Aleko (Russian: Алеко) is the first of three completed operas by Sergei Rachmaninoff. The Russian libretto was written by Vladimir Nemirovich-Danchenko and is an adaptation of the poem The Gypsies by Alexander Pushkin. The opera was written in 1892 as a graduation work at the Moscow Conservatory, and it won the highest prizes from the conservatory judges that year. It was first performed in Moscow 19 May 1892.
The composer conducted another performance in Kiev on 18/30 October 1893. (Tchaikovsky had attended the Moscow premiere of Aleko, and Rachmaninoff had intended to hear the premiere of Tchaikovsky's Pathétique Symphony on 16/28 October, but had to catch a train for Kiev to fulfill his Aleko conducting engagement.) A Pushkin centenary celebration performance on 27 May 1899 at the Tauride Palace in Saint Petersburg featured Feodor Chaliapin in the title role, and utilized the chorus and ballet of the Mariinsky Theatre.
The New York City Opera's 2016/17 season opened in Jazz at Lincoln Center's Rose Hall with a double bill of Aleko and Pagliacci, an opera that also premiered in May 1892. James Meena conducted and Stefan Szkafarowsky sang the title role.
|Role||Voice type||Moscow premiere cast
9 May 1893
(Conductor: Ippolit Al'tani)
|Kiev premiere cast
18 October 1893
|St. Petersburg premiere cast|
27 May 1899
|Aleko||baritone||Bogomir Korsov||Alexandr Bobrov||Feodor Chaliapin|
|Young Gypsy||tenor||Lev Klementyev||Alexey Borisenko||Ivan Yershov|
|Zemfira||soprano||Mariya Deysha-Sionitskaya||Vera Eigen||Mariya Deysha-Sionitskaya|
|An old man, Zemfira's father||bass||Stepan Vlasov||Levitsky||Yalmar Frey|
|Gypsy woman||contralto||Yelizaveta Shubina||Alla Tomskaya|
|Chorus, silent roles: Gypsies|
A band of gypsies has pitched its tents for the night on the bank of a river. Beneath a pale moon, they light campfires, prepare a meal and sing of the freedom of their nomadic existence. An old gypsy tells a story. Long ago, he loved Mariula who deserted him for another man, leaving behind Zemfira, their daughter. Zemfira is now grown up, has her own child, and lives with Aleko, a Russian who has abandoned civilisation for the gypsy life. Hearing this story, Aleko is outraged that Zemfira's father took no revenge on Mariula. But Zemfira disagrees. For her, as for her mother, love is free, and she herself has already tired of Aleko's possessiveness and now loves a younger gypsy, one of her own people. After dances for the women and the men, the gypsies settle down to sleep. Zemfira appears with her young lover, whom she kisses passionately before disappearing into her own tent to look after her child. Aleko enters and Zemfira taunts him, singing about her wild lover. Alone, Aleko broods on the catastrophe of his relationship with Zemfira and the failure of his attempt to flee the ordinary world. As dawn comes, he surprises Zemfira and her lover together. In a torment of jealousy he kills them both. All the gypsies gather, disturbed by the noise. Led by Zemfira's father, they spare Aleko's life but cast him out from them forever.
Principal arias and numbersEdit
- Aleko's Cavatina / Каватина Алеко (Kavatina Aleko)
- The Young Gypsy's Romance / Романс Молодого Цыгана (Romans Molodogo Tsygana)
- The Old Gypsy's Story / Рассказ Старика (Rasskaz Starika)
- Men's Dance / Пляска мужчин (Plyaska muzhchin)
Like Rachmaninov's two other operas, Aleko shows Rachmaninov finding his own individual style, independent of the traditional number opera or Wagner's music-dramas. Michael Bukinik, a contemporary of Rachmaninov at the conservatory, recalled the rehearsals for the opera:
I was a pupil of the orchestra class, and during the rehearsals, we not only admired, but were made happy and proud by his daring harmonies, and were ready to see in him a reformer.
Geoffrey Norris has noted criticism of the opera as lacking in dramatic momentum and the libretto as being a hastily crafted "hotchpotch". A contemporary critic in the Moskovskiye vedomosti wrote of the opera at the time of the premiere:
Of course there are faults, but they are far outweighed by merits, which lead one to expect much from this young composer in the future.
- 1951 Ivan Ivanovich Petrov, Nina Pokrovskaya, Anatoly Orfenov, Alexander Ognivtzev, Bronislava Zlatogorova; Bolshoi Theatre Chorus and Orchestra; Nikolai Golovanov, Melodiya
- 1987 Evgeny Nesterenko, Svetlana Volkova, Alexander Fedin, Vladimir Matorin, Raisa Kotova; USSR TV & Radio Large Chorus, Moscow Philharmonic Symphony Orchestra; Dmitri Kitaenko, Moscow Studio Archives / Alto
- 1990 Arthur Eisen, Lyudmila Sergienko, Gegham Grigoryan, Gleb Nikolsky, Anna Volkova, Vasily Lanovoy; USSR Academic Grand Chorus of Radio & TV, USSR Academic Symphony Orchestra; Yevgeny Svetlanov, Melodiya
- 1993 Vladimir Matorin, Natalia Erassova, Viatcheslav Potchapski, Vitaly Tarastchenko, Galina Borissova; Russian State Choir, Bolshoi Theatre Orchestra; Andrei Chistiakov, Chant du Monde
- 1995 Samson Isoumov, Marina Lapina, Oleg Koulko, Leonid Tischenko; Aleko Choir, Donetsk Philharmonic Orchestra; Roman Kofman (Live Rotterdam), Verdi Records / Brilliant
- 1996 Nicola Ghiuselev, Blagovesta Karnabatlova, Pavel Kourchoumov, Dimiter Petkov, Tony Christova; Bulgarian Broadcasting Chorus, Plovdiv Philharmonic Orchestra; Rouslan Raichev, Capriccio
- 1997 Sergei Leiferkus, Maria Guleghina, Ilya Levinsky, Anatoli Kotscherga, Anne Sofie von Otter; Gothenburg Opera Chorus, Gothenburg Symphony Orchestra; Neeme Järvi, Deutsche Grammophon
- 2006 Egils Silins, Maria Gavrilova, Alexandra Dursuneva, Andrey Dunayev; Moscow Chamber Choir, RSO Moskow; Vladimir Fedoseyev, Relief
- 2007 Vassily Gerello, Olga Guryakova, Vsevolod Grivnov, Mikhail Kit; Yurlov Capella, Moscow Chamber Orchestra; Constantine Orbelian, Delos
- 2009. Sergey Murzaev, Svetla Vassileva, Evgeny Akimov, Gennady Bezzubenkov, Nadezhda Vasilieva; Coro del Teatro Regio di Torino, BBC Philharmonic; Gianandrea Noseda, Chandos
- Notable excerpts
- 1929 Feodor Chaliapin: Aleko's Cavatina. Available on LP, CD, online. Electrical (microphone) recording. A 1924 acoustical (horn) recording also exists.
- Talk Classical
- Williams, Gordon. British Theatre in The Great War: a revaluation, p. 273,. New York: Continuum (2003).
- "New York City Opera to Open Season with Aleko & Pagliacci Double Bill", Opera News Desk, broadwayworld.com, 12 August 2016
- Yasser, Joseph, "Progressive Tendencies in Rachmaninoff's Music" (Winter, 1951/1952). Tempo (New Ser.), 22: pp. 11–25.
- Norris, Geoffrey (July 1973). "Rakhmaninov's Student Opera". The Musical Quarterly. 59 (3): 441–448. doi:10.1093/mq/LIX.3.441.
- Quraishi, Ibrahim (1997). "Aleko. Sergei Rachmaninov". The Opera Quarterly. 13 (4): 201–204. doi:10.1093/oq/13.4.201. Retrieved 2007-07-22.