Ohne Bilder:
ich kann nur sagen, ich werde die Oper wenn sie wieder aufgeführt wird,
nochmals hingehen. Die Musik – ein Traum. Die Handlung wurde verlegt in den
zweiten Weltkrieg – damit konnten die Bühnenbilder für das Verständnis des
Publikums etwas machen. Without any picture: I can only say, I will visit the opera the next
time, when it will be on stage again. The music – a dream. The plot is transferred
in the Second World War – therefore the scene designer could do a little bit
more for the understanding of the plot – also for us, the audience.
Michail Iwanowitsch Glinka 1804 - 1857
Oper in vier Akten
Iwan Sussanin Michail Iwanowitsch Glinka verlegt den parabolischen Kern der
Handlung in die Zeit des Polnisch-Russischen Krieges (1609-1618), der in der
Befreiung Moskaus kulminierte. Die gleichwohl zeitlose Fabel lässt sich damit
zusammenfassen, dass der Bauer Iwan Sussanin erkennt, dass hinter dem Wohl des
Einzelnen auch immer das Wohl des ganzen erstritten werden muss. Es kann kein
wirkliches Glück inmitten kollektiven Leids geben. Er führt die feindlichen
Besatzer, den eigenen Tod in Kauf nehmend, in die Irre und rettet dadurch das
Land. Der tragisch endende Weg des Mannes, sein bewusst geplanter Untergang als
Blutzoll für die Befreiung der Unterdrückten, wird flankiert von großen,
volksmusikalisch geprägten, metrisch aber hochkomplizierten Chorszenen und melodisch
weit ausgreifenden, farbenreichen Kantilene, sinfonischen Zwischenspielen,
mannigfaltigen Tanzformen und einer extrem ausgeweiteten Polyphonie.
Nicht selten liegt ein Gleichnis unter der Oberfläche der historischen
Erscheinung. Modest Mussorgski hat dies erkannt, als er da 1836 in St.
Petersburg entstandene Hauptwerk des tief verehrten romantischen Komponisten
Glinka, des »Vaters der russischen Musik« charakterisierte. Als Held dieser
ersten russischen Oper, die ohne gesprochene Dialoge auskommt, tritt ein
einfacher Mann vom Lande auf den Plan, der selbst eine Legende ist. Er
verkörpert ein Ideal, das sich als Werk der Notwendigkeit offenbart. Ein
solches Ideal in der Tonsprache zu realisieren, war Glinkas Ziel. Zugrunde
legte er dafür jenen später auch von Tolstoi immer wieder gestalteten
Wechselbezug zwischen dem Einzelnen und dem Ganzen: »Es schafft das Volk die
Musik, wir Musiker arrangieren sie nur.
Michail Iwanowitsch Glinka 1804 - 1857
Opera in 4 acts and an epilogue
About the work
Glinka set this parable at the time of
the Polish-Russian war (1609-1618), which culminated in the liberation of
Moscow, to music. A farmer, Iwan Sussanin, realising that the wellbeing of the
whole is more important than the wellbeing of an individual, and that no
individual can be truly happy amidst general suffering, risks his life by
misleading the enemy, and saves his country. The consciously planned, tragic
end of the man's life, sacrificed to free the oppressed, is accompanied by
wonderful folk music influenced, highly complicated chorus scenes, richly
coloured rich cantilena, symphonic interludes and dance.
A parable often lies beneath the surface of an historical phenomenen. Modest
Mussorgsky realised this when he described the main work of the deeply revered
romantic composer Glinka, the »father of Russian music«, which was composed in
St. Petersburg in 1836. The hero in this first Russian opera, which has no
spoken dialogue, is a simple man from the countryside, a legend embodying an
ideal, whose fate it is to carry out a »work of necessity«. Glinka wanted to
reproduce this ideal in music. The interrelation of the individual with the
whole, something taken up later on by Tolstoy, underpins everthing: »The people
create the music, we musicians only arrange it.«
Synopsis
Moscow is about to be taken by enemy
forces. In a village outside the city Antonida, daughter of the farmer Iwan
Sussanin, longs to see her beloved Sobinin again. He returns from the front
with good news: the Russian troups were able to hold their own against the
enemy. Sobinin is the new leader of the partisans. When he asks Sussanin for
Antonida's hand, her anxious father consents with great reluctance because it
does not feel right to celebrate a wedding when the situation in Russia is so
unsettled. Act 2 Occupied Warsaw. The enemy are celebrating their apparent
victory over Moscow. But news soon reaches them that the taking of the city has
failed. Refusing to tolerate such a military and economic defeat, they prepare
to attack again. Act 3 Wanja, Iwan Sussanin's foster son, dreams of joining the
battle, but he is too young. When Sussanin tells him about their new leader the
young man longs to serve him. During Sobinin's absence the enemy force their
way into Sussanin's house. They threaten to kill him if he refuses to lead them
to the secret place where the new leader is hidden. Sussanin secretly sends
Wanja off to warn the leader. Sussanin, pretending to accept a bribe, leads the
enemy into the woods. Antonida is left behind, desperate. When Sobinin returns
and finds out what has happened, he sets off immediately with his men. Act 4
Wanja reaches the leader's camp and wakes everyone up. They set out to march
against the enemy. Meanwhile, Sussanin has led the enemy deep into the woods.
The men fall asleep exhausted. Sussanin knows that his country has been saved
because the enemy will never find their way out of the woods, but also that he
will pay for this with his life. At dawn, when he admits having led them astray,
they kill him. EPILOGUE The Russian people celebrate the liberation of their
country and victory over the enemy. They laud and honour Iwan Sussanin's heroic
deed.