The Queen of Spades 1 action. Opera P

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1 Pyotr Ilyich Tchaikovsky () THE LADY OF PEAK Opera in three acts, seven scenes Libretto by M. TCHAIKOVSKY Based on the story of the story of the same name by A. S. PUSHKIN using verses by K. Batyushkov, G. Derzhavin, V. Zhukovsky, P. Karabanov, K. Ryleev The idea of \u200b\u200bthe opera arose in 1889, after P. Tchaikovsky's acquaintance with the libretto, originally intended for another composer. The opera, which was composed in Florence, was roughly completed in 44 days. The premiere took place at the Mariinsky Theater in 1890. The Queen of Spades is perhaps the most repertoire opera of Russian classics and (along with Boris Godunov) the most frequently performed Russian opera outside Russia. (In 1902, G. Mahler conducted the Viennese production of The Queen of Spades.) An event on the domestic stage, and still causing controversy, was the brightest performance MALEGOT 1935 staged by V. Meyerhold, where the text of the libretto and the score of the opera were revised ... Among the productions in recent years is the 1992 Mariinsky Theater. Conductor V. Gergiev.

2 Characters: 2 GERMAN tenor TOMSKY, count baritone ELETSKY, prince baritone CHEKALINSKY tenor SURIN bass CHAPLITSKY tenor NARUMOV bass GRAFINA mezzo-soprano LIZA ssoprano POLINA contralto GUERNANTKA mezzo-soprano-soprano soprano MILOVZOR (Polina) contralto ZLATOGOR (Count Tomsk) baritone Nurses, governesses, nurses, strollers, guests, children, players, etc. The action takes place in St. Petersburg at the end of the 18th century.

3 ACT ONE 3 PICTURE ONE A playground in the Summer Garden flooded with the spring sun. Nurses, governesses and wet nurses walking or sitting on benches. Children play with torches, jump over ropes, throw balls. SCENE I. VOICES OF LITTLE GIRLS. Burn, burn clearly, So that it does not go out, One, two, three! (Laughter, exclamations, running around.) CHOIR OF NURSES Have fun, dear children! Rarely, the sun, dear ones, amuses you with joy! If, dear ones, you are at the mercy of the Game, you start pranks, Then by a little bit your nannies you then bring peace. Warm up, run, dear children, And have fun in the sun! CHOIR OF GOVERNANTS Thank God, At least you can rest a little, Breathe spring air, See something! Do not shout, spend time without remarks, About suggestions, punishments, forget about the lesson. CHOIR OF NURSES Warm up! Run, dear children, And have fun in the sun! CHOIR OF FEEDERS Buy, buy, buy! Buy, buy, buy! Sleep, darling, sleep! Don't open your clear eyes! (Behind the stage, drums and trumpets are heard.) CHOIR OF NURSES, FACTORS AND GOVERNENTS. Here are our soldiers, soldiers. How slim! Step aside! Places! Places! One, two, one, two, One, two, one, two!

4 4 Enter the boys in the toy arms, representing the soldiers; in front of him is the commander's boy. CHOIR OF BOYS One, two, one, two! Left, right, left, right! Friendly, brothers! Don't get lost! COMMAND BOY Right shoulder forward! One, two, stop! (The boys stop.) Listen! Musket in front of you! Take the muzzle! Musket to the leg! (The boys perform the command.) CHOIR OF BOYS We are all gathered here To fear the enemies of Russia. Evil foe, beware And with a villainous thought Run or submit! Hurray, hurray, hurray! To save the Fatherland We fell to our lot, We will fight And enemies in captivity Without counting to take away! Hurray, hurray, hurray! Long live the wife, the Wise queen, She is the mother of all of us, The empress of these countries And pride and beauty! Hurray, hurray, hurray! BOY COMMANDER. Well done boys! BOYS. We are glad to try, your honor! COMMAND BOY Listen! Musket in front of you! Right! On guard! March! (The boys leave, drumming and trumpeting.) CHOIR OF NURSES, FACTORS AND GOVERNORS Well, good fellows are our soldiers! And indeed they will unleash fear on the enemy. Well, well done! How slim! Well, well done! Other children follow the boys. The nannies and governesses disperse, making way for other strollers. Enter Chekalinsky and Surin.

5 5 SCENE II. CHEKALINSKY. How did the game end yesterday? SURIN. Of course, I blown myself terribly! I'm out of luck. CHEKALINSKY. Did you play again until morning? SURIN. Yes, I'm terribly tired of ... Damn it, I could win at least once! CHEKALINSKY. Was Herman there? SURIN. Was. And, as always, from eight to eight in the morning, Chained to the gambling table, sat and silently blew wine. CHEKALINSKY. Only? SURIN. Yes, I looked at the game of others. CHEKALINSKY. What a strange man he is! SURIN. As if he had at least three evil deeds on his heart. CHEKALINSKY. I heard that he is very poor .. SURIN. Yes, not rich. SCENE III. Herman enters, pensive and gloomy; with him together with Count Tomsky. SURIN. Here it is, look. Like a demon of hell, gloomy ... pale ... Surin and Chekalinsky pass by. TOMSKY. Tell me, Herman, what's wrong with you? With me? .. Nothing ... TOMSKY. You are sick? No, I'm healthy. TOMSKY. You have become a different kind ... You are dissatisfied with something ... It used to be: restrained, thrifty, You were cheerful, at least; Now you are gloomy, silent And, I can’t believe my ears: You, the new passion of grief, As they say, until the morning Spend the nights playing. Yes! To the goal with a firm foot

6 I can’t go as before, I don’t know what’s wrong with me, I’m lost, I am indignant at weakness, But I can’t control myself anymore ... I love! love! 6 TOMSKY. How! Are you in love? in whom? I don’t know her name And I don’t want to know, Earthly name, not wanting to call Her ... (With enthusiasm.) Comparisons, sorting out, I don’t know with whom to compare ... My love, the bliss of paradise, I would like to keep forever! But the jealous thought that it would be possessed by the Other, When I dare not kiss her footprint, Tumbles me; and earthly passion I want to calm down in vain And I want to hug everything then, And I want to hug everything my saint then ... I don’t know her name And I don’t want to know! TOMSKY. And if so, quickly get down to business! We'll find out who she is, and there And make the offer boldly, And the case is handled ... Oh no, alas! She is noble and cannot belong to me! That's what torments and gnaws me! TOMSKY. Let's find another ... Not one in the world ... You don't know me! No, I can't stop loving her! Ah, Tomsky! You do not understand! I could only live in peace, While passions dozed in me ... Then I could control myself, Now, when my soul is in the power of One dream, goodbye peace, Farewell peace! Poisoned as if intoxicated, I'm sick, sick

7 I'm in love! 7 TOMSKY. Is it you, Herman? I confess, I would not believe anyone that you are capable of such love! German and Tomsky pass by. Walkers fill the stage. SCENE IV. COMMON CHOIR OF ALL WALKERS. Finally, God has sent us a Sunny day! What air! What a heaven! Precisely May is with us! Oh, what a charm, really, All day would be for a walk! We can't wait for such a day. For a long time again. OLD MEN. For many years we have not seen such days, And, it happened, often we saw them. In the days of Elizabeth, a wonderful time. Better were summer, autumn and spring! OLD WOMEN (at the same time as the old). They used to live better, and such days were in early spring every year. Yes, every year there were! And now it is rare for them to have the Sun in the morning, It has become worse, really, it has become worse, Right, it's time to die! LAMPS. What a joy! What happiness! How gratifying, how gratifying to live! How pleasant it is to walk to the Summer Garden, How pleasant it is to walk to the Summer Garden! Look, look, How many young people, Both military and civilians, Wander a lot along the alleys, Look, look, How many people wander around here, Both military and civilians, How graceful, how beautiful, how beautiful! Look, look! YOUNG PEOPLE (along with the young ladies). The sun, the sky, the air, the nightingale's melody And a bright blush on the maidens' cheeks That spring bestows, with her love also Sweetly excites young blood!

8 8 Sky, sun, clean air, Sweet nightingale melody, Joy of life and scarlet blush on the maidens' cheeks That are the gifts of a beautiful spring, then the gifts of spring! Happy day, beautiful day, how good, Oh joy, spring brings us love and happiness! COMMON CHOIR OF ALL WALKERS. Finally, God has sent us a Sunny day! What air! What a heaven! Precisely May is with us! Oh, what a charm, really, All day would be for a walk! We can't wait for such a day. For a long time again! SCENE V. Enter Herman and Tomsky. TOMSKY. Are you sure she doesn't notice you? I bet that I am in love and misses you .. When I had lost my gratifying doubt, How could my soul endure the torment? You see, I live, I suffer, But in a terrible moment, when I find out, That I was not destined to master her, Then there will be only one thing ... TOMSKY. What? Die! .. Prince Yeletsky enters. Chekalinsky and Surin approach him. CHEKALINSKY (to Yeletsky). Can I congratulate you? SURIN. Are you, they say, the groom? ELETSKY. Yes, gentlemen, I am getting married; The bright angel gave consent to combine his fate with mine forever! CHEKALINSKY. Well, good hour! SURIN. I am glad with all my heart. Be happy, prince! TOMSKY. Yeletsky, congratulations!

9 ELETSKY. Thank you friends! 9 Duet. ELETSKY (with feeling) Happy day, I bless you! How everything was connected, To rejoice together with me! Everywhere the bliss of unearthly life was reflected ... Everything smiles, everything shines, As in my heart, Everything trembles cheerfully, Beckoning to heavenly bliss! What a happy day, I bless You! HERMAN (to himself, simultaneously with Yeletsky). Unhappy day, I curse you! As if everything came together to join the fight with me! Everywhere joy was reflected, But not in my sick soul. Everything smiles, everything shines, When in my heart the hellish annoyance flutters. The hellish vexation trembles, Some torture promises. Oh yes, only torment, I promise torment! TOMSKY. Tell me who will you marry? Prince, who is your bride? Enter Countess and Liza. ELETSKY (pointing to Liza). Here she is. She?! She is his bride! Oh my God! Oh my God! LIZA., GRAPHINE. He's here again! TOMSKY (to Herman). So that's who your nameless beauty is! LISA Quintet. I'm scared! He is in front of me again, Mysterious and gloomy stranger! In his eyes, the dumb reproach Changed the fire of insane, burning passion ... Who is he? Why haunt me? I am scared, scared, as if I am at the mercy of His eyes of ominous fire! I'm scared! I'm scared! I'm scared! CARAFE (at the same time). I'm scared! He is in front of me again, A mysterious and terrible stranger! He is a fatal ghost, Embraced all by some wild passion. What does he want by stalking me? Why is he in front of me again? I'm scared like I'm in power

10 His eyes of ominous fire! I'm scared! I'm scared! I'm scared! 10 HERMAN (simultaneously). I'm scared! Here again in front of me, Like a fatal ghost, A gloomy old woman appeared ... In her terrible eyes I read my dumb sentence! What does she want? What does she want, what does she want from me? As if I am at the mercy of Her eyes of ominous fire! Who, who is she! I'm scared! I'm scared! I'm scared! ELETSKY (at the same time). I'm scared! My God, how embarrassed she is! Where does this strange excitement come from? There is longing in her soul, In her eyes there is some kind of dumb fear! On a clear day in them, for some reason, suddenly It came to change the bad weather. What with her? She's not looking at me! Oh, I'm scared, as if close Some unexpected misfortune is threatening, Scary, scary to me! TOMSKY (at the same time). That's who he was talking about! How embarrassed he is by the unexpected news! In his eyes I see fear, Dumb fear has replaced the fire of insane passion! And with her, with her, what? How pale! How pale! Oh, I'm scared for her, I'm scared! I'm scared for her! SCENE VI. Tomsky approaches the Countess, Yeletsky approaches Liza. The Countess looks intently at Herman. TOMSKY. Countess! Let me congratulate you ... CARAFE. Tell me who is this officer? TOMSKY. Which the? This? Herman, my friend. CARAFE. Where did he come from? How terrible he is! Tomsky sees her off and returns. ELETSKY (giving his hand to Liza).

11 Heavens enchanting beauty, Spring, marshmallows of light rustle, Cheer of the crowd, friends, hello They promise us many years of happiness in the future! 11 Liza and Yeletsky leave. Rejoice, buddy! You have forgotten, What a thunderstorm happens after a quiet day, That the creator gave happiness to tears, to a bucket of thunder! A distant thunderclap is heard. Herman sits down on the bench in gloomy thought. SURIN. What a witch this Countess is! CHEKALINSKY. Scarecrow! TOMSKY. No wonder they called her the Queen of Spades! I can't comprehend why she doesn't understand. SURIN. How! An old woman? What are you ?! CHEKALINSKY. An octogenarian hag! Ha ha ha! TOMSKY. So you don't know anything about her? SURIN. No, really, nothing! CHEKALINSKY. Nothing! TOMSKY. Oh, so listen! The Countess had a reputation for beauty in Paris many years ago. All the young people went crazy about her, Calling the Venus of Moscow. The Count Saint-Germain among others, Then still a handsome man, was captivated by her, But unsuccessfully he sighed for the countess: All the nights the beauty played all night And alas! preferred Pharaoh 1 to love. Ballad Once in Versailles, Ai jeu de la Reine 2 Venus moskovite 3 was played to the ground. Among those invited was the Count Saint-Germain; Watching the game, he heard her Whispering in the midst of excitement: Oh my God! Oh my God! 1 Pharaoh is a card game that was in vogue at the court of the French queen. 2 In the royal game (fr.) 3 Venus of Moscow (fr.)

12 Oh my God, I could have played everything, When it was enough to bet again Three cards, three cards, three cards! 12 The count, having chosen the moment well, when, stealthily leaving the full hall of guests, Beauty sat silently alone, In love above her ear whispered Words sweeter than the sounds of Mozart: Countess, Countess! Countess, at the cost of one rundez-vous 4 Would you like me to tell you Three cards, three cards, three cards? The Countess flared: How dare you ?! But the count was not a coward. And when a day later the Beauty appeared again, alas, Penniless, Ai jeu de la Reine She already knew three cards ... Boldly placing them one after another, She returned her own ... but at what cost! Oh cards, oh cards, oh cards! Once she named those cards to her husband, Another time the handsome young man recognized them. But on the same night, only one was left, A ghost appeared to her and threateningly said: You will receive a fatal blow, From the third, who, passionately, passionately loving, Will come to learn from you by force Three cards, three cards, three cards, Three cards! CHEKALINSKY. Se non e ver`e ben trovato 5. Lightning flashes, the approaching rolls of thunder are heard. A thunderstorm begins. SURIN. It's funny! .. But the Countess can sleep peacefully: It is difficult for her to find an ardent lover! CHEKALINSKY. Listen, Herman! Here is a great opportunity for you to play without money. (Everyone laughs.) Think, think! CHEKALINSKY, SURIN. From the third, who, ardently, passionately loving, Will come to learn from you by force Three cards, three cards, three cards! Chekalichsky, Surin and Tomsky leave. There is a strong thunderclap. The thunderstorm is playing out. Walkers hurry in different directions. 1 CHOIR OF THE WALKERS. How quickly the thunderstorm came, 4 Rendezvous (fr.) 5 If it is not true, then it is well said. Latin proverb.

13 Who would have expected what passions! Blow after blow louder, worse! Run quickly! Hurry to get to the gate! Hurry home! 13 Everyone scatters. The thunderstorm is getting worse. From a distance, the voices of those walking can be heard. Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry! Heavy thunderclap. HERMAN (thoughtfully). You will receive a fatal blow From the third, who, passionately, passionately loving, Will come to learn from you by force Three cards, three cards, three cards! Oh, what do I have in them Even though I possessed them! Everything has died now ... I am the only one left. I am not afraid of the storm! In myself, all passions woke up With such a deadly force, That this thunder is nothing in comparison! No, prince! As long as I live, I will not give it to you, I do not know how, but I will take it away! Thunder, lightning, wind! In your presence I solemnly take an oath: She will be mine, She will be mine, mine, mine, or I will die! (Runs away.)

14 PICTURE SECOND 14 Lisa's room. Lisa is sitting at the harpsichord. There are friends around her, among them Polina. SCENE I. LIZA, POLINA. It's evening ... The edges have faded 6, The last ray of dawn on the towers is dying; The last flying stream in the river With an extinct sky fades away. Everything is quiet ... The groves are asleep, peace reigns around, Stretching out on the grass under a tilted willow, I listen to the murmur, merging with the river, A stream, shaded by bushes. How the aroma is merged with the coolness of the plants, How sweet in the silence at the shore of the jets the splashing, How quietly the air blowing over the waters And the flexible willow trembling. CHOIR OF FRIENDS. Fascinating! Charming! Wonderful! Delightful! Ah, wonderfully good! Also, mesdames. Also, mesdames. More more! LISA. Sing, Fields, we are alone! PAULINE. One? but what to sing? CHOIR OF FRIENDS. Please, what do you know, Ma shere 7, dove, sing us something: POLINA. I will sing you Lisa's favorite romance. (Sits down at the harpsichord.) Wait ... How is it? (Preludes.) Yes! remembered. (Sings with deep feeling.) Lovely friends, lovely friends 8, In playful carelessness, You frolic in the meadows to the song of the dance. And I, like you, lived happy in Arcadia, And in the morning of these groves and fields I tasted Minutes of joy, Minutes of joy I tasted. Love in golden dreams promised me happiness; But what did I get in these joyful places, 6 Verses of Zhukovsky 7 My dear (fr.). 8 Poems of Batyushkov.

15 In these joyful places? Grave, grave, grave! .. (Everyone is touched and agitated.) 15 So I decided to sing a song, Such a tearful! Well, why? And without that you are sad, Liza, On such and such a day, think about it! After all, you are engaged, ay-ay-ay! (To her friends.) Well, why are you all hanging up? Let's merry, yes, Russian, In honor of the bride and groom! Well, I'll start, And you sing along with me! CHOIR OF FRIENDS. And really, let's have a fun, Russian! Girlfriends clap their hands. Liza, not taking part in the fun, stands pensively by the balcony. PAULINE. Come on, little light Mashenka, you sweat, dance! POLINA AND CHOIR FRIENDS. Ay, lyuli, lyuli, lyuli, you sweat, dance! PAULINE. Pick up your white little hands Under your sides! POLINA AND CHORUS FRIENDS Ay, Lyuli, Lyuli, Lyuli, Pick up your sides! PAULINE. Your little legs are fast Do not be sorry, please! POLINA AND CHORUS FRIENDS Ay, Lyuli, Lyuli, Lyuli, Do not be sorry, please! (Polina and her friends start dancing.) If Mommy Vesela asks! speak. POLINA AND CHORUS FRIENDS Ay, lyuli, lyuli, lyuli Vesela! speak. PAULINE. And to answer tetyenka Like, I drank until dawn! POLINA AND CHOIR FRIENDS. Ay, lyuli, lyuli, people Like, I drank until dawn! PAULINE. Go away, go away!

16 16 POLINA AND CHOIR FRIENDS. Ay, lyuli, lyuli, lyuli, Go away, go away! Enter the Governess. GOVERNESS. Mesdemoiselles, what is your noise here? The Countess is angry ... Ay-ay-ay! Aren't you ashamed to dance in Russian? Fi, quel genre, mesdames * 9 Ladies of your circle You need to know decency! You should have inspired each other the Rules of Light. In girls' only rage Can't be here, mes mignones 10, Isn't it possible to have fun, Without forgetting the bonton? The young ladies of your circle You need to know decency, You should have taught each other the Rules of light! It's time to disperse. They sent you to call me to say goodbye. The young ladies disperse. POLINA (going up to Liza). Lisa, why are you so boring? LISA. I am boring? Not at all! Look, what a night, As after a terrible storm Everything was renewed suddenly. PAULINE. Look, I will complain about you to the prince, I will tell him that on the day of the engagement you were sad., LIZA. No, for God's sake, don't tell me! PAULINE. Then if you please smile now. Like this! Now goodbye! (They kiss.) LISA. I will accompany you ... Polina and Liza leave. Masha enters and puts out the candles, leaving only one. While she comes to the balcony to close it, Lisa returns. 9 Fi, what a genre, ladies. (fr) 10 My darlings (fr.).

