Amazingly, before P.I. Tchaikovsky created his tragic opera masterpiece, Pushkin " Queen of Spades"inspired Franz Suppe to write... an operetta (1864); and even earlier - in 1850 - the French composer Jacques Francois Fromental Halévy wrote an opera of the same name (however, little remains of Pushkin here: the libretto was written by Scribe, using the translation of “The Queen of Spades” into French made in 1843 by Prosper Merimee; in this opera the hero's name is changed, the old countess is turned into a young Polish princess, and so on). These are, of course, curious circumstances, which can only be learned from music encyclopedias— these works have no artistic value.
The plot of “The Queen of Spades,” proposed to the composer by his brother, Modest Ilyich, did not immediately interest Tchaikovsky (as the plot of “Eugene Onegin” had done in his time), but when it finally captured his imagination, Tchaikovsky began working on the opera “with selflessness and pleasure" (as with "Eugene Onegin"), and the opera (in clavier) was written in an amazingly short time - in 44 days. In a letter to N.F. von Meck P.I. Tchaikovsky talks about how he came up with the idea of writing an opera on this plot: “It happened this way: my brother Modest three years ago began composing a libretto for the plot of “The Queen of Spades” at the request of a certain Klenovsky, but this latter finally gave up composing music, for some reason he was unable to cope with his task. Meanwhile, the director of the theaters, Vsevolozhsky, was carried away by the idea that I should write an opera on this very plot, and certainly for the next season. He expressed this desire to me, and since it coincided with my decision to flee Russia in January and start writing, I agreed... I really want to work, and if I manage to get a good job somewhere in a cozy corner abroad, it seems to me , that I will master my task and by May I will present it to the directorate of the keyboard, and in the summer I will be instrumentalizing it.”
Tchaikovsky went to Florence and began working on The Queen of Spades on January 19, 1890. The surviving sketches give an idea of how and in what sequence the work proceeded: this time the composer wrote almost “in a row.” The intensity of this work is amazing: from January 19 to 28, the first picture is composed, from January 29 to February 4, the second picture, from February 5 to 11, the fourth picture, from February 11 to 19, the third picture, etc.
Eletsky's aria "I love you, I love you immensely..." performed by Yuri Gulyaev
The libretto of the opera is very to a large extent different from the original. Pushkin's work is prosaic, the libretto is poetic, with poems not only by the librettist and the composer himself, but also by Derzhavin, Zhukovsky, Batyushkov. Pushkin’s Lisa is a poor pupil of a rich old countess; for Tchaikovsky she is his granddaughter. In addition, an unclear question arises about her parents - who, where they are, what happened to them. Pushkin’s Hermann is from the Germans, that’s why this is the spelling of his last name, Tchaikovsky’s about his German origin nothing is known, and in the opera “Herman” (with one “n”) is perceived simply as a name. Prince Yeletsky, who appears in the opera, is absent from Pushkin
Tomsky's couplets to Derzhavin's words "If only dear girls.." Please note: in these couplets the letter "r" does not appear at all! Sung by Sergei Leiferkus
Count Tomsky, whose relationship with the Countess is not noted in any way in the opera, and where he was bred by an outsider(just an acquaintance of Herman, like other players), Pushkin has her grandson; this apparently explains his knowledge of the family secret. The action of Pushkin's drama takes place in the era of Alexander I, while the opera takes us - this was the idea of the director of the imperial theaters I.A. Vsevolozhsky - to the era of Catherine. The endings of the drama in Pushkin and Tchaikovsky are also different: in Pushkin, Hermann, although he goes crazy (“He is sitting in the Obukhov hospital in room 17”), still does not die, and Liza, moreover, gets married relatively safely; in Tchaikovsky, both heroes die. One can give many more examples of differences - both external and internal - in the interpretation of events and characters by Pushkin and Tchaikovsky.
Modest Ilyich Tchaikovsky
Modest Tchaikovsky, ten years younger than his brother Peter, is not known as a playwright outside Russia except for the libretto of Pushkin's The Queen of Spades, set to music in early 1890. The plot of the opera was proposed by the directorate of the Imperial St. Petersburg Theaters, who intended to present a grandiose performance from the era of Catherine II.
Aria of the Countess performed by Elena Obraztsova
When Tchaikovsky got to work, he made changes to the libretto and partially wrote the poetic text himself, also introducing poems from poets who were Pushkin’s contemporaries. The text of the scene with Lisa at the Winter Canal belongs entirely to the composer. The most spectacular scenes were shortened by him, but nevertheless they add effectiveness to the opera and form the background for the development of the action.
Scene at the Kanavka. Tamara Milashkina sings
Thus, he put a lot of effort into creating an authentic atmosphere of that time. In Florence, where sketches for the opera were written and part of the orchestration was done, Tchaikovsky did not part with the music of the 18th century from the era of the Queen of Spades (Grétry, Monsigny, Piccinni, Salieri).
Perhaps in the possessed Herman, who demands the countess name three cards and thereby dooms himself to death, he saw himself, and in the countess his patron, Baroness von Meck. Their strange, one-of-a-kind relationship, maintained only in letters, a relationship like two disembodied shadows, ended in a break just in 1890.
In Herman’s appearance in front of Lisa, the power of fate is felt; the countess brings in a grave cold, and the ominous thought of three cards poisons the young man’s consciousness.
In the scene of his meeting with the old woman, Herman's stormy, desperate recitative and aria, accompanied by angry, repetitive wooden sounds, mark the collapse of the unfortunate man, who loses his mind in the next scene with the ghost, truly expressionist, with echoes of "Boris Godunov" (but with a richer orchestra) . Then follows the death of Lisa: a very gentle, sympathetic melody sounds against a terrible funeral background. Herman's death is less majestic, but not without tragic dignity. As for “The Queen of Spades”, it was immediately accepted by the public as a great success for the composer
History of creation
The plot of Pushkin’s “The Queen of Spades” did not immediately interest Tchaikovsky. However, over time, this novel increasingly captured his imagination. Tchaikovsky was especially moved by the scene of Herman’s fatal meeting with the Countess. Its deep drama captured the composer, causing a burning desire to write an opera. The work was begun in Florence on February 19, 1890. The opera was created, according to the composer, “with selflessness and pleasure” and was completed in an extremely short time - forty-four days. The premiere took place in St. Petersburg at the Mariinsky Theater on December 7 (19), 1890 and was a huge success 
Soon after the publication of his short story (1833), Pushkin wrote in his diary: “My “Queen of Spades” is in great fashion. Players punt on three, seven, ace.” The popularity of the story was explained not only by the entertaining plot, but also by the realistic reproduction of the types and morals of St. Petersburg society early XIX centuries. In the opera's libretto, written by the composer's brother M. I. Tchaikovsky (1850-1916), the content of Pushkin's story is largely rethought. Lisa turned from a poor pupil into the rich granddaughter of a countess. Pushkin's Herman, a cold, calculating egoist, seized only by the thirst for enrichment, appears in Tchaikovsky's music as a man with a fiery imagination and strong passions. The difference in the social status of the characters introduced the theme into the opera social inequality. With high tragic pathos, it reflects the fate of people in a society subordinated to the merciless power of money. Herman is a victim of this society; the desire for wealth imperceptibly becomes an obsession with him, overshadowing his love for Lisa and leading him to death.
Music
The opera "The Queen of Spades" is one of greatest works world realistic art. This musical tragedy amazes with the psychological truthfulness of the reproduction of the thoughts and feelings of the characters, their hopes, suffering and death, the brightness of the pictures of the era, and the intensity of musical and dramatic development. Character traits Tchaikovsky's style received its most complete and perfect expression here.
The orchestral introduction is based on three contrasting musical images: a narrative one, associated with Tomsky’s ballad, an ominous one, depicting the image of the old Countess, and a passionate lyrical one, characterizing Herman’s love for Lisa.
The first act opens with a bright everyday scene. Choirs of nannies, governesses, and the perky march of boys clearly highlight the drama of subsequent events. Herman’s arioso “I don’t know her name,” sometimes elegiacally tender, sometimes impetuously excited, captures the purity and strength of his feelings.
The second picture falls into two halves - everyday and love-lyrical. The idyllic duet of Polina and Lisa “It’s Evening” is shrouded in light sadness. Polina’s romance “Dear Friends” sounds gloomy and doomed. The second half of the film opens with Lisa’s arioso “Where do these tears come from” - a heartfelt monologue, full of deep feeling.
Galina Vishnevskaya sings. "Where do these tears come from..."
Lisa's melancholy gives way to an enthusiastic confession: “Oh, listen, night.” German’s tenderly sad and passionate arioso “Forgive me, heavenly creature”
Georgiy Nelepp is the best German, sings “Forgive me, heavenly creature”
interrupted by the appearance of the Countess: the music takes on a tragic tone; sharp, nervous rhythms and ominous orchestral colors emerge. The second picture ends with the affirmation of the bright theme of love. Prince Yeletsky’s aria “I love you” depicts his nobility and restraint. The fourth scene, central to the opera, is full of anxiety and drama.
At the beginning of the fifth scene (third act), against the background of funeral singing and the howling of a storm, Herman’s excited monologue appears, “All the same thoughts, still the same terrible dream.” The music that accompanies the appearance of the Countess's ghost fascinates with its deathly stillness.
The orchestral introduction of the sixth scene is painted in gloomy tones of doom. The wide, freely flowing melody of Lisa’s aria “Ah, I’m tired, I’m tired” is close to Russian drawn-out songs; the second part of the aria “So it’s true, with a villain” is full of despair and anger. The lyrical duet of Herman and Lisa “Oh yes, the suffering is over” is the only bright episode of the film.
The seventh picture begins with everyday episodes: a drinking song of the guests, Tomsky’s frivolous song “If only dear girls” (to the words of G. R. Derzhavin). With the appearance of Herman, the music becomes nervously excited. The anxiously wary septet “Something is wrong here” conveys the excitement that gripped the players. The rapture of victory and cruel joy can be heard in Herman’s aria “What is our life? A game!". In the dying minute, his thoughts are again turned to Lisa - a reverently tender image of love appears in the orchestra.
German's aria "That our life is a game" performed by Vladimir Atlantov
Tchaikovsky was so deeply captured by the entire atmosphere of the action and the images of the characters in “The Queen of Spades” that he perceived them as real living people. Having completed the draft recording of the opera with feverish speed(The entire work was completed in 44 days - from January 19 to March 3, 1890. The orchestration was completed in June of the same year.), he wrote to his brother Modest Ilyich, the author of the libretto: “... when I got to the death of Herman and the final chorus, I felt so sorry for Herman that I suddenly began to cry a lot<...>It turns out that Herman was not just an excuse for me to write this or that music, but all the time a living person...”
In Pushkin, German is a man of one passion, straightforward, calculating and tough, ready to put his own and other people’s lives on the line to achieve his goal. In Tchaikovsky, he is internally broken, in the grip of contradictory feelings and drives, the tragic irreconcilability of which leads him to inevitable death. The image of Liza was subjected to a radical rethinking: the ordinary, colorless Pushkin Lizaveta Ivanovna became strong and passionate nature, selflessly devoted to her feelings, continuing the gallery of pure poetically sublime female images in Tchaikovsky's operas from The Oprichnik to The Enchantress. At the request of the director of the imperial theaters I. A. Vsevolozhsky, the action of the opera was moved from the 30s of the 19th century to the second half XVIII century, which gave rise to the inclusion of a picture of a magnificent ball in the palace of Catherine’s nobleman with an interlude stylized in the spirit of the “gallant age”, but did not have an impact on the overall flavor of the action and the characters of its main participants. In terms of the richness and complexity of their spiritual world, the sharpness and intensity of experience, these are the composer’s contemporaries, in many ways akin to the heroes psychological novels Tolstoy and Dostoevsky.
