All That’s Gold Does Not Glitter
Behind Rimsky-Korsakov’s The Golden Cockerel’s exotic melodies, political satire masquerades in Pushkin’s fairy tale—as a dim-witted head of state, Tsar Dodon, leads his country into a disastrous war on the advice of equally stupid counselors. “The music is truly magical…comic and deeply moving,” says stage director Paul Curran (La Donna del Lago, 2013). Conducted by Emmanuel Villaume (La Fanciulla del West, 2016), it features bass-baritone Eric Owens (Wozzeck, 2011) and contralto Meredith Arwady (The Impresario and Le Rossignol, 2014), along with tenor Barry Banks (Ermione, 2000). Acclaimed Russian soprano, Venera Gimadieva makes her Santa Fe debut as the Queen of Shemakha.
Performed at The Crosby Theatre
Vladimir Nikolayevich Bel'sky
Instant Translation Screen
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We hear Rimsky-Korsakov’s musical affinities — foreign color, brilliant orchestration, scintillating harmonies, virtuosic writing — expressed with a melodic freedom.
Scenic & Costume Design
Queen of Shemakha
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All That Glitters…
In the shadow of a presidential election, is fantasy any stranger than political reality? A similar question might well have prompted Nikolai Rimsky-Korsakov to create his dazzling 1908 opera The Golden Cockerel, which combines elements of fairy tale and political satire. He had enjoyed a critical and popular triumph in 1907 with his opera The Invisible City of Kitezh, and expected it to be his last. But like many of his compatriots, he was angered by politics in Russia, where the disastrous Russo-Japanese war (1904 – 1905) — a conflict that seemed very distant from most citizens’ concerns — had made their privations even worse.