17 SCENE III. 17 LISA. Don't shut it up, leave it. MASHA. Wouldn't catch a cold, young lady! LISA. No, Masha, the night is so warm, so good! MASHA. Would you like to help to undress? LISA. No I myself. Go to sleep! MASHA. It's too late, young lady ... LIZA. Leave me, go! Masha leaves. Lisa stands deep in thought and then cries quietly. Where do these tears come from? Why are they? My girlish dreams, you cheated on me, My girlish dreams, you cheated on me! Here's how you came true in reality! I have now entrusted my life to the prince, the Chosen One by heart, substance, mind, beauty, nobility, wealth, to a worthy friend who is not like me. Who is noble, who is handsome, who is stately, like him? No one! And what? I am full of longing and fear, Trembling and crying! Where do these tears come from? Why are they? My girlish dreams, you cheated on me, My girlish dreams, you cheated on me! You cheated on me! (Cries.) Both hard and scary! But why deceive yourself? I am here alone, everything is quietly sleeping around ... (Passionately, enthusiastically.) Oh, listen, night! You alone can believe the secret of my soul. She is gloomy, like you, she is sad As the gaze of the eyes, Peace and happiness that has taken away from me ... Queen of the night! How beautiful you are, like a fallen angel, he is beautiful,

18 In his eyes the fire of scorching passion, As a wonderful dream beckons me, and my whole soul is in his power! Oh night! oh night! .. 18 SCENE IV. Herman appears at the door of the balcony. Lisa retreats in mute horror. They look at each other in silence. Lisa makes a movement to leave. Stop, I beg you! LISA. Why are you here, mad man? What do you want? Say goodbye! (Lisa wants to leave.) Don't leave! Stay! I myself will leave now And I will not come back here again ... One minute! .. What does it cost you? A dying man calls out to you. LISA. Why, why are you here? Go away !. Not! LISA. I will scream! Shout! Call everyone! (Takes out a pistol) I will die anyway, alone or in the presence of others. (Liza lowers her head and is silent.) But if there is, beauty, in you Though there is a spark of compassion, Then wait, do not leave! LISA. Oh god, god! After all, this is my last, death hour! Today I learned my verdict: You, cruel, give your heart to another! (Passionately.) Let me die, blessing you, And not cursing, Can I live a day when You are a stranger to me! I lived by you; only one feeling And one stubborn thought possessed me! I will die. But before you say goodbye to life, Give me at least one moment to be with you, Together in the midst of the wonderful silence of the night, Let me drink in your beauty! Then let death and peace with it!

19 (Liza stands, looking sadly at Herman.) Stop like this! Oh, how good you are! 19 LIZA (in a fainting voice). Go away! go away! Beauty! Goddess! Angel! Forgive, lovely creature, That I disturbed your peace, Forgive, but passionate Do not reject recognition, Do not reject it with longing! Oh, have pity! I, dying, I bring to you my prayer; Look from the heights of heavenly paradise At the mortal struggle of the Soul, tormented by the torment of Love for you, oh, have pity And my spirit with caress, regret, Warm your tears! (Lisa is crying.) You are crying! You! What do these tears mean? Don't you persecute and regret? Takes her hand, which she does not take away. Thank you! Beauty! Goddess! Angel! Falls to Lisa's hand and kisses. At this time, the noise of steps and a knock on the door is heard. GRAFFIN (outside the door). Liza, open it! LISA (confused). Countess! Good God! I am lost, run! .. Too late! Here! The knock on the door is harder. Lisa points to the curtain to Herman, goes to the door and opens it. Enter the Countess in a dressing gown, surrounded by maids with candles. CARAFE. What are you awake? Why are you dressed? What is this noise? LIZA (bewildered) I, grandmother, walked around the room ... I can't sleep ... GRAFFIN (with a gesture orders to close the balcony) Look you! Don't be silly! Go to bed now! (He knocks with a stick.) Do you hear? .. LIZA. I, grandmother, now! CARAFE. Can't sleep! .. Has it been heard! Well, the times! Can't sleep! .. Now go to bed! LISA. I obey! .. Sorry! GRAFIN (leaving). And I can hear the noise;

20 You disturb your grandmother! (To the maids.) Come on! (To Liza) And don’t you dare start stupid things here! (He leaves with the maids.) 20 HERMAN (to himself). Who, passionately loving, Will come to probably learn from you Three cards, three cards, three cards! A grave cold blew around! Oh, terrible ghost, Death, I do not want you! Liza, having closed the door behind the Countess, goes to the balcony, opens it and with a gesture tells Herman to leave. Oh, spare me! Death a few minutes ago seemed to me a salvation, almost happiness! Now it’s not that: she’s scary to me, she’s scary to me! You opened the dawn of happiness to me, I want to live and die with you! LISA. Mad man, What do you want from me, What can I do? .. Decide my fate! LISA. Have mercy, you are ruining me! Go away, I ask you, I command you! So, then, you pronounce the death sentence! LISA. Oh god, I'm getting weak ... Go away, please! Say then: die! LISA. Good God! Goodbye! LISA. Heavenly Creator! (Herman makes a movement to leave.) No! Live! Herman hugs Lisa; she puts her head on his shoulder. Love you! LISA. I'm yours! Beauty! Goddess! Angel!

21 ACT TWO 21 PICTURE THREE SCENE I. A masquerade ball at a rich dignitary. Large hall. Lodges are arranged on the sides, between the columns. Boys and girls in masquerade costumes are dancing country dance. Singers sing in the choirs. CHOIR OF SINGERS. 11 Joyfully, cheerfully on this day Gather together, friends! Throw away your lack of time, Download, dance boldly! Download, dance more boldly, Drop you, drop your lack of time, Download, dance, dance more fun! Clap your hands with your hands, Click your fingers loudly! Move your black eyes, you all say Stanom! Fart your hands on your hips, Do light hops, Chobot knock about chobot, Whistle with a bold step! Steward enters. ORDER. The host asks dear guests to welcome Look at the glitter of the entertainment lights! All guests head to the garden terrace. CHEKALINSKY. Our Herman hung his nose again, I guarantee you that he is in love, Then he was gloomy, then he became cheerful. SURIN. No, gentlemen, he is keen, What do you think? Than? Hope to learn three cards. CHEKALINSKY. What a weirdo! TOMSKY. I do not believe, you have to be ignorant For this. He's not a fool! SURIN. He told me himself ... TOMSKY. Laughing! CHEKALINSKY. (To Surin.) 11 Poems of Derzhavin

22 Come on, let's go tease him! (They pass.) 22 TOMSKY. And yet, he is one of those Who, once having thought, Must accomplish everything! Poor fellow! Poor fellow! (Tomsky passes. The servants prepare the middle of the room for the interlude. Prince Yeletsky and Liza enter.) SCENE II. ELETSKY. You are so sad, dear, As if you have grief ... Trust me! LISA. No, later, prince, another time ... I beg you! (He wants to leave.) ELETSKY. Wait a moment! I must, I must tell you! I love you, I love you immensely, I can't imagine living a day without you. And a feat of unparalleled strength I am ready to accomplish for you now, But know: I don’t want to hamper freedom of your heart, I’m ready to hide for you to please And to calm the ardor of jealous feelings, I’m ready for anything, for everything for you! Not only a loving spouse, Servant useful sometimes, I wish I was your friend And always a comforter. But I clearly see, I feel now, Where I have lured myself in dreams, How little you trust in me, How alien I am to you and how far away! Ah, I am tormented by this distance, I have compassion for you with all my soul, I grieve with your sorrow And cry with your tear ... Ah, I am tormented by this distance, I am compassionate with you with all my soul! I love you, I love you immensely, I can't imagine living a day without you, I am a feat of unparalleled strength I'm ready to do it for you now! Oh honey, trust me! Prince Yeletsky and Liza pass by. Herman enters without a mask, in a suit, holding a note in

23 hand. SCENE III. HERMAN (reading). "After the performance, wait for me in the hall. I must see a pass ..." I wish I could see her and give up this thought ... (Sits down.) Three cards! .. Three cards to know and I am rich! .. And together with her I can run away from people ... Damn it! .. This thought will drive me crazy! Several guests return to the hall; including Chekalinsky and Surin. They point at Herman, sneak up and, bending over him, whisper. SURIN, CHEKALINSKY. Are you not the third, Who, passionately loving, Comes to learn from her Three cards, three cards, three cards? Are hiding. Herman gets up in fright, as if not realizing what is happening. When he looks around, Chekalinsky and Surin have already disappeared into the crowd of young people. CHEKALINSKY, SURIN AND SEVERAL GUESTS. Three cards, three cards, three cards! They laugh and mingle with the crowd of guests that gradually enters the hall. What is it? Delirium or mockery? Not! What if?! (Covers his face with his hands.) I'm a madman, I'm a madman! (Thinks.) SCENE IV. ORDER. The owner asks dear guests To listen to the pastoral under the title: Sincerity of the Shepherdess! 12 Guests sit down in the prepared seats. Boys and girls, dressed in the costumes of shepherds and shepherdesses, go out to the meadow. They lead round dances, dance and sing. Prilepa alone does not take part in the dances and weaves a wreath in sad reverie. Choir of Shepherds and Shepherds. Under a thick shade, Near a quiet stream, We came this day in a crowd To please ourselves, Sing, have fun And news round dances, Enjoy Nature, Weave flower wreaths. The shepherds and shepherdesses retreat to the back of the stage. 12 The plot and most of the verses of this pastoral are borrowed from the poem of the same name by P. Karabanov.

24 24 DRUGS. My dear friend, Dear shepherd boy, About whom I sigh And I wish to open my passion, Oh, I did not come to dance, MILOVZOR (entering). I'm here, but boring, languid, Look how I lost weight! I will not be modest anymore, I have hidden my passion for a long time, I will not be modest anymore, I have hidden my passion for a long time. I will not be modest, I hid my passion for a long time! ADDITIONAL. My dear friend, Dear shepherd boy, How I miss you, How I suffer for you, Oh, I can't say! Oh, I can't say! I don’t know, I don’t know why! MILOVZOR. Having loved you for a long time, I missed you without you, And you don't know that And here you hide yourself From my gaze, from my gaze. I don’t know, I don’t know why, I don’t know, I don’t know why! The retinue of Zlatogor brings precious gifts by dancing. Zlatogor enters. ZLATOGOR. How sweet you are, beautiful! Tell me: of us, whom, Me or him forever agree to love? MILOVZOR. I agreed with my heart, I bowed down to love, Whom it commands, To whom it burns. ZLATOGOR. I have mountains of gold And precious stones I have with me. I promise to decorate with them all of you, I possess darkness

25 And gold, and silver, And every good! 25 MILOVZOR. My one property of Love is an unflattering heat. And in the eternal possession You take it as a gift, And birds, and branches, And ribbons, and wreaths In place of the speckled precious Clothes I will begin to bring And give them to you! ADDITIONAL. I don't need any fiefdoms, No rare stones, I am with a dear in the middle of the fields And I am glad to live in a hut, And I am glad to live in a hut! (To Zlatohor.) Well, sir, good luck ... (To Milovzor.) And you be calm! Here in solitude Hurry to reward Such pleasant words Bring me a bunch of flowers! ADDITIONAL AND MILOVZOR. The end of torment has come, Love raptures The hour will come soon, Love, you conjugate us! CHOIR OF SHEPHERDS AND SHEPHERDS The end of torment has come, Bride and groom Worthy of admiration, Love, conjugate them! Cupid and Hymen with their retinue enter to marry the young lovers. Prilepa and Milovzor are dancing hand in hand. The shepherds and shepherdesses imitate them, make round dances, and then they all leave in pairs. Choir of Shepherds and Shepherds. The sun is shining red, Zephyrs swept by, You are with a beautiful young man, Prilepa, have fun! The end of torment has come, Bride and groom Worthy of admiration, Love, conjugate them! All leave in pairs. At the end of the interlude, some of the guests get up, others are chatting animatedly, remaining in their places. Herman approaches the stage.

26 26 HERMAN (thoughtfully). Who is passionately and passionately loving! Well? don't I love? Of course yes! Turns around and sees the Countess in front of him. Both flinch, staring at each other. SURIN (masked). Look, your mistress! (He laughs and hides.) Again ... again! I'm scared! The same voice ... Who is it? .. Demon or people? Why are they following me? Damn it! Oh, how pathetic and ridiculous I am! Lisa enters, wearing a mask. LISA. Listen, Herman! You finally! How happy I am that you came! I love you! .. I love you! .. LIZA. This is not the place ... That's not why I called you! Listen ... Here is the key to the secret door in the garden ... There is a staircase ... On it you will climb into Grandma's bedroom ... How? to her bedroom? .. LIZA. She will not be there ... In the bedroom near the portrait there is a door to me. I'll wait! You, I want to belong to you alone! We need to decide everything! Until tomorrow, My dear, welcome! No, not tomorrow, No, I'll be there today! .. LIZA (scared). But honey ... I want! LISA. Let it be! After all, I am your slave! I'm sorry ... (Hiding.) Now it's not me, fate itself wants it, And I will know three cards! (Runs away.)

27 27 ORDER (agitated and in a hurry). Her Majesty will now please ... There is great excitement among the guests. The steward divides those present so that in the middle there is a passage for the queen. CHORUS OF GUESTS. Queen! Her Majesty! Queen! She will come herself ... What an honor, what happiness, to the owner! .. It's all joy to look at our mother. And what a joy to us! The French ambassador will be with her! The Most Serene One will also deign! Well, it's a real holiday! What delight, what joy! Well, it’s a holiday, it’s great. ORDER (to the chorister). Glory to you, this is the CHORUS of GUESTS. This is how the holiday came out great! Come on Glory to this sim! Here, here, she is coming, she is coming, now our mother is coming! Everyone turns towards the middle doors. The steward makes a sign. singing to start. CHOIR OF GUESTS AND SINGERS Glory to this, Catherine, Glory, tender mother to us! Vivat, vivat! Men stand in a position of a low court tilt. Ladies squat deep. The pages enter in pairs, behind them, surrounded by her retinue, Catherine appears. 13 PICTURE FOUR The Countess's bedroom, illuminated by lamps. Herman enters quietly through a secret door. He looks around the room. Everything is just as she told me ... What then? Am I afraid, or what? Not! So it is decided, I will find out the secret from the old woman! (Thinks.) And if there is no secret? And all this is just empty delirium of my sick soul! Goes to Lisa's door. As he passes, he stops at a portrait of the Countess. Strikes midnight. And, here she is, the Venus of Moscow! By some secret force I am bound with her by fate! 13 In pre-revolutionary productions of the opera, this action ended with the appearance of the pages preceding the appearance of Catherine II. This was caused by the prohibition to depict persons of the royal family on the stage.

28 Whether from you to me, whether from me to you, But I feel that one of us To perish from the other! I look at you and hate you, But I can’t see enough! I would like to run away, but I have no strength ... The inquisitive gaze cannot tear itself away from the terrible and wonderful face! No, we cannot disperse without a fatal meeting! Steps! They are coming here! .. Yes! .. Ah, come what may! 28 Herman hides behind a boudoir curtain. The maid runs in and hastily lights the candles. Other maids and housewives come running after her. The Countess enters, surrounded by bustling maids and housewives. CHOIR OF LIVING ROOMS AND MAIDERS. Our benefactor, How did you go for a walk? Our light, my lady, He really wants to rest! (They escorted the Countess to the boudoir.) Are you tired, tea? Well, and what, Who was better there by himself? There were, perhaps, younger, But not one more beautiful! (Behind the scene.) Our benefactress ... Our light, dear ... Tired, tea, He wants, surely, to rest! Liza enters, followed by Masha. SCENE III. LISA. No, Masha, follow me! MASHA. What's the matter with you, young lady, you are pale! LISA. No, nothing ... MASHA (guessing). Oh my god! Really? .. LIZA. Yes, He will come ... Shut up! He, perhaps, is already there ... And he is waiting ... Watch out for us, Masha, be my friend! MASHA. Oh, no matter how we got it! LISA. He said so. I chose him as my spouse ... And an obedient slave, faithful to the flock of the one who was sent to me by fate!

29 Lisa. and Masha leave. The innkeepers and maids bring in the Countess. She is in a dressing gown and a nightcap. She is put to bed. 29 THE CHOIR OF THE LIVING ROOM AND MAID MAID Benefactor, Our Lady, Tired, tea, Wants, right, to rest! Benefactor, Coloring Beauty! Go to bed, tomorrow you will be more beautiful than the Morning Dawn again! Go to bed, tomorrow you will be more beautiful than the Morning dawn! Benefactress! Lie in bed, Relax, rest, Relax ... CARAFE. Completely lie to you! .. Tired! .. I'm tired ... no urine ... I don't want to sleep in bed! (She is seated in a chair and covered with pillows) Oh, this light hates me! Well, the times! They really don't know how to have fun. What manners! What a tone! And I wouldn't look ... They don't know how to dance or sing! Who are the dancers? Who sings? Girls! And it used to be: who danced? who was singing? Le duc d`orlean, la duc d`ayen, de Coigni, .. la comtesse d`estrades, La duchnesse de Brancas * What names! .. And even, sometimes, herself, the Marquis Pompadour herself! .. With them I and sang ... Le duc de la Valliere 15 praised me! Once, I remember, in Chantili 16, at Rripse de Conde 17, the King heard me! I can see everything now ... (Sings.) Je crains de lui parler la nuit J`ecoute trop tout ce qu`il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat ... Je ne sais pas porqoui Duke of Orleans, Duke of D'ayenne, Duke of Coigny, Countess of D'estrade, Duchess of Branca. (fr.). 15 Duke de la Vallière (fr.) 16 Chantilly, royal castle near Paris (fr.) 17 Prince de Condé (fr.) 18 I'm afraid to talk to him at night, I listen too much to everything he says. He says to me: I love you, And I feel, against my will, I feel my heart, which beats, which beats, I do not know why! (from fr.)

30 (As if waking up, looks around.) 30 Why are you standing here? Go there! The maids and the hangers-on, stepping carefully, disperse. The Countess slumbers and sings as if in a dream. Je crains de lui parler la nuit J`ecoute trop tout ce qu`il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat ... Je ne sais pas porqoui ... Herman goes out and stands against Countess. She wakes up and silently moves her lips in mute terror. Do not be alarmed! For God's sake, do not be alarmed! .. I will not harm you! I have come to beg you for mercy alone! The Countess silently looks at him as before. You can make up the happiness of life's goals! And it won't cost you anything! You know three cards ... (The Countess stands up.) For whom should you keep your secret? Herman kneels down. If you ever knew the feeling of love, If you remember the ardor and delight of young blood, If at least once you smiled at the caress of a child, If your heart ever beat in your chest, Then I implore you with the feeling of a spouse, lover, mother, Everyone, what is sacred to you in life, Tell me, tell me, tell me your secret! What is it to you ?! Maybe She is associated with a terrible sin, With the destruction of bliss, With a devilish condition? Think, you are old, you will not live long, And I am ready to take on your sin! .. Open up to me! Tell me! .. The Countess, straightening up, looks menacingly at Herman. Old witch! So I'll make you answer! Herman takes out a pistol. The Countess nods her head, raises her arms to shield herself from the shot, and falls dead. Fully childish!