And another performance of Herman's aria "What is our life? A game!" Sung by Zurab Andzhaparidze. Recorded in 1965, Bolshoi Theatre.
In the film-opera “The Queen of Spades” the main roles were performed by Oleg Strizhenov-German, Olga-Krasina-Liza. Vocal parts were performed by Zurab Andzhaparidze and Tamara Milashkina.
P.I. Tchaikovsky opera "The Queen of Spades"
The basis for “The Queen of Spades” by P.I. Tchaikovsky served story of the same name A.S. Pushkin. This exciting and tragic love story between an innocent girl and a passionate officer who became a victim of card gambling was written by the composer in just 44 days. The work is considered the pinnacle of the composer's operatic dramaturgy, because in terms of the depth and strength of the main characters' emotions, the intensity of passions and the irresistible power of dramatic impact, it has no equal in his work.
Read a summary of Tchaikovsky’s opera “The Queen of Spades” and many interesting facts about this work on our page.
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Characters |
Description |
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| Hermann | tenor | officer, main character |
| Lisa | soprano | granddaughter of the Countess |
| Tomsk | baritone | count, friend of Herman, grandson of the Countess |
| Yeletsky | baritone | Prince, Liza's fiancé |
| Countess | mezzo-soprano | eighty year old woman |
| Pauline | contralto | Lisa's friend |
| Chekalinsky | tenor | Officer |
| Surin | bass | Officer |
| Masha | soprano | housemaid |
Summary
Petersburg at the end of the 18th century. Poor young officer Herman is madly in love with a beautiful stranger and longs to find out who she is. Soon he is told that his heart was won by the granddaughter of the rich old Countess - Lisa, who very soon will become the legal wife of Prince Yeletsky. Herman’s friend, Count Tomsky, informs him that the old woman has unique information - she knows the secret of “three cards”, thanks to which she was once able to recoup and return a card loss.
Lisa was inflamed with mutual feelings for the officer. Herman swears that they will be together, or he will be forced to die. He dreams of getting rich quickly in order to marry his beloved, and only the secret of the Countess's card winnings can help him. At night, he sneaks into her bedroom and begs her to reveal the secret of the “three cards,” but the “old witch,” frightened by an intruder with a pistol, dies and takes the secret with her.
Lisa makes an appointment for Herman on the embankment, but he is delayed. And all because at this time the ghost of the Countess appears in his room. The old woman voices the secret of the “three cards” - three, seven and ace, and asks the officer to take Lisa as his wife. The ghost dissolves into thin air, and Herman, like a madman, tirelessly repeats this combination. He runs to meet Lisa, but pushes her away - he is no longer obsessed with love, but with excitement. In despair, the girl throws herself into the river.
Meanwhile, Herman hurriedly heads to the gambling house and places bets on the cards named by the ghost. Twice luck was on his side, but when he bets on the ace, the queen of spades ends up in his hand instead. He showers the Countess with curses and plunges a dagger into his heart.
Photo
Interesting Facts
- P.I. Chaikovsky wrote the opera in Florence in just 44 days.
- To flawlessly perform the part of Herman in all seven scenes, the author needed a truly skillful and resilient performer. Selection of P.I. Tchaikovsky fell on the famous tenor Nikolai Figner, whose abilities the author relied on while writing the music. The success of The Queen of Spades was truly stunning. After a successful premiere at the Mariinsky Theater, an enthusiastic Tchaikovsky wrote: “Figner and the St. Petersburg Orchestra have created real miracles!” Twelve days later, “The Queen of Spades” was greeted with no less enthusiasm in Kyiv.
- The first foreign premiere of The Queen of Spades was performed in Prague in 1892. The conductor was Adolf Cech. This was followed by further premieres under Gustav Mahler in Vienna in 1902 and New York (in German) in the same year. The first performance of the opera in Great Britain took place in 1915 in London.
- The events of Pushkin's "Queen of Spades", as we know, are based on real events - the story of Natalya Petrovna Golitsina, one of the most influential and richest princesses XIX century. Her grandson lost heavily at cards and turned to her for help - to borrow money. But the grandmother instead revealed a secret to her grandson, which allowed him to get even.
- This mystical story about three cards - three, seven and ace - somehow miraculously influenced everyone who touched it in any way. Witnesses to the last days of the princess claimed that shortly before her death they saw the ghost of a lonely officer near the mansion. It was 1837.
- In this combination of numbers - 1837, which makes up the year of death of the princess and Pushkin himself, the same mysterious numbers - 3, 7, 1 - were combined in the most incomprehensible way. And in the last hour of Tchaikovsky’s life, as his doctor claimed, the composer saw the same ghost “ lone officer." Mysticism, and that’s all.
- Take a closer look at the structure of the opera and its title: 3 acts, 7 scenes, “The Queen of Spades.” Doesn't remind you of anything?
- This opera is considered one of the most mystical in the world musical theater. Many are convinced that it is she who is to blame for many of the failures of her creators, as well as those who performed her.
- In this work, great importance is attached to the number “three”; it seems to be endowed with magical meaning and is found literally everywhere. First of all, these are the same three cards. According to Chekalinsky, Herman’s heart has three sins. Herman himself is guilty of just three deaths - the Countess's, Lisa's and his own. The musical fabric of the entire work is dominated by three themes - rock, love and three cards.
- Some biographers are inclined to believe that Tchaikovsky’s refusal to work on this order was due to the fact that he was simply afraid of the plot. According to some reports, he agreed to compose the opera only on one condition - if the libretto differed significantly from the original. That is why he made such active changes to all dramatic components of the work.
- Directors who wanted to bring the libretto closer to Pushkin's text found themselves in serious trouble. The most striking example is Vsevolod Meyerhold. As mentioned earlier, he ordered a new libretto and even staged this opera at the Kirov Theater. However, after this he did not live long - the director was arrested and sent to death.
- Several more works for musical theater were written based on Pushkin’s work, but they are not at all popular - these are the operetta by Franz Suppe (1864) and the opera by J. Halévy (1850).
- Choreographers, for example, Roland Petit, also turned to this plot. He created a ballet for N. Tsiskaridze at the request of the management Bolshoi Theater, however, I was afraid to take music from the opera and preferred it Sixth Symphony. But the unexpected happened - all the ballerinas refused to dance the Old Countess, only Ielze Liepa agreed. The ballet premiered in 2001.
- The original score of the opera is kept in capsule form at the Mariinsky Theater.
Popular arias from opera
Herman's aria “What is our life? A game!" - listen
Tomsky’s song “If only there were dear girls” - listen
Arioso by Lisa “Where do these tears come from” - listen
Arioso by German "I don't know her name" - listen
History of creation
The idea of staging an opera based on Pushkin’s mysterious story first arose from the director of the imperial theaters, I. A. Vsevolozhsky. For several years he was inspired by this idea and even independently outlined the script and thought through the stage effects. In 1885, he began to actively search for a composer who could bring this idea to life. Among the candidates were A. A. Villamov and N. S. Klenovsky. Two years later Vsevolozhsky turned to P.I. Tchaikovsky, however, he was refused - the composer was not at all attracted to this plot. In 1888, his younger brother, Modest Ilyich Tchaikovsky, began working on the libretto, and he created it for Klenovsky. However, the maestro eventually refused the job, and Vsevolozhsky again turned to Pyotr Ilyich. This time he was more persistent, and asked not only to write an opera, but to finish it for the new season. At this time, Tchaikovsky was just planning to leave Russia and plunge headlong into work. That is why he agreed and went to Florence to work.
The first fragments of The Queen of Spades appeared on January 19, 1890. The work was written very quickly - the score of the opera was published on April 6, and the score - already on June 8. While creating his masterpiece, the composer actively changed storylines libretto and composed words for some scenes. As a result, the plot of the opera acquired a number of differences from its original source. Pushkin's story was transformed into a poetic canvas, which very organically absorbed the poems of other poets - G.R. Derzhavina, P.M. Karabanova, K.N. Batyushkova and V.A. Zhukovsky. The main characters of the work have also changed. So, Lisa turned from a poor pupil of a wealthy Countess into her granddaughter. Pushkin's Hermann was of German descent, but Tchaikovsky does not mention a word about this. In addition, his last name becomes a first name and loses one letter “n” - his name is German. Future husband Liza, Prince Yeletsky, is absent from Alexander Sergeevich. Count Tomsky in the story of the Russian literary genius is the grandson of the Countess, but in the opera he is a complete stranger to her. The lives of the main characters develop differently - according to the plot of the book, Herman loses his mind and goes to the hospital, Lisa forgets about him and marries someone else. In the opera, lovers die. And finally, the time of action of this tragic story is also changed - in the original source the events unfold during the time of Alexander I, but in its musical version - during the reign of Empress Catherine II.
The first performance of the opera took place at the Mariinsky Theater on December 19, 1890, conducted that evening by E. Napravnik. Tchaikovsky actively participated in the preparation of the premiere. Pyotr Ilyich assumed that the success would be incredible, and he was not mistaken. The audience demanded an encore of individual numbers, and the composer was called to the stage countless times. And even the fact that Pushkin’s work was so greatly rethought did not bother even the zealous “Pushkinists” at all - they gave the Russian genius a standing ovation.
"Queen of Spades". Opera in 3 acts, 7 scenes.
Libretto by M.I. Tchaikovsky with the participation of P.I. Tchaikovsky based on the story of the same name by A.S. Pushkin.
The action takes place in St. Petersburg at the end of the 18th century.
Characters and performers:
German -Nikolai Cherepanov,
Honored Artist of Ukraine
Lisa-Elena Barysheva, laureate of the international competition
Countess - Valentina Ponomareva
Count Tomsky -Vladimir Avtomonov
Prince Yeletsky - Leonid Zaviryukhin,
-Nikolai Leonov
Chekalinsky -Vladimir Mingalev
Surin - Nikolai Lokhov,
-Vladimir Dumenko
Narumov -Evgeniy Aleshin
Manager - Yuri Shalaev
Polina - Natalia Semyonova, Honored Artist of the Russian Federation,
-Veronica Sirotskaya
Masha - Elena Yuneeva
-Alevtina Egunova
Characters and performers in the interlude:
Prilepa - Anna Devyatkina
-Vera Solovyova
Milovzor - Natalia Semyonova, Honored Artist of the Russian Federation
-Veronica Sirotskaya
Zlatogor -Vladimir Avtomonov
Act I
Picture 1.
Sunny Summer Garden. A crowd of townspeople, children accompanied by nannies and governesses, are strolling in an atmosphere of prosperity and joy. Officers Surin and Chekalinsky share their impressions of the strange behavior of their friend German. He spends all nights in a gambling house, but does not even try his luck. Soon Herman himself appears, accompanied by Count Tomsky. Herman opens his soul to him: he is passionately, ardently in love, although he does not know the name of his chosen one. Prince Yeletsky, who has joined the company of officers, talks about his upcoming marriage: “The bright angel agreed to combine his destiny with mine!” Herman is horrified to learn that the prince’s bride is the object of his passion when the Countess passes by, accompanied by her granddaughter, Lisa.
Both women are gripped by heavy forebodings, hypnotized by the burning gaze of unfortunate Herman. Meanwhile, Tomsky tells those present a social anecdote about a countess who, as a young Moscow “lioness,” lost her entire fortune and “at the cost of one rendezvous,” having learned the fatal secret of three always winning cards, overcame fate: “Once she told her husband those cards, the next Once the young handsome man recognized them, but that same night, as soon as she was left alone, the ghost appeared to her and said menacingly: “You will receive a mortal blow from the third, who, ardently, passionately loving, will come to forcefully learn from you three cards, three cards, three cards!" Herman listens to the story with particular tension. Surin and Chekalinsky make fun of him and offer to find out the secret of the cards from the old woman. A thunderstorm begins. The garden becomes empty. Only Herman meets the raging elements "with an open visor", a fire is bubbling in his soul no less powerful: “No, prince! While I’m alive, I won’t give it to you, I don’t know how, but I’ll take it away!” he exclaims.
