Nikolai Rimsky-Korsakov, Mlada (1890)

This is not to be confused with the 1872 opera Mlada, which was an abortive collaborative project with Rimsky-Korsakov along with some other Russian composers, including Mussorgsky and Borodin (certainly an impressive array of talent). This apparently uses the same libretto but is completely different musically.

I have no idea whether this is based on actual mythology or if it's an original story; the internet does not make that clear. But the story, such as it is: Princess Mlada and Prince Yaromir were in love, but before the opera opens, Mlada has been murdered by Princess Voyslava (with the help of her father), who wants to marry Yaromir herself. To this end, she enlists the help of the goddess of death, Morena, but ultimately it's no dice: Yaromir remains faithful to Mlada, and the two are united in Heaven.

I say "such as it is" because this is an extremely non-plot-heavy opera--actually more accurately classified as an opera-ballet. That plot is mostly sort of bunched together at the beginning and end, with a lot of excuses for song and dance in between. There is a lot of invoking of various gods, both good and evil, as well as a somewhat undercooked thing involving different ethnicities, and in particular the Czechs who are trying to avoid persecution by the Germans. This goes nowhere and I'm not sure why it's there.

That is unimportant, however, because this thing cooks. Rimsky-Korsakov is fast becoming one of my favorite composers, and here we see the versatility of his talent, with music ranging from boistrous folk dances to eerie evocations of the supernatural. There's an especially striking part where, because the forces of darkness need Yaromir to forget about Mlada for their magic to work, they summon the shade of Cleopatra (yes, in a medieval Slavic setting--just go with it), leading to some appropriately spellbinding song and dance.

Unsurprisingly, there is only one video recording of this, from the Bolshoi Ballet in 1992. Fortunately, it's a pretty good one! It does suffer a little from the aesthetics of the time (in particular, Maria Gavrilowa as Voyslava has this "too much hairspray" eighties hangover thing), but it's generally sumptuously produced and lovely to watch. As usual with Rimsky-Korsakov, a lot of the singing seems like sort of an afterthought, but it's all fine. Oddly, the highlight may be a silent one, with Nina Ananiashvili (currently the artistic director of the State Ballet of Georgia) in a dual role as Mlada and Cleopatra. She may not sing, but she sure can dance, and she has the appropriate unearthly beauty for these roles.

Rimsky-Korsakov rules. Only about half his operas have been filmed, but I intend to see every one that I can.