31 Would you like to assign me three cards? Yes or no? 31 Goes to the Countess, takes her hand. He sees with horror that the Countess is dead. She is dead! Come true! .. But I did not find out the secret! (Stands as if petrified.) Dead! .. But I didn’t know the secret ... Dead! Dead! Lisa enters with a candle. LISA. What is the noise here? (Seeing Herman.) Are you, are you here? HERMAN (rushing towards her, fearfully). Shut up! Shut up! She is dead, but I haven’t learned the secret! .. LIZA. Who's Dead? What are you talking about? HERMAN (pointing to the corpse). Come true! She's dead, But I haven't learned the secret! .. LIZA (rushes to the Countess's corpse) Yes! died! Oh my God! And you did it? (Sobs.) I didn't want her death, I just wanted to know three cards! LISA. So that's why you're here! Not for me! You wanted to know three cards! You didn't want me, but the cards! Oh my god, my god! And I loved him, I died because of him! .. A monster! Assassin! Monster! Herman wants to speak, but with an imperious gesture she points to the secret door. Away! Away! The villain! Away! She is dead! LISA. Away! Herman runs away. Lisa, with sobs, sinks onto the Countess's corpse. ACTION THREE PICTURE FIVE

32 32 Barracks. Herman's room. Winter. Late evening. Moonlight alternately illuminates the room through the window, then disappears. The howling of the wind is heard. The room is dimly lit by a candle on the table. A military signal sounds offstage. Herman is sitting at the table. SCENE I. HERMAN (reads the letter). "... I do not believe that you want the Countess's death ... I am exhausted by the consciousness of my guilt before you! Calm me down! Today I am waiting for you on the embankment, when no one can see us there. If you do not come before midnight, I must I will admit a terrible thought, which I drive away from myself. Forgive, forgive, but I suffer so much! .. "Poor thing! Into what abyss I have lured her with me! Ah, if only I could forget and fall asleep! Sinks into a chair in deep thought and, as it were. slumbers. He fancies that he again hears the church choir singing the funeral service for the deceased countess. CHOIR OF SINGERS (offstage in the distance). I pray to the Lord, That he would heed my sorrow, For my soul was filled with evil And I fear the captivity of hell, Oh, look, God, at the sufferings You of your servant! HERMAN (getting up frightened). All the same thoughts, All the same nightmare and gloomy pictures of the funeral They rise as if alive before me ... (He listens.) What is this ?! Singing or howling of the wind? I can't make it out ... (A distant funeral singing is heard.) Just like there ... yes, yes, they are singing! And here is the church, and the crowd, and the candles, And the censer, and the sobs ... (The singing is clearer.) Here is the hearse, here is the coffin ... And in that coffin there is an old woman without movement, without breathing. on the black steps! It's scary, but there is no strength to go back! .. I look at the dead face ... And suddenly, squinting mockingly, It blinked at me! Away, terrible vision! Away! (Sinks into a chair, covering her face with her hands.) CHOIR OF SINGERS. Give her endless life! For a moment the howling of the storms dies down and in the silence there is a short knock on the window. Herman looks up and listens. There is a gust of wind again. A shadow flickers through the window. The knock on the window is repeated. A new gust of wind opens the window

33 and extinguishes the candle, and again a shadow appears in the window. Herman stands as if petrified. 33 I'm scared! Scary! There ... there ... steps ... They open the door ... No, no, I can't stand it! He runs to the door, but at that moment the ghost of the Countess in a white shroud appears in the doorway .. Herman retreats, the ghost approaches him. THE GHOST OF THE GRAPHINE. I came to you against your will, But I was ordered to fulfill your request. Save Lisa, marry her, And three cards, three cards, Three cards will win in a row. Remember! Troika! Seven! Ace! Three, seven, ace! (Disappears.) HERMAN (with an air of madness). Three, seven, ace! Three ... Seven ... Ace ... PICTURE SIX Night. Winter Groove. In the back of the stage there is the embankment and the Peter and Paul Fortress, illuminated by the moon. Liza is standing all in black under the arch, in a dark corner. SCENE I. LIZA. Already midnight is approaching, And Herman is still not, still not. I know he will come and dispel suspicion. He is a victim of chance And crime cannot, cannot commit! Ah, I was worn out, I was worn out! .. Ah, I was worn out with grief ... At night, in the afternoon, only about him I tortured myself with the thought ... Where are you, you have experienced joy? Ah, I'm tired, I'm tired! Life promised me only joy, The cloud found, brought thunder, Everything that I loved in the world, Happiness, broke my hopes! Ah, I'm tired, I'm tired! Whether at night, during the day, only about him, Oh, I tortured myself with a thought ... Where are you, the joy of being? A cloud came and brought a thunderstorm, Happiness, broke hopes! I'm tired! I'm worn out! Longing gnaws at me and gnaws ...

34 And if the clock strikes me in response, That he is a murderer, a seducer? Oh, scary, scary to me! .. 34 The clock strikes on the fortress tower. Oh time! Wait, he will be here now ... (With despair.) Oh, dear, come, have pity, Take pity on me, My husband, my master! So it's true! I tied my fate with the villain! To a murderer, to a monster forever My soul belongs! .. By his criminal hand And my life and my honor are taken, I am by the will of heaven, fateful With the murderer, together cursed! Lisa wants to run away, but at this time Herman appears. You are here, you are here! You are not a villain! Are you here! The end of the torment has come, And again I became yours! Away with tears, anguish and doubt! You are mine again and I am yours! Falls into his arms. Yes, here I am, my dear! (Kisses her.) LISA. Oh yes, the suffering is over, I am with you again, my friend! I am with you again, my friend! LISA. The bliss of a date has arrived! The bliss of a date has arrived! LISA. The end of our painful agony! The end of our painful agony! LISA. Oh yes, the suffering has passed, I am with you again! Those were heavy dreams, the deception of a dream is empty. LISA. Dream deception is empty. Forgotten groans and tears! I'm with you again, Yes, I'm with you again! Our torment, suffering has passed, the blessed hour of goodbye has come,

35 Oh my angel, I am with you again! 35 LIZA (at the same time with Herman) Forgotten groans and tears! Oh, my dear, desired, I am again, again with you, Our suffering has passed forever, The torment is over, My dear, desired, I am with you again! But, dear, we cannot hesitate, The clock is running ... Are you ready? Let's run! LISA. Where to run? With you to the end of the world! Where to run? .. Where? .. To the gambling house! LISA. Oh my God! What's the matter with you, Herman? There heaps of gold lie And they belong to me, to me alone! LISA. Oh woe! Herman, what are you saying? Come to your senses! Ah, I forgot, because you don't know yet! Three cards, remember, What else I wanted to find out from the old witch! LISA. Oh my God! He's insane! Stubborn! Didn't want to tell me! After all, today I had it And she told me three cards herself. LISA. So you killed her? Oh no! what for? I just raised the pistol, And the old witch suddenly fell! (Laughs.) LIZA. So it's true! True! Yes! Yes! It's true, I know three cards! Three cards to her killer, She called three cards! It was so destined by fate

36 I had to commit a villainy, Three cards at this price Only I could buy! I had to commit a villainy, So that at this terrible price My three cards I could recognize. 36 LIZA (simultaneously with Herman). So it's true! I tied my fate with the villain! Murderer, monster forever My soul belongs! By his criminal hand And life, and my honor are taken, I am by the will of heaven fatal With the murderer I am cursed together, With the murderer I am also cursed! But no, it can't be! Come to your senses, Herman! HERMAN (ecstatic). Yes! I am the third one who, passionately loving, Came to learn from you by force About three, seven, ace! LISA. Whoever you are, I'm still yours! Run, walk with me, I will save you! Yes! I learned, I learned from you About three, seven, ace! (He laughs and pushes Lisa away.) Leave me alone! Who are you? I don't know you! Away! Away! (Runs away) LIZA. He died, died! And along with him and I! Runs to the embankment and throws himself into the river. PICTURE SEVEN Gambling house. SCENE I. Dinner. Some are playing cards. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! Let's play with life! Youth does not last forever, Old age does not wait long! We won't have to wait long.

37 Let our youth drown In bliss, cards and wine! They have only one joy in the world, Life will rush through like a dream! Let's drink and have fun! Let's play with life! Youth does not last forever, Old age does not wait long! We won't have to wait long. 37 SURIN (behind the cards). Dana! .. CHAPLITSKY. Gnu passwords! NARUMOV. Killed! CHAPLITSKY. Passwords ne! CHEKALINSKY (mosque). Is it good to put? NARUMOV. Atande! CHEKALINSKY. Ace! Prince Yeletsky enters. SURIN. I am a Mirandol ... TOMSKY (to Yeletsky). How did you get here? I haven't seen you on the players before. ELETSKY. Yes! This is my first time here. You know, they say: The unhappy in love in the game are happy. TOMSKY. What do you want to say? ELETSKY. I'm not a groom anymore. Do not ask me- It hurts too much, friend- I'm here to take revenge- After all, happiness in love Leads misfortune with itself in the game. TOMSKY. Explain what this means. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! ELETSKY. You'll see! CHOIR OF GUESTS AND PLAYERS. Let's play with life! Youth does not last forever, Old age does not wait long!

38 We don't have to wait long. 38 Players joining in for dinner. CHEKALINSKY. Hey gentlemen! Let Tomsky sing to us! CHORUS OF GUESTS AND PLAYERS. Sing, Tomsky, sing, but something funny, funny! TOMSKY. Something is not sung to me ... CHEKALINSKY. Eh, full of that nonsense! Drink and sing! Tomsky's health, friends! Hurrah! CHORUS OF GUESTS AND PLAYERS. Tomsky's health, friends! Hurrah! Hurrah! Hurrah! Hurrah! TOMSKY (sings). If dear girls 19 So they could fly like birds, And they sat on knots, I would like to be a knot, To thousands of girls On my branches sit, On my branches sit! CHORUS OF GUESTS AND PLAYERS Bravo! Bravo! Oh, sing another verse! TOMSKY. Let them sit and sing, Willy nests and whistle, Bring out the chicks! I would never bend, I would always admire them, I was happier than all the knots, I was happier than all the knots! CHORUS OF GUESTS AND PLAYERS. Bravo! Bravo! That's a song! This is glorious! Bravo! Well done! I would never bend, I would always admire them, I would be happier than all the bitches! CHEKALINSKY. Now, as usual, friends, Igretskaya! CHEKALINSKY. CHAPLITSKY, NARUMOV AND SURIN. Ah, where are those islands, 20 Where tryn grass grows, Brothers! So on rainy days they Gathered often. 19 Verses by Derzhavin. 20 Poems by Ryleev

39 39 CHOIR OF GUESTS AND PLAYERS. So on rainy days they Gathered often. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. Bent, God forgive them, From fifty To one hundred. CHOIR OF GUESTS AND PLAYERS. Bent, God forgive them, From fifty To one hundred. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. And they won, And they wrote off with Chalk. CHOIR OF GUESTS AND PLAYERS. And they won, And they wrote off with Chalk. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. So on rainy days They were engaged in Business. CHOIR OF GUESTS AND PLAYERS. So on rainy days They were engaged in Business. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. Bent, God forgive them, From fifty To one hundred. CHOIR OF GUESTS AND PLAYERS. Bent, God forgive them, From fifty To one hundred. CHEKALINSKY., CHAPLITSKY, NARUMOV, SURIN AND THE CHOIR OF GUESTS. And they won, And they wrote off with Chalk. So on rainy days They were engaged in Business. Bent, God forgive them, From fifty To one hundred. (Whistling, screaming and dancing.) One hundred, one hundred, one hundred, one hundred! CHEKALINSKY. For the cause, gentlemen, for the cards! Wine, wine! (They sit down to play.)

40 40 CHOIR OF GUESTS AND PLAYERS. Wine, wine! CHAPLITSKY. Nine! NARUMOV Passwords ... CHAPLITSKY. Down the drain! SURIN. I put on the rue ... CHAPLITSKY. Dana! NARUMOV. From transport by ten! SCENE II. Herman enters. ELETSKY (seeing him). My premonition did not deceive me. (To Tomsky.) I may need a second. Won't you refuse? TOMSKY. Hope in me! Chorus of guests and players A! Hermann! Friend! Friend! Why so late? Where did it come from? CHEKALINSKY. Sit down with me, you bring happiness. SURIN. Where are you from? Where have you been? Isn't it in hell? Look what it looks like! CHEKALINSKY. You can't be more terrible! Are you healthy? Let me put the card down. (Chekalinsky bows silently in agreement.) SURIN. What miracles, he began to play! CHOIR OF GUESTS AND PLAYERS. Here are miracles, he began to ponte, our German! Herman puts the card down and covers it with a bank note. NARUMOV. Buddy, congratulations on allowing such a long post! HERMAN (placing the card). Going? CHEKALINSKY. How much? Forty thousand!

41 CHOIR OF GUESTS AND PLAYERS. Forty thousand! You're out of your mind! That's the jackpot! 41 SURIN. Didn't you recognize three cards from the Countess? HERMAN (irritated). Well, are you hitting or not? CHEKALINSKY. Goes! Which card? Troika. (Chekalinsky mosque.) Won! CHOIR OF GUESTS AND PLAYERS. He won! Here is a lucky man! CHEKALINSKY. Something is wrong here! His wanderings promise bad things, He seems to be unconscious! No, something is wrong here! His wandering eyes promise bad! SURIN (simultaneously with Chekalinsky). Something is wrong here! His wandering eyes promise bad, He seems to be delirious, unconscious! No, something is wrong here! No, his wandering promises bad things! ELETSKY (simultaneously with Chekalinsky). Something is wrong here! But the punishment is close, close! I will avenge you, I will avenge you, villain, my suffering, I will avenge you! NARUMOV (simultaneously with Chekalinsky). Something is wrong here! Wandering of his eyes promises unkind, Promises unkind! No, something is wrong here! The wandering of his eyes promises unkindness! CHAPLITSKY (simultaneously with Chekalinsky). Something is wrong here! The wandering of his eyes promises unkindness! He seems to be unconscious! No, there is something wrong here, his wandering promises bad things! TOMSKY (simultaneously with Chekalinsky). Something is wrong here, wrong! His wandering eyes, His wandering eyes promise evil!

Let the sun shine on you, Let the wrinkles not grow old, Let the children delight you, Let the men love you! Without wasting unnecessary words, I give you a bouquet of flowers. I wish you to be a beautiful lady. Even more beautiful with flowers!

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On the libretto by Modest Ilyich Tchaikovsky based on the story of the same name by A.S. Pushkin.

Characters:

HERMAN (tenor)
GRAPH TOMSKY (baritone)
PRINCE ELETSKY (baritone)
CHEKALINSKY (tenor)
SURIN (tenor)
CHAPLITSKY (bass)
NARUMOV (bass)
ORDER (tenor)
GRAPHINE (mezzo-soprano)
LISA (soprano)
POLINA (contralto)
GOVERNANT (mezzo-soprano)
MASHA (soprano)
BOY COMMANDER (no singing)

characters in sideshow:
ADDITION (soprano)
MILOVZOR (POLINA) (contralto)
ZLATOGOR (GRAF TOMSKY) (baritone)
NURSES, GOVERNESTS, WESTERS, WALKERS, GUESTS, CHILDREN, PLAYERS, AND OTHERS.

Time of action: the end of the 18th century, but no later than 1796.
Place of action: Petersburg.
First performance: St. Petersburg, Mariinsky Theater, 7 (19) December 1890.

Amazingly, before PI Tchaikovsky created his tragic opera masterpiece, Pushkin's The Queen of Spades inspired Franz Suppe to compose ... an operetta (1864); and even earlier, in 1850, the eponymous opera was written by the French composer Jacques François Fromantal Halévy (however, little of Pushkin remained here: Scribe wrote the libretto, using for this the translation of The Queen of Spades into French, made in 1843 by Prosper Merimee; in this opera, the hero's name is changed, the old countess is turned into a young Polish princess, and so on). These are, of course, curious circumstances, which can only be learned from musical encyclopedias - these works are of no artistic value.

The plot of The Queen of Spades, proposed to the composer by his brother, Modest Ilyich, did not immediately interest Tchaikovsky (as the plot of Eugene Onegin in his time), but when he nevertheless captured his imagination, Tchaikovsky began to work on the opera “with selflessness and pleasure ”(as well as on“ Eugene Onegin ”), and the opera (in the clavier) was written in an astonishingly short time - in 44 days. In a letter to N.F. von Meck PI Tchaikovsky tells how he came to the idea of \u200b\u200bwriting an opera on this plot: “It happened this way: three years ago my brother Modest began composing a libretto on the plot of The Queen of Spades at the request of a certain Klenovsky, but the latter ultimately refused to compose music, for some reason did not cope with his task. Meanwhile, the theater director Vsevolozhsky was carried away by the idea that I should write an opera on this very plot, and, moreover, certainly for the next season. He expressed this desire to me, and since it coincided with my decision to flee Russia in January and start writing, I agreed ... I really want to work, and if I manage to get a good job somewhere in a cozy corner abroad - it seems to me that I will master my task and by May I will present the claviraustsug to the Directorate, and in the summer I will be instructing it ”.

Tchaikovsky left for Florence and began working on The Queen of Spades on January 19, 1890. The surviving sketch sketches give an idea of \u200b\u200bhow and in what sequence the work proceeded: this time the composer wrote almost "in succession" (in contrast to "Eugene Onegin", whose composition began with the scene of Tatyana's writing). The intensity of this work is striking: from January 19 to 28, the first picture is composed, from January 29 to February 4 - the second picture, from February 5 to 11 - the fourth picture, from February 11 to 19 - the third picture, etc.

The libretto of the opera is very different from the original. The work of Pushkin is prosaic, the libretto is poetic, and with verses not only of the librettist and the composer himself, but also of Derzhavin, Zhukovsky, Batyushkov. Liza in Pushkin is a poor pupil of a rich old woman-countess; for Tchaikovsky, she is her granddaughter, “in order,” as the librettist explains, “to make Hermann's love for her more natural”; it is not clear, however, why his love would be less "natural" for the poor girl. In addition, an unclear question arises about her parents - who, where are they, what happened to them. Hermann (sic!) In Pushkin is from the Germans, therefore this is the spelling of his surname, in Tchaikovsky nothing is known about his German origin, and in the opera Hermann (with one "n") is perceived simply as a name. Prince Yeletsky, who appears in the opera, is absent from Pushkin. Count Tomsky, whose kinship with the countess in the opera is not noted in any way, and where he was brought out by an outsider (just an acquaintance of Herman, like other players), is her grandson in Pushkin; this, apparently, explains his knowledge of the family secret. The action of Pushkin's drama takes place in the era of Alexander I, while the opera takes us - this was the idea of \u200b\u200bthe director of the imperial theaters I.A. Vsevolozhsky - in the era of Catherine. The finals of the drama in Pushkin and Tchaikovsky are also different: in Pushkin, Hermann, although he is going crazy (“He is sitting in the Obukhov hospital in room 17”), still does not die, and Liza, moreover, is getting married relatively safely; at Tchaikovsky's - both heroes perish. There are many more examples of differences - both external and internal - in the interpretation of events and characters by Pushkin and Tchaikovsky.

INTRODUCTION

The opera begins with an orchestral introduction based on three contrasting musical images. The first theme is the theme of Tomsky's story (from his ballad) about the old countess. The second theme describes the countess herself, and the third is passionate and lyrical (the image of Herman's love for Lisa).