Picture 2.
At dusk, the girls play music in Lisa’s room, trying to cheer up the saddened girl, despite her engagement to the prince. Left alone, she confides her secret to the night: “And my whole soul is in his power!” - she confesses her love for a mysterious stranger, in whose eyes she read “the fire of scorching passion.” Suddenly, Herman appears on the balcony, who came to her before he passed away. His passionate explanation captivates Lisa. The knock of the awakened Countess interrupts him. Herman, hiding behind the curtain, is excited by the very sight of the old woman, in whose face he imagines scary ghost of death. Unable to hide her feelings any longer, Lisa surrenders to Herman’s power.
Act II
Picture 1.
There is a ball in the house of a wealthy dignitary from the capital. Yeletsky, alarmed by Lisa’s coldness, assures her of the immensity of his love. Chekalinsky and Surin, wearing masks, mock Herman, whispering to him: “Aren’t you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?” Herman is excited, their words excite his imagination. At the end of the performance of "The Sincerity of the Shepherdess" he runs into the Countess. And when Lisa gives him the keys to the Countess’s bedroom, which leads to her room, Herman takes this as an omen. Tonight he learns the secret of three cards - the way to take possession of Lisa's hand.
Picture 2.
Herman sneaks into the Countess's bedroom. With trepidation, he peers at the portrait of a Moscow beauty, with whom he is connected “by some secret force.” Here she is, accompanied by her hangers-on. The Countess is dissatisfied, she does not like current morals and customs, she remembers the past with longing and falls asleep in a chair. Suddenly Herman appears in front of her, begging her to reveal the secret of the three cards: “You can make up the happiness of your whole life, and it won’t cost you anything!” But the Countess, numb with fright, remains motionless. Under the threat of a gun, she gives up her ghost. “She’s dead, but I didn’t find out the secret,” laments German, who is close to insanity, in response to the reproaches of Lisa who has entered.
Act III
Picture 1.
Herman in the barracks. He reads a letter from Lisa, who has forgiven him, where she makes an appointment for him on the embankment. Pictures of the old woman’s funeral appear in my imagination, and funeral singing is heard. The ghost of the Countess appears in a white funeral shroud and says: “Save Lisa, marry her, and three cards will win in a row. Remember! Three! Seven! Ace!” “Three... Seven... Ace...” - Herman repeats like a spell.
Picture 2.
Lisa is waiting for Herman on the embankment near Kanavka. She is torn by doubts: “Oh, I’m tired, I’m exhausted,” she exclaims in despair. At the moment when the clock strikes midnight, and Lisa has completely lost faith in her lover, he appears. But Herman, who at first repeats Lisa’s words of love, is already obsessed with another idea. Trying to entice the girl to rush after him to the gambling house, he runs away screaming. Realizing the inevitability of what happened, the girl rushes into the river.
Picture 3.
Players are having fun at the card table. Tomsky entertains them with a playful song. In the midst of the game, an excited Herman appears. Twice in a row, offering big bets, he wins. “The devil himself is playing at the same time with you,” those present exclaim. Game continues. This time Prince Yeletsky is against Herman. And instead of a win-win ace, the queen of spades ends up in his hands. Herman sees the features of a dead old woman on the map: “Cursed! What do you want! My life? Take it, take it!” He stabs himself. In a cleared consciousness, the image of Lisa appears: “Beauty! Goddess! Angel!” With these words, Herman dies.
The opera was commissioned by Tchaikovsky from the directorate of the imperial theaters. The plot was proposed by I.A. Vsevolozhsky. The beginning of negotiations with the management dates back to 1887/88. Initially, Ch. refused and only in 1889 decided to write an opera based on this plot. At a meeting in the directorate of the imperial theaters at the end of 1889, the script, layout of the opera scenes, staging aspects, and design elements of the performance were discussed. The opera was composed in sketches on January 19/31. to March 3/15 in Florence. July - Dec. 1890 Ch. made many changes to the score, literary text, recitatives, and vocal parts; at the request of N.N. Figner, two versions of Herman’s aria from the 7th cards were also created. (different tones). All these changes are recorded in the proof prints of the arrangement for singing with piano, notes, and various inserts of the 1st and 2nd ed.
When creating sketches, Ch. actively revised the libretto. He significantly changed the text, introduced stage directions, made cuts, and composed his own texts for Yeletsky’s aria, Liza’s aria, and the chorus “Come on, Little Light Mashenka.” The libretto uses poems by Batyushkov (in Polina’s romance), V.A. Zhukovsky (in the duet of Polina and Liza), G.R. Derzhavin (in final scene), P.M. Karabanova (in an interlude).
The old French song "Vive Henri IV" is used in the scene in the Countess's bedroom. In the same scene, with minor changes, the beginning of Loretta's aria from A. Gretry's opera "Richard the Lionheart" is borrowed. The final scene uses the second half of the song (polonaise) “Thunder of Victory, Ring Out” by I.A. Kozlovsky. Before starting work on the opera, Tchaikovsky was in a depressed state, which he admitted in a letter to A.K. Glazunov: “I am going through a very mysterious stage on the way to the grave. Something is happening inside me, incomprehensible to me. fatigue from life, some kind of disappointment: at times an insane melancholy, but not the kind in the depths of which there is the anticipation of a new surge of love for life, but something hopeless, final... And at the same time, the desire to write is terrible... On the one hand I feel , that it’s as if my song has already been sung, and on the other hand, an irresistible desire to prolong either the same life, or even better, a new song."
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The libretto was written by M. I. Tchaikovsky based on the story by A. S. Pushkin. The premiere took place at the Mariinsky Theater in St. Petersburg on December 19, 1890. The action takes place in St. Petersburg at the end of the 18th century.
Act one.
Scene one. Sunny spring day in St. Petersburg. The summer garden is filled with walking children, nannies and governesses. Young officers Chekalinsky and Surin stroll leisurely among them, sharing their impressions of yesterday’s meeting at the gambling house. They speak with surprise about the strange behavior of their friend Herman - formerly cheerful, he now amazes with his gloomy silence and unexpected passion for cards.
And soon he himself appears along with the young Count Tomsky, from whom the mysterious change in his friend’s mood also did not hide. " Tell me, Herman, what's wrong with you?- he asks. " I'm lost, I'm indignant at my weakness, but I can't control myself anymore... I love! I love!“- Herman confesses to him with compassion. " How! Are you in love? in whom?“Tomsky is even more surprised. But Herman does not know the name of his beloved, he does not know that she - the granddaughter and only heiress of the old countess - should be engaged to a rich and noble prince. Prince Yeletsky approaches the officers. It turns out that he is getting married: “ the bright angel gave his consent to combine his destiny with mine!” Chekalinsky, Surin and Tomsky heartily congratulate the happy groom, and German, with incomprehensible excitement, turns to him with a question: “Prince, who is your bride?“Eletsky points to Lisa, who appeared at that time with the countess in the garden, and German immediately recognizes her as his beloved. The old countess looks at Herman in horror and numbness: “ He is in front of me again, a mysterious and scary stranger! He is the ghost of a fatal woman, completely engulfed in some kind of wild passion...“And Herman is no less amazed than the Countess by this meeting: “ In her terrible eyes I read my silent sentence!"The old woman hurries to leave, taking her frightened granddaughter with her.
Tomsky, meanwhile, tells his friends an anecdote about the secret of the eighty-year-old hag: according to rumors, the countess knows three cards that have the mystical power of winning. But the old woman can only reveal her secret to anyone at the cost of her own life: “Once she told her husband those cards, another time the handsome young man recognized them, but that same night, as soon as she was left alone, a ghost appeared to her and said menacingly: “ You will receive a fatal blow from the third, who, ardently, passionately loving, will come to forcefully learn from you three cards, three cards, three cards!"German listens to Tomsky with intense attention, and Chekalinsky, laughing, advises him to think about this excellent case, " to play without money».
The onset of a thunderstorm increases Herman's excitement; the young officer vows to prevent Yeletsky’s wedding with Liza at any cost: “ No, prince! While I’m alive, I won’t give it to you, I don’t know how, but I’ll take it away!»
Scene two. Lisa's engagement day is drawing to a close. Her friends gathered in her room. Among them is Polina, performing with deep feeling “ Liza's favorite romance”, the sad chant of which is replaced by a general round dance and dance in honor of the bride and groom. But Lisa is thoughtful and sad. The governess comes in and reminds the young ladies that it is late, the guests disperse, and Lisa is finally left alone... She needs to sort out her feelings. On the day of her engagement to Prince Yeletsky - rich, smart, noble, who passionately loves her - she is full of unaccountable melancholy and fear: it is not the groom who owns her heart, but a stranger, in whose eyes there is “the fire of scorching passion.” " And my whole soul is in his power!“Liza confides her secret to the night, and at that moment Herman appears at the door of the balcony. The girl retreats in silent horror and makes a move to leave, but there is so much suffering and pleading in Herman’s voice that she remains against her will. Herman came to say goodbye. " After all, this is my last hour of death! Today I learned my verdict: you, cruel one, are handing over your heart to someone else!“He speaks with despair and passion about his love, begging for pity and compassion.” Lisa is unable to drive away from herself the one about whom she constantly thinks, to whom all her dreams strive.
Alarmed by the voices coming, the Countess knocks on the room. Herman barely manages to hide behind the curtain. He cannot take his eyes off her face, in which he imagines a terrible ghost of death. "Oh, spare me!" - he rushes to Lisa after the countess leaves. " Love you!» - « I'm yours!" - their voices merge together.
Act two.
Picture one. A costume ball in the house of a wealthy dignitary. There are many guests, among whom are German, the old countess with Liza, Yeletsky, Surin, Chekalinsky, Tomsky. The friends decide to have fun and make fun of Herman. Unnoticed they creep up to him, whispering: “ Aren't you the third one who, passionately loving, will come to learn from her three cards, three cards, three cards?“Herman perceives what he heard as an omen: “Well? don't I love you? Of course yes!" Turning around, he sees the Countess in front of him. Both shudder, looking intently at each other, and the mysterious voice again, with a mocking laugh, says behind him: “ Look, your lover!“Herman is scared. He does not take part in the entertainment with which the owner of the house entertains the guests. Only the appearance of Lisa somewhat calms him down: she loves him, here is the key to the secret door through which he can get into the countess’s bedroom, and from there into Lisa’s room. " How! to her bedroom?..- exclaims Herman. - Now it’s not me, fate itself wants it this way, and I will know three cards!»
One thought burns his imagination - to get rich, to get rich at all costs, and then Lisa can belong to him forever.
Picture two. Herman stealthily enters the Countess's room through a secret door. Everything here is as Lisa told him, but thoughts about her are almost crowded out in Herman’s excited consciousness by the desire to learn from the countess her fatal secret. With inquisitive attention and anxiety, he peers at the portrait of the one with whom he is forever connected “by some secret force.” And here she comes in, surrounded by maids and hangers-on. Herman hastily hides behind the curtain of the boudoir. Having sunk into a deep armchair and sending everyone out of the room, the Countess plunges into the memories of her distant youth. At this moment, Herman appears in front of her: “I came to beg you for mercy alone! You can create a lifetime of happiness, and it won’t cost you anything!” The countess looks at him with silent horror, without moving or responding to Herman’s pleading, insistent, and finally threatening tone. "Old witch! So I’ll make you answer!” - He takes out a pistol. The Countess raises her hands to shield herself from the shot, and suddenly falls. “Stop being childish!” - Herman continues and then discovers that the Countess is dead.
