Nikolai Rimsky-Korsakov, Sadko (1898)

You know, I've only seen a handful of Russian operas, but of those that I've seen, they all feel really intensely Russian to me in a way that operas from other countries don't feel quite so Italian, French, German, or whatever.  Does that make sense?  It might be a nutty thing to say.  But regardless, here's another datapoint!  I keep hearing about Rimsky-Korsakov editing and completing operas that remained unfinished at the composer's death, but what about his own work? Hmm? This is basically a folk tale in opera form; I remember when I was small I really, really liked all these "folk tales from X" books I would check out of the library, so it definitely brings me back.

Sadko himself is a folk hero; an adventurer and gusli player. The opera centers around the town of Novgorod, where all the rich merchants think he's kind of a fuck-up. But he goes to Lake Ilmen where he encounters Volkhova, the daughter of the Sea King (as you do) and they fall in love. She has to go, but tells him that he can get rich by catching three golden fish, and leaves, swearing they'll meet again. Long story short: he DOES get rich, goes on a long voyage, ends up at the bottom of the sea, propitiates the Sea King who accepts him as his daughter's husband, but then--this part is somewhat less than clear--paganism is apparently replaced by Christianity and the Sea King loses his power and Volkhova has to become a river. I realize it sounds insane when I say it like that. And even when I don't! But be that as it may. So Sadko is cast back up at Novgorod? WAS IT ALL A DREAM?!? Presumably not, given that he's still rich.

I mean, the music here is utterly sumptuous. Rimsky-Korsakov was Some Kinda Tunesmith. I watched this 1994 production, from the Mariinsky Theatre in Saint Petersburg. And you can watch it too! I think it's probably the ideal way to experience this opera; the traditionally-styled production is incredibly impressive. There are a half-dozen-odd elaborate (in a good way) sets, and all the costuming, my lord, there's a hugecast of chorus members and background characters here and they all look great. All in all, the perfect match for the opera itself. Those Russians do know how to put on a show. The singing is also great. Sadko himself--naturally--has by far the biggest part; I imagine it must be quite demanding, and Vladimir Galouzine does a fine job, bringing an appropriate youthful vigor and inquisitiveness to the role. But it's all good.

So this is really fantastic in many ways, but there's just one thing that doesn't sit right with me, that I couldn't quite make myself ignore. So the thing about Sadko is, he's pursuing Volkhova, but...he's also married. And I gather that he's supposed to seem more young and impulsive and thoughtless than actually jerkish, but...I felt like Rimsky-Korsakov didn't quite pull that off. His wife is a character, bemoaning her husband's long absence, and she's definitely supposed to be sympathetic, but Sadko...man. I mean, he leaves on this lengthy ocean voyage in pursuit of this phantom woman, and I feel like the very least he could do in that situation is to tell her what's happening, but nope, she's left with just no idea. In the end, they're back together again, happily it seems, but in spite of his "forgive me," the whole thing just does not seem to work emotionally or psychologically. I know a folk tale is not generally going to be "realistic," but...I don't know. I feel that this is a serious fly in the ointment. Otherwise, I'd rave unreservedly, but as it is, it's reserved raving for me.