ACTION I

Scene 1. "Spring. Summer garden. Playground. Nurses, governesses and wet nurses are sitting on benches and pacing about the garden. Children play with torches, others jump over ropes, throw balls. " This is the first remark of the composer in the score. In this everyday scene, the choirs of nannies and governesses sound, and the perky march of boys: a boy-commander walks in front, he gives commands ("Musket ahead of you! Take the muzzle! Musket to the leg!"), The rest perform his commands, then, drumming and blowing their trumpets, they leave. Other children follow the boys. The nannies and governesses disperse, making way for other strollers.

Enter Chekalinsky and Surin, two officers. Chekalinsky asks how the game ended the day before (at cards) in which Surin took part. Bad, he, Surin, lost. The conversation turns to Herman, who also comes, but does not play, but only looks. In general, his behavior is rather strange, "as if he has at least three atrocities in his heart," says Surin. Herman himself enters, brooding and gloomy. Count Tomsky is with him. They talk to each other. Tomsky asks Herman what is happening to him, why he has become so gloomy. Herman reveals to him a secret: he is passionately in love with a beautiful stranger. He talks about it in Arioso "I don't know her name." Tomsky is surprised by such passion of Herman ("Is it you, Herman? I confess, I would not believe anyone that you are capable of loving like that!"). They pass, and the stage is again filled with people walking. Their chorus sounds "Finally, God sent a sunny day!" - a sharp contrast to Herman's gloomy mood (critics who considered these and similar episodes in the opera unnecessary, for example V. Baskin, the author of the first critical sketch of the life and work of Tchaikovsky (1895), apparently underestimated the expressive power of these contrasts of mood. old women, old men, young ladies and young people talk about the weather, all of them sing at the same time.

Herman and Tomsky reappear. They continue the conversation, which was interrupted for the viewer with their previous departure (“Are you sure that she does not notice you?” Tomsky asks Herman). Prince Yeletsky enters. Chekalinsky and Surin are walking towards him. They congratulate the prince on the fact that he is now the groom. Herman asks who the bride is. At this moment the Countess and Lisa enter. The prince points to Liza - this is his bride. Herman is in despair. The Countess and Lisa spot Herman, and both of them are gripped by an ominous foreboding. “I'm scared,” they sing together. The same phrase - a wonderful dramatic find of the composer - begins the poems of Herman, Tomsky and Yeletsky, which they sing simultaneously with the Countess and Lisa, further expressing each of their feelings and forming a wonderful quintet - the central episode of the scene.

With the end of the quintet, Count Tomsky approaches the countess, Prince Yeletsky - to Liza. Herman stands aside, and the Countess stares at him intently. Tomsky turns to the Countess and congratulates her. She, as if not hearing his congratulations, asks him about the officer, who is he? Tomsky explains that this is Herman, his friend. He and the Countess retreat into the back of the stage. Prince Yeletsky gives his hand to Liza; he radiates joy and delight. Herman sees this with undisguised jealousy and sings, as if reasoning to himself: “Rejoice, friend! You have forgotten that a thunderstorm happens after a quiet day! " With these his words, a distant rumble of thunder is indeed heard.

The men (here Herman, Tomsky, Surin and Chekalinsky; Prince Yeletsky left earlier with Liza) starts talking about the Countess. Everyone agrees that she is a "witch", "bogeyman", "an eighty-year-old hag." Tomsky (according to Pushkin, her grandson), however, knows something about her that no one knows. “The Countess was known as a beauty many years ago in Paris” - this is how he begins his ballad and tells how one day the Countess lost all her fortune. Then the Comte Saint-Germain invited her - at the cost of one "rendez-vous" - to reveal three cards to her, which, if she bet on them, would return her to her fortune. The Countess got her revenge ... but what a price! Twice she revealed the secret of these cards: the first time to her husband, the second to the young handsome man. But the ghost that appeared to her that night warned her that she would receive a fatal blow from the third, who, passionately in love, would come to learn three cards by force. Everyone perceives this story as a funny story and even laughingly advise Herman to take the opportunity. There is a strong thunderclap. A thunderstorm breaks out. Walkers hurry in different directions. Herman, before he himself hides from the thunderstorm, swears that Liza will be his or he will die. So, in the first picture, the dominant feeling of Herman remains love for Lisa. Something will come next ...

Scene 2. Lisa's room. Door to balcony overlooking the garden. Lisa at the harpsichord. Polina is beside her; here are friends. Liza and Polina sing an idyllic duet to the words of Zhukovsky ("It's evening ... the edges have faded"). The girlfriends express their delight. Lisa asks Polina to sing one. Polina sings. Her romance "Lovely Friends" sounds gloomy and doomed. It kind of resurrects the good old days - it's not for nothing that the accompaniment sounds on the harpsichord. Here the librettist used Batyushkov's poem. It formulates an idea that was first expressed in the 17th century in a Latin phrase that then became a winged one: "Et in Arcadia ego", meaning: "And (even) in Arcadia (that is, in paradise) I (that is, death) (is) "; in the 18th century, that is, at the time that is recalled in the opera, this phrase was rethought, and now it meant: “And I once lived in Arcadia” (which is a violation of the grammar of the Latin original), and this is exactly what Polina sings about : "And I, like you, lived happy in Arcadia." This Latin phrase could often be found on tombstones (such a scene was depicted twice by N. Poussin); Polina, like Liza, accompanying herself on the harpsichord, ends her romance with the words: “But what did I get in these joyful places? The grave! ”) Everyone is touched and excited. But now Polina herself wants to make a more cheerful note and suggests singing "Russian in honor of the bride and groom!" (that is, Liza and Prince Yeletsky). Girlfriends clap their hands. Lisa, not taking part in the fun, stands by the balcony. Polina and her friends sing, then start dancing. The governess enters and puts an end to the girls' fun, informing that the Countess, having heard the noise, was angry. The young ladies disperse. Lisa is seeing Pauline off. The maid enters (Masha); she puts out the candles, leaving only one, and wants to close the balcony, but Lisa stops her.

Left alone, Liza indulges in thought, she cries quietly. Her arioso sounds "Where are these tears from?" Liza turns to the night and confides in her the secret of her soul: "She is gloomy, like you, she is like the gaze of sad eyes, peace and happiness that have taken away from me ..."

Herman appears at the door of the balcony. Lisa retreats in horror. They look at each other in silence. Lisa makes a movement to leave. Herman begs her not to leave. Lisa is confused and ready to scream. Herman takes out his pistol, threatening to kill himself - "alone or in front of others." The big duet of Lisa and Herman is full of passionate impulse. Herman exclaims: “Beauty! Goddess! Angel!" He kneels in front of Lisa. His arioso “Forgive, heavenly creature that I have disturbed your peace,” sounds gentle and sad, is one of Tchaikovsky's best tenor arias.

Footsteps are heard outside the door. The Countess, alarmed by the noise, heads for Lisa's room. She knocks on the door, demands that Liza open it (she opens it), enters; with her the maids with candles. Lisa manages to hide Herman behind the curtain. The countess angrily reprimands her granddaughter for not sleeping, that the door to the balcony is open, that worries her grandmother - and in general, so as not to dare to start stupid things. Exit the Countess.

Herman recalls the fatal words: "Who, passionately loving, will come to probably learn from you three cards, three cards, three cards!" Lisa closes the door behind the Countess, walks over to the balcony, opens it and orders Herman to leave with a gesture. Herman begs her not to drive him away. To leave is to die for him. "Not! Live! ”Liza exclaims. Herman impulsively embraces her; she puts her head on his shoulder. "Beauty! Goddess! Angel! Love you!" - Herman sings ecstatically.

ACTION II

The second act contains the contrast of two pictures, of which the first (in order in the opera - the third) takes place at a ball, and the second (fourth) - in the countess's bedroom.

Scene 3. Masquerade ball in the house of a wealthy capital (of course, St. Petersburg) nobleman. Large hall. Lodges are arranged on the sides, between the columns. Guests are dancing contrasted. Singers sing in the choirs. Their singing reproduces the style of the welcome cants of the Catherine era. Herman's old acquaintances - Chekalinsky, Surin, Tomsky - gossip about the state of mind of our hero: one believes that his mood is so changeable - "It was gloomy, then it became cheerful" - because he is in love (Chekalinsky thinks so), another (Surin ) already confidently says that Herman is obsessed with the desire to learn three cards. Deciding to tease him, they leave.

The hall is empty. The servants enter to prepare the middle of the stage for the sideshow, traditional ball entertainment. Prince Yeletsky and Liza are passing by. The prince is taken aback by Liza's coldness towards him. He sings about his feelings for her in the famous aria "I love you, I love you immensely." We do not hear Lisa's answer - they leave. Herman enters. He has a note in his hand, and he reads it: “After the show, wait for me in the hall. I must see you ... ”Chekalinsky and Surin reappear, with several more people; they tease Herman.

The steward appears and, on behalf of the host, invites guests to a side-show performance. It's called The Shepherdess's Sincerity. (From the above list of characters and performers of this performance in the performance, the reader already knows which of the guests at the ball is participating in it). This is a pastoral stylization of the music of the 18th century (even the genuine motives of Mozart and Bortnyansky slip through). The pastoral is over. Herman notices Lisa; she is wearing a mask. Lisa turns to him (a distorted melody of love sounds in the orchestra: a turning point has come in Herman's mind, now he is led not by love for Lisa, but by the obsessive thought of three cards). She gives him the key to the secret door in the garden so that he can enter her house. Lisa is expecting him tomorrow, but Herman intends to be with her today.

An agitated steward appears. He reports that the Empress, of course, Catherine, is about to appear at the ball. (It is her appearance that makes it possible to clarify the time of the opera: "no later than 1796", since Catherine II died this year. In general, Tchaikovsky had difficulties with the introduction of the empress in the opera - the same as before N.A. Rimsky -Korsakov when staging “The Pskovite Woman.” The fact is that in the 1940s Nicholas I, by his imperial command, forbade the reigning persons of the Romanovs' house to be shown on the opera stage (moreover, it was allowed to do so in dramas and tragedies); it will be good if the tsar or the tsarina suddenly sings a song. ”PI Tchaikovsky's letter to the director of the imperial theaters IA Vsevolozhsky is known, in which he, in particular, writes:“ I caress myself with the hope that Grand Duke Vladimir Alexandrovich will settle the issue of Catherine by the end of the third scene. ") Strictly speaking, this picture ends only with preparations for the meeting of the empress:" The men stand in a pose of low court bow. Ladies squat deep. Pages appear ”- this is the last author's remark in this picture. The choir praises Catherine and exclaims: “Vivat! Vivat! "

Scene 4. The Countess's bedroom, illuminated by lamps. Herman enters through a secret door. He looks around the room: "Everything is as she told me." Herman is determined to find out the secret from the old woman. He walks towards Lisa's door, but his attention is drawn to the countess's portrait; he stops to examine it. Strikes midnight. "And, here it is," Venus of Moscow "!" - he argues, looking at the portrait of the countess (apparently depicted in her youth; Pushkin describes two portraits: one depicts a man of about forty, the other - "a young beauty with an aquiline nose, with combed temples and a rose in powdered hair"). Resounding footsteps frighten Herman, he hides behind the curtain of the boudoir. The maid runs in and hastily lights the candles. Other maids and housewives come running after her. The Countess enters, surrounded by bustling maids and housewives; their chorus sounds ("Our Benefactor").

Liza and Masha enter. Liza lets Masha go, and she realizes that Liza is waiting for Herman. Now Masha knows everything: “I chose him as my spouse,” Liza reveals to her. They are going away.

The hostesses and the maids bring in the Countess. She is in a dressing gown and a nightcap. She is put to bed. But she, in a rather strange way (“I’m tired ... no urine ... I don’t want to sleep in bed”), sits down in a chair; she is covered with pillows. Scolding modern manners, she reminisces about her French life, while she sings (in French) an aria from Gretri's opera Richard the Lionheart. (A funny anachronism, which Tchaikovsky could not be unaware of - he simply did not attach importance to historical reliability in this case; although, as far as Russian life is concerned, he strove to preserve it. So, this opera was written by Gretry in 1784, and if the opera is " The Queen of Spades "refers to the end of the 18th century and the Countess is now an eighty-year-old woman, then in the year of the creation of" Richard "she was at least seventy" and the French king ("The King heard me" - recalled the Countess) would hardly listen to her singing; Thus, if the Countess once sang for the king, then much earlier, long before the creation of Richard.)

Performing her aria, the Countess gradually falls asleep. Herman appears from behind the shelter and stands against the countess. She wakes up and silently moves her lips in horror. He begs her not to be frightened (the Countess silently, as if in a daze, continues to look at him). Herman asks, begs her to reveal to him the secret of the three cards. He kneels before her. The Countess, straightening up, looks menacingly at Herman. He conjures her. "Old witch! So I'll make you answer! " he exclaims and takes out his pistol. The Countess nods her head, raises her arms to shield herself from the shot, and falls dead. Herman approaches the corpse, takes his hand. Only now does he realize what happened - the countess is dead, and he did not find out the secret.

Lisa enters. She sees Herman here in the Countess's room. She is surprised: what is he doing here? Herman points to the countess's corpse and in despair exclaims that he has not learned the secret. Lisa rushes to the corpse, sobs - she is killed by what happened and, most importantly, that Herman did not need her, but the secret of the cards. "Monster! Assassin! Monster!" - she exclaims (compare with him, Herman: "Beauty! Goddess! Angel!"). Herman runs away. Liza sinks with sobs onto the lifeless body of the Countess.

ACTION III

Scene 5. Barracks. Herman's room. Late evening. Moonlight alternately illuminates the room through the window, then disappears. The howl of the wind. Herman is sitting at the table by the candle. He reads Lisa's letter: she sees that he did not want the Countess's death, and will wait for him on the embankment. If he does not come before midnight, she will have to admit a terrible thought ... Herman sinks into a chair in deep thought. He dreams that he hears a choir of singers singing the funeral service for the Countess. Terror grips him. He sees steps. He runs to the door, but there he is stopped by the ghost of the Countess. Herman retreats. The ghost is coming. The ghost turns to Herman with the words that he came against his will. He orders Herman to save Lisa, marry her and reveals the secret of three cards: three, seven, ace. Having said this, the ghost immediately disappears. The distraught Herman repeats these cards.

Scene 6. Night. Winter Groove. In the back of the stage - the embankment and the Peter and Paul Church, illuminated by the moon. Liza is standing under the arch, all in black. She is waiting for Hermann and sings her aria, one of the most famous in the opera - "Ah, I'm tired, I'm tired!" The clock strikes midnight. Liza desperately calls on Herman - he's still gone. Now she is sure that he is a killer. Lisa wants to run, but Herman enters. Lisa is happy: Herman is here, he is not a villain. The suffering has come to an end! Herman kisses her. “The end of our painful agony,” they echo to each other. But we must not hesitate. The clock is running. And Herman encourages Lisa to run with him. But where? Of course, to the gambling house - "There are heaps of gold, and I, they belong to me alone!" - he assures Lisa. Now Lisa finally understands that Herman is insane. Herman confesses that he raised the pistol to the "old witch". Now for Lisa he is a killer. Herman ecstatically repeats three cards, laughs and pushes Lisa away. She, being unable to bear it, runs to the embankment and rushes into the river.

Scene 7. Gambling house. Dinner. Some players play cards. The guests sing: "Let's drink and have fun." Surin, Chaplitsky, Chekalinsky, Arumov, Tomsky, Yeletsky are thrown around with remarks about the game. Prince Yeletsky is here for the first time. He is no longer a groom and hopes that he will be lucky in cards, since he is unlucky in love. Tomsky is asked to sing something. He sings a rather ambiguous song "If only lovely girls" (her words belong to GR Derzhavin). Everyone picks up her last words. In the midst of the game and fun, Herman enters. Yeletsky asks Tomsky to be his second, if necessary. He agrees. Everyone is struck by the strangeness of Herman's appearance. He asks for permission to take part in the game. The game begins. Herman bets on three - wins. He continues the game. Now - seven. And again the win. Herman laughs hysterically. Requires wine. Glass in hand, he sings his famous aria “What is our life? - A game!" Prince Yeletsky enters the game. This round is really like a duel: Herman announces an ace, but instead of an ace, he has a queen of spades. At this moment, the ghost of the countess is shown. All retreat from Herman. He's terrified. He curses the old woman. In a fit of insanity, he stabs himself. The ghost disappears. Several people rush to the fallen German. He's still alive. Coming to his senses and seeing the prince, he tries to get up. He asks the prince for forgiveness. At the last minute, a bright image of Lisa appears in his mind. The chorus of those present sings: “Lord! Forgive him! And rest his rebellious and tormented soul. "

A. Maikapar

Modest Tchaikovsky, ten years younger than his brother Peter, is not known as a playwright outside of Russia, with the exception of the libretto The Queen of Spades after Pushkin, set to music in early 1890. The plot of the opera was proposed by the directorate of the imperial Petersburg theaters, who intended to present a grandiose performance from the era of Catherine II. When Tchaikovsky set to work, he made changes to the libretto and himself partially wrote the poetic text, including the poems of poets - contemporaries of Pushkin. The text of the scene with Liza at the Winter Canal belongs entirely to the composer. The most spectacular scenes were reduced by him, but nevertheless they give the opera a showiness and form the background of the development of the action. And even these scenes Tchaikovsky handled masterfully, for example - the text introducing the chorus praising the tsarina - the final chorus of the first scene of the second act.

Thus, he put a lot of effort into creating an authentic atmosphere of that time. In Florence, where the sketches of the opera were written and part of the orchestration was done, Tchaikovsky did not part with the music of the 18th century of the era of the Queen of Spades (Gretry, Monsigny, Piccinni, Salieri) and wrote in his diary: “At times it seemed that I was living in the 18th century and that there was nothing further than Mozart. " Of course, Mozart is no longer so young in his music. But in addition to imitating - with an inevitable degree of dryness - Rococo patterns and the resurrection of expensive gallant-neoclassical forms, the composer relied primarily on his heightened sensitivity. His feverish state during the creation of the opera went beyond the usual tension. Perhaps, in the possessed Herman, who requires the countess to name three cards and dooms himself to death, he saw himself, and in the countess his patroness Baroness von Meck. Their strange, one-of-a-kind relationship, maintained only in letters, a relationship like two ethereal shadows, ended in a breakup just in 1890.

The unfolding of the action, more and more frightening, is distinguished by Tchaikovsky's brilliant technique, which connects complete, independent, but closely related scenes: secondary events (outwardly distracting, in fact necessary for the whole) alternate with key events that make up the main intrigue. Five pivotal themes can be distinguished, which the composer uses as Wagnerian leitmotifs. Four are closely related: the theme of Hermann (descending, gloomy), the theme of three cards (anticipating the Sixth Symphony), the theme of Lisa's love ("Tristan", according to Hoffmann's definition) and the theme of fate. The theme of the Countess, based on the repetition of three notes of equal duration, stands apart.

The score is distinguished by a number of features. The coloring of the first act is close to "Carmen" (especially the boys' march), here the soulful arioso of Herman, recalling Liza, stands out. Then the action is suddenly transferred to the living room of the late 18th - early 19th century, in which a pathetic duet sounded, oscillating between major and minor, with obligatory flutes accompanied. The power of fate is felt in Herman's appearance in front of Lisa (and in his melody something resembles Verdi's “Force of Fate”); the Countess brings in the cold of the grave, and the ominous thought of the three cards poisons the mind of the young man. In the scene of his meeting with the old woman, stormy, desperate recitatives and Herman's aria, accompanied by vicious, repetitive sounds of wooden ones, signify the collapse of the unfortunate man who loses his mind in the next scene with a ghost, truly expressionist, with echoes of Boris Godunov (but with a richer orchestra) ... Then Lisa's death follows: a very tender sympathetic melody sounds against a terrible funeral background. Herman's death is less dignified, but not without tragic dignity. This double suicide once again testifies to the composer's decadent romanticism, which made so many hearts flutter and still constitutes the most popular side of his music. However, behind this passionate and tragic picture, there is a formal construction inherited from neoclassicism. Tchaikovsky wrote about this well in 1890: "Mozart, Beethoven, Schubert, Mendelssohn, Schumann composed their immortal creations exactly as a shoemaker sews boots." Thus, craftsmanship comes first, followed by inspiration. As for The Queen of Spades, it was immediately accepted by the public as a great success for the composer.