Lisa enters. " “She’s dead,” Herman turns to her, “but I didn’t find out the secret!”“Not fully understanding what happened, Lisa bends over the countess’s body with a sob, and Herman, looking at the corpse with fear, continues: “ I didn’t want death, I just wanted to know three cards!"Having finally caught the terrible meaning of his words, Lisa points German to the door: " Away! Away! The villain!»
Act three.
Scene one. In the military barracks, by candlelight, Herman reads a letter from Lisa. Lisa does not believe that he wanted the countess dead... she will wait for him on the embankment until midnight... But the meaning of what he read almost does not reach his consciousness. In the howling wind outside the window, Herman hears a choir of church singers, and the gloomy picture of the countess’s funeral again rises in his memory, driving him into a frenzy with its frightening reality: “Here is the hearse, here is the coffin... And in that coffin there is an old woman without movements, without breathing...” A sudden knock on the window freezes all of Herman’s thoughts. Almost losing his mind from horror, he rushes to the door and stops, amazed: the ghost of the countess in a white funeral shroud appears before him. " Save Lisa,” says the ghost, “marry her, and three cards... will win in a row.” Remember! Troika! Seven! Ace!»....« Three... Seven. - Ace..." - the distraught Herman repeats in a daze.
Scene two. Late evening. On the embankment of the winter Kanavka, Lisa is waiting for Herman. He must explain everything to her and calm her down... The events of recent weeks - the engagement to Prince Yeletsky, secret meetings with another (unnoble and poor officer), mysterious death The countess and Herman's strange behavior completely tormented Lisa. “Ah, I’m tired, I’m exhausted!..” she says with longing.
The clock on the fortress tower strikes twelve times, “but Herman is still not there, still not.” In despair, the girl is ready to admit the terrible thought that she has been driving away from herself all the time,” but at that moment she sees Herman quickly approaching her. " Are you here! The torment has come to an end, and I have become yours again!”- Lisa rushes to him. As if in oblivion, Herman repeats words of love after Lisa, “but suddenly unexpectedly interrupts her with a demand to run after him - to run to the gambling house, where “There are piles of gold, and they belong to me, to me alone!“With mad laughter, he pushes the girl away and runs away... Realizing that happiness is forever lost for her, Lisa throws herself into the river.
Scene three. Regulars of the gambling house are having fun playing cards. During the break between games, to the loud applause of the guests, Tomsky sings a humorous song; According to the established custom, those present begin to sing their own song, igretskaya. Only Prince Yeletsky, who finds himself in this circle for the first time, is silent and does not take part in the general fun. “I’m here to take revenge!” - he says to Tomsky.
In the midst of the game, Herman appears in the hall, causing bewilderment and curiosity of those present with his strange, feverishly excited appearance. He immediately gets involved in the game, offering the largest bets twice in a row and winning both times. The curiosity of others gives way to fear and confusion - “The devil himself is playing at the same time with you!” - and Herman, as if driven by a mysterious force, bets on new map. This time, only Prince Yeletsky agrees to play against him, and the proposed duel becomes fatal for Herman: instead of a win-win ace, the queen of spades ends up in his hands. Herman’s confused consciousness sees in her the features of the old countess: “Cursed! What do you need? My life? Take it, take it!” Snatching a dagger, he stabs himself. Several people rush to him: “ Unhappy! How horribly he committed suicide! He's still alive!»
Herman comes to his senses. Seeing Prince Yeletsky, he tries to rise up, asking him for forgiveness, but the dying man’s thoughts are confused, and everything around him is obscured in his mind by the image of Lisa. " Gorgeous! Goddess! Angel!" - pronounces last words Hermann.
Shocked, players and guests stand over the deceased.
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1 Pyotr Ilyich Tchaikovsky () THE QUEEN OF SPACE Opera in three acts, seven scenes Libretto by M. TCHAIKOVSKY Based on the story of the same name by A. S. PUSHKIN using poems by K. Batyushkov, G. Derzhavin, V. Zhukovsky, P. Karabanov, K. Ryleev The idea for the opera arose in 1889, after P. Tchaikovsky met the libretto, which was originally intended for another composer. The opera, composed in Florence, was completed in rough form in 44 days. The premiere took place on the stage of the Mariinsky Theater in 1890. “The Queen of Spades” is perhaps the most repertoire opera of the Russian classics and (along with “Boris Godunov”) the most frequently performed Russian opera outside Russia. (In 1902, the Viennese performance of “The Queen of Spades” was conducted by G. Mahler.) An event on the domestic stage, and still causing controversy, was the most striking performance of MALEGOT in 1935, staged by V. Meyerhold, where both the text of the libretto and the score of the opera were revised . Among the productions recent years performance at the Mariinsky Theater in 1992. Conductor V. Gergiev.
2 Characters: 2 HERMAN tenor TOMSKY, Count baritone ELETSKY, Prince baritone CHEKALINSKY tenor SURIN bass CHAPLITSKY tenor NARUMOV bass COUNTESS mezzo-soprano LISA ssoprano POLINA contralto GOVERNESS mezzo-soprano MASHA soprano MANAGER tenor BOY -COMMANDER does not sing Characters in the interlude: PRILEPA soprano MILOVZOR (Polina) contralto ZLATOGOR (Count Tomsky) baritone Nannies, governesses, nurses, walkers, guests, children, players, etc. The action takes place in St. Petersburg at the end of the 18th century.
3 ACT ONE 3 SCENE ONE A platform in the Summer Garden bathed in the spring sun. Nannies, governesses and nurses walking or sitting on benches. Children play burners, jump over ropes, and throw balls. SCENE I. VOICES OF LITTLE GIRLS. Burn, burn clearly, so as not to go out, One, two, three! (Laughter, exclamations, running around.) CHORUS OF NANIES Have fun, dear children! Rarely does the sun delight you, my dears, with joy! If, dear ones, you are playing games and playing pranks, then little by little you bring peace to your nannies. Warm up, run, dear children, and have fun in the sun! CHOIR OF GOVERNESSS Thank God, At least you can rest a little, Breathe the spring air, See something! Don’t shout, spend time without making comments, forget about suggestions, punishments, and the lesson. CHORUS OF NANIES Get warm! Run, dear children, and have fun in the sun! CHORUS OF NURSES Bye, bye, bye! Bye, bye, bye! Sleep, darling, rest! Don't open your eyes! (Drumming and children's trumpets can be heard behind the stage.) CHORUS OF NURSENS, NURSEMS AND GOVERNESSES. Here are our warriors, little soldiers. How slim! Step aside! Places! Places! One, two, one, two, One, two, one, two!
4 4 Boys enter with toy weapons, pretending to be soldiers; ahead is the boy commander. BOYS' CHORUS One, two, one, two! Left, right, left, right! Together, brothers! Don't get lost! BOY COMMANDER Right shoulder forward! One, two, stop! (The boys stop.) Listen! Musket in front of you! Take it by the gun! Musket to the leg! (The boys follow the command.) BOYS' CHOIR We have all gathered here for fear of the Russian enemies. Evil enemy, beware, and with a villainous thought, flee or submit! Hurray, hurray, hurray! It fell to our lot to save the Fatherland, We will fight and take our enemies into captivity Without counting! Hurray, hurray, hurray! Long live the wife, the Wise Queen, She is the mother of us all, The Empress of these countries And the pride and beauty! Hurray, hurray, hurray! BOY COMMANDER. Well done boys! BOYS. We are glad to try, your honor! BOY COMMANDER Listen! Musket in front of you! Right! On guard! March! (The boys leave, drumming and trumpeting.) CHOIR OF NURSENS, WEEKS AND Governesses Well, well done to our soldiers! And indeed they will bring fear to the enemy. Well done! How slim! Well done! Other children follow the boys. The nannies and governesses disperse, giving way to other walkers. Enter Chekalinsky and Surin.
5 5 SCENE II. CHEKALINSKY. How did the game end yesterday? SURIN. Of course, I blew it terribly! I'm having no luck. CHEKALINSKY. Did you play again until the morning? SURIN. Yes, I'm terribly tired... Damn it, I wish I could win at least once! CHEKALINSKY. Was Herman there? SURIN. Was. And, as always, from eight to eight in the morning, Chained to the gambling table, sat and silently blew wine. CHEKALINSKY. But only? SURIN. Yes, I watched others play. CHEKALINSKY. What is he like? a strange man! SURIN. It's as if he has at least three crimes in his heart. CHEKALINSKY. I heard that he is very poor.. SURIN. Yes, not rich. SCENE III. Herman enters, thoughtful and gloomy; Count Tomsky is with him. SURIN. Here he is, look. Like a demon of hell, gloomy... pale... Surin and Chekalinsky pass. TOMSKY. Tell me, Herman, what's wrong with you? With me?.. Nothing... TOMSKY. You are sick? No, I'm healthy. TOMSKY. You have become something different... Dissatisfied with something... It used to be: restrained, thrifty, You were cheerful, at least; Now you are gloomy, silent And I can’t believe my ears: You, burning with a new passion of grief, As they say, until the morning You spend your nights playing. Yes! Steady foot towards the goal
6 I can’t walk as before, I don’t know what’s wrong with me, I’m lost, I’m indignant at my weakness, But I can’t control myself anymore... I love! I love! 6 TOMSKY. How! Are you in love? in whom? I don’t know her name And I don’t want to find out, Not wanting to call Her by an earthly name... (With enthusiasm.) Going through all the comparisons, I don’t know with whom to compare... My love, the bliss of paradise, I would like to preserve forever! But the jealous thought that Another should have her, When I don’t dare kiss Her footprint, Torments me; and earthly passion In vain I want to calm down And then I want to hug everything, And I still want to hug my saint then... I don’t know her name And I don’t want to find out! TOMSKY. And if so, get to work quickly! We'll find out who she is, and then boldly propose, And the deal will be dealt with... Oh no, alas! She is noble and cannot belong to me! This is what torments and gnaws at me! TOMSKY. Let's find another... Not the only one in the world... You don't know me! No, I can’t stop loving her! Ah, Tomsky! You do not understand! I could only live in peace, While passions were dormant in me... Then I could control myself, Now, when the soul is in the power of One dream, goodbye to peace, Goodbye to peace! Poisoned, like drunk, I'm sick, sick,
7 I'm in love! 7 TOMSKY. Is that you, Herman? I admit, I wouldn’t believe anyone that you are capable of loving like that! German and Tomsky pass. Revelers fill the stage. SCENE IV. COMMON CHOIR OF ALL WALKERS. Finally, God sent us a sunny day! What kind of air! What a sky! It's definitely May here! Oh, what a delight, really, I wish I could walk all day! We can’t wait for such a day. It will take us a long time again. OLD MEN. We haven’t seen days like this for many years, but we used to see them often. In the days of Elizabeth, a wonderful time. Summer, autumn and spring were better! OLD WOMEN (at the same time as the old men). We lived better before, and such days happened every year in early spring. Yes, we visited every year! And now it’s a rare thing for them to have Sunshine in the morning, It’s gotten worse, really, it’s gotten worse, Really, it’s time to die! YOUNG LADIES. What a joy! What happiness! How joyful, how joyful it is to live! How nice it is to walk into the Summer Garden, How nice it is to walk into the Summer Garden! Look, look, How many young people, both military and civilian, are wandering along the alleys. Look, look, how many are wandering here, both military and civilian, How graceful, how beautiful, how beautiful! Look, look! YOUNG PEOPLE (at the same time as the young ladies). The sun, the sky, the air, the song of the nightingale And the bright blush on the cheeks of the maidens That spring gives, and with it love Sweetly excites young blood!
