with news that a dam at the mill has broken and needs immediate repair. Zinoviy Borisovich personally goes to oversee the work. Before leaving, he introduces to his father a new foreman named Sergei.
Boris Timofeyevich wants the servants to see the master off with crying and makes Katerina swear an oath to be faithful while her husband is away.
When no one’s listening, the cook, Aksinya, tells Katerina that the handsome Sergei was dismissed from his last job because the mistress fell for him.
Boris Timofeyevich again reproves his daughter-in-love for being indiffirent to her husband leaving.