G. Marchesi (translated by E. Greceanîi)

History of creation

The plot of Pushkin's "The Queen of Spades" did not immediately interest Tchaikovsky. However, over time, this story more and more took possession of his imagination. Tchaikovsky was especially excited by the scene of Herman's fatal meeting with the Countess. Its deep drama captured the composer, prompting an ardent desire to write an opera. The writing began in Florence on February 19, 1890. The opera was created, according to the composer, "with selflessness and delight" and was completed in an extremely short time - forty-four days. The premiere took place in St. Petersburg at the Mariinsky Theater on 7 (19) December 1890 and was a huge success.

Soon after the publication of his short story (1833), Pushkin wrote in his diary: "My" Queen of Spades "is in great fashion. The players ponte on a three, a seven, an ace. " The popularity of the story was explained not only by the amusing plot, but also by the realistic reproduction of the types and customs of St. Petersburg society at the beginning of the 19th century. In the opera libretto, written by the composer's brother M.I.Tchaikovsky (1850-1916), the content of Pushkin's story is largely rethought. Liza turned from a poor pupil into a rich granddaughter of the Countess. Pushkin's Herman - a cold, calculating egoist, seized by only one thirst for enrichment, appears in Tchaikovsky's music as a man with a fiery imagination and strong passions. The difference in the social status of the heroes brought the theme of social inequality into the opera. With high tragic pathos, it reflects the fate of people in a society subject to the merciless power of money. Herman is a victim of this society; the desire for wealth imperceptibly becomes his obsession, overshadowing his love for Lisa and leading him to death.

Music

The opera The Queen of Spades is one of the greatest works of world realistic art. This musical tragedy amazes with the psychological truthfulness of the reproduction of the thoughts and feelings of the heroes, their hopes, suffering and death, the brightness of the pictures of the era, the tension of musical and dramatic development. The characteristic features of Tchaikovsky's style received their fullest and most complete expression here.

The orchestral introduction is based on three contrasting musical images: narrative, associated with Tomsky's ballad, ominous, depicting the image of the old Countess, and passionate lyrical, characterizing Herman's love for Lisa.

The first act opens with a bright everyday scene. Choirs of nannies, governesses, and the playful march of boys vividly set off the drama of subsequent events. Herman's arioso “I don’t know her name”, now elegiac-tender, now impetuously agitated, captures the purity and strength of his feeling. The duet of Herman and Yeletsky confronts sharply contrasting states of the heroes: Herman's passionate complaints "Unhappy day, I curse you" is intertwined with the calm, measured speech of the prince "Happy day, I bless you." The central episode of the film is the quintet "I'm scared!" - conveys the dark foreboding of the participants. In Tomsky's ballad, the chorus about three mysterious cards sounds ominously. The first scene ends with a stormy scene of a thunderstorm, against the background of which Hermann's oath sounds.

The second picture splits into two halves - everyday and love-lyrical. The idyllic duet of Polina and Liza "Evening is Evening" is covered with light sadness. Polina's romance "Lovely Friends" sounds gloomy and doomed. The live dance song "Come on, svetik-Mashenka" serves as a contrast to it. The second half of the picture opens with Lisa's arioso "Where Are These Tears From" - a heartfelt monologue, full of deep feelings. Liza's melancholy gives way to an enthusiastic admission "Oh, listen, night." Herman's tenderly sad and passionate arioso "Forgive me, heavenly creature" is interrupted by the appearance of the Countess: the music takes on a tragic tone; sharp, nervous rhythms, ominous orchestral colors appear. The second picture ends with the affirmation of the light theme of love. In the third picture (second act), scenes from the capital's life become the background of the developing drama. The opening choir in the spirit of the welcome cantatas of Catherine's era is a kind of screen saver for the picture. Prince Yeletsky's aria "I love you" outlines his nobility and restraint. Pastoral "The Shepherdess's Sincerity" - stylization of 18th century music; graceful, graceful songs and dances frame the idyllic love duet of Prilepa and Milovzor. In the finale, at the moment of Lisa and Herman's meeting, a distorted melody of love sounds in the orchestra: a turning point has come in Herman's mind, from now on he is guided not by love, but by the obsessive thought of three cards. The fourth scene, central to the opera, is full of anxiety and drama. It begins with an orchestral introduction, in which the intonations of Herman's love confessions are guessed. The choir of acclimatizers ("Our Benefactor") and the Countess's song (melody from the opera "Richard the Lionheart" by Gretry) are replaced by music of an ominously hidden character. She is contrasted with Hermann's arioso, imbued with a passionate feeling, "If you ever knew the feeling of love."

At the beginning of the fifth scene (third act), against the background of funeral singing and the howling of a storm, Herman's excited monologue “All the same thoughts, the same nightmare” appears. The music accompanying the appearance of the Countess's ghost fascinates with deathly stillness.

The orchestral introduction of the sixth scene is painted in dark tones of doom. The broad, freely flowing melody of Liza's aria "Ah, I'm tired, I'm tired" is close to Russian lingering songs; the second part of the aria "So it's true, with a villain" is full of despair and anger. The lyrical duet of Herman and Liza "Oh yes, the suffering is over" is the only bright episode of the picture. It is replaced by a scene of Herman's delirium about gold, remarkable in psychological depth. The return of the intro music, which sounds menacing and inexorable, speaks of the collapse of hopes.

The seventh scene begins with everyday episodes: the guests' drinking song, Tomsky's frivolous song "If only lovely girls" (to the words of G.R.Derzhavin). With the appearance of Hermann, the music becomes nervous and agitated. The alarmingly wary septet "Something is wrong here" conveys the excitement that gripped the players. The rapture of victory and cruel joy are heard in Herman's aria “What is our life? A game!". At the dying moment, his thoughts are again turned to Lisa, - a quivering, tender image of love appears in the orchestra.

M. Druskin

After more than ten years of complex, often contradictory searches, on the way of which there were bright interesting finds and annoying miscalculations, Tchaikovsky arrives at the greatest of his achievements in opera, creating The Queen of Spades, which is not inferior in strength and depth of expression to his symphonic masterpieces like Manfred, Fifth and Sixth Symphonies. He did not work on any of his operas, excluding Eugene Onegin, with such ardent enthusiasm, which, according to the composer's own admission, reached the point of “self-forgetfulness”. Tchaikovsky was so deeply captured by the whole atmosphere of action and images of the characters in The Queen of Spades that he perceived them as real living people. After finishing the sketch of the opera with feverish speed (All work was completed in 44 days - from January 19 to March 3, 1890. The orchestration was completed in June of the same year.), he wrote to his brother Modest Ilyich, the author of the libretto: “... when I reached the death of Herman and the final chorus, I felt so sorry for Herman that I suddenly began to cry a lot<...> It turns out that Herman was not just an excuse for me to write this or that music, but all the time a living person ... ". In another letter to the same addressee, Tchaikovsky admits: "I feel in other places, for example, in the fourth picture, which I have arranged today, such fear, horror and shock that it cannot be that the listener does not feel at least part of it."

Based on the novel of the same name by Pushkin, Tchaikovsky's The Queen of Spades deviates in many ways from the literary source: some plot moves have been changed, the characters and actions of the characters have received a different light. For Pushkin, Herman is a man of one passion, straightforward, calculating and tough, ready to put both his own and other people's lives at stake in order to achieve his goal. In Tchaikovsky, he is internally broken, is at the mercy of conflicting feelings and inclinations, the tragic intransigence of which leads him to inevitable death. The image of Liza was subjected to a radical rethinking: the ordinary colorless Pushkin Lizaveta Ivanovna became a strong and passionate nature, selflessly devoted to her feelings, continuing the gallery of pure poetically sublime female images in Tchaikovsky's operas from The Oprichnik to The Enchantress. At the request of the director of the imperial theaters I.A.Vsevolozhsky, the action of the opera was transferred from the 30s of the 19th century to the second half of the 18th century, which gave rise to the inclusion of a picture of a magnificent ball in the palace of the Catherine's grandee with a stylized interlude in the spirit of the "gallant century" , but did not affect the overall flavor of the action and the characters of its main participants. In terms of the richness and complexity of their spiritual world, the acuteness and intensity of the experience, these are the composer's contemporaries, in many respects akin to the heroes of the psychological novels of Tolstoy and Dostoevsky.

The compositional, dramatic and intonational analysis of The Queen of Spades is given in a number of works devoted to the work of Tchaikovsky as a whole or to its individual types. Therefore, we will focus only on some of its most important, most characteristic features. The Queen of Spades is the most symphonic of Tchaikovsky's operas: the basis of its dramatic composition is the consistent development and interweaving of three constant themes that are the carriers of the main driving forces of the action. The semantic aspect of these themes is similar to the relationship between the three main thematic sections of the Fourth and Fifth Symphonies. The first of them, the dry and harsh theme of the Countess, which is based on a short motif of three sounds, easily amenable to various changes, can be compared in meaning with the themes of rock in the composer's symphonic works. In the course of development, this motive undergoes rhythmic contraction and expansion, its interval composition and modal color change, but with all these transformations, the formidable "knocking" rhythm that constitutes its main characteristic is preserved.

Using the words of Tchaikovsky, pronounced in a different connection, we can say that this is the "grain", "certainly the main idea" of the entire work. This theme serves not so much as an individual characteristic of the image, but as the embodiment of a mysterious, inexorably fatal beginning, gravitating over the fate of the central heroes of the opera - Herman and Lisa. It is ubiquitous, woven into the orchestral fabric and the vocal parts of the characters (for example, Hermann's arioso "If you ever knew" from the painting in the Countess's bedroom). Sometimes it takes on a delusional, fantastically distorted appearance as a reflection of the obsessive thought of three cards that has settled in Herman's sick brain: at the moment when the ghost of the dead Countess appears to him and calls them, only three slowly descending sounds remain of the theme in whole tones. The sequence of three such segments forms a complete whole-tone scale, which has served in Russian music since Glinka as a means of depicting the inanimate, mysterious and terrible. A special flavor is given to this theme by its characteristic timbre coloring: as a rule, it sounds in the muffled low register of a clarinet, bass clarinet or bassoon, and only in the final scene, before Herman's fatal loss, is it darkly and menacingly intoned by copper along with string basses as inevitable judgment of fate.

Closely related to the theme of the Countess is another important theme - the three cards. The similarity is manifested both in the motive structure, consisting of three links with three sounds in each, and in the immediate intonational proximity of individual melodic turns.

Even before its appearance in the Tomsky ballad, the theme of the three cards in a slightly modified form sounds in the mouth of Herman (the “exit” arioso “I don’t know her name”), emphasizing his doom from the very beginning.

In the process of further development, the theme takes on a different form and sounds sometimes tragic, sometimes mournfully lyrical, and some of its turns are heard even in recitative remarks.

The third, broadly chanted lyrical theme of love with an agitated sequential rise to the melodic peak and a smoothly, wave-like descending second half contrasts with both previous ones. It is especially widely developed in the scene of Herman and Liza that completes the second picture, reaching an enthusiastic, intoxicated passionate sound. In the future, as Herman is more and more possessed by the insane thought of three cards, the theme of love recedes into the background, only occasionally arising in the form of brief fragments, and only in the final scene of the death of Herman, dying with the name of Lisa on his lips, again sounds clear and unclouded. There comes a moment of catharsis, purification - terrible delusional visions dissipate, and a bright feeling of love triumphs over all horrors and nightmares.

A high degree of symphonic generalization is combined in "The Queen of Spades" with a bright and colorful stage action, replete with sharp contrasts, changes of light and shadow. The most acute conflict situations alternate with distracting background episodes of a domestic nature, and the development goes in the direction of increasing psychological concentration and thickening of gloomy, ominous tones. Genre elements are concentrated mainly in the first three scenes of the opera. A kind of intro to the main action is a scene of festivities in the Summer Garden, children's games and the careless chatter of nannies, nurses and governesses, against which the gloomy figure of Herman stands out, completely absorbed in thoughts of his hopeless love. The idyllic scene of entertainment of high society ladies at the beginning of the second picture helps to set off Liza's sad reverie and hidden emotional anxiety, which does not leave the thought of a mysterious stranger, and Polina's romance, contrasting with its gloomy color to the pastoral duet of two friends, is perceived as a direct premonition of a tragic end awaiting the heroine (As you know, according to the original idea, this romance was supposed to be sung by Lisa herself, and the composer then passed it on to Polina for purely practical theatrical reasons, in order to provide the performer of this part with an independent solo number.).

The third picture of the ball is distinguished by a special decorative splendor, a number of episodes of which were deliberately stylized by the composer in the spirit of the music of the 18th century. It is known that when composing the interlude "The Sincerity of the Shepherdess" and the final welcoming chorus, Tchaikovsky resorted to direct borrowing from the works of composers of that time. This brilliant picture of the ceremonial celebration is contrasted by two short scenes of Herman, pursued by Surin and Chekalinsky, and his meeting with Liza, where fragments of the themes of the three cards and love sound anxiously and confusedly. Moving the action forward, they directly prepare the dramatically central painting in the Countess's bedroom.

In this scene, remarkable in the sense of dramatic integrity and steadily increasing strength of emotional tension, all the lines of action are tied into one tight knot and the main character faces his fate, personified in the image of the old Countess, face to face. Sensitively responding to the slightest shifts in everything that happens on stage, music develops at the same time as a single continuous stream in close interaction of vocal and orchestral-symphonic elements. Except for the songs from the opera "Richard the Lionheart" by Gretry, inserted by the composer into the mouth of the sleeping Countess (Many times attention was drawn to the anachronism that Tchaikovsky admitted in this case: the opera "Richard the Lionheart" was written in 1784, that is, approximately at the same time as the action of "The Queen of Spades" takes place and therefore could not be associated with memories of the Countess's youth. But against the general background of the music of the opera, it is perceived as something distant, forgotten and in this sense meets the set artistic task, as for the historical reliability, it seems that the composer did not really care.), then in this picture there are no complete solo vocal episodes. Flexibly using various types of musical recitation from monotonous recitation on one sound or short excited shouts to more melodious constructions that approach arious singing, the composer very subtly and expressively conveys the spiritual movements of the characters.

The dramatic climax of the fourth scene is the tragically ending "duel" between Hermann and the Countess (In this scene, the librettist retained the original Pushkin text almost unchanged, which Tchaikovsky noted with particular satisfaction. L. V. Karagicheva, expressing a number of interesting observations on the relationship between word and music in Herman's monologue, states that “Tchaikovsky did not translate into the language of music only a meaningful meaning, but also many of the structural and expressive means of Pushkin's text. ”This episode can serve as one of the most remarkable examples of the sensitive implementation of speech intonation in Tchaikovsky's vocal melodies.)... This scene cannot be called a dialogue in the real sense, since one of its participants does not utter a single word - to all the pleas and threats of Hermann, the Countess remains silent, but the orchestra speaks for her. The anger and indignation of the old aristocrat give way to numbness of horror, and the "gurgling" passages of the clarinet and bassoon (to which the flute joins) with an almost naturalistic imagery convey the dying tremors of a lifeless body.

The feverish excitement of the emotional atmosphere is combined in this picture with a great inner completeness of form, achieved both by a consistent symphonic development of the main themes of the opera, and by elements of thematic and tonal reprisal. An expanded precursor is a large fifty-bar construction at the beginning of the picture, with restlessly flying up and then mournfully drowning phrases of dumbfounded violins against the background of a dully vibrating dominant organ point at the violas. The long-term accumulated harmonic instability conveys feelings of anxiety and involuntary fear of what awaits him, experienced by Herman. Dominant harmony does not receive permission within this section, being replaced by a number of modulating moves (B minor, A minor, C sharp minor). Only in the stormy, impetuous Vivace, which concludes the fourth scene, does a steady-sounding tonic triad of its main key in F-sharp minor appear and again the same disturbing melodic phrase is heard in conjunction with the theme of the three cards, expressing Herman's despair and Liza's horror before what happened.

The following picture, imbued with a gloomy atmosphere of insane delirium and terrible, chilling visions, is distinguished by the same symphonic integrity and tension of development: night, barracks, Herman alone on duty. The leading role belongs to the orchestra, Herman's part is limited to individual recitative lines. The funeral singing of the church choir, the sounds of the signal military fanfare, the "whistling" passages of tall wooden and strings, transmitting the howling of the wind outside the window, coming from afar - all this merges into one ominous picture, evoking alarming forebodings. The horror that grips Herman reaches its climax with the appearance of the ghost of the dead Countess, accompanied by her leitmotif, at first dully, secretly, and then more and more forcefully sounding in conjunction with the theme of the three cards. In the final section of this picture, an explosion of panic horror is replaced by a sudden numbness, and the distraught Herman automatically, as if hypnotized, repeats on one sound the Countess's words "Three, seven, ace!", While in the orchestra the transformed theme of three cards with elements of increased fret.

Following this, the action quickly and steadily moves towards a catastrophic outcome. A certain delay is caused by the scene at the Winter Canal, which contains vulnerable moments not only from a dramatic, but also from a musical point of view. (Not without reason it was noted by various authors that Liza's aria in this picture does not quite correspond to the stylistically general melodic and intonational structure of her part.)... But the composer needed it so that the viewer knew what became of Liza, whose fate would have remained unclear without this. Therefore, he so stubbornly defended this picture, despite the objections of Modest Ilyich and Laroche.

After three gloomy in color "night" pictures, the last, the seventh one takes place under bright illumination, the source of which is, however, not the daytime sun, but the restless flickering of the candles of a gambling house. The chorus of players “Let's Sing and Have Fun”, interrupted by short abrupt remarks of the participants of the game, then the reckless “playful” song “So they got together on rainy days” intensifies the atmosphere of carbon monoxide, in which Herman's last desperate game proceeds, ending in defeat and suicide. The theme of the Countess that arises in the orchestra reaches here a powerful formidable sound: only with the death of Herman does the terrible obsession disappear and the opera ends with the theme of love, quietly and tenderly sounding in the orchestra.

Tchaikovsky's great work became a new word not only in the work of the composer himself, but also in the development of the entire Russian opera of the last century. None of the Russian composers, except Mussorgsky, managed to achieve such an irresistible force of dramatic impact and depth of penetration into the most hidden corners of the human soul, to reveal the complex world of the subconscious, unconsciously driving our actions and deeds. It is no coincidence that this opera aroused such keen interest among a number of representatives of new young artistic movements that emerged at the turn of the 19th and 20th centuries. After the premiere of The Queen of Spades, twenty-year-old Alexander Benois was seized, as he later recalled, “a kind of frenzy of delight”. “Undoubtedly,” he wrote, “the author himself knew that he had managed to create something beautiful and unique, something in which his whole soul, all his worldview was expressed.<...> He had the right to expect that the Russian people would thank him for this.<...> As for me, it was precisely this feeling that was in my delight with The Queen of Spades. thanks... Through these sounds, a lot of the mysterious that I saw around me was really revealed to me somehow. " It is known that AA Blok, MA Kuzmin and other poets of the early XX century were interested in "The Queen of Spades". The influence of this opera by Tchaikovsky on the development of Russian art was strong and profound, in a number of literary and pictorial (to a lesser extent musical) works the impressions of acquaintance with it were directly reflected. And to this day, The Queen of Spades remains one of the unsurpassed peaks of the classical opera heritage.