8 8 The sky, the sun, the clean air, The sweet song of the nightingale, The joy of life and the scarlet blush on the cheeks of the maidens These are the gifts of beautiful spring, then the gifts of spring! Happy day, beautiful day, how good, Oh joy, spring brings us love and happiness! COMMON CHOIR OF ALL WALKERS. Finally, God sent us a sunny day! What kind of air! What a sky! It's definitely May here! Oh, what a delight, really, I wish I could walk all day! We can’t wait for a day like this. It will be a long time for us again! SCENE V. Herman and Tomsky enter. TOMSKY. Are you sure she doesn't notice you? I bet that I’m in love and misses you... If I were deprived of the joyful doubt, would my Soul endure the torment? You see, I live, I suffer, But in the terrible moment, when I find out, That I am not destined to take possession of her, Then only one thing will remain... TOMSKY. What? Die!.. Prince Yeletsky enters. Chekalinsky and Surin approach him. CHEKALINSKY (to Yeletsky). Can I congratulate you? SURIN. They say you are a groom? ELETSKY. Yes, gentlemen, I am getting married; The bright angel agreed to combine His destiny with mine forever! CHEKALINSKY. Well, good morning! SURIN. I'm glad with all my heart. Be happy, prince! TOMSKY. Yeletsky, congratulations!
9 ELETSKY. Thank you, friends! 9 Duet. ELETSKY (with feeling) Happy day, I bless you! How everything came together to rejoice with me! The Bliss of unearthly life is reflected everywhere... Everything smiles, everything shines, Just like in my heart, Everything trembles cheerfully, beckoning to heavenly bliss! What a happy day, I bless you! HERMAN (to himself, at the same time as Yeletsky). Unlucky day, I curse you! It’s as if everything came together to join in the fight with me! Joy was reflected everywhere, But not in my sick soul. Everything smiles, everything shines, When in my heart Hellish vexation trembles. The annoyance of hell trembles, promising only torment. Oh yes, nothing but torment, torment is promised to me! TOMSKY. Tell me, who will you marry? Prince, who is your bride? The Countess and Lisa enter. ELETSKY (pointing to Lisa). Here she is. She?! She is his bride! Oh my God! Oh my God! LISA., COUNTESS. He's here again! TOMSKY (to German). So that’s who your nameless beauty is! Quintet LISA. I'm scared! He is in front of me again, A mysterious and gloomy stranger! In his eyes, a silent reproach was replaced by the fire of an insane, burning passion... Who is he? Why is he following me? I'm scared, scared, as if I'm in the power of His eyes of ominous fire! I'm scared! I'm scared! I'm scared! COUNTESS (at the same time). I'm scared! He is in front of me again, A mysterious and scary stranger! He is a fatal ghost, completely engulfed in some kind of wild passion. What does he want by pursuing me? Why is he in front of me again? I'm scared, like I'm in power
10 His eyes are of ominous fire! I'm scared! I'm scared! I'm scared! 10 HERMAN (at the same time). I'm scared! Here again, before me, like a fatal ghost, a gloomy old woman appeared... In her terrible eyes, I read my silent sentence! What does she need? What does she need, what does she want from me? It’s as if I’m at the mercy of Her eyes of ominous fire! Who, who is she! I'm scared! I'm scared! I'm scared! ELETSKY (at the same time). I'm scared! My God, how embarrassed she is! Where does this strange excitement come from? There is languor in her soul, There is some kind of silent fear in her eyes! For some reason, a clear day in them suddenly came to replace the bad weather. What with her? She doesn't look at me! Oh, I’m scared, as if some unexpected misfortune is threatening close by, I’m scared, scared! TOMSKY (at the same time). That's who he was talking about! How embarrassed he is by the unexpected news! In his eyes I see fear, Dumb fear has replaced the fire of insane passion! What about her, what about her? How pale! How pale! Oh, I'm scared for her, I'm scared! I'm scared for her! SCENE VI. Tomsky approaches the Countess, Yeletsky approaches Lisa. The Countess looks intently at Herman. TOMSKY. Countess! Let me congratulate you... COUNTESS. Tell me who is this officer? TOMSKY. Which? This? Herman, my friend. COUNTESS. Where did he come from? How scary he is! Tomsky sees her off and returns. ELETSKY (giving his hand to Lisa).
11 Heaven's enchanting beauty, Spring, the rustling of light zephyrs, The joy of the crowd, hello to friends They promise us many years of happiness in the future! 11 Liza and Yeletsky leave. Rejoice, buddy! Have you forgotten that behind a quiet day there is a thunderstorm, That the creator gave tears to happiness and a bucket of thunder! A distant clap of thunder is heard. Herman sits down on the bench in gloomy thoughtfulness. SURIN. What a witch this Countess is! CHEKALINSKY. Scarecrow! TOMSKY. No wonder they called her the Queen of Spades! I can’t understand why she doesn’t show off. SURIN. How! An old woman? What are you talking about?! CHEKALINSKY. An eighty-year-old hag! Ha ha ha! TOMSKY. So you don't know anything about her? SURIN. No, really, nothing! CHEKALINSKY. Nothing! TOMSKY. Oh, listen! Many years ago the Countess was known in Paris as a beauty. All the young people went crazy about her, calling her Venus of Moscow. Count Saint-Germain among others, Then still a handsome man, was captivated by her, But to no avail he sighed for the countess: All night long the beauty played And alas! Pharaoh preferred 1 love. The ballad Once Upon a Time at Versailles Ai jeu de la Reine 2 Venus moskovite 3 was lost to the ground. Among the guests was the Count of Saint-Germain; While watching the game, he heard her whisper in the midst of excitement: Oh God! Oh my God! 1 Pharaoh card game, which was in fashion at the court of the French queen. 2 In the royal game (French) 3 Venus of Moscow (French)
12 Oh God, I could play everything back, If only I had enough to put in again Three cards, three cards, three cards! 12 The Count, choosing the right moment when, Stealthily leaving the full hall of guests, the Beauty sat silently alone, He whispered lovingly in her ear Words sweeter than the sounds of Mozart: Countess, Countess! Countess, for the price of one rundez-vous 4 Would you like me to tell you Three cards, three cards, three cards? The Countess flared up: How dare you?! But the count was not a coward. And when a day later the Beauty appeared again, alas, Penniless, Ai jéu de la Reine She already knew three cards... Having boldly placed them one after another, She returned what was hers... but at what cost! Oh cards, oh cards, oh cards! Once she told her husband those cards, Another time the handsome young man recognized them. But that same night, as soon as she was left alone, a ghost appeared to her and menacingly said: You will receive a mortal blow, From a third who, ardently, passionately loving, will come to forcefully learn from you Three cards, three cards, three cards, Three cards! CHEKALINSKY. Se non e ver`e ben trovato 5. Lightning flashes, approaching thunder is heard. A thunderstorm begins. SURIN. It’s funny!.. But the Countess can sleep peacefully: It’s a little difficult for her to find an ardent lover! CHEKALINSKY. Listen, Herman! Here's a great opportunity for you to play without money. (Everyone laughs.) Think, think! CHEKALINSKY, SURIN. From the third, who, ardently, passionately loving, will come to forcefully learn from you Three cards, three cards, three cards! Chekalichsky, Surin and Tomsky leave. A strong clap of thunder is heard. The storm is breaking out. People walking are hurrying in different directions. 1 CHORUS OF WALKERS. How quickly the thunderstorm came, 4 Date (French) 5 If it’s wrong, it’s well said. Latin proverb.
13 Who could have expected what passions! Blow after blow, louder, more terrible! Run quickly! Hurry up to the gate! Let's go home soon! 13 Everyone runs away. The thunderstorm is intensifying. The voices of people walking can be heard from a distance. Hurry home! Oh my god! Trouble! Hurry to the gate! Run here! Hurry! A strong clap of thunder. HERMAN (thoughtfully). You will receive a fatal blow from a third who, ardently, passionately loving, will come to forcefully learn from you Three cards, three cards, three cards! Oh, what do I care about them, even if I had them! Everything is lost now... I am the only one left. I'm not afraid of the storm! All the passions within me have awakened with such murderous force that this thunder is nothing in comparison! No, prince! While I'm alive, I won't give it to you, I don't know how, but I'll take it away! Thunder, lightning, wind! In front of you, I solemnly take an oath: She will be mine, She will be mine, mine, Mine or I will die! (Runs away.)
14 PICTURE TWO 14 Lisa's room. Lisa is sitting at the harpsichord. There are friends around her, among them Polina. SCENE I. LISA, POLINA. It’s already evening... The edges of the clouds have darkened 6, The last ray of dawn on the towers is dying; The last flying stream in the river fades away with the extinct sky. Everything is quiet... The groves are sleeping, peace reigns all around, Prostrate on the grass under a bent willow, I listen to how the stream, overshadowed by bushes, murmurs, merging with the river. How the aroma is fused with the coolness of plants, How sweet is the splashing of streams in the silence by the shore, How quiet is the breeze of ether on the waters and the fluttering of flexible willow. CHORUS OF FRIENDS. Charming! Charming! Wonderful! Lovely! Oh, wonderfully good! Also, mesdames. Also, mesdames. More more! LISA. Sing, Polya, we have one! PAULINE. One? but what to sing? CHORUS OF FRIENDS. Please, what do you know, Ma shere 7, my dear, sing us something: POLINA. I’ll sing you Liza’s favorite romance. (Sits down at the harpsichord.) Wait... How is this? (Preludes.) Yes! I remembered. (Sings with deep feeling.) Dear friends, dear friends 8, In playful carelessness, To the tune of a dance you frolic in the meadows. And I, like you, lived happy in Arcadia, And in the morning of days in these groves and fields I tasted minutes of joy, tasted minutes of joy. Love in golden dreams promised me happiness; But what did I get in these joyful places, 6 Poems by Zhukovsky 7 My dear (French). 8 Poems by Batyushkov.
15 In these joyful places? Grave, grave, grave!.. (Everyone is touched and excited.) 15 So I decided to sing a song, such a tearful one! Well, why? You’re already sad enough, Lisa. On such and such a day, think! After all, you are engaged, ah-ah-ah! (To girlfriends.) Well, why are you all hanging your noses? Let's have a merry, Russian one, in honor of the bride and groom! Well, I'll start, and you sing along with me! CHORUS OF FRIENDS. Indeed, let's have a fun, Russian one! Girlfriends clap their hands. Lisa, not taking part in the fun, stands thoughtfully at the balcony. PAULINE. Come on, little Mashenka, you’re sweating, dancing! POLINA AND THE CHORUS OF FRIENDS. Ay, lyuli, lyuli, lyuli, you sweat, dance! PAULINE. Place your white little hands under your sides! POLINA AND THE CHORUS OF FRIENDS Ay, lyuli, lyuli, lyuli, pick up your sides! PAULINE. Your quick little feet Don't be sorry, please! POLINA AND THE CHOIR OF FRIENDS Ay, lyuli, lyuli, lyuli, Don’t be sorry, please! (Polina and her friends start dancing.) If Mama asks Vesela! speak. POLINA AND THE CHOIR OF FRIENDS Ay, lyuli, lyuli, lyuli Vesela! speak. PAULINE. And to answer daddy, “I drank until dawn!” POLINA AND THE CHORUS OF FRIENDS. Ay, Lyuli, Lyuli, people Like, I drank until dawn! PAULINE. Go away, go away!
