New production by Yuri Alexandrov at the Estonian National Opera


The premiere of the opera by Nikolay Rimsky-Korsakov 'Tsar's Bride' was presented on 25th of Janury 2019 at the Estonian National Opera. For the production of the play, the director from St. Petersburg, People's Artist of Russia Yuri Alexandrov was invited. The main innovation in the production was the relocation of the 'Tsar's Bride' to 1945, reports Estonian television.

According to the director, the relocation of the time action is justified, since these two epochs are in many ways similar. The performance is filled with a sense of relief and happiness, which the characters of the play are waiting after the war. However, the director and set designers do not forget about the original script of the play of Rimsky-Korsakov. Therefore, in the costumes and decorations created in the style of the postwar period of the middle of the XX century, there are elements of the traditional Russian costume and church domes. The artist Aare Saal, who sang the main male part in the opera, said: “Preparing for the role, I was inspired by the scale and depth of the Russian classics and folk music”. 
Two love triangles and four murders - these actions happening on the stage of Estonian National Opera in the new production of the 'Tsar's Bride' by Nikolai Rimsky-Korsakov. Yuri Alexandrov moved the action to 1945. This play was staged so far only once at Estonian National Opera and it was almost 60 years ago. The tragic story of the merchant's daughter Marfa Sobakina, which Tsar Ivan the Terrible chose to be his wife, inspired Rimsky-Korsakov to make many beautiful melodies in a luxurious orchestration, reports "Actual Camera".
'The performer should feel the specifics of Russian music, its scope and depth, and I tried to do this while working on my role', the main male role soloist, Aare Saal says. 
The director invited from St. Petersburg, People's Artist of Russia Yuri Alexandrov decided to bring the action in 1945. 'We are playing the first post-war autumn in Russia, when the war just ended, the horrors associated with this war were finally gone, and people felt some relief and expectation of happiness and maybe even some kind of light, but it does not exist because this structure existed suppressed all living and human', Yuri Alexandrov explains.
This decision of the director includes the appearance in the play portraits of Joseph Stalin. 
Yuri Alexandrov notes: 'Stalin is absolutely appropriate because at that time he was Ivan the Terrible in Russia'. 
Signs and costumes of the post-war time coexist on the stage with traditional head-bands, boyar coats and church domes. 
'Opera allows to work in many dimensions, this is the genre where music concedes you to move not only in time but also in space, and to me it was very interesting to combine these two periods because the human does not change inside', adds Alexandrov.