Yu Keldysh

Discography: CD - Dante. Deer. Lynching, German (Khanaev), Liza (Derzhinskaya), Countess (Petrova), Tomsk (Baturin), Yeletsky (Selivanov), Polina (Obukhova) - Philips. Deer. Gergiev, German (Grigoryan), Liza (Guleghina), Countess (Arkhipova), Tomsky (Putilin), Yeletsky (Chernov), Polina (Borodina) - RCA Victor. Deer. Ozawa, Herman (Atlantov), \u200b\u200bLiza (Freni), Countess (Forrester), Tomsky (Leiferkus), Yeletsky (Hvorostovsky), Polina (Catherine Chesinski).

P.I. Tchaikovsky opera "The Queen of Spades"

The basis for "The Queen of Spades" by P.I. Tchaikovsky's novel of the same name by A.S. Pushkin. This gripping and tragic love story of an innocent girl and a passionate officer who fell victim to gambling gambling was written by the composer in just 44 days. The work is considered the pinnacle of the composer's opera drama, because in terms of the depth and strength of the emotions of the main characters, the intensity of passions and the irresistible power of dramatic impact, it has no equal in his work.

Summary of the opera Tchaikovsky "The Queen of Spades" and many interesting facts about this work read on our page.

Summary of "The Queen of Spades"

Petersburg at the end of the 18th century. Poor young officer Herman is madly in love with a beautiful stranger and longs to find out who she is. Soon he is told that his heart was won by the granddaughter of a rich old Countess - Liza, who very soon will become the legal wife of Prince Yeletsky. Herman's friend, Count Tomsky, informs him that the old woman possesses unique information - she knows the secret of the "three cards", thanks to which she was once able to win back and return the card loss.

Liza was inflamed with mutual feelings for the officer. Herman swears that they will be together, or he will be forced to die. He dreams of getting rich as soon as possible in order to marry his beloved, and only the secret of the Countess's card winnings can help him. At night, he sneaks into her bedroom and begs her to reveal the secret of the "three cards", but the "old witch", frightened by an intruder with a pistol, dies and takes the secret with him.

Lisa asks Herman a date on the embankment, but he is delayed. And all because at this time the ghost of the Countess appears in his room. The old woman voices the secret of the "three cards" - these are three, seven and an ace, and asks the officer to marry Lisa. The ghost dissolves into thin air, and Herman, like a madman, tirelessly repeats this combination. He runs to meet Lisa, but pushes her away - he is no longer obsessed with love, but with passion. In desperation, the girl rushes into the river.

Meanwhile, Herman hastily heads to the gambling house and places bets on the cards named by the ghost. Twice luck was on his side, but when he bets on the "ace", instead of him there is a queen of spades. He curses the Countess and plunges a dagger into his heart.

A photo

Interesting Facts

• P.I. Tchaikovsky wrote an opera in Florence in just 44 days.
• To flawlessly perform the part of Hermann in all seven scenes, the author needed a truly skillful and resilient performer. P.I.'s choice Tchaikovsky fell on the famous tenor Nikolai Figner, on whose abilities the author was guided while writing music. The success of The Queen of Spades was truly overwhelming. After a successful premiere at the Mariinsky Theater, an enthusiastic Tchaikovsky wrote: "Figner and the St. Petersburg Orchestra have performed real miracles!" Twelve days later, "The Queen of Spades" was greeted with no less enthusiasm in Kiev.
• The first foreign premiere of The Queen of Spades was a performance in Prague in 1892. The conductor was Adolf Cech. This was followed by the following premieres: under the direction Gustav Mahler in Vienna in 1902 and New York (in German) the same year. The first performance of the opera in Great Britain took place in 1915 in London.
• As you know, the events of Pushkin's "The Queen of Spades" are based on real events - the story of Natalya Petrovna Golitsina, one of the most influential and richest princesses of the 19th century. Her grandson lost a lot at cards, and turned to her for help - to borrow money. But the grandmother instead revealed to her grandson a secret that allowed him to recoup.
• This mystical story about three cards - three, seven and an ace - somehow miraculously influenced everyone who touched it in any way. Witnesses of the last days of the princess, claimed that shortly before her death, they saw the ghost of a lone officer near the mansion. It was 1837.
• In this combination of numbers - 1837, constituting the year of the death of the princess and of Pushkin himself, the same mysterious numbers - 3, 7, 1 - were connected in the most incomprehensible way. And in the last hour of Tchaikovsky's life, as his doctor claimed, the composer dreamed of the same ghost " lonely officer. " Mysticism, and nothing more.

• Take a closer look at the structure of the opera and its name: 3 acts, 7 pictures, The Queen of Spades. Doesn't it look like anything?
• This opera is considered one of the most mystical in the world of musical theater. Many are convinced that it is she who is to blame for many of the failures of her creators, as well as those who performed it.
• In this work, great importance is attached to the number "three", it seems to be endowed with magical meaning and is found literally everywhere. First of all, these are the same three cards. On the heart of Herman, according to Chekalinsky, there are three sins. Herman himself is guilty of just three deaths - the Countess, Lisa and his own. The musical fabric of the entire piece is dominated by three themes - rock, love and three cards.
• Some biographers are inclined to believe that Tchaikovsky's refusal to work on this order was due to the fact that he was simply afraid of the plot. According to some reports, he agreed to compose an opera only on one condition - if the libretto will differ significantly from the original. That is why he made such active edits to all the dramatic components of the work.

• Directors wishing to bring the libretto closer to Pushkin's text got into serious trouble. The most striking example is Vsevolod Meyerhold. As mentioned earlier, he commissioned a new libretto and even staged this opera at the Kirov Theater. However, after that he did not live long - the director was arrested and sent to be shot.
• Several more works for the musical theater were written on the work of Pushkin, but they are not at all popular - these are the operetta by Franz Suppe (1864) and the opera by J. Halévy (1850).
• Choreographers, for example, Roland Petit, also addressed this plot. He created a ballet for N. Tsiskaridze at the request of the leadership of the Bolshoi Theater, but he was afraid to take music from the opera and preferred it Sixth Symphony ... But the unexpected happened - all the ballerinas refused to dance the Old Countess, only Ielze Liepa agreed. The ballet premiered in 2001.
• The original score of the opera is kept in an encapsulated form at the Mariinsky Theater.

Popular arias from the opera

Herman's aria “What is our life? A game!" - listen

Tomsky's song "If only lovely girls" - listen

Lisa's Arioso "Where Are These Tears From" - listen

Arioso Herman "I don't know her name" - listen

History of creation

The idea of \u200b\u200bstaging an opera based on the plot of Pushkin's mysterious story first arose in the mind of the director of the imperial theaters I.A.Vsevolozhsky. For several years he was inspired by this idea and even independently planned the script and thought over the stage effects. In 1885, he began to actively look for a composer who could bring this idea to life. Among the candidates were A. A. Villamov and N. S. Klenovsky. Two years later, Vsevolozhsky turned to P.I. Tchaikovsky , however, was refused - the composer was not at all attracted to this plot. In 1888, his younger brother, Modest Ilyich Tchaikovsky, began to work on the libretto, and he created it for Klenovsky. However, the maestro eventually refused to work, and Vsevolozhsky again turned to Pyotr Ilyich. This time he was more persistent, and asked not only to write an opera, but to finish it for the new season. At this time, Tchaikovsky was just planning to leave Russia and plunge headlong into work. That is why he agreed, and went to Florence to work.

The first fragments of The Queen of Spades appeared on January 19, 1890. The work was written very quickly - the clavier of the opera was released on April 6, and the score was already on June 8. Creating his masterpiece, the composer actively changed the plot lines of the libretto and composed words for some scenes. As a result, the plot of the opera acquired a number of differences from its original source. Pushkin's story was transformed into a poetic canvas, which very organically absorbed the verses of other poets - G.R. Derzhavin, P.M. Karabanova, K.N. Batyushkov and V.A. Zhukovsky. The main characters of the work have also changed. So, Lisa turned from a poor pupil of a well-to-do Countess into her granddaughter. Pushkin Hermann was a German native, but Tchaikovsky does not mention a word about it. In addition, his surname becomes a first name and loses one letter "n" - his name is Herman. Liza's future husband, Prince Yeletsky, is absent from Alexander Sergeevich. Count Tomsky in the story of the Russian literary genius is the grandson of the Countess, but in the opera he is a completely outsider to her. The life of the main characters develops in different ways - according to the plot of the book, Herman loses his mind and goes to the hospital, Lisa forgets about him and marries another. In the opera, the lovers die. And finally, the timing of this tragic story has also been changed - in the original source, the events unfold during the time of Alexander I, but in his musical version - during the reign of Empress Catherine II.

The first performance of the opera took place at the Mariinsky Theater on 19 December 1890, and was conducted by E. Napravnik. Tchaikovsky took an active part in preparing the premiere. Pyotr Ilyich assumed that the success would be incredible, and he was not mistaken. The audience demanded the repetition of individual encores, and the composer was summoned to the stage countless times. And even the fact that Pushkin's work was so strongly rethought did not at all embarrass even zealous "Pushkinists" - they gave the Russian genius a standing ovation.

Production history

12 days after the premiere, The Queen of Spades was held in Kiev with no less success. But in Moscow, at the Bolshoi Theater, the opera was seen only in early November 1891. After that, Pyotr Ilyich's opera masterpiece began to appear in European and American theaters. The first country to show an opera was the Czech Republic - it happened in the fall of 1892. Four years later, The Queen of Spades also conquered the Vienna State Opera. In 1910, the play was staged in New York. The opera was brought to Great Britain in 1915 and staged in London.

All these performances, although they were shown in different languages, were generally interpreted by the stage directors in a classical way. However, there were also those daredevils who tried to return the plot to the story. Among them is the production of 1935, directed by V. Meyerhold. In this version, shown on the stage of the Maly Opera House, there was a completely different libretto, a different scene of action and there was no love line. However, this production did not last long on stage.

« The Queen of Spades”And today remains one of the most perfect examples of its genre in the world opera classics. Thanks to its incredible depth, breathtaking content, beautiful music and mystical aura, this opera has been living on the stages of world theaters for more than 120 years, conquering audiences over and over again. In addition, it continues to occupy the minds of researchers around the planet, because there are still many unsolved mysteries and undeciphered symbols in it.

Video: watch the opera The Queen of Spades by Tchaikovsky

The action takes place in St. Petersburg at the end of the 18th century.

Created Jan 1890, Florence - June 1890, Frolovskoe.

First performance 7 Dec. 1890, St. Petersburg, Mariinsky Theater. Conductor E.F.Napravnik. Directed by G.P. Kondratyev. Dances and interludes were staged by M. Petipa. Artists: V.V. Vasiliev - house I, car. 1, A.S. Yanov - house I, maps. 2, G. Levot - d. II, maps. 3 and d. III, maps. 7, K.M. Ivanov - house III, maps. 4 and d. III, maps. 6, I.P. Andreev - house III, maps. 5. Costumes according to the drawings of EP Ponomarev.

d. I, 1k.
Sunny Summer Garden. In an atmosphere of prosperity and joy, a crowd of townspeople, children, accompanied by nannies and governesses, walk. Officers Surin and Chekalinsky share their impressions of the strange behavior of their friend German. He spends all nights at the gambling house, but does not even try to try his luck. Soon Herman himself appears, accompanied by Count Tomsky. Herman opens his soul to him: he is passionately, ardently in love, although he does not know the name of his chosen one. Prince Yeletsky, who has joined the company of officers, talks about the upcoming marriage soon: "The bright angel agreed to combine his fate with mine!" Herman learns in horror that the prince's bride is the subject of his passion, when the Countess walks by, accompanied by her granddaughter, Lisa.

Both women are seized with heavy forebodings, hypnotized by the burning gaze of the unfortunate Herman. Meanwhile, Tomsky tells the audience a secular anecdote about the Countess, who, being a young Moscow "lioness", lost her entire fortune and "at the cost of one rendezvous", having learned the fatal secret of three always winning cards, overcame her fate: “Since she named her husband those cards, in another once their handsome young man recognized, but on the same night, only one was left, a ghost appeared to her and threateningly said: "You will receive a fatal blow from a third person who, ardently, passionately loving, will come to learn by force three cards from you, three cards, three cards! "Herman listens to the story with particular tension. Surin and Chekalinsky make fun of him and offer to find out the secret of the cards from the old woman. A thunderstorm begins. The garden is empty. Only Herman meets the raging element" with an open visor ", fire is bubbling in his soul no less force: "No, prince! As long as I live, I will not give it to you, I do not know how, but I will take it away! "He exclaims.

2 r.
At dusk, the girls play music in Lisa's room, trying to cheer up the saddened, despite the engagement with the prince, the girl. Left alone, she confides her secret to the night: "And my whole soul is in his power!" - she confesses her love for a mysterious stranger, in whose eyes she read "the fire of burning passion." Suddenly, Herman appears on the balcony, who came to her before leaving this life. His passionate explanation captivates Lisa. The knock of the awakened Countess interrupts him. Herman, hiding behind the curtain, is excited by the very sight of the old woman, in whose face he fancies a terrible ghost of death. Unable to hide her feelings any longer, Lisa surrenders to the power of Herman.

II d., 1 building
There is a ball in the house of a wealthy dignitary in the capital. Yeletsky, alarmed by Liza's coldness, assures her of the immensity of his love. Chekalinsky and Surin in masks mock Herman, whispering to him: "Aren't you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?" Herman is thrilled, their words stir his imagination. At the end of the show "The Sincerity of the Shepherdess," he runs into the Countess. And when Lisa gives him the keys to the Countess's bedroom, which leads to her room, Herman takes it as an omen. Tonight he learns the secret of the three cards - the way to get hold of Lisa's hand.

2 r.
Herman sneaks into the Countess's bedroom. He gazes with trepidation at the portrait of a Moscow beauty, with whom he is connected "by some secret power." Here she is, accompanied by her hangers-on. The Countess is unhappy, she does not like the current morals and customs, she longingly recalls the past and falls asleep in an armchair. Suddenly, Herman appears in front of her, begging to reveal the secret of three cards: "You can make up the happiness of a whole life, and it will cost you nothing!" But the Countess, numb with fright, is motionless. At the threat of a gun, she gives up her spirit. “She is dead, but I have not learned the secret,” laments Herman, who is close to insanity, in response to the reproaches of Liza who came in.

III d.1k.
Herman in the barracks. He reads a letter from Lisa, who forgave him, where she makes an appointment with him on the embankment. The pictures of the old woman's funeral arise in the imagination, the funeral singing is heard. The ghost of the Countess in a white burial shroud broadcasts: "Save Lisa, marry her, and three cards will win in a row. Remember! Three! Seven! Ace!" "Three ... Seven ... Ace ..." - Herman repeats the spell.

2 r.
Liza is waiting for Herman on the embankment near the Kanavka. She is torn apart by doubts: "Oh, I am exhausted, I am exhausted," she exclaims in despair. At the moment when the clock strikes midnight, and Lisa finally lost faith in her lover, he appears. But Herman, who at first repeats the words of love after Liza, is already obsessed with another idea. Trying to entice the girl to hurry after him to the gambling house, he runs away screaming. Realizing the inevitability of what happened, the girl rushes into the river.

3 j. Players are having fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an agitated Herman appears. He wins twice in a row by offering big bets. “The devil himself plays with you,” the audience exclaims. The game continues. This time against Herman, Prince Yeletsky. And instead of a win-win ace, the queen of spades is in his hands. Herman sees the features of a dead old woman on the map: "Damned! What do you want! My life? Take it, take it!" He is stabbed. The image of Lisa appears in the cleared consciousness: "Beauty! Goddess! Angel!" With these words, Herman dies.

The opera was commissioned by the Directorate of the Imperial Theaters to Tchaikovsky. The plot was proposed by I.A. Vsevolozhsky. The beginning of negotiations with the management dates back to 1887/88. Initially Ch. Refused, and only in 1889 decided to write an opera on this subject. At a meeting in the directorate of the imperial theaters at the end of 1889, the script, the layout of the opera stages, the staging moments, and the elements of the performance were discussed. The opera was composed in sketches from 19/31 January. to 3/15 March in Florence. In July - Dec. 1890 Ch. Introduced many changes to the score, literary text, recitatives, and vocal parts; at the request of N.N. Figner, two versions of Herman's aria from the 7th cards were also created. (different tones). All these changes are recorded in the proofreads of the arrangement for singing with the piano, notes, various inserts of the 1st and 2nd ed.

When creating sketches, Ch. Actively reworked the libretto. He significantly changed the text, introduced stage directions, made abbreviations, composed his own texts for Yeletsky's aria, Liza's aria, the chorus "Come on, Mashenka's light".

The libretto uses verses by Batyushkov (in the romance of Polina), V.A. Zhukovsky (in the duet of Polina and Liza), G.R. Derzhavin (in the final scene), P.M. Karabanov (in the interlude).

An old French song "Vive Henri IV" is used in the scene in the countess's bedroom. In the same scene, with insignificant changes, the beginning of Loretta's aria from A. Gretri's opera "Richard the Lionheart" is borrowed. In the final scene, the second half of the song (polonaise) "Thunder of Victory, Hear Out" by IA Kozlovsky is used.

Before starting work on the opera, Tchaikovsky was in a depressed state, which he confessed in a letter to A.K. Glazunov: “I am going through a very mysterious stage on the way to the grave. Something is happening inside me, something incomprehensible to me. fatigue from life, some kind of disappointment: at times an insane longing, but not one in the depths of which there is a foresight of a new tide of love for life, but something hopeless, final ... And at the same time, the desire to write is terrible ... On the one hand I feel as if my song has already been sung, and on the other - an irresistible desire to drag on either the same life, or even better a new song "...

Tchaikovsky loved and highly appreciated his opera The Queen of Spades, calling it a masterpiece. It was sketched for 44 days in Florence. The plot is borrowed from the story of the same name by Pushkin. The libretto was written by the composer's brother Mikhail Tchaikovsky, although some of the texts were written by Tchaikovsky himself. The opera was composed quickly and with great passion. After its completion, the composer wrote a string sextet "Memories of Florence", dedicating it to the city in which he created his favorite brainchild.

Ch. Was well aware of the importance of The Queen of Spades, even in the process of work. Here are the lines of his letter to Prince Konstantin Konstantinovich: "I wrote it with unprecedented fervor and enthusiasm, I have vividly suffered and felt everything that happens in it (even to the point that at one time I was afraid of the appearance of the ghost of the Queen of Spades) and I hope that all my authorial enthusiasm , excitement and enthusiasm will echo in the hearts of sympathetic listeners "(from August 3, 1890). And one more eloquent self-esteem: "... either I am terribly mistaken, or" The Queen of Spades "is indeed a masterpiece ..." This self-esteem turned out to be prophetic. The composer's characterization of the idea of \u200b\u200bthe Fourth Symphony is the best possible answer to the main meaning of his opera masterpiece: "This is fate, this is that fatal force that prevents the impulse for happiness from reaching the goal." "Everything is new, in comparison with Pushkin, in the plot ..." notes the opera librettist MI Tchaikovsky, "the transfer of the action time to the era of Catherine and the introduction of a love-dramatic element." Let us add that Herman in the opera is not a calculating and ambitious player with the "soul of Mephistopheles", but a poor officer, a "warm, lively attitude" to whom, from the author's own side, our response is generated - rather sympathy than condemnation. Liza was transformed from a poor pupil into the granddaughter of the old countess. In addition, she is a bride and, unlike the poor Herman, her fiancé is a noble and rich prince Eletsky. All this reinforces the motive of social inequality that divides the heroes. Interpreting Pushkin's story in his own way, Ch. Simultaneously enlarged it.