16 16 POLINA AND THE CHORUS OF FRIENDS. Ay, lyuli, lyuli, lyuli, go away, go away! The Governess enters. GOVERNESS. Mesdemoiselles, what's all the noise you're making here? The Countess is angry... Ay-ay-ay! Aren't you ashamed to dance in Russian? Fi, quel genre, mesdames * 9 The young ladies of your circle need to know decency! You should have taught each other the Rules of the World. You can only rage in girls' rooms, but not here, mes mignones 10, Isn't it possible to have fun, without forgetting the bonton? The young ladies of your circle need to know decency, you should instill in each other the rules of the world! It's time to leave. I was sent to call you to say goodbye. The young ladies disperse. POLINA (approaching Lisa). Lisa, why are you so boring? LISA. I am boring? Not at all! Look what a night it is, like after a terrible storm, everything has suddenly been renewed. PAULINE. Look, I’ll complain about you to the prince, I’ll tell him that on the day of the engagement you were sad., LISA. No, for God's sake, don't talk! PAULINE. Then please smile now. Like this! Now goodbye! (They kiss.) LISA. I'll take you... Polina and Lisa leave. Masha comes in and puts out the candles, leaving only one. Just as she approaches the balcony to close it, Lisa returns. 9 Fi, what genre, ladies. (French) 10 My darlings (French).
17 SCENE III. 17 LISA. No need to close it, leave it. MASHA. Don't catch a cold, young lady! LISA. No, Masha, the night is so warm, so good! MASHA. Would you like me to help you undress? LISA. No I myself. Go to bed! MASHA. It's too late, young lady... LISA. Leave me, go! Masha leaves. Lisa stands in deep thought and then quietly cries. Where do these tears come from, what are they for? My girlish dreams, you cheated on me, My girlish dreams, you cheated on me! This is how you were justified in reality! I have now entrusted my life to the prince, the chosen one after my heart, essence, mind, beauty, nobility, wealth, worthy of a friend not like me. Who is noble, who is handsome, who is stately like him? Nobody! And what? I'm full of melancholy and fear, I'm trembling and crying! Where do these tears come from, what are they for? My girlish dreams, you cheated on me, My girlish dreams, you cheated on me! You cheated on me! (Crying.) It’s both hard and scary! But why deceive yourself? I’m alone here, everything around me is quietly sleeping... (Passionately, enthusiastically.) Oh, listen, night! You alone can I trust the secret of my Soul. She is gloomy, like you, she is sad, like the gaze of eyes, which has taken away peace and happiness from me... Queen of the night! How are you, beauty, like a fallen angel, He is beautiful,
18 In his eyes there is a fire of scorching passion, Like wonderful dream It beckons me, and my whole soul is in his power! O night! oh night!.. 18 SCENE IV. Herman appears at the door of the balcony. Lisa retreats in silent horror. They look at each other silently. Lisa makes a move to leave. Stop, I beg you! LISA. Why are you here, crazy man? What do you need? Say goodbye! (Liza wants to leave.) Don’t leave! Stay! I'll leave now and won't come back here again... Just a minute!.. What's it worth to you? The dying man is calling to you. LISA. Why, why are you here? Go away!. No! LISA. I'll scream! Shout! Call everyone! (Takes out a pistol.) I will die anyway, alone or in front of others. (Lisa lowers her head and is silent.) But if there is, beauty, even a spark of compassion in you, then wait, don’t leave! LISA. Oh my God, my God! After all, this is my last hour of death! Today I learned my verdict: You, cruel one, are handing over your heart to another! (Passionately.) Let me die, blessing you, and not cursing, Can I live a day when you are a stranger to me! I lived for you; Only one feeling and one persistent thought possessed me! I will die. But before I say goodbye to life, Give me at least one moment to be with you, Together in the wonderful silence of the night, Let me revel in your beauty! Then let death and peace be with it!
19 (Lisa stands, looking sadly at Herman.) Stay like that! Oh, how beautiful you are! 19 LIZA (in a weakening voice). Go away! go away! Gorgeous! Goddess! Angel! Forgive me, lovely creature, that I disturbed your peace, Forgive me, but do not reject the passionate confession, Do not reject it with longing! Oh, pity! I, dying, bring my prayer to you; Look from the heights of the heavenly paradise At the mortal struggle of the Soul, tormented by the torment of Love for you, oh, take pity And warm my spirit with affection, regret, with your tears! (Lisa is crying.) You're crying! You! What do these tears mean? Don't you drive and regret? He takes her hand, which she does not take away. Thank you! Gorgeous! Goddess! Angel! He falls to Lisa's hand and kisses it. At this time, the sound of footsteps and a knock on the door is heard. COUNTESS (behind the door). Lisa, open the door! LISA (confused). Countess! Good God! I'm dead, run!.. It's too late! Here! The knocking on the door gets louder. Lisa points Herman to the curtain, goes to the door and opens it. The Countess enters in a dressing gown, surrounded by maids with candles. COUNTESS. Why aren't you sleeping? Why are you dressed? What's all this noise? LISA (confused) I, grandma, was walking around the room... I can’t sleep... COUNTESS (gesturing to close the balcony) Look! Don't be stupid! Now go to bed! (Knocks with a stick.) Do you hear?.. LIZA. Me, grandma, now! COUNTESS. I can’t sleep!..Have you heard of this! Well, times! I can’t sleep!.. Now go to bed! LISA. I obey!.. Sorry! COUNTESS (leaving). But I hear a noise;
20 You're disturbing grandma! (To the maids.) Let's go! (To Liza.) And don’t you dare try anything stupid here! (Leaves with the maids.) 20 HERMAN (to himself). Who, loving passionately, will come to probably learn from you Three cards, three cards, three cards! The cold of the grave blew all around! Oh, terrible ghost, Death, I don't want you! Lisa, having closed the door behind the Countess, approaches the balcony, opens it and motions for Herman to leave. Oh, have mercy on me! Death a few minutes ago seemed like salvation to me, almost happiness! Now it’s not like that: she’s scary to me, she’s scary to me! You revealed the dawn of happiness to me, I want to live and die with you! LISA. Mad man, What do you want from me, What can I do?.. Decide my fate! LISA. Have mercy, you are ruining me! Go away, I ask you, I command you! So, that means you pronounce the sentence of death! LISA. Oh God, I'm getting weaker... Go away, please! Say then: die! LISA. Good God! Goodbye! LISA. Heavenly Creator! (Herman makes a move to leave.) No! Live! Herman hugs Lisa; she rests her head on his shoulder. Love you! LISA. I'm yours! Gorgeous! Goddess! Angel!
21 ACT TWO 21 PICTURE THREE SCENE I. Masquerade ball at a rich dignitary. Large hall. On the sides, between the columns, there are boxes. Boys and girls in fancy dress dance country dance. The singers sing in the choirs. CHORUS OF SINGERS. 11 Joyfully, joyfully on this day, gather together, friends! Give up your leisure time, jump, dance boldly! Jump, dance more boldly, Give up, give up your idle time, Jump, dance, dance more joyfully! Clap your hands with your hands, Click your fingers loudly! Turn your eyes black, you all speak with a stale voice! With your hands on your sides, make easy leaps, knock on each other, and whistle with a bold step! The Manager enters. MANAGER. The owner asks his dear guests to welcome him to look at the sparkle of the entertainment lights! All guests head to the garden terrace. CHEKALINSKY. Our Herman has hung his nose again, I guarantee you that he is in love, He was gloomy, then he became cheerful. SURIN. No, gentlemen, he is passionate, what do you think? How? Hope to learn three cards. CHEKALINSKY. What a weirdo! TOMSKY. I don’t believe it, you have to be ignorant to do this. He's not a fool! SURIN. He told me himself... TOMSKY. Laughing! CHEKALINSKY. (To Surin). 11 Poems by Derzhavin
22 Come on, let's go tease him! (They pass.) 22 TOMSKY. However, he is one of those who, once he has planned it, must accomplish everything! Poor fellow! Poor fellow! (Tomsky passes. The servants prepare the middle of the hall for the interlude. Prince Yeletsky and Liza enter.) SCENE II. ELETSKY. You are so sad, dear, As if you have grief... Trust me! LISA. No, later, Prince, another time... I beg you! (Wants to leave.) ELETSKY. Wait a moment! I must, I must tell you! I love you, I love you immensely, I can’t imagine living a day without you. And I’m ready to accomplish a feat of unparalleled strength for you now, But know: I don’t want to restrict the freedom of your heart with anything, I’m ready to hide to please you And to calm down the ardor of jealous feelings, I’m ready for anything, anything for you! Not only a loving spouse, a useful servant sometimes, I would like to be your friend and comforter always. But I clearly see, now I feel, Where I have lured myself in my dreams, How little trust you have in me, How alien and how distant I am to you! Ah, I am tormented by this distance, I sympathize with you with all my soul, I am saddened by your sadness And I cry with your tears... Oh, I am tormented by this distance, I sympathize with you with all my soul! I love you, I love you immensely, I can’t imagine living a day without you, I am ready to accomplish a feat of unparalleled strength for you now! Oh honey, trust me! Prince Yeletsky and Lisa pass. Herman enters without a mask, in a suit, holding a note in
23 hand. 23 SCENE III. HERMAN (reading). “After the performance, wait for me in the hall. I have to see you…” I’d rather see her and give up this thought... (Sits down.) Three cards!.. Three cards to know and I’m rich!.. And with her I can run away from people... Damn it!.. This thought will drive me crazy! Several guests return to the hall; among them Chekalinsky and Surin. They point at Herman, sneak up and, leaning over him, whisper. SURIN, CHEKALINSKY. Aren't you the third one, Who, loving passionately, will come to learn from her Three cards, three cards, three cards? They are hiding. Herman stands up in fear, as if not realizing what is happening. When he looks back, Chekalinsky and Surin have already disappeared into the crowd of young people. CHEKALINSKY, SURIN AND SEVERAL GUESTS. Three cards, three cards, three cards! They laugh and mingle with the crowd of guests, which little by little enters the hall. What is this? Nonsense or mockery? No! What if?! (Covers his face with his hands.) Crazy, crazy I am! (Thinks.) SCENE IV. MANAGER. The owner asks his dear guests to listen to the pastoral under the title: Sincerity of the Shepherdess! 12 The guests are seated in the prepared places. Boys and girls, dressed in costumes of shepherds and shepherdesses, go out into the meadow. They lead round dances, dance and sing. Prilepa alone does not take part in the dances and weaves a wreath in sad thoughtfulness. CHORUS OF SHEPHERDS AND SHEPHERDESSES. Under the thick shadow, Near a quiet stream, We came today in a crowd To please ourselves, To sing, to have fun And the news of round dances, To enjoy nature, To weave flower wreaths. The shepherds and shepherdesses move into the depths of the stage. 12 The plot and most of the verses of this pastoral are borrowed from the poem of the same name by P. Karabanov.
24 24 PRILEP. My dear little friend, dear shepherd boy, for whom I sigh and wish to open my passion, Ah, I didn’t come to dance, MILOVZOR (entering). I’m here, but I’m boring, languid, Look how thin I’ve lost! I won’t be modest anymore, I hid my passion for a long time, I won’t be modest anymore, I hid my passion for a long time. I won’t be modest, I hid my passion for a long time! PRILEP. My dear little friend, dear shepherd, How I miss you, How I suffer for you, Oh, I can’t say! Ah, I can’t say! I don’t know, I don’t know why! MILOVZOR. Having loved you for a long time, I missed you without you, but you don’t know it, and here you are hiding yourself from my sight, from my sight. I don’t know, I don’t know why, I don’t know, I don’t know why! Zlatogor's retinue brings in precious gifts while dancing. Zlatogor enters. ZLATOGOR. How sweet and beautiful you are! Tell me: which of us, Me or him, do you agree to love forever? MILOVZOR. I agreed with my heart, I was inclined to love her, Whom it commands, To whom it burns. ZLATOGOR. I have mountains of gold and precious stones. I promise to decorate you all with them, I possess darkness
25 And gold, and silver, And all good things! 25 MILOVZOR. My only property is Love's unflattering heat. And into eternal possession, accept it as a gift, And birds, and branches, And ribbons, and wreaths In place of the speckled Precious Clothes, I will begin to bring And give them to you! PRILEP. I don’t need any estates, or rare stones, I’m with my sweetheart in the middle of the fields, And I’m glad to live in a hut, And I’m glad to live in a hut! (To Zlatogor.) Well, master, good luck... (To Milovzor.) And you be calm! Here in solitude Hurry to be rewarded with such pleasant words Bring me a bunch of flowers! PRILEP AND MILOVZOR. The end of torment has come, Love's admiration The hour will come soon, Love, yoke us! CHORUS OF SHEPHERDS AND SHEPHERDESSES The end of torment has come, The bride and groom are worthy of admiration, Love, yoke them! Cupid and Hymen with their retinue enter to marry the young lovers. Prilepa and Milovzor, holding hands, dance. The shepherds and shepherdesses imitate them, form round dances, and then everyone leaves in pairs. CHORUS OF SHEPHERDS AND SHEPHERDESSES. The sun is shining red, Zephyrs have flown by, You and the beautiful young man, Prilepa, have fun! The end of the torment has come, The bride and the groom are worthy of admiration, Love, conjugate them! Everyone leaves in pairs. At the end of the interlude, some guests stand up, others chat animatedly, remaining in their seats. Herman approaches the front of the stage.
26 26 HERMAN (thoughtfully). Who loves ardently and passionately! Well? don't I love you? Of course yes! He turns around and sees the Countess in front of him. Both shudder, looking at each other intently. SURIN (in a mask). Look, your lover! (He laughs and hides.) Again... again! I'm scared! The same voice... Who is it?.. Demon or people? Why are they following me? Damn it! Oh, how pathetic and ridiculous I am! Lisa comes in wearing a mask. LISA. Listen, Herman! You, finally! How happy I am that you came! I love you!.. I love you!.. LISA. This is not the place... That's not why I called you! Listen... Here's the key to the secret door in the garden... There's a staircase... You'll go up it to grandma's bedroom... How? to her bedroom?.. LISA. She won't be there... In the bedroom near the portrait there is a door to me. I'll be waiting! You, I want to belong to you alone! We need to solve everything! See you tomorrow, my dear, beloved! No, not tomorrow, No, today I’ll be there!.. LISA (scared). But, honey... I want to! LISA. Let it be! After all, I am your slave! Sorry... (Hides.) Now it’s not me, fate itself wants it this way, And I will know three cards! (Runs away.)
27 27 MANAGER (excited and in a hurry). Her Majesty would like to welcome you now... There is great excitement among the guests. The manager divides those present so that a passage is formed in the middle for the queen. CHORUS OF GUESTS. Queen! Her Majesty! Queen! She will arrive herself... What an honor to the owner, what a happiness!.. It’s a joy for everyone to look at our mother. What a joy it is for us! The French ambassador will be with her! The Most Serene One will also honor! Well, it was a real holiday! What delight, what joy! Well, it was a great holiday. MANAGER (to the singer). You, Glory to this, now burst forth - CHORUS OF GUESTS. This is how the holiday turned out to be a success! Ring out, Glory to this! Here, here, coming, coming, now our mother is coming! Everyone turns towards the middle doors. The manager makes a sign. singers to start. CHORUS OF GUESTS AND SINGERS Hail to this, Catherine, Hail, mother tender to us! Vivat, vivat! The men take a low courtly bow position. Ladies squat deeply. The pages enter in pairs, followed by Catherine, surrounded by her retinue. 13 PICTURE FOUR The Countess’s bedroom, illuminated by lamps. Herman quietly enters through the secret door. He looks around the room. Everything is as she told me... What then? Am I afraid, or what? No! So it’s decided, I’ll find out the secret from the old woman! (Thinks.) What if there is no secret? And this is all just empty nonsense of my sick soul! He goes to Lisa's door. As he passes, he stops at the portrait of the Countess. Midnight strikes. And, here she is, Venus of Moscow! By some secret force I am bound to her by fate! 13 In pre-revolutionary productions of the opera, this action ended with the appearance of pages preceding the appearance of Catherine II. This was caused by the ban on depicting members of the royal family on stage.
28 Do I get it from you, or do you get it from me, But I feel that one of us will perish from the other! I look at you and hate you, but I can’t get enough of you! I would like to run away, but I have no strength... The inquisitive gaze cannot tear itself away from the terrible and wonderful face! No, we cannot part without a fatal meeting! Steps! They're coming here!.. Yes!.. Oh, come what may! 28 Herman is hiding behind the curtain of the boudoir. The maid runs in and hurriedly lights the candles. Other maids and hangers-on come running after her. The Countess enters, surrounded by bustling maids and hangers-on. CHORUS OF HOUSEHOLDERS AND MAIDS. Our benefactor, How did you go for a walk? Our light lady surely wants to rest! (They escort the Countess to the boudoir.) Are you tired, tea? Well, so what, was there anyone better looking there? There were, perhaps, younger, But none more beautiful! (Behind the stage.) Our benefactor... Our lady of light... She's tired, tea, she probably wants to rest! Lisa enters, followed by Masha. SCENE III. LISA. No, Masha, come with me! MASHA. What's wrong with you, young lady, you're pale! LISA. No, nothing... MASHA (having guessed). Oh my god! Really?.. LISA. Yes, He will come... Be silent! He may already be there... And waiting... Watch out for us, Masha, be my friend! MASHA. Oh, I wish we didn’t get it! LISA. That's what he ordered. I chose him as my husband... And as an obedient slave, faithful to the flock of the one who was sent to me by fate!
29 Lisa. and Masha leave. The hangers-on and maids bring in the Countess. She is wearing a dressing gown and a nightcap. She is put to bed. 29 CHORUS OF LOCATES AND MAIDS Benefactor, Our light little lady, Tired, tea, Surely wants to rest! Benefactor, Beauty! Go to bed, tomorrow you will again be more beautiful than the morning dawn! Go to bed, tomorrow you will wake up more beautiful than the morning dawn! Benefactress! Lie down in bed, Rest, rest, Rest... COUNTESS. Stop lying to you!.. I'm tired!.. I'm tired... I have no urine... I don't want to sleep in bed! (She is seated in a chair and covered with pillows) Oh, I hate this light! Well, times! They don't really know how to have fun. What manners! What a tone! And I wouldn’t even look... They don’t know how to dance or sing! Who are the dancers? Who sings? Girls! And it happened: who was dancing? who sang? Le duc d`orlean, la duc d`ayen, de Coigni,.. la comtesse d`estrades, La duchnesse de Brancas * What names!.. And even, sometimes, the Marquise of Pompadour herself!.. With them I and sang... Le duc de la Valliere 15 praised me! Once, I remember, in Chantili 16, at Ripse de Conde 17, the King heard me! I can see everything now... (Sings.) Je crains de lui parler la nuit J'ecoute trop tout ce qu'il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat... Je ne sais pas porqoui Duke of Orleans, Duke d'ayen, Duke de Coigny, Countess d'Estrade, Duchess de Branca. (French). 15 Duke de la Valliere (French) 16 Chantilly, a royal castle near Paris (French) 17 Prince de Condé (French) 18 I'm afraid to talk to him at night, I listen too much to everything he says. He tells me: I love you, And I feel, against my will, I feel my heart, Which is beating, which is beating, I don’t know why! (from French)
30 (As if having woken up, he looks around.) 30 Why are you standing here? Get out there! The maids and hangers-on, stepping carefully, disperse. The Countess is dozing and humming as if in a dream. Je crains de lui parler la nuit J`ecoute trop tout ce qu`il dit, Il me dit: je vois fime Et je sens malgre moi Mon Coeur qui bat... Je ne sais pas porqoui... Herman comes out and stands against Countesses. She wakes up and silently moves her lips in silent horror. Don't be scared! For God's sake, don't be scared!.. I won't harm you! I came to beg you for one mercy! The Countess silently looks at him as before. You can make up the happiness of life's goals! And it won't cost you anything! You know three cards... (The Countess stands up.) For whom should you protect your secret? Herman kneels down. If you have ever known the feeling of love, If you remember the ardor and delight of young blood, If you have ever smiled at the caress of a child, If your heart has ever beat in your chest, Then I beg you with the feeling of a wife, lover, mother, To everyone, What is sacred to you in life, Tell me, tell me, tell me your secret! What do you need it for?! Perhaps She is associated with terrible sin, with the destruction of bliss, with a devilish condition? Think, you are old, you don’t have long to live, And I am ready to take on your sin!.. Open up to me! Tell me!.. The Countess, straightening up, looks menacingly at Herman. Old witch! So I'll make you answer! Herman takes out a pistol. The Countess nods her head, raises her hands to shield herself from the shot, and falls dead. Stop being childish!
31 Would you like to assign me three cards? Yes or no? 31 He approaches the Countess and takes her hand. He sees with horror that the Countess has died. She is dead! It came true!.. But I didn’t find out the secret! (Stands like petrified.) Dead!.. But I didn’t find out the secret... Dead! Dead! Lisa enters with a candle. LISA. What's all the noise here? (Seeing Herman.) Are you, are you here? HERMAN (rushing to her, with fear). Shut up! Shut up! She's dead, but I didn't find out the secret!.. LISA. Who's dead? What are you talking about? HERMAN (pointing to the corpse). It came true! She is dead, But I didn’t find out the secret!.. LISA (rushes to the Countess’s corpse) Yes! died! Oh my God! And you did this? (Sobs.) I didn’t want death, I just wanted to know three cards! LISA. So that's why you're here! Not for me! You wanted to know three cards! It wasn't me you needed, it was the cards! Oh my God, my God! And I loved him, Because of him I died!.. A monster! Murderer! Monster! Herman wants to speak, but with an imperious gesture she points to the secret door. Away! Away! The villain! Away! She is dead! LISA. Away! Herman runs away. Lisa, sobbing, falls on the Countess's corpse. ACT THREE SCENE FIFTH
32 32 Barracks. Herman's room. Winter. Late evening. Moonlight it illuminates the room through the window, then disappears. The howling of the wind is heard. The room is dimly lit by a candle standing on the table. A military signal is heard behind the stage. Herman is sitting at the table. SCENE I. HERMAN (reads the letter). "...I don’t believe that you wanted the Countess to die... I am tormented by the consciousness of my guilt before you! Calm me down! Today I’m waiting for you on the embankment, when no one can see us there. If you don’t come before midnight, I must I’ll admit a terrible thought that I’m pushing away from myself. Forgive me, forgive me, but I’m suffering so much!..” Poor thing! What an abyss I dragged her into with me! Oh, if only I could forget myself and fall asleep! Sinks into a chair in deep thought and as if... dozing. It seems to him that he again hears the church choir singing the funeral service for the deceased countess. CHOIR OF SINGERS (behind the stage in the distance). I pray to the Lord, That he will heed my sorrow, For my soul is filled with evil And I am afraid of the captivity of hell, Oh, look, O God, at the suffering of Your servant! HERMAN (getting up in fear). All the same thoughts, All the same terrible dreams and gloomy pictures of funerals Stand up as if alive before me... (Listens.) What is this?! Singing or wind howling? I can’t make it out... (Distant funeral singing can be heard.) Just like there... yes, yes, they sing! And here is the church, and the crowd, and candles, And incense, and sobs... (The singing is clearer.) Here is the hearse, here is the coffin... And in that coffin the old woman, without moving, without breathing, By some kind of force, I enter on the black steps! It’s scary, but I don’t have the strength to go back!.. I look at the dead face... And suddenly, squinting mockingly, It blinked at me! Away, terrible vision! Away! (Sinks into a chair, covering his face with his hands.) CHOIR OF SINGERS. Give her endless life! For a moment, the howling of the storm subsides and a short knock on the window is heard in the silence. Herman raises his head and listens. A gust of wind blows again. Someone's shadow flashes in the window. The knock on the window is repeated. A new gust of wind opens the window
33 and extinguishes the candle, and again a shadow appears in the window. Herman stands as if petrified. 33 I'm scared! Scary! There... there... steps... They open the door... No, no, I can’t stand it! He runs to the door, but at that moment the ghost of the Countess in a white shroud appears in the doorway. Herman retreats, the ghost approaches him. THE GHOST OF THE COUNTESS. I came to you against your will, but I was ordered to fulfill your request. Save Lisa, marry her, And three cards, three cards, Three cards will win in a row. Remember! Troika! Seven! Ace! Three, seven, ace! (Disappears.) HERMAN (with an air of madness). Three, seven, ace! Three... Seven... Ace... PICTURE SIX Night. Winter Canal. In the background of the scene is the embankment and the Peter and Paul Fortress, illuminated by the moon. Under the arch, in a dark corner, Lisa is standing all in black. SCENE I. LISA. Midnight is approaching, but Herman is still not there, still not there. I know he will come and dispel suspicion. He is a victim of chance And he cannot, cannot commit a crime! Oh, I’m tired, I’m tormented!.. Oh, I’m tired of grief... Whether at night or during the day, I tormented myself with thoughts only about him... Where are you, you’ve experienced joy? Oh, I'm tired, I'm tired! Life promised me only joy, A cloud found me, brought thunder, Everything I loved in the world, Happiness, dashed my hopes! Oh, I'm tired, I'm tired! Whether at night or during the day, only about him, Ah, I tormented myself with thoughts... Where are you, you experienced joy? The cloud came and brought a thunderstorm, Happiness, dashed hopes! I'm tired! I'm exhausted! Melancholy gnaws and gnaws at me...
34 And if the clock strikes in response, that he is a murderer, a seducer? Oh, I’m scared, I’m scared!.. 34 The clock is striking on the fortress tower. O time! Wait, he will be here now... (With despair.) Oh, darling, come, have pity, Have pity on me, My husband, my lord! So it's true! I have linked my fate with the villain! My soul belongs to the murderer forever!.. By his criminal hand Both my life and my honor were taken, I am cursed together with the murderer by the fateful will of heaven! Lisa wants to run, but at this time Herman appears. You are here, you are here! You are not a villain! Are you here! The end of the torment has come, And I became yours again! Away with tears, torment and doubts! You are mine again and I am yours! She falls into his arms. Yes, here I am, my dear! (Kisses her.) LISA. Oh yes, the suffering is over, I’m with you again, my friend! I'm with you again, my friend! LISA. The bliss of the date has arrived! The bliss of the date has arrived! LISA. The end of our painful torment! The end of our painful torment! LISA. Oh yes, the suffering is over, I am with you again! Those were heavy dreams, the deception of an empty dream. LISA. The deception of a dream is empty. The lamentations and tears are forgotten! I'm with you again, Yes, I'm with you again! Our torment and suffering have passed, the blessed hour of meeting has come,
35 Oh my angel, I am with you again! 35 LIZA (at the same time as German) The lamentations and tears are forgotten! Oh, my dear, beloved, I am again, again with you, Our forever suffering has passed, The torment is over, My dear, desired, I am with you again! But, honey, we can’t hesitate, The hours are running... Are you ready? Let's run! LISA. Where to run? With you to the end of the world! Where to run?.. Where?.. To the gambling house! LISA. Oh my God! What's wrong with you, Herman? There are piles of gold lying there, and they belong to me, to me alone! LISA. Oh woe! Herman, what are you saying? Come to your senses! Oh, I forgot, you don’t know yet! Three cards, remember, what else did I want to find out from the old witch! LISA. Oh my God! He's crazy! Stubborn! She didn't want to tell me! After all, today I had it and she gave me three cards. LISA. So, does that mean you killed her? Oh no! For what? I just raised the pistol, and the old witch suddenly fell! (Laughs.) LISA. So it's true! Is it true! Yes! Yes! It’s true, I know three cards! The killer has three cards, She named three cards! It was destined to be so
36 I had to commit a crime, Three cards at this price Only I could buy! I had to commit a crime, so that at this terrible price I could recognize My three cards. 36 LIZA (at the same time as German). So it's true! I have linked my fate with the villain! My soul belongs to the murderer, the monster forever! By his criminal hand Both my life and my honor were taken, I am cursed together with the murderer by the fateful will of heaven, I am cursed together with the murderer! But no, it can’t be! Come to your senses, Herman! HERMAN (in ecstasy). Yes! I am the third who, passionately loving, Came to forcefully learn from you About the three, seven, ace! LISA. No matter who you are, I am still yours! Run, come with me, I will save you! Yes! I learned, I learned from you About three, seven, ace! (He laughs and pushes Lisa away.) Leave me! Who are you? I don't know you! Away! Away! (Runs away.) LISA. He's dead, he's dead! And with him and me! He runs to the embankment and throws himself into the river. PICTURE SEVEN Gambling house. SCENE I. Dinner. Some play cards. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! Let's play with life! Youth does not last forever, Old age does not last long! We don't have to wait long.
37 Let our youth drown in bliss, cards and wine! They are the only joy in the world, Life will fly by like in a dream! Let's drink and have fun! Let's play with life! Youth does not last forever, Old age does not last long! We don't have to wait long. 37 SURIN (behind the cards). Dana!.. CHAPLITSKY. I'm guessing passwords! NARUMOV. Killed! CHAPLITSKY. No passwords! CHEKALINSKY (tossing). Would you like to bet? NARUMOV. Atande! CHEKALINSKY. Ace! Prince Yeletsky enters. SURIN. I am a peacemaker... TOMSKY (to Eletsky). How did you get here? I haven't seen you with the players before. ELETSKY. Yes! This is my first time here. You know, they say: Those who are unhappy in love are happy in the game. TOMSKY. What do you want to say? ELETSKY. I'm not a groom anymore. Don't ask me - I'm in too much pain, friend - I'm here to take revenge - After all, happiness in love brings misfortune with it in the game. TOMSKY. Explain what this means. CHORUS OF GUESTS AND PLAYERS. Let's drink and have fun! ELETSKY. You'll see! CHORUS OF GUESTS AND PLAYERS. Let's play with life! Youth does not last forever, Old age does not last long!
38 We won't have to wait long. 38 Players join those dining. CHEKALINSKY. Hey gentlemen! Let Tomsky sing something to us! CHORUS OF GUESTS AND PLAYERS. Sing, Tomsky, sing, something fun and funny! TOMSKY. I can’t sing something... CHEKALINSKY. Eh, come on, what nonsense! Drink and sing! Health to Tomsky, friends! Hooray! CHORUS OF GUESTS AND PLAYERS. Health to Tomsky, friends! Hooray! Hooray! Hooray! Hooray! TOMSKY (singing). If only dear girls 19 could fly like birds and perch on twigs, I would like to be a twig, so that thousands of girls could sit on my branches, sit on my branches! CHORUS OF GUESTS AND PLAYERS Bravo! Bravo! Oh, sing another verse! TOMSKY. Let them sit and sing, Build nests and whistle, and hatch chicks! I would never bend, I would always admire them, I would be happier than all the bitches, I would be happier than all the bitches! CHORUS OF GUESTS AND PLAYERS. Bravo! Bravo! That's the song! This is nice! Bravo! Well done! I would never bend, I would always admire them, I would be happier than all the bitches! CHEKALINSKY. Now, as usual, friends, Igretskaya! CHEKALINSKY. CHAPLITSKY, NARUMOV AND SURIN. Oh, where are those islands, 20 Where does trin-grass grow, Brothers! So on rainy days they often gathered. 19 Poems by Derzhavin. 20 Poems by Ryleev
39 39 CHORUS OF GUESTS AND PLAYERS. So on rainy days they often gathered. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. They bent, God forgive them, from fifty to a hundred. CHORUS OF GUESTS AND PLAYERS. They bent, God forgive them, from fifty to a hundred. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. And they won, And they wrote it off with Chalk. CHORUS OF GUESTS AND PLAYERS. And they won, And they wrote it off with Chalk. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. So on rainy days they got busy. CHORUS OF GUESTS AND PLAYERS. So on rainy days they got busy. CHEKALINSKY, CHAPLITSKY, NARUMOV AND SURIN. They bent, God forgive them, from fifty to a hundred. CHORUS OF GUESTS AND PLAYERS. They bent, God forgive them, from fifty to a hundred. CHEKALINSKY, CHAPLITSKY, NARUMOV, SURIN AND THE CHORUS OF GUESTS. And they won, And they wrote it off with Chalk. So on rainy days they got busy. They bent, God forgive them, from fifty to a hundred. (Whistling, shouting and dancing.) One hundred, one hundred, one hundred, one hundred! CHEKALINSKY. Let's get to work, gentlemen, get to the cards! Wine, wine! (They sit down to play.)
40 40 CHORUS OF GUESTS AND PLAYERS. Wine, wine! CHAPLITSKY. Nine! NARUMOV Passwords... CHAPLITSKY. Down the drain! SURIN. I bet on the route... CHAPLITSKY. Dana! NARUMOV. From transport for ten! SCENE II. Herman enters. ELETSKY (seeing him). My premonition did not deceive me. (To Tomsky.) I may need a second. Will you refuse? TOMSKY. Rely on me! Choir of guests and players A! Hermann! Friend! Buddy! So late? Where? CHEKALINSKY. Sit down with me, you bring happiness. SURIN. Where are you from? Where were you? Isn't it in hell? Look what it looks like! CHEKALINSKY. It couldn't be more scary! Are you healthy? Let me put down a card. (Chekalinsky silently bows in agreement.) SURIN. What a miracle, he started playing! CHORUS OF GUESTS AND PLAYERS. What a miracle, he began to pont, our Herman! Herman places the card and covers it with a bank note. NARUMOV. Mate, congratulations on solving such a long post! HERMAN (placing a card). Is it coming? CHEKALINSKY. How much? Forty thousand!
41 CHORUS OF GUESTS AND PLAYERS. Forty thousand! You're crazy! What a jackpot! 41 SURIN. Didn't you recognize the countess's three cards? HERMAN (irritated). Well, do you hit or not? CHEKALINSKY. It's coming! Which card? Troika. (Chekalinsky mosque.) Won! CHORUS OF GUESTS AND PLAYERS. He won! What a lucky guy! CHEKALINSKY. Something's wrong here! The wandering of his eyes bodes ill, He seems unconscious! No, there's something wrong here! The wandering of his eyes bodes ill! SURIN (simultaneously with Chekalinsky). Something's wrong here! The wandering of his eyes bodes ill; He seems to be delirious, without consciousness! No, there's something wrong here! No, the wandering of his eyes bodes ill! ELETSKY (simultaneously with Chekalinsky). Something's wrong here! But punishment is close, close! I will take my revenge on you, I will take my revenge on you, villain, my suffering, I will take my revenge on you! NARUMOV (at the same time as Chekalinsky). Something's wrong here! The wandering of his eyes promises bad things, promises bad things! No, there's something wrong here! His wandering eyes bode ill! CHAPLITSKY (simultaneously with Chekalinsky). Something's wrong here! His wandering eyes bode ill! It's like he's unconscious! No, something is wrong here, His wandering eyes bode ill! TOMSKY (simultaneously with Chekalinsky). Something is wrong here, something is wrong! The wandering of his eyes, the wandering of his eyes bodes ill!
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