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Mikhail GLINKA (1804-1857)
Ivan Susanin (A Life for the Tsar) (1836) Libretto by Sergei Gorodetsky (sung in Russian)
Ivan Susanin - Maxim Mikhailov (bass)
Antonida, his daughter - Natalia Spiller (soprano)
Vanya - Yelizaveta Antonova (mezzo)
Bogdan Sobinin - Georgi Nelepp (tenor)
A Russian soldier - Alexander Hosson (bass)
A Polish messenger - Ivan Skobtsov (tenor)
Sigismund - Fyodor Svetlanov (bass)
Chorus and Orchestra of the Bolshoi Theatre/Alexander Melik-Pashayev/Vassily Nebolsin (Epilogue) (conductors)
Recorded in Moscow in 1947 and the Epilogue in 1950
Appendix – Extracts and selections from Acts III and IV

Act III duet Duet Kak mat’ ubili
I N Sokolova and Mark Reizen, recorded in 1950
Act III Romance Nye o tom
Antonina Nezhdanova, recorded 1913
Act IV
Brattsi! V metyel’
Helge Rosvaenge (in German) recorded 1940 – this tenor aria was omitted from the 1947 recording Act IV
Aria Bednyikon’ v polye pal
Evgeniya Zbruyeva, recorded in 1913
Aria Chuyut pravdu!
Feodor Chaliapin, recorded in 1923
NAXOS 8.111078-80 [3 CDs: 73.21 + 49.41 + 79.49]


The Melik-Pashayev recording of Ivan Susanin or A Life for the Tsar, as it’s rather better known in the West, has been available on at least two labels of late – Preiser and Great Hall MVT. Both were double CD sets but Naxos’s budget price transfer comprises three discs. The second disc is short and the third includes five outstanding examples from the opera derived from recordings made in 1913, 1923, 1940 and 1950. Whether this will entice rather depends on price brackets and respective transfers as the extracts, however distinguished they may be as examples of Glinka on disc, will not be enough to tip any balance.

This is a much admired set and I admit to admiring some of it, indeed much of it, but not all of it.  With Melik-Pashayev at the helm – except for the Epilogue, which was recorded three years later under Nebolsin – we are guaranteed an intense and driving exploration of the orchestral strands. He’s a first class conductor, ensuring good balances and even admitting the less than stellar 1947 engineering he invariably produces direction of arresting control. The chorus is an incisive and powerful body; their fugal entries in the Act I introduction are suitably vibrant. The recording naturally fell prey to the kind of brazen one dimensionality that afflicted so many contemporaneous Soviet recordings. It’s a fact of life and not much can be done now to limit its more intransigent brashness.

The soloists were among the pre-eminent few of the time. Mikhailov takes the role of Susanin. I know that many swear by him but though the voice is big and characterful I find it insufficiently supported. His great qualities were of projection of nobility and gravity and that he most certainly does. Technically however he can be fallible. Georgi Nelepp is the spirited Sobinin, vibrant and tense with an intense vibrato. His range is extensive and exciting and he swoops through the registers with few weaknesses, though I happen to find some of his more athletic ascents in the final scene of Act I rather like the recording – brazen and in poor taste. Still he and Mikhailov make a good tonal match – the razory incision of the tenor and the emollient patrician bass. Note too the excellent young women’s chorus and the gutsy orchestral playing in their scenes.

I was surprised to read in the notes that the Vanya of Yelizaveta Antonova was only forty-three at the time of the recording. Her mezzo is edging toward the matronly and there are intrusive breaths and registral breaks; more damaging a slack-ish vibrato, especially in Act III’s duet between her and Susanin. Much preferable is the Antonida of the esteemed Natalia Spiller, whose ardent intensity lights up the Romance in Act III, and she proves a commanding and technically superior exponent. Some of her music has however been excised and it ought to be pointed out that this pruning of the text is really quite extensive. I don’t have a score or timings to hand but at least 35-45 minutes of music were excised, not least to conform to prevailing political orthodoxies. Incidentally the very small role of Sigismund is taken by Fyodor Svetlanov, father of Evgeny. The Epilogue under Nebolsin is rousing, to say the least, though there have certainly been more dignified Coronations on disc.

The appendix contains a well-engineered 1913 Antonina Nezhdanova and the Act III duet between Vanya and Susanin. Here Sokolova and Reizen prove superior to their counterparts in the complete set.  Rosvaenge is rather clarion and exaggerated in his excerpt, Zbruyeva interesting to hear in her 1913 double-sided extract but not so impressive technically. Chaliapin is magnetic; the London band accompanying is not. 

The notes cover biographical and other matters with concision. As is usual now from this source there is a synopsis, and no libretto. Ward Marston has done the remastering honours though we don’t hear of his source material. It certainly sounds suitably strident and present, with minimal distractions. I don’t have the competition to hand so can’t make comparative listening choices. Three discs at Naxos’s price, of course, is still three budget priced discs so many will relish the opportunity to hear this post-War set and the ancillary material as well.

Jonathan Woolf

see also Review by Goran Försling





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