A feature of the opera is the fact that its main character, Herman, is present on the stage and sings in all seven scenes of the opera, which required high skill and endurance from the singer. The part of Hermann was written with the expectation of the wonderful Russian tenor NN Figner, who became its first performer.

The composer himself took part in the preparation of the St. Petersburg premiere, playing the roles of Hermann and Lisa with the Figner spouses. According to critics, "Figner's bright temperament gave each phrase in the corresponding strong moments a very great relief. In purely lyrical passages ... Figner's singing was imbued with charming softness and sincerity." "Figner and the Petersburg orchestra ... have done true miracles," Tchaikovsky later wrote. The success of The Queen of Spades, as its author had foreseen, was tremendous. With the same incredible success, "The Queen of Spades" was received in Kiev 12 days after the St. Petersburg premiere performed by the opera company I.P. Pryanishnikov under the direction of I.V. Pribik with the famous artist M.E. Medvedev in the role of Herman. November 4, 1891 "The Queen of Spades" was given in Moscow at the Bolshoi Theater. The author was present at the performance, as well as at the first performances in St. Petersburg and Kiev, and took part in the rehearsal work. Conducted by I.K. Altani. The leading roles were played by outstanding artists: M.E. Medvedev (German), who moved from Kiev to Moscow, M.A. Deisha-Sionitskaya (Liza), P.A. Khokhlov (Eletsky), B.B. Korsov (Tomsky) and A.P. Krutikova (Countess). The production at the National Theater in Prague under the direction of conductor A. Chekh (October 12 - September 30, 1892) - the first performance of "The Queen of Spades" abroad, was very carefully prepared.

P. E. Vaidman

"PEAK LADY". Mp3 recording

Characters and performers:
German - Nikandr Khanaev (tenor), Liza - Ksenia Derzhinskaya (soprano), Countess - Bronislava Zlatogorova (contralto), Count Tomsky - Alexander Baturin (baritone), Prince Eletsky - Panteleimon Nortsov (baritone), Polina / Milovzor (Daphnis) - Maria Maksakova (mezzo-soprano), Prilepa / Chloe - Valeria Barsova (soprano), Zlatogor - Vladimir Politkovsky (baritone), Chekalinsky - Sergey Ostroumov (tenor), Surin - Ivan Manshavin (tenor), Chaplitsky - Mikhail Novozhenin (bass), Narumov - Konstantin Terekhin (bass), Masha - Nadezhda Chubienko (soprano), Governess - Margarita Shervinskaya (contralto), Ceremonist - Pyotr Belinnik (tenor).

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P.I. Tchaikovsky(1840-1893)

"PEAK LADY"

(op. 68, 1890)

Opera in 3 acts, 7 scenes

The plot is borrowed from the story of the same name by A.S. Pushkin

Libretto by M.I. Tchaikovsky

The action takes place in St. Petersburg at the end of the 18th century.

Characters and performers:

Hermann - Z. Andzhaparidze, tenor

Count Tomsky - M. Kiselev, baritone

Prince Yeletsky - Y. Mazurok, baritone

Chekalinsky - A. Sokolov, tenor

Surin - V. Yaroslavtsev, bass

Chaplitsky - V. Vlasov, tenor

Narumov - Yu. Dementyev, bass

Steward - A. Mishutin, tenor

Countess - V. Levko, mezzo-soprano

Lisa - T. Milashkina, soprano

Pauline - I. Arkhipova, contralto

Governess - M. Mityukova, mezzo-soprano

Masha - M. Miglau, soprano

Characters in the sideshow " Sincerity of the shepherdess»:

Prilepa - V. Firsova, soprano

Milovzor - I. Arkhipova, contralto

Zlatogor - V. Nechipailo, baritone

Nurses, governesses, nurses, strollers, guests, children, players, etc.

Choir, Children's Choir and Bolshoi Orchestra

Choirmaster - A. Rybnov

Children's choir director - I. Agafonnikov

Conductor - B. Khaikin

Recorded 1967

Sound engineer - A. Grossman

Remastering - E. Barykina

The opera takes place in St. Petersburg at the end of the 18th century.

First act

First picture... Sunny Summer Garden, filled with a walking crowd. Officers Surin and Chekalinsky share their impressions of the strange behavior of their friend German: he spends all night in a gambling house, but never takes cards in his hands. Soon, accompanied by Count Tomsky, Herman himself appears. He admits that he is passionately in love, but does not know the name of his chosen one. Meanwhile, Prince Yeletsky, who has joined the company of officers, shares his joy in connection with his imminent marriage: "The bright angel agreed to combine his fate with mine!" Herman learns in horror that the subject of his passion is the prince's bride when the Countess walks by, accompanied by her granddaughter, Lisa. Both women, who noticed Herman's burning gaze, are seized with heavy forebodings.

Tomsky tells his friends a secular anecdote about a countess who, as a young "Venus of Moscow", lost her entire fortune. At the cost of one rendezvous, she learned from the Comte Saint-Germain the fatal secret of three always winning cards in order to get her money back. From that moment on, her further fate was firmly connected with this secret: “Since she named those cards to her husband, another time the handsome young man recognized them, but on the same night, only one remained, a ghost appeared to her and threateningly said:“ You will receive a deadly the blow you will come to learn from you by force three cards, three cards, three cards! "". After this story, Surin and Chekalinsky make fun of Herman and offer to find out the secret of the cards from the old woman, but Herman's thoughts are focused on Lisa. A thunderstorm begins. The garden is empty. Among the raging elements, Herman exclaims: “I am not afraid of the storm! In myself, all passions woke up with such a deadly force that this thunder is nothing in comparison! No, prince! As long as I live, I will not give it to you, I do not know how, but I will take it away! ... She will be mine, mine, or I'll die! "

Second picture... Dusk. The girls try to cheer up the saddened Lisa, but she hides her thoughts. Only left alone, Lisa confesses her dark secret of the night. She feels love for a mysterious stranger, he is beautiful "like a fallen angel", in his eyes "the fire of burning passion." Suddenly, Herman appears on the balcony. He reveals his love to Lisa and begs her to accept this confession, because otherwise he is ready to part with his life. Tears of compassion become her answer. They are interrupted by a knock on the door. The Countess enters the room, and Herman, hiding behind the curtain, at the sight of her, suddenly recalls the terrible secret of the three cards. In the face of the old woman, he imagines a terrible ghost of death. But she leaves and Herman's impetuous explanation ends with Lisa's reciprocal confession.

Second action

First picture. Ball. Yeletsky, alarmed by Liza's coldness, assures her of his love, but at the same time nobly gives her freedom. Surin and Chekalinsky in masks mock Herman: "Aren't you the third one who, with passionate love, will come to learn from her three cards, three cards, three cards?" Herman is frightened by these words. At the end of the Shepherdess's Sincerity side-show, he runs into the Countess. Having received the keys to the Countess's secret door from Lisa, Herman takes this as a fatal omen. Tonight he learns the secret of the three cards.

Second picture... Herman sneaks into the Countess's bedroom. With trepidation he peers at her portrait in his youth and feels a secret fatal force connecting him with her: "I look at you and hate you, but I can't see enough." The Countess herself appears, accompanied by her hangers-on. She squeamishly recalls the past and gradually falls asleep in the chair. Suddenly, Herman appears in front of her, begging to reveal the secret of the three cards: "You can make up the happiness of a whole life, and it will cost you nothing!" But the Countess, numb with fright, is motionless. Enraged Herman threatens with a pistol and the old woman falls dead. The prophecy came true, but the secret remained unknown to Herman. Lisa comes to the noise and sees Herman in a state of madness. She realizes that Herman needed the secret of the three cards.

Third action

First picture... Herman in the barracks. He reads a letter from Lisa, where she makes an appointment with him on the embankment. He goes over the past in his memory and in his imagination there are pictures of the old woman's funeral, ghostly funeral singing is heard. There is a knock on the window. The candle goes out. Horrified Herman sees the ghost of the Countess and hears her words: “I came to you against my will. But I have been ordered to fulfill your request. Save Lisa, marry her, and three cards will win in a row. Remember! Troika! Seven! Ace!" "Three ... Seven ... Ace ..." - Herman repeats as a spell.

Second picture... Liza is waiting for Herman on the embankment at the Winter Canal. She experiences a terrible torment of doubt: "Ah, I am exhausted, I am exhausted." When the clock strikes midnight and Lisa finally loses hope, Herman appears, at first repeating the words of love after Lisa, but already possessed by a different idea. Lisa is convinced that Herman is the culprit in the Countess's death. His madness intensifies, he does not recognize it, his thoughts are only about the gambling house: "There are heaps of gold lying there and to me, they belong to me alone." He runs away to a gambling house, and Lisa, driven to despair, throws herself into the water.

Third picture... Players are having fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an agitated Herman appears. He wins twice in a row by offering big bets. “The devil himself plays with you,” the audience exclaims. The game continues. This time against Herman, Prince Yeletsky. And instead of a win-win ace, the queen of spades is in his hands. Herman sees the features of a dead old woman on the map: “Damned! What do you need! My life? Take it, take it! " and he is stabbed. A beautiful image of Liza appears in the mind of the dying hero: “Beauty! Goddess! Angel!" With these words, Herman dies.

LIBRETTO

The Queen of Spades

ACTION ONE

PICTURE ONE

A playground in the Summer Garden filled with the spring sun. Nurses walking or sitting on benches, governors and nurses. Children play with torches, jump over ropes, throw balls.

Burn, burn clearly

So as not to go out

One two Three!

(Laughter, exclamations, running around.)

Chorus of nannies

Have fun, cute kids!

Rarely the sun, dear ones,

Pleasing with joy!

If, darlings, you are on the loose

You are playing games, pranks,

Little by little your nannies

Then you bring peace.

Warm up, run, dear children,

And have fun in the sun!

Choir of governesses

Thank God,

You can rest a little,

Breathe spring air

See anything!

Do not shout, spend time without remarks,

To forget about suggestions, punishments, about a lesson.

Chorus of nannies

Warm up!

Run, dear children

And have fun in the sun!

Choir of nurses

Buy, buy, buy!

Buy, buy, buy!

Sleep, darling, sleep!

Don't open your clear eyes!

(Behind the stage, drumming and trumpets are heard.)

A choir of nannies, nurses and governesses.

Here are our soldiers, soldiers.

How slim!

Step aside!

Places! Places!

One, two, one, two,

One, two, one, two!

Enter the boys in toy weapons, depicting soldiers; in front of the boy-commander.

Boys choir

One, two, one, two!

Left, right, left, right!

Friendly, brothers!

Don't get lost!

Boy Commander

Right shoulder forward! One, two, stop!

(The boys stop.)

Listen! Musket in front of you!

Take the muzzle! Musket to the leg!

(The boys execute the command.)

Boys choir

We are all gathered here

For fear of the enemies of Russia.

Evil foe, beware

And with a villainous thought

Run or submit!

Hurray, hurray, hurray!

Save the Fatherland

It fell to us

We will fight

And enemies in captivity

Take away without an account!

Hurray, hurray, hurray!

Long live the wife

Wise queen

She is our mother to all,

Empress of these countries

And pride and beauty!

Hurray, hurray, hurray!

Boy Commander. Well done boys!

Boys.

We are glad to try, your honor!

Boy Commander

Listen! Musket in front of you!

Right! On guard! March!

(The boys leave, drumming and trumpeting.)

Choir of nannies, nurses and governesses

Well, good fellows are our soldiers!

And indeed they will unleash fear on the enemy.

Well, well done! How slim!

Well, well done!

Other children follow the boys. The nannies and governesses disperse, making way for other strollers. Enter Chekalinsky and Surin.

CHEKALINSKY. How did the game end yesterday?

SURIN. Of course, I blew scary! I'm out of luck.

CHEKALINSKY. Did you play again until morning?

SURIN. Yes, I'm terribly tired of ... Damn it, I could win at least once!

CHEKALINSKY. Was Herman there?

Was. And, as always, from eight to eight in the morning,

Chained to the gambling table, sat and blew wine in silence.

CHEKALINSKY. Only?

SURIN. Yes, I looked at the game of others.

CHEKALINSKY. What a strange man he is!

SURIN. As if he had at least three evil deeds on his heart.

CHEKALINSKY. I heard that he is very poor ..

SURIN. Yes, not rich.

Herman enters, pensive and gloomy; with him together with Count Tomsky.

SURIN. Here it is, look. Like a demon of hell, gloomy ... pale ...

Surin and Chekalinsky pass by.

TOMSKY. Tell me, Herman, what's wrong with you?

HERMANN. With me? .. Nothing ...

TOMSKY. You are sick?

HERMANN. No, I'm healthy.

You have become a different kind ... You are dissatisfied with something ...

It used to be: restrained, thrifty,

You were cheerful, at least;

Now you are gloomy, silent

And, - I can't believe my ears:

You, a new passion of grief,

As they say, right up until the morning

You spend your nights playing.

Yes! To the goal with a firm foot

I cannot go as before,

I myself don't know what's wrong with me

I'm lost, resenting weakness

But I can't control myself anymore ...

I like! love!

TOMSKY. How! Are you in love? in whom?

I don't know her name

And I don't want to know

Earthly name not wishing

To name it ...

(With enthusiasm.)

Comparisons sorting out everything,

I don't know with whom to compare ...

My love, the bliss of paradise,

I would like to keep it for a century!

But a jealous thought that she

To another to possess,

When I don't dare to trace my foot

Kiss her

It torments me; and earthly passion

I want to calm down in vain

And then I want to hug everything,

And all I want to hug my saint then ...

I don't know her name

And I don’t want to know!

And if so, get down to business!

Find out who she is, and there

And make an offer boldly

And - business from hand to hand ...

Oh no, alas!

She is noble and cannot belong to me!

That's what torments and gnaws me!

TOMSKY. Let's find another ... Not one in the world ...

You do not know me!

No, I can't stop loving her!

Ah, Tomsky! You do not understand!

I could only live in peace

While passions were dormant in me ...

Then I could control myself

Now that the soul is in power

One dream - goodbye peace

Goodbye peace!

Poisoned like drunk

I'm sick, sick

I'm in love!

Is it you, Herman? I confess

I would not believe anyone that you are capable of loving so much!

German and Tomsky pass by. Walkers fill the stage.

The general chorus of all the walking.

Finally God has sent us

Sunny day!

What air! What a heaven!

Precisely May is with us!

Oh, what a delight, really,

All day long to walk!

You can't wait for a day like this

Long time for us again.

For many years we have not seen such days

And, it happened, we often saw them.

In the days of Elizabeth - a wonderful time -

Better were summer, autumn and spring!

Old women (at the same time with the old people).

We used to live better, and such days

Every year there were early spring.

Yes, every year there were!

And now they are rare

Sunny in the morning

It got worse, really, it got worse,

Really, it's time to die!

What a joy! What happiness!

How gratifying, how gratifying to live!

How nice it is to walk to the Summer Garden,

It's lovely how nice it is to walk to the Summer Garden!

Look, look,

How many young people

Both military and civilian

Wanders a lot along the alleys,

Look, look,

How many people wander around here,

Both military and civilian

How graceful, how beautiful, how beautiful!

Look, look!

Young people (at the same time with the young ladies).

Sun, sky, air, nightingale chant

And a bright blush on the maidens' cheeks -

That spring bestows, with it and love

Young blood thrills sweetly!

The sky, the sun, the air is clean,

Sweet nightingale melody

The joy of life and a scarlet blush on the girls' cheeks -

Either the gifts of a beautiful spring, then the gifts of spring!

Happy day, beautiful day, how good

Oh joy, spring brings us love and happiness!

The general chorus of all the walking.

Finally God has sent us

Sunny day!

What air! What a heaven!

Precisely May is with us!

Oh, what a delight, really,

All day long to walk!

You can't wait for a day like this

Long time for us again!

Enter GERMAN and TOMSKY.

Are you sure she doesn't notice you?

I bet I'm in love and misses you ..

When would a gratifying doubt

I lost

Then how could I endure the torment

My soul?

You see I live, I suffer

But in the terrible moment when I find out

That I was not destined to take possession of her,

Then there will be one thing ...

TOMSKY. What?

HERMANN. Die!..

Prince Yeletsky enters. Chekalinsky and Surin approach him.

CHEKALINSKY (Yeletsky). Can I congratulate you?

SURIN. Are you, they say, the groom?

Yes, gentlemen, I am getting married;

The bright angel gave consent

Combine your fate with mine forever!

CHEKALINSKY. Well, good hour!

SURIN. I am glad with all my heart. Be happy, prince!

TOMSKY. Yeletsky, congratulations!

ELETSKY. Thank you friends!

ELETSKY (with feeling)

FROMfrequent day,

I bless you!

How it all came together

To rejoice together with me!

Reflected everywhere

The bliss of unearthly life ...

Everything smiles, everything shines,

As in my heart,

Everything trembles cheerfully,

Beckoning to heavenly bliss!

What a happy day

I bless you!

HERMANN (to himself, simultaneously with Yeletsky).

Unhappy day

I curse you!

As if it all came together

To join the fight with me!

Joy reflected everywhere

But not in my soul the patient.

Everything smiles, everything shines,

When in my heart

The infernal vexation trembles.

The hellish vexation trembles,

Some torture promises.

Oh yes, only torment, I promise torment!

TOMSKY. Tell me who will you marry?

HERMANN. Prince, who is your bride?

Enter Countess and Liza.

ELETSKY (pointing to Lisa). Here she is.

HERMANN. She?! She is his bride! Oh my God! Oh my God!

LISA., GRAPHINE. He's here again!

TOMSKY (To Herman)... So that's who your nameless beauty is!

I'm scared!

He's in front of me again,

A mysterious and gloomy stranger!

In his eyes, a dumb reproach

Has replaced the fire of insane, burning passion ...

Who is he? Why haunt me?

I'm scared, scared, like I'm in power

His eyes of ominous fire!

I'm scared! I'm scared!

I'm scared!

CARAFE (simultaneously).

I'm scared!

He's in front of me again,

A mysterious and scary stranger!

He is a fatal ghost,

Embraced all by some wild passion.

What does he want by chasing me?

Why is he in front of me again?

I'm scared like I'm in power

His eyes of ominous fire!

I'm scared! I'm scared!

I'm scared!

HERMANN (simultaneously).

I'm scared!

Here again in front of me

Like a fatal ghost,

A gloomy old woman appeared ...

In her terrible eyes

I read my own sentence, mute!

What does she want?

What does she want, what does she want from me?

As if I'm in power

Her eyes of ominous fire!

Who, who is she!

I'm scared! I'm scared!

I'm scared!

ELETSKY (simultaneously).

I'm scared!

My God, how embarrassed she is!

Where does this strange excitement come from?

There is longing in her soul,

There is a kind of dumb fear in her eyes!

They have a clear day for some reason

The bad weather has come to change.

What with her? She's not looking at me!

Oh, I'm scared, as if close

Some unexpected misfortune is threatening

I'm scared, scared!

TOMSKY (simultaneously).

That's who he was talking about!

How embarrassed he is by the unexpected news!

I see fear in his eyes

Mute fear replaced the fire of insane passion!

And with her, with her, what? How pale! How pale!

Oh, I'm scared for her, I'm scared!

I'm scared for her!

Tomsky approaches the Countess, Yeletsky approaches Liza. The Countess looks intently at Herman.

TOMSKY. Countess! Let me congratulate you ...

CARAFE. Tell me who is this officer?

TOMSKY. Which the? This? Herman, my friend.

CARAFE. Where did he come from? How terrible he is!

Tomsky sees her off and returns.

ELETSKY (giving his hand to Lisa).

Heaven's enchanting beauty

Spring, marshmallows light rustle,

The fun of the crowd, hello friends

They promise in the future for many years

We are happy!

Liza and Yeletsky leave.

Rejoice, buddy! You forgot

What a thunderstorm happens after a quiet day,

That the creator gave happiness to tears, to the bucket of thunder!

A distant thunderclap is heard. Herman sits down on the bench in gloomy thought.

SURIN. What a witch this Countess is!

CHEKALINSKY. Scarecrow!

No wonder she was nicknamed "The Queen of Spades"!

I can't comprehend why she doesn't understand.

SURIN. How! An old woman? What are you ?!

CHEKALINSKY. An octogenarian hag! Ha ha ha!

TOMSKY. So you don't know anything about her?

SURIN. No, really, nothing!

CHEKALINSKY. Nothing!

Oh, so listen!

The Countess had a reputation for beauty in Paris many years ago.

All the young people were crazy about her,

Calling "Venus of Moscow".

Count Saint-Germain among others,

Then still a handsome man, was captivated by her,

But unsuccessfully he sighed for the countess:

All night long the beauty played

And - alas! - preferred "Pharaoh" * to love.

Once at Versailles "Ai jeu de la Reine" **

"Venus Moskovite" *** was played to the ground.

Among those invited was the Count Saint-Germain;

Watching the game, he heard her

Whispering in the midst of excitement:

"Oh my God! Oh my God!

Oh god, I could play it all

When would it be enough to put it again

Count, having chosen the right moment when

Stealthily leaving the full hall of guests,

The beauty sat alone in silence,

He whispered in love over her ear

Words sweeter than the sounds of Mozart:

“Countess, Countess!

Countess, at the cost of one "rуndez-vous" ****

If you want, I’ll tell you

Three cards, three cards, three cards? "

The Countess flared: "How dare you ?!"

But the count was not a coward. And when every other day

The beauty has appeared again, alas,

Penniless, "Ai jeu de la Reine"

She already knew three cards ...

Boldly placing them one after another,

She returned her ... but at what cost!

Oh cards, oh cards, oh cards!

Since she told her husband those cards,

Another time, the young handsome man recognized them.

But on the same night, only one was left,

A ghost appeared to her and said menacingly:

"You will receive the killing blow,

From the third, who, ardently, passionately loving,

Three cards, three cards, three cards

Three cards! "

CHEKALINSKY. Se non e ver`e ben trovato. *****

Lightning flashes, thunder is heard approaching. A thunderstorm begins.

* "Pharaoh" - a card game that was in vogue at the court of the French queen.

** In the royal game (fr.)

*** Venus of Moscow (fr.)

**** Date (fr.)

***** "If not true, it is well said." Latin proverb.

It's funny! .. But the Countess can sleep peacefully:

It is difficult for her to find an ardent lover!

CHEKALINSKY.

Listen, Herman!

Here is a great opportunity for you to play without money.

(Everyone laughs.)Think, think!

CHEKALINSKY, SURIN.

“From the third, who, ardently, passionately loving,

Will come to learn from you by force

Three cards, three cards, three cards! "

Chekalichsky, Surin and Tomsky leave. There is a strong thunderclap. The thunderstorm is playing out. Walkers hurry in different directions.

Chorus of people walking.

How quickly the storm came

Who would have expected what passions!

Blow after blow louder, worse!

Run quickly!

Hurry to get to the gate!

Hurry home!

Everyone scatters. The thunderstorm is getting worse. From a distance, the voices of those walking can be heard.

Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry!

Heavy thunderclap.

HERMANN (thoughtfully).

"You will receive the killing blow

From the third, who, ardently, passionately loving,

Will come to learn from you by force

Three cards, three cards, three cards! "

Oh, what's in them

Even though I had them!

Everything is lost now ...

I was the only one left.

I am not afraid of the storm!

In myself, all passions awoke

With such killing power

That this thunder is nothing in comparison!

No, prince!

As long as I'm alive, I won't give it to you,

I don’t know how, but I’ll take it away!

Thunder, lightning, wind!

In your presence, I solemnly take an oath:

She will be mine

She will be mine, mine,

My il will die!

(Runs away.)

PICTURE SECOND

Lisa's room. Lisa is sitting at the harpsichord. There are friends around her, among them Polina.

LIZA, Polina.

It's already evening ... the edges have faded, *

The last ray of dawn on the towers dies;

The last flying stream in the river

With an extinct sky fades away.

Everything is quiet ... The groves are asleep, peace reigns around,

Stretched out on the grass under a bent willow,

I listen to how it murmurs, merging with the river,

Stream shaded by bushes.

As the scent is fused with the coolness of plants,

How sweet is the splashing in the silence by the shore,

How quietly the air blows over the waters

And the lithe willow flutter.

Choir of girlfriends.

Fascinating! Charming!

Wonderful! Delightful!

Ah, wonderfully good!

Also, mesdames. Also, mesdames. More more!

LISA. Sing, Fields, we are alone!

Pauline. One? but what to sing?

Choir of girlfriends.

Please what do you know

Ma shere **, dove, sing us something:

I will sing you Lisa's favorite romance.

(Sits down at the harpsichord.)Wait ... How is it?

(Preludes.) Yes! remembered.

(Sings with deep feeling.)

Friends are cute, friends are cute, ***

In playful carelessness,

You frolic in the meadows to the song of the dance.

And I, like you, lived happy in Arcadia,

And I am on the morning of days in these groves and fields

I tasted a minute of joy

I tasted a minute of joy.

Love in the dreams of the golden

She promised me happiness;

__________________

* Poems of Zhukovsky

** My dear (fr.).

*** Poems of Batyushkov.

But what did I get in these joyful places,

In these joyful places?

Grave, grave, grave! ..

(Everyone is touched and excited.)

So I decided to sing a song,

Such a tearful! Well, why?

And without that you are sad, Liza,

On such and such a day, think about it!

After all, you are engaged, ay-ay-ay!

(To her friends.)

Well, why are you all hanging up?

Let's merry, yes Russian,

In honor of the bride and groom!

Well, I'll start, And you sing along with me!

Choir of girlfriends. And really, let's have a funny, Russian!

Girlfriends clap their hands. Lisa, not taking part in the fun, stands pensively by the balcony.

Come on, little light Mashenka,

You sweat, dance!

Polina and the choir of friends.

Ay, lyuli, lyuli, lyuli,

You sweat, dance!

Its white little hands

Pick it up under your sides!

Polina and the choir of friends

Ay, lyuli, lyuli, lyuli,

Pick it up under your sides!

Your little legs

Do not be sorry, please!

Polina and the choir of friends

Ay, Lyuli, Lyuli, Lyuli, Do not be sorry, please!

(Polina and her friends start dancing.)

If mamma asks - "Merry!" - speak.

Polina and the choir of friends

Ay, lyuli, lyuli, lyuli - "Fun!" - speak.

And to the answer, tetya -

Like, "I drank until dawn!"

Polina and the choir of friends.

Ay, lyuli, lyuli, people -

Like, "I drank until dawn!"

Pauline. "Go away, go away!"

Polina and the choir of friends.

Ay, lyuli, lyuli, lyuli,

"Go away, go away!"

Enter the Governess.

Governess.

Mesdemoiselles, what is your noise here?

The Countess is angry ...

Ah ah ah! Aren't you ashamed to dance in Russian?

Fi, quel genre, mesdames *

To the ladies of your circle

You need to know decency!

You should have each other

To inspire the rules of light.

In girls' only get mad

You can, not here, mes mignones, **

Can't you have fun

Not forgetting the bonton?

To the ladies of your circle

You need to know decency

You should have each other

To inspire the rules of light!

It's time to disperse.

They sent you to call me to say goodbye.

The young ladies disperse.

Pauline (going up to Liza). Lisa, why are you so boring?

I am boring? Not at all!

Look what a night

As after a terrible storm

Everything was renewed suddenly.

Look, I will complain about you to the prince,

I'll tell him that on the day of your engagement you were sad.

LISA. No, for God's sake, don't tell me!

Then if you please smile now.

Like this! Now goodbye!

(They kiss.)

LISA. I will take you ...

Polina and Liza leave. Masha enters and puts out the candles, leaving only one.

While she comes to the balcony to close it, Lisa returns.

* Fi, what genre6, young ladies. (fr)

** My darlings (fr.).

LISA. Don't shut up, leave it.

Masha. Wouldn't catch a cold, young lady!

LISA. No, Masha, the night is so warm, so good!

Masha. Would you like to help to undress?

LISA. No I myself. Go to sleep!

Masha. It's too late, young lady ...

LISA. Leave me, go!

Masha leaves. Lisa stands deep in thought and then cries quietly.

Where do these tears come from?

Why are they?

My girlish dreams

You cheated on me

My girlish dreams

You cheated on me!

Here's how you came true in reality!

I have given my life to the prince,

Chosen by heart, in essence,

Mind, beauty, nobility, wealth

A worthy friend is not like me.

Who is noble, who is handsome, who is stately, like him?

No one! And what?

I'm full of longing and fear,

I tremble and cry!

Where do these tears come from?

Why are they?

My girlish dreams

You cheated on me

My girlish dreams

You cheated on me!

You cheated on me!

(Cries.)

Both hard and scary!

But why deceive yourself?

I am here alone, everything is quietly sleeping around ...

(Passionately, enthusiastically.)

Oh listen, night!

You alone can believe the secret

My soul.

She's dark like you, she's sad

Like the gaze of the eyes

Peace and happiness that took away from me ...

Queen of the night!

How are you, beauty, like a fallen angel,

He is beautiful

There is a fire of burning passion in his eyes,

Like a wonderful dream

He beckons me, and my whole soul is in the power of him!

Oh night! oh night! ..

Herman appears at the door of the balcony. Lisa retreats in mute horror. They look at each other in silence. Lisa makes a movement to leave.

HERMANN. Stop, I beg you!

LISA. Why are you here, mad man? What do you want?

HERMANN. Say goodbye!

(Lisa wants to leave.)

Don't go away! Stay!

I'll leave myself now

And I will not return here again ...

One minute! .. What are you worth?

A dying man calls out to you.

LISA. Why, why are you here? Go away !.

HERMANN. Not!

LISA. I will scream!

HERMANN. Shout! Call everyone!

(Takes out a pistol.)

I will die anyway, alone or in the presence of others.

(Lisa lowers her head and is silent.)

But if there is, beauty, in you

Though a spark of compassion

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Three cards, three cards, three cards! "

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CHEKALINSKY.

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HERMANN {!LANG-4b4d4558a985ef914d18bd0f162fec69!}

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______________

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HERMANN (thoughtfully).

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HERMANN {!LANG-8aa9c256ed06cca0c8ce06846341fcd1!}

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(Runs away.)

{!LANG-13dee46a7b5c76fc2ac4c07a051cc957!}

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{!LANG-ee49344881a6b1ab875459bf00f55437!}

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{!LANG-9bf7f93f26b537b5e9b9d5f0225f3368!}

{!LANG-a7fa08470ccc929b3b50ba9cf1f4421b!}

CHEKALINSKY {!LANG-6d5f27d4b81e305aee45c14f2bd3c994!}{!LANG-fcad1b56e6e6d6e638fda423409963e6!}

{!LANG-1391f74b4ba357b24adb4961505d916b!}

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{!LANG-e92f87c23a1bc94e28dbe0e5cb112a1e!}

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TOMSKY (Yeletsky).

{!LANG-e69fae3bb1a6415a679f38b7d55b3ccc!}

{!LANG-e58395b0a5a19a0fa86fe010dd59162d!}

{!LANG-f750df02b30694a14cade8776623fff4!}

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{!LANG-472479b35714d988f05e0121a2bdd35b!}

{!LANG-d31f7e9cf49a4a2cd3578ab38462af45!}

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{!LANG-ba3b4b1c9037ad4e52f1d5089682e6f2!}

{!LANG-e3c59b13218458891c6c97e1c8b5a88e!}

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{!LANG-fdf6e4026190222edcc7066ffdd8c3fd!}

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{!LANG-d0b0a1895ee66aabd61a324c2ad50397!}

{!LANG-2012cf06d63e7b4d523ce8ea39c04c38!}

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{!LANG-bbd0c5a8f0006a84c5633691b802161c!}

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{!LANG-0bed335a45c47d36ce6e4c101202b3c3!}

{!LANG-8932cd20c21a6844cec365365cb1f54d!}

CHEKALINSKY.

{!LANG-7285986bbc8722ddb96031af2c76b518!}

{!LANG-10ef0ff5d1d2589c432c1dc3ff184f4d!}

{!LANG-1a8fcf24b22a9ee62445fd73043dd62b!}

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TOMSKY {!LANG-3aba95d579aeacf4200dd704a6c814f0!}

{!LANG-2652cf077ebfa2d24794addc8744ef17!}

{!LANG-8c6299c43d79dbf5c7c1933338c724fc!}

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{!LANG-abb327376057b647569bffce512c7fe4!}

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{!LANG-5ab059a79a152cf7c6626ff4b0da7203!}

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{!LANG-8b198e8c62892d6dadcc0622ac682741!}

{!LANG-7746386f57952f98fb81e50a0f4cd256!}

{!LANG-25061af01bc1722c915b7a2ac11d9276!}

{!LANG-467c9016399aaae9f12409f4a3b8b063!}

{!LANG-6767af9faf1475f2e475183349c45cd2!}

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{!LANG-8b198e8c62892d6dadcc0622ac682741!}

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{!LANG-6767af9faf1475f2e475183349c45cd2!}

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{!LANG-8a985b9b8a4d3aa9557933c0ff56b245!}

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{!LANG-92ab15ee740622def5b711d6515b906c!} {!LANG-77691d6c12f441fbeaf5d344545ead5f!}

{!LANG-e377f8ec658229de997c21fe5f2f8839!}

{!LANG-83c0aec211bccb6344d350be7ae20b3f!}

{!LANG-3b906c050a0c36ad7e423b6e2ec6e497!}

{!LANG-fbea1fb8e89a829a8bebffdefbf056c9!}

{!LANG-9efcc117d9de856037f029f6e5500937!}

{!LANG-b1b68df67901f82e4f68393e6e50645f!}

{!LANG-0dccff63f8dd7ce8e7d6ac47c85df375!}

{!LANG-3eadfc81548a0d12a4ffded8efb6ac6d!}

ELETSKY {!LANG-02945b2840a0b8680d545348908a22d2!}

{!LANG-ad15326d02c455131cdb5bdd6e376fd7!}

{!LANG-00c03e77e62c985a83ffcf29c2b0d3ab!}

{!LANG-100dd381445addb1e39f074905dc8943!}

{!LANG-47a864933dca32bf9a2d0ff47e949926!}

{!LANG-096f12a8728c9d319bdf0aad74485541!}

{!LANG-d310766a6970a8d20e6e24eaba1a6b53!}

{!LANG-1024aba2adf011e32fc4a014ffe0db7c!}

{!LANG-c44e24c865f862d20ecd40c7ac05e917!}

CHEKALINSKY.

{!LANG-18a779ce7aeb5799718827127aed5dd1!}

{!LANG-89e7a54c774820570674ba30e1981e54!}

{!LANG-5f663beda3de7a8c4f2d156697336d3e!}

{!LANG-f8b6c643e55fca9ecd729d03d9ff34fe!}

{!LANG-2b165c28ce4fee9a8a4bf6d602106289!}

{!LANG-373f6974a4109ae53dc80d9e7a7eb4c0!}

{!LANG-6243bb2cb097bd8b75f64cf988d22528!}

{!LANG-1a8fcf24b22a9ee62445fd73043dd62b!}

{!LANG-fcd37a77dcfd6b81dc5cf3b872205141!}

{!LANG-19df7a4c30ed65c41e1f19582a0ba800!}

{!LANG-0d4757f5ba3b864cc4caedaa074305b3!}

{!LANG-ff5c7c34c35aec7080a0075c1e036679!} {!LANG-5698a99cf7749f15f4e8a954effafd06!}{!LANG-fbcade8dd8b3ba6a6ebd19dc8e213a45!}

{!LANG-77c7a24be4b43b836c1b9559b2bad1fa!}

{!LANG-6786ba5ff839c249fc2986236d906504!}

{!LANG-1a8fcf24b22a9ee62445fd73043dd62b!}

{!LANG-7a885aab4950cdddd20a6fb9a1f90fce!}

{!LANG-7c254d36d7c812dce9abb82539ec1eba!}

{!LANG-2b6decb8dfaf2d7396e448a2186d64ed!}

HERMANN {!LANG-f9a61d2fdd7b79a68c7ad29c540cff14!}{!LANG-1519795441e94d4735d7f3cca727d07c!}

{!LANG-52ac189e0d1bc6c7ec3618e08809fc9c!}

{!LANG-10276ce2d07c587289efaeba3c1f61ed!}

{!LANG-c33504b11270ee738b43c435a17af894!}

{!LANG-ea550746a3e5fceb8e868ecceb9eb69f!}

{!LANG-1a8fcf24b22a9ee62445fd73043dd62b!}

{!LANG-7bf3ac874edcc3e1fa47d03e1956dff6!}

CHEKALINSKY.

{!LANG-17e73a2ad0365063a6a434a9883264bc!}

{!LANG-3c819210a2529709a7dd98466b68ceaa!}

{!LANG-f379f520f658f2ba513b09fc6ec91052!}

{!LANG-7c1e11af98c11c253ff8766c3501af86!}

{!LANG-4e963b959f6301bf5701f681bf11d7bf!}

{!LANG-fd10c98bf57c450ca991b773852938d1!}

{!LANG-17e73a2ad0365063a6a434a9883264bc!}

{!LANG-23125f85cd358cc13890d2de76b9e537!}

{!LANG-5d35a2d610512c26823c817bec912eec!}

{!LANG-f379f520f658f2ba513b09fc6ec91052!}

{!LANG-66ba69ce6ef65953097726b4b9fd73b0!}

ELETSKY {!LANG-3a1674b15b53960734b21e2adb4d37d2!}

{!LANG-17e73a2ad0365063a6a434a9883264bc!}

{!LANG-97d601ea3af21b82946d113e9147d47b!}

{!LANG-678e3d5e8f4e9e538f314315f499ce5d!}

{!LANG-98c0262b28172c077d6b5fc3a0379127!}

{!LANG-5aad5855c15eeb62d07db747fc9de170!}

{!LANG-13e863fd3bbdb6fcd607eec66d203dfe!} {!LANG-3a1674b15b53960734b21e2adb4d37d2!}

{!LANG-17e73a2ad0365063a6a434a9883264bc!}

{!LANG-23125f85cd358cc13890d2de76b9e537!}

{!LANG-4e963b959f6301bf5701f681bf11d7bf!}

{!LANG-f379f520f658f2ba513b09fc6ec91052!}

{!LANG-c0130592f102e4341fc3eaf3a187401a!}

{!LANG-ca65267278b334de231327af1edea3f2!} {!LANG-3a1674b15b53960734b21e2adb4d37d2!}

{!LANG-17e73a2ad0365063a6a434a9883264bc!}

{!LANG-c0130592f102e4341fc3eaf3a187401a!}

{!LANG-3c819210a2529709a7dd98466b68ceaa!}

{!LANG-ecffb0d7511f42c814f21e82151ef3cf!}

{!LANG-c0130592f102e4341fc3eaf3a187401a!}

TOMSKY {!LANG-3a1674b15b53960734b21e2adb4d37d2!}

{!LANG-982d734036aaff65db4a8e100a8db061!}

{!LANG-e1c8fd7721692bcc787e861817f0a2d1!}

{!LANG-c0130592f102e4341fc3eaf3a187401a!}

{!LANG-449d03eb5088b4f1b45873664337276e!}

HERMANN {!LANG-3a1674b15b53960734b21e2adb4d37d2!}

{!LANG-e3026bf94e6c563d567651cc1f1ef40a!}

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