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Updated: August 29, 2024
The titles of his operas are: "The Maid of Pskof," 1872; "A Night in May," 1880; "Sniegouroschka," 1882; "Mlada," 1892; "Christmas Eve Revels," 1895; "Sadko," 1897; "Mozart and Salieri," 1898; "Boyarina Vera Sheloga," 1898; "The Tsar's Bride," 1899; "The Tale of Tsar Saltan," 1900; "Servilia," 1902; "Kashchei the Immortal," 1902; "Pan Voyevoda," 1902; "Kitj," 1907; "Le Coq d'or," 1907.
"Petrouchka" has a brilliance and vivacity and madness that makes Rimsky's scenes from popular life, his utilizations of vulgar tunes and dances scarcely comparable to it. Nowhere in any of Rimsky's reconstructions of ethnological dances and rites, neither in "Mlada" nor in "Sniegourochka," is there anything at all comparable to the naked power manifest in "Le Sacre du printemps."
One hears the whistling parabolas of the flutes and clarinets of "Scheherazade" in "Mlada," in "Sadko," in a half-dozen works. The orchestra that paints the night-sky of "Mlada" rolls dangerously like that which paints the sea of "Scheherazade" and "Tsar Saltan." The famous "Chanson indou" seems to float vaguely through half his Oriental evocations.
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