Pytor Il'ich Tchaikovsky: Pique Dame

This 1993 Pique Dame would be hard to overpraise (although the Gramophone, perversely, was lukewarm). Gergiev and the ocrhstea are at their very best interpreting Tchaikovsky's kaleidoscopic score, which ranges from the most extreme, even lurid melodrama to Rococo pastishe in the court songs and dances. The line-up of singers represents the ensemble system at the Kirov at its best, mixing stellar names like Borodina, Chernov, and Arkhipova with names less known in the West. In fact, the two stirring leads, Gegan Grigorian in the taxing tenor role of Herman (sung to thrilling effect at the Met by no less than Domingo a few seasons back) and Maria Guleghina as Lisa, the naive heroine trapped in Herman's warring obsessions, were unknown to me. Both are splendid, and although one hears squally singing from her when the voice is under pressure and somewhat underpowered climaxes from him, Western ears will hear both as highly listenable voices.

The score itself is much less well known, and less often recorded, than Eugene Onegin. Have no fear that this reflects badly on Tchaikovsky's music, which is sustained in its dramatic inspiration and constantly propelled forward by the melodramatic stroy. But oh, that story. Herman's path is constantly downward, and the inevitability with which he drags himself, Lisa, and her grandmother down has a doomed quality that feels too Russian, perhaps. The score is also long, and a certain frenetic sameness sets in after a while. It really helps to see the Queen of Spades onstage.

Even so, this is impeccable music-making, and despite the effort it takes for non-Russians to follow the libretto closely for fear of missing a key event, the experience is very rewarding. This is easily one of the best installments in Gergiev's comprehensive traversal of Russian opera classics from Glinka to Prokofiev.

PIQUE DAME has the rare exception among Tchaikovsky's works of being beloved by the composer, hailed by the critics, at least most of the critics, and loved by the public during his lifetime. This could be with good reason. First, the story behind the opera, based on a short novel by Pushkin about a gambler who falls in love with Lisa, the granddaughter of a Countess with a secret for gambling success, only to face self destruction, is a compelling story and even though it was changed in large part in the opera, it still has dramatic intensity. The music is some of Tchaikovsky's best and most original, certainly his best for the stage and depicts the varied moods of the work. Its setting, the fashionable court circles of late 18th century Russia, calls for an elaborate stage. It's opera at its best and Tchaikovsky at his finest. It became an international success after its premiere, and while it may not be performed as often today as EUGENE ONEGIN, it still has a home in the larger opera houses around the world.

This recording by The Kirov Opera under the direction of Valery Gergiev does the opera justice. The orchestra is impeccable and the colorful choral scenes are superb. Listeners can easily imagine the grand scenes when listening to this set. The soloists likewise are phenomenal. Top of the list would be tenor Gegam Grigorian as Herman. Herman is a man of many emotions and the person who performs this role has to swing from despair to confidence and joy to sorrow almost without warning. Grigorian does this with a voice of astonishing color. Maria Gulegina has many of the same attributes as Grigorian as she portrays the youthful but soon to be heartbroken Lisa. The role of the countess has been performed on stage by a number of great and aging mezzos who still have something to offer. Who could resist a role that has a slightly tainted character who is wronged and comes back as a ghost to exact revenge? Irina Arkhipova has powerful voice and seems to be enjoying her performance as the Countess. Vladimir Chernov has become an international star since the fall of the Soviet Union, as has Nikolai Putilin. The two perform the baritone roles of Yeletsky and Tomsky respectively. Both are in excellent voice and have that deep rich sound that differentiates Russian opera from the German, Italian, and French repertoires.

In general, the rule of thumb for Russian opera is that the best casts and orchestras are those that are Russian and this applies to this set. Many of the performers in this set were trained under the old Kirov system and the singers know this opera well and the wonderful nuances of the opera. This is due to years of performance as opposed to learning the work for a one shot stage production and perhaps a recording. It is another wonderful recording of Russian opera performed by the Kirov and released by Philips.

It is interesting that Pique Dame was first offered to Tchaikovsky's pupil Nikolay Klenovsky by Ivan Vsevolozhsky (who was a force in the composition of The Sleeping Beauty). Had it not been for the pupil's vacillation, Pushkin's story may never have been taken up by the composer. Modest Tchaikovsky had written a libretto for Klenovsky and made some changes for his brother, who composed the music in white heat and had completed the project in 5 months. Pique Dame was premiered at the Maryiinsky Theater on December 19, 1890 to great acclaim. The opera made its progress through Europe and within a decade had been performed at every major house.

There are not many recordings of Pique Dame but of them, this one is arguably the best for the energy of the performance and the quality of the singers. The Kirov Orchestra is superb, and they are recorded with great clarity. Valery Gergiev's conducting is outstanding and he produces a well-nuanced recording of Tchaikovsky's melodrama. The singers are well cast: Gregam Grigorian is an excellent Herman, particularly in his aria at the end of act 1 scene 1 when he declares he will get the secret of the three cards. I have had the pleasure of seeing Maria Guleghina singing different roles (most notably a thrilling Tosca) and always look forward to her performances. In this recording, she sings beautifully and her duets with Olga Borodina, who sings the role of Pauline, are particularly memorable for the nice blending of their voices. In the third act, Ms. Guleghina has some problems in scene 2 hitting her notes and her voice is somewhat stressed. I did not find that she has the heavy vibrato noted by another reviewer. Irina Arkhipova makes an excellent Countess and the supporting cast members are excellent.

This is an excellent recording that anyone interested in Russian opera will find of interest.

Gergiev really does deserve commendation for his invaluable contribution to exposing, what is for me, the greatest operatic form (Russian opera). Here is another good example and the conducting is beautiful. The vice that has hampered Russian opera generally however, is that there are too few recordings. A few artists therefore dominate the scene, sometimes benefitting from the overall excellence of the OTHER participants. I am here referring to Maria Guleghina. To have her in such a major role of Lisa should be described as no more than an "adequate performance," as the unsteady wobble in her voice is off-putting. As I have not heard other recordings of Pique Dame, I am unable to say that the role has been better sung...but I can say that there ARE better voices (e.g. Stefka Evstatieva).

Nevertheless, the recording benefits from a particularly superb performance by Grigoriam, Borodina and the legendary Arhipova....in addition to Gergiev's superb conducting. Gergiev appears not to be given to too many special effects, however (take for example, his reading of Rimsky-Korsakov's "The Tsar's Bride," where Lyubasha's violent death passes in silence). The Countess' ghost scene with Gherman is therefore sung without acoustic enhancement. This is however, a minor complaint. Pique Dame is a stunning composition and this recording has many merits....recommended.

Opera fans, if you enjoy Russian opera in general and Kirov company in particular, I am certain you see a lot of reviews posted all over by someone named moskvich (Russian for Moscovite) who consistently praises Bolshoi company and finds various faults in Kirov. For the lack of better word, this is baloney. The singers he mentions (Atlantov, Milashkina, Mazurok, et al) have been stars of the Bolshoi in the 70's and have been pretty average even at that time next to Galina Vishnevskaya, for instance. Their rise to fame was largely due to politicking and pushing talented singers our of Bolshoi for "not adhering to Communist Party line". Bolshoi's best conductor ever, Melik-Pashaev was driven to death by such accusations. The claims moskvich makes are completely groundless, basically resorting to saying "A is better than B", with A, naturally, being from Bolshoi. While this rivalry between the theaters ensued for the longest time, the supporters of the Moscow theater like the one in question fail to see that their company needs to have several things to stake their claim. These are:
1. Great Conductor. Bolshoi had several opportunities to get one, but failed. Gergiev's talent is so immense he needs a formidable opponent. Currently there isn't one at Bolshoi.
2. At least Two great sopranos. Kirov has Gorchakova AND Guleghina as two phenomenal dramatic (spinto) sopranos. Plus, Anna Netrebko as a true lyric one. Bolshoi, again, has no one of this caliber.
3. One good tenor. Grigoryan (on this recording) is a wonderful versatile artist. He can sing lyric parts expertly and has enough heft to attempt heavier parts, like the one of Gherman here, or Alvaro in La Forza. Atlantov (at Bolshoi) has several virtues, but there's not subtleness or real feeling in his singing. His legato is rough, and he often produces unattractive sound. Not to mention that his prime was in the 70's.
4. A mezzo, a baritone, and a chorus. Where do we start? Here we have Putilin and Chernov, two very different and incredibly exciting baritones, one Heldenbariton, one Kavalierbariton. Just listen to Putilin in Mazeppa and Chernov in Rigoletto. Olga Borodina is an internationally known all-around star, she can sing Dalila, or Olga, or baroque, and do each of these with charm and finesse. Opera News just ran a special feature on Larissa Diadkova, another great Kirov mezzo. Bolshoi currently has no one of such caliber, just drop by any day.
The list can go on and on. Last but not least, a theater needs to have a good recording label. Philips has done a spectacular job of digitally recording the masterpieces that until recently only have been available as pitiful restorations of Bolshoi's performances on LPs. As Bolshoi failed to draft the talents and enter the world arena with a formidable roster of operas, may they be Russian or western, Gergiev's company forged ahead, and, like it or not, they became The operatic face of Russia. Since we all have ears, we can easily appreciate the numerous virtues of Gergiev's recordings and enjoy the only thing that Bolshoi currently has